Clarinet and Saxophone Reed Adjustment - a Survial Guide for the Single Reed Player

Reed Adjustment – a Survival Guide for the single reed player

 

Background

The single reed that we rely upon for our playing is a piece of cane (from bamboo, therefore wood) which, when in playing use, is continually changing state between moist and dry conditions. The reed fibres swell and contract with moisture absorption and evaporation. In addition, the fibres of the cane are tubes that will collect skin cells from lip tissue and from fingers during handling as well as saliva residue, food particles and dirt. Over time the fibres will also lose their resilience after being subjected to the many hundreds of thousands of vibrations required in order to produce the tones we all love to make.

No wonder reeds need attention!

To make your reeds last longer and player better try the following:

Have a planned ‘break-in’ routine for your reeds. Soak your new reed for 30 seconds to 1 minute, in warm water (if available) tap water if warm is not available and in your mouth if no other option, then place on a flat surface and press with your thumb along the vamp of the reed before playing for a maximum of 5 minutes. Place that reed safely in a reed storage case and repeat with another new reed.

One should always try to have 3-4 reeds on the go so as to avoid getting ‘caught out’ with nothing ready to play. Once a reed has settled the period of use can be extended to an hour or more over several sessions. If a reed is working particularly well you may wish to set it aside and mark it for performance use in the future.

If on the other hand a reed does not seem to be performing as well as you wish then it is time to see if it can be improved …

 

Try the following:

If sounding dull / playing with a stuffy, resistant feel:

Place the wetted reed on a flat surface and use reedrush (natural sandpaper) or a ReedGeek tool or other sharp, straight edge knife to work gently at the tip area to remove some of the some cane (always stroke away from the reed tip, never back towards it). If the tip area is evened up and made more flexible this may be all that is required. If the reed is still ‘not right’ check that the underside of the reed is truly flat by sighting along the underside of the reed with a flat ruler or straight edge looking in the direction of a string light. If you see daylight leaking through either at the edges or in the middle then the underside of the reed has warped and must be flattened. You can use the tool edge or the very sharp straight knife or fine sandpaper on a flat surface to accomplish this. Finally, if this has not made enough difference, you can experiment with removal of some cane in the ‘heart’ region to reduce resistance. Be careful – you cannot put anything back once it has been removed.

If sounding thin / playing without enough resistance:

First, test to see if it seems to play better when positioned ‘too high’ on the mouthpiece (i.e. deliberately extending the reed over the end of the mouthpiece tip by 1mm or more). If this seems promising then try to return strength to the reed by clipping it with a reed cutter (Cordier is my favourite general clipper, Vandoren do a fine precision clipper for the tip profiles of their own reed range). Work in small stages and try blowing again following each clip. When the resistance feels right the reed may need re-balancing at the tip (see above) as you have effectively returned thicker wood to the tip through the clipping process.

 If a once good reed is just starting to decline:

Try rejuvenating it by gently placing it on the mouthpiece and with the ligature in place, insert a thin/stiff playing card between reed and mouthpiece facing and gently bend the reed away from the mouthpiece using the card. Re-test. This often does just enough to get through a concert or rehearsal session.

If a reed is almost right but just feels a bit like ‘to much hard work’:

Try placing reed on the mouthpiece as usual and then press it in towards the facing with your thumb, holding it in a closed position for 10 seconds or so. This is ‘pre-ageing’ the reed and it can often be all a reed needs to quickly settle in ready for successful use.

In Summary

The ability to analytically identify reed behaviour and to be resourceful with various adjustment options in the face of the inevitable challenges posed by reliance on cane reeds is of great benefit to all reed players. This knowledge increases your confidence, reduces pre-performance stress, and leads to more playing enjoyment as well as saving money!

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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful.

Thomas Dryer-Beers

Crooks for Saxophone and Bassoon - 'Crook Maniacs' - An Overview

Crooks for Saxophone and Bassoon

For saxophonists and bassoonists this is the way you can custom tailor your beloved instrument upgrading both sound and very often intonation and response for a fraction of the cost of changing your instrument. The crook is a vital component of your set-up as it is the first part of the instrument after the mouthpiece to encounter the air column. It is in vibration during the production of all of the notes you play and its very subtle changes in tapers, design and materials have a disproportionately large effect at this end of your instrument. This upgrade option is often best reserved for professionals who are looking for 'he last bit of 'icing on the cake' as one must be able to make fine distinctions between options and have the confidence of your decisions. Students considering a crook purchase may wish to engage to help of an experienced player or teacher. Thomas

Saxophonists

The crook is at the heart of your sound. A change of crook can open up a sound or give it a more compact focus. You can move from classical to jazz and vice versa or find that ‘special’ combination that allows you to use your favourite mouthpiece for everything! A poorly designed or damaged crook can spoil the very best efforts of both player and instrument. More choice is available now than ever before. New materials and new designs are opening up options for customising your playing that no one can afford to ignore.

Important Points Explained –  Saxophone

Design – The internal taper of the crook, air-flow modifications, its length, the positioning of upper octave vent and the nature and dimensions of the materials used all influence the performance of your sax. Most student instruments do not receive great attention at the crook level as it costs time/money and is little appreciated by learners as they have many other factors on their minds. However, as a player progresses little differences mean much more and can be appreciated. Professionals, often without realising it, make choices of instrument based largely upon how much they like the performance of a particular crook when paired with their favourite mouthpiece(s).

Materials – Most crooks are made from brass just like the instrument itself but alternate metals are now being offered including bronze, nickel and precious metals like silver and silver plated with gold. The density of the various materials contributes to the character of the vibration of your entire instrument. In general it is accurate to say that the greater the density (mass) of the material the ‘darker’ or warmer the sound. Materials with less density such as nickel will be brighter. The finishing process for specialty crooks usually involves hardening or annealing which changes the vibration characteristics for the better – more immediate response being the most noticeable effect. Lacquering and plating have a less pronounced effect as they are basically altering the vibration efficiency of the base material but in general a lacquer or enamel application will minutely restrain vibration as these are a coating whereas as a plating of nickel, silver or gold adheres to the base metal and changes the vibration by adding mass and enhancing the sound timbre. Firms such as Selmer, Yanagisawa, Yamaha, Keilwerth, Cannonball and many others offer different crook options either with their instrument models or available to purchase separately.

Fit – A good fit is vital to get the best from your crook. Where a crook is slightly undersized a temporary wrapping with a layer of tape may take up the necessary gap for trial but if selected the crook tenon should be properly expanded to fit without the aid of tape. If the crook tenon is too large for the saxophone body receiver the sax would have to be altered to allow a trial – this must only be done by a skilled repairer – or the tenon dimension of the crook must be reduced – also a skilled operation requiring special tools.

Bassoonists

A player can upgrade a student level bassoon to often very surprising degree by outfitting with a higher standard crook. The better quality of design and use of better materials will often stabilise weak notes, draw 'difficult' notes more into proper tuning, even out response and tonal qualities and open up a stuffy sound. Schreiber crooks are well regarded as 'upgrade' choices for players needing to make the most of an indifferent instrument.

Important Points Explained –  Bassoon

What do the numbers mean? - Most crooks are numbered 1, 2, or 3 (you will occasionally see a number 0 but this is rare). These are relative measurements moving from shorter to longer. A number 2 crook is standard for most instruments. A number 1 will have the effect of raising pitch and a number 3 of lowering pitch. Most players feel the need for at least two crooks (usually a number 1 & 2) to be able to meet the playing demands of different temperatures and the tuning of different ensembles.

Does the plating matter? - Most crooks are made from nickel silver and either nickel-plated or silver-plated. This plating protects the base metal from which they are made from deterioration as well as contributing to the vibration characteristics of the crook. You can match whatever type you prefer without worrying about the plating finish of your instrument.

What about additional letters? - Some makers (notably Heckel and Fox) have a wide range of types of crook designed to address specific areas of an instruments range or performance. When you are searching for specific help in the tenor register, or freedom of vibration overall or specifically high note help then understanding each makers intention is vital. It is best to consult a specialty supplier if contemplating such a purchase.

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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful.

Thomas Dryer-Beers

Brass Instrument Mute Overview

Mutes for Brass Instruments - A Brief Review

When it comes to mutes whether you are buying your first mute or looking for that ‘special’ sound you need to know a bit before you can choose the right one for your use. Mutes are an important part of your kit and a selection of sounds and types will help you to meet your playing demands as well as increase your enjoyment. Thomas

First a bit of background for those who need help choosing.

Mute Types -

Straight – The one to buy as your first mute. It is good for all-round use and the most often specified by composers. Offers a quieter 'buzzy' sound. Used in all types of ensembles.

Cup – The second most often requested. A cup mute is darker, warmer and quieter than a straight mute. Frequently specified by composers. Used in all types of ensembles.

Extending Tube or ‘Harmon’ - also known as a ‘wha wha’ mute. This is a distinctive sound usually associated with jazz use. It consists of a mute that completely blocks the bell but which has a hole in the middle of the mute in which a moveable 'extending tube' is fitted. This tube can be positioned in different places for effect or removed altogether. If the tube is in place and the player uses their hand to cover and uncover the opening the end of the tube a 'wha wha' sound is produced. Miles Davis was a very prominent user of the Harmon mute without the extending tube.

Adjustable Cup – A ‘two for one’ value purchase. The Cup section can be removed leaving a straight mute or repositioned to work as a cup. A neat solution if a player wishes to carry around only one mute.

Practice – Very effective mute for personal practice. Significantly reduces the audible sound to all but the player and the player can benefit from the additional resistance offered to strengthen air and lips during a warm-up.

Plunger – A jazz speciality effect mute. As the name suggest this mute looks uncannily like a plumber's plunger used to unblock pipes - and indeed the original plunger mutes were just that! The mute is used to contrast an alternating closed and open sound. One can practice making an instrument 'talk' almost like speech.

Bucket Mute - Clips on the the bell and produces a distinctive sound. Primarily requested in big band swing music.

Stopping/Transposing – For the French Horn player for pitch alteration and tonal effect – mimics the effect of the ‘hand stop’ but in a mute.

Silent Practice Mute – The Yamaha Silent Brass system virtually eliminates all sound from the instrument yet retains a natural sound quality to the player via earphones. Practice anytime / anywhere with no compromise in feel. An amazing technology!

Manufacture -

The  number of firms making mutes seems to increase every year with small speciality companies introducing new products or variations on established ones. The main names in the market include Humes & Berg, Denis Wick, Tom Crown and Jo Ral each of which offers a range or mutes usually available across the entire brass instrument range.

Effects of Materials –

Most mutes are made of pressed fibreboard, metal (aluminium or copper) or wood. The effects upon the resulting muted sounds are different with each material but they all function in similar ways according to the type. Mutes made from metal tend to be brighter and feel more vibrant to the player whereas fibreboard or wood is darker sounding and more restrained or 'covered'.

Learning to Use – 

Virtually all acoustic mutes have an effect upon the overall tuning of an instrument. The use of a mute raises pitch and requires some compensation by the player, at the lips may be sufficient for some smaller instruments or by pulling tuning slides a small distance when necessary. Larger instruments will require significant tuning pull. Once experience has been gained there is usually little problem adjusting to pitch requirements though reminding oneself of the playing 'feel' of the mute may remain a challenge for a period of time.

Installation – 

Most musts are held in place by small pieces of cork. If just before placing the mute in the bell the player adds a little bit of moisture (often accomplished by exhaling with mouth over the cork or by licking) to the cork and the position the mute using a slight twisting action it is less likely to fall out of the bell. It is worth taking care of your mutes for it they do become dented or cracked it will almost certainly affect their performance. Once purchased a good mute can serve for a lifetime.

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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful.

Thomas Dryer-Beers

Woodwind Instrument Clarinet and Saxophone Mouthpiece Advice - 'Mouthpiece Maniacs'

I refer to this posting series as 'Mouthpiece Maniacs' with some fondness as I have heard this term applied in admiration, frustration, sympathy and dismay to a wide variety of players who share an appreciation of musical performance and a curiosity about their equipment and how the right 'gear' can help their playing. I believe an element of this knowledge is absolutely vital for anyone in the position of advising other players, i.e. teachers, performers, music shop assistants, repairers, etc. In addition I believe that knowing something about the aspects of design, how equipment 'works' and what choices we have as players is both enlightening and empowering when we begin taking responsibility for our own performance. Thomas

Clarinet and Saxophone – why is the mouthpiece so important?

Want to find out why your teacher makes such a fuss about her/his mouthpiece? Tired of working had and getting very little for your efforts? Hear a sound you just can’t get from your own set-up? It is time to examine the basics. 

If you get the right match between your reed and mouthpiece you are at least 70% better off – vibration starts with the mouthpiece and reed set-up and it is by far the biggest single determinant of your success. Your instrument acts like a megaphone to the sound from the mouthpiece – bad mouthpiece fit equals bad tone, good mouthpiece fit equals good tone. The more you have experienced by trying mouthpieces the more important you realise they are to the process of personalising your music making. What others hear from you determines the largest part of what they think of your playing!

You can help your high notes, even up register response, improve tuning, aid projection or mellow your sound and most importantly enjoy your practice and performance more - all benefitting from a change in the mouthpiece. 

 

Important features explained –

 

Tip Opening 

This is the measure from the plane of the table (the flat surface upon which the reed is positionee and secured with the ligature) to the maximum opening of the curvature measured at the tip of the mouthpiece. A narrow tip opening makes for very easy playing with softer reeds. With harder reeds both response and focus are improved and pitch is very stable. A wider tip opening is not very comfortable to play with reeds which are too hard - softer mid-strength and softer reeds are the order of the day. A wide tip introduces more flexibility and freedom but requires more care from the player to control the result!

 

Facing Length 

This is the measure from the end of the tip rail to the point at which the curvature begins as it leaves the horizontal plane of the facing. A longer facing allows for more freedom of vibration and flex for the reed making soft reeds feel even softer and harder reeds feel comfortable. A shorter facing requires a ‘softer’ reed as a hard reed will not be able to work without lip fatigue, and the shorter facing adds a ‘snap’ or ‘bite’ to the sound as it emphasis the tip vibration of the reed.

 

Tip Rail 

 At the very end of the mouthpiece where the reed tip ‘seats’. This area must be clean and undamaged or the vacuum necessary for the creation of the sound will be inefficient or impossible to obtain. A narrow tip enhances higher harmonic partials in the sound as the reed vibration is less muffled. A wider tip helps to ‘cut-out’ some of the higher partials and brings about a darker ‘warmer’ sound.

 

Side Rails 

The reed seals all along the length of the side rails in the process of vibrating. These rails need to be parallel and undamaged or performance will suffer.

 

Table

This is the point where your ligature holds the reed. It is meant to be either flat (preferred) or slightly scalloped (a minority choice) where an airtight fit, which contributes to successful vibration of the reed, is obtained. If this area is damaged or poorly finished your reeds are likely to play with more difficulty and suffer warp more quickly.

 

Baffle

The baffle is the area just behind the tip rail and it has a very important role in the production of the sound. It is useful to understand the terminology when discussing this area. A ‘high’ baffle is one that restricts the vibrating air column; effectively squeezing it once the air has passed the opening of the reed. It excites the air, disturbing the flow and this adds a bright, 'edgy quality' to the sound – this is what is usually associated with a ‘jazz’ mouthpiece. A ‘low’ baffle does the opposite – it allows for the expansion of the vibrating air column in this critical area and emphasises the lower partials of the sound – creating the qualities associated with ‘classical’ orchestral, wind band or solo playing.

 

Throat 

This is the transition area where the opening beyond the baffle is focused into the straighter bore of the mouthpiece. Here you will see many variations of shape (round, square, tapered, blunt) but each intended by the manufacturer to complement the other areas of the internal flow of air in the mouthpiece.

 

Chamber – Saxophone  

 This is the region found after the baffle and before the throat of the mouthpiece. Most mouthpieces now utilize a fairy standard medium chamber. This is so common that unless specified otherwise you can assume that this is what is in use. A small chamber, when available, adds a further compression to the flow of the vibrating air column boosting the feeling of projection by emphasising ‘edgier’ higher partials in the sound. Conversely a large chamber, when available, ‘rounds out’ the sound by not restricting the airflow and creating a warmer sound. This style of mouthpiece was very popular in the early days of the saxophone and is sometimes referred to as an ‘old boxcar’ style alluding to the large space inside.

 

Bore – Clarinet

 The bore is the area after the throat that begins the internal dimension of the clarinet taper leading into the barrel. Bore sizes have largely been standardised with the popularity of the nominal ‘French’ bore clarinet being now dominant but some types of instruments with unusual, usually larger bores themselves, must be matched with an appropriate larger bore mouthpiece to obtain proper tuning.

Material –

Most student mouthpieces (and even some supplied with much more expensive instruments) are made from modern plastics to keep down costs. Plastic resonates easily and, if well designed and crafted, works well to encourage early playing. Ebonite or rod rubber is the preferred material for most professional range mouthpieces. The inherent vibrational qualities of ebonite are superior and mouthpieces can be crafted by cutting, not moulding as in the case of plastic, allowing for greater finish quality and consistency. Some ‘jazz’ mouthpieces exploit an ebonite/plastic highbred material that adds a ‘brightness’ and liveliness to the feel of the mouthpiece with its distinctive vibration characteristics. Various metals (brass, stainless steel, and alloys) are used in some saxophone mouthpieces largely for manufacture reasons when wishing to create high-baffle ‘jazz’ mouthpieces. The vibrational qualities of metals are different to those of ebonite and plastic both for the player and the audience but I believe are not inherently darker or brighter – that depends much more upon the design.

My advice is try to not go 'mad' chasing the perfect mouthpiece - they all exist for a reason and players are all different. What you prefer will be likely to change not only as our playing needs change but also as time passes and we tend to look for different aspects of performance from the mouthpiece. It is not unusual to own and use several different mouthpieces and enjoy them all for what they do to enhance your playing.


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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful.

Thomas Dryer-Beers

Brass Instrument Mouthpiece Advice - 'Mouthpiece Maniacs'

I refer to this posting series as 'Mouthpiece Maniacs' with some fondness as I have heard this term applied in admiration, frustration, sympathy and dismay to a wide variety of players who share an appreciation of musical performance and a curiosity about their equipment and how the right 'gear' can help their playing. I believe an element of this knowledge is absolutely vital for anyone in the position of advising other players, i.e. teachers, performers, music shop assistants, repairers, etc. In addition I believe that knowing something about the aspects of design, how equipment 'works' and what choices we have as players is both enlightening and empowering when we begin taking responsibility for our own performance. Thomas

Brass Mouthpiece Maniacs

Whether you have never tried anything but your original mouthpiece or you have own several already there is always something to learn about, something new to experience and very likely, something to improve your playing.

Brass Players –

Do you know the difference between an ‘all-rounder’, an orchestral cup or a jazz ‘screamer’? Do you want a ‘fat’ dark sound or an ’edgier’ tone to cut through a big band? Do you lips feel better with a wider rim or narrower? These things matter and you deserve the best.

Important features explained –

Cup – The depth and internal size of the cup are critical dimensions in the performance of mouthpieces. This is where the sound ‘develops’ after the lips have created the vibrating air stream. A deep cup will favour the lower range and lower partials in the sound where as a shallower cup will favour the higher range and upper partials. A shallower cup assists in the production of upper range notes with the trade off of reduced freedom in the production of lower tones.

Rim – This is a very important area for player comfort. Some mouthpieces are sharper edged than others though most strive to be comfortable on the ‘chops’. A wider rim will tend to relax the lips and facilitate middle and lower range production whereas a narrower rim tends to facilitate higher notes.

Bore – A narrower bore adds a ‘squeeze’ to the air and increases resistance that helps in the focus of higher notes. A larger bore allows for a greater airflow, demanding better support from the player to achieve the upper register but facilitating tone production in middle and lower registers.

Back-bore – Contributes to the ‘feel’ of the mouthpieces. This is the area of transition into the bore of the trumpet itself and is an extension of the dimensions and taper of the leadpipe. In combination with the leadpipe this area accounts for much of the resistance 'feel' of the set up.

Shank – The outside dimension of the mouthpiece as it is tapered to insert into the leadpipe. Though shanks are now largely standardised in size the fit to some leadpipes, particularly those of trombone and harmony brass instruments, may require use of a large or small shank mouthpiece to obtain an accurate fit.

Density/Mass – Most mouthpieces are of similar weight and mass though they may very tremendously in external shape. The advent of the ‘mega’ mouthpiece has introduced a new consideration for the discerning player. By building in added weight at the mouthpiece end many players feel that their sound and control benefits in both focus and consistency particularly players who might feel that the 'overblow' more conventinal mouthpieces.

Materials – The vast majority of mouthpieces are made of brass, brass alloy or stainless steel that is then plated. Recently some very successful plastic mouthpieces have been introduced which are both inexpensive, very lightweight and a joy to play in cold temperatures. No more aching lips!

Plating – Metal mouthpieces are usually finished in either silver plate or gold plate though some nickel silver mouthpieces are still available. Some individuals have skin or lip tissue that reacts badly to silver plate and for them the choice of gold plating may be necessary. For everyone else the choice is largely cosmetic – go with what you fancy!

It is not uncommon to have several mouthpieces with different internal shapes or designs that will assist in top performance of a wide range of musical styles. It is worth being careful to be sure that you are comfortable with the feel of such different mouthpieces on the lips as changes in rim shape and dimensions could be rather disturbing. 

My advice is try to not go 'mad' chasing the perfect mouthpiece is my advice - they all exist for a reason and players are all different - not only as our needs change but also as time passes and we tend to look for different aspects of performance from the mouthpiece.

The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful.

Thomas Dryer-Beers