Clarinet and Saxophone Playing Position, Mouthpiece Angle and Embouchure

Playing Position - Introduction

We are all different shapes and sizes and very importantly have different teeth structures and lip shapes. The holding position that works well for some may not work well at all for others. Some players are fortunate enough to be able to just 'get on with it' and never give any thought to how they address their instrument, mouthpiece and blowing angle. For many it is not a consideration - though it should be - as how the instrument is held can be a large factor in the success one experiences in obtaining the control and sound desired. Here are a couple of tips worth bearing in mind. I encourage you to try them for yourselves.

Clarinet -

Given a typical teeth structure the best results are often found if the clarinet is held at an angle of 30 degrees from the body (off the vertical) in standing position - an angle desirable to maintain when seated as well. Do avoid resting the instrument upon a knee(s) as this leads to bad habits - there are other ways to help relieve right hand tension and aches (see previous blog on the Claritie - 02/10/15).

You can demonstrate the effect that the holding angle has by sustaining a single tone and moving the instrument through an arc from very close to the body to 90 degrees perpendicular. The effect upon the sound can be dramatic. The tone is often very strangled when the instrument is held too close and becoming completely uncontrolled when too far out - with the best sound and control to be found in between - usually around the 30 degree position.

Saxophone - 

The saxophone family relies upon a sling as part of the correct playing position as well as a correct holding position from the hands and the teeth. When standing the instrument should be comfortably straight in front of the player often with the D#/Eb keyguard (in the case of the alto) gently resting on the body at the abdomen or with the sax gently pushed forward by the right hand - whichever is more comfortable. The left hand thumb first joint must exert a pressure on the thumb rest while allowing the tip freedom to engage the octave key. The mouthpiece should then enter the mouth at a 'flatter' angle than the clarinet - something approaching 25 - 45 degrees off the horizontal. With a firm contact downward from upper teeth to mouthpiece (use of a mouthpiece patch is advised) a triangulation is achieved between the teeth, the left hand thumb and the sling. In this position the sax is secure, the embouchure is able to control the reed and mouthpiece properly and the fingers are able to move with complete freedom as required.

When seated the alto, tenor and baritone must (for all but the tallest of players) move to the side but achieving the same triangulation is desirable. What is most often overlooked is the crucial role played by the left hand thumb in maintaining a constant, reliable pressure on the thumb rest so that, in conjunction with teeth and sling, the player does not resort to tightening the embouchure in order to keep the instrument in position or find that finger tension increases in order to 'hold on' to the instrument. Be sure to appropriately adjust the angle of rotation of both crook and mouthpiece when changing from a standing to a seated position.

 

 

General embouchure comment - 

 The lower lip should make contact with the reed at or near the 'control' or 'friction point'. This is where the reed leaves contact with the mouthpiece and begins vibrating freely. Below this point the reed will vibrate in an uncontrolled manner and too far above this point the lip will effectively 'shut off' the vibration entirely. This 'correct' lower lip position is often determined and discussed by noting how much of the mouthpiece is taken in relative to the top teeth and this does vary bearing in mind the chosen playing angle, an individual's own natural individual overbite and teeth structure, as well as the concept of tone desired. This position is very personal but it is fair to say that it is almost impossible to support well and obtain the best possible performance without finding ones 'optimal' teeth position and returning to this position consistently.

A further note -

A simple way to describe the very real differences between the embouchure shape and firmness between the clarinet and all the saxophones is worth remembering. The clarinet plays best at the 'top' of its available pitch range with no firmer embouchure than is required to produce the entire range accurately. The saxophone family performs best when played well 'down' into its available pitch range using air support to centre the tone and stabilise the pitch. When this is clearly understood and achieved both families sound their best and many other 'problems' of all sort become manageable.

For both instruments it is wise to choose your reed strength to match your degree of air support rather than your willingness to squeeze your lips.

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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

A Ligature Discussion - Clarinet and Saxophone

Ligatures in General

As an extra or upgrade 'add-on' for players the ligature has been a point of much discussion and debate for decades. Many different designs and materials have vied for attention and aspired to commercial success with what sometimes seem an endless parade of marketing in support the claims of better performance, tone colour, responsiveness, etc. This blog posting is my take on the subject.

 

The job of the ligature is to hold the reed securely in position on the mouthpiece. Everything follows from this. 

 

 

While many inexpensive ligatures are perfectly adequate there are also far too many that are of such poor manufacture quality or fit that performance problems are bound to occur leading to player dissatisfaction. Any metal ligature that is the wrong size, has become damaged or bent, or is not able to be tightened fully, should be replaced.

The possible upgrade ligature options fall largely into two categories:

• those designed to alter the natural sound by absorbing vibrations (to varying degrees) and 
• those that seek to affect the vibrations of the reed and mouthpiece (and hence the sound) as little as possible.

Many teachers and players know and recommend the Rovner flexible fabric range as a result of decades of familiarity and the standard, custom and light Rovner options fall into the first category. The Custom version, having additional material, absorbs more vibration and creates a darker sound; the Light version with the window cut away, absorbs less vibration and therefore has reduced a darkening effect. The Rovner standard (original) is the best known and the most often recommended as it suited to many playing styles and is the original and most familiar. Players perceive all of them as allowing the reed to play better – i.e. improved articulation response and reed sensitivity - over the performance of a standard metal ligature, the type supplied with most student clarinets and saxophones, and against which most comparisons are made. Every player should take time as some stage in their maturation to experience such products. Other manufacturer’s products falling into this broad first category include the Vandoren Leather and Classic string ligatures, BG standard flexible versions and Silverstein string ligatures.

In the second category are ligatures that rely on a small metal contact points to engage the reed. These are usually intended to allow the reed to vibrate as freely as possible and often seek as well to provide a greater security of contact between the reed and mouthpiece. All of these types of ligatures have the effect of increasing the presence of higher partial overtones in the tone, therefore sounding brighter, and aiding the responsiveness of the reed vibration as well as increasing the perceived volume of sound to be achieved with the same effort. Some versions are engineered to have as little contact as possible with the mouthpiece as well to further release vibration therefore maximising brightness (Francois Louis, Vandoren Masters Optimum, SAXXAS, Bonade, Rico H for example), others with much greater mass and increased contact with the mouthpiece are intended to add stability for a greater roundness of sound (Vandoren Optimum, Rovner Platinum, BG Super Revelation for example).

Some plastic ligature options are also worth considering, especially for the player who has ‘tried everything else’. Luyben and Bois with their dramatically different designs are cases in point and worthy of consideration.

 

How do I make a choice?

When you are trying ligatures is a good idea to make sure that you are using a new or ‘newish’ quality reed of sufficient strength (an older reed is likely to disappoint or make discrimination difficult and a too soft reed will disguise all benefits) and then  you should play the same scale, same volume, both legato and staccato, on each option under consideration, without spending too long on any one because it is the comparison BETWEEN ligatures is most important – they will all work - and one can easily lose track of what each plays like if too much time is spent.

A good ligature can be as important to a player as their choice of mouthpiece and it is worth taking time to discover the difference that can be made.

Apologies to any manufacturer whose products have not been mentioned by name. I am aware that despite my efforts there will be many omissions and, of course, new products are continually being introduced. I would encourage all players to be open minded and try the options available as widely  as is reasonable for them to do. It is not unusual to own and use a number of different ligatures for different purposes and to fit different mouthpieces.

Further comments:

How much should a ligature be tightened?

            Finger tight is the short answer. Too tight and the reed fibres are damaged and the reed’s vibration is strangled – too loose and the reed more likely to move or begin to warp and then  will not hold a vacuum.

Are most of the brands available for metal mouthpieces?

            Yes, but some metal ones have to be very carefully sized for fit. There can be more confidence and ease in offering flexible ligatures in cases of unusual dimension or shapes.

Personal opinion:

The ligature is the ‘icing on the cake’ and reflects a player's personal preferences and playing concepts. In my estimation the ligature is responsible for approximately 3-5% of the overall sound generated. It has a bigger impact upon ‘playing feel’ and reed response than tone quality itself.

In my opinion the mouthpiece, and very importantly its reed match, is far more important. My estimate is that together they are responsible for up to 70% of the overall sound generated. Getting this combination right will have a huge impact upon tone.

The combination of the above leaves just over 20% effect upon sound from the instrument itself.

These conclusions are not meant to suggest that the ligature or the instrument used is not important, far from it, but they should indicate the relative importance of the mouthpiece and reed working well together. As long as the ligature does its job - holding the reed in proper position - results will follow. It is in the subtleties of the result that the interest for the player really lies.

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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

Jazz and Classical Reeds. A Brief Comment on Jazz and Classical Single Reed Design

What makes a JAZZ reed? 

Why are some reeds designated CLASSICAL for use?

In truth almost any type of reed can be used for any type of music, after all, jazz and classical music are playing styles and as such they not specific to an narrow or exclusive sound palette or technical demands. However, in anticipation of the expectations of players, reed manufacturers make great efforts to offer products more likely to perform well on the type of equipment, i.e. mouthpieces and instruments, used and therefore more likely to meet the repertoire requirements for the different playing styles and as a result satisfy the needs of their diverse customers.

In general it is fair to say that JAZZ use reeds will have greater flexibility, less subtle (thicker) tip regions and less wood in the central heart region. CLASSICAL use reeds are generally the opposite having greater rigidity, thinner tip regions for greater subtlety of articulation and more wood in the central ‘heart’ region.

Many jazz reeds are designed to impart an ‘edge’ quality to the sounds to aid projection and achieve a distinctive ‘personality’ to an individuals tone. Classical reeds are intended to warm and round out the tone quality providing a more focused quality with an emphasis on stability and accuracy as these are most important aspects of performance for classical playing. Having said this there are many reed brands which are used successfully by musicians for both styles of performance, notably those by Vandoren (Traditional Blue Box) and various Rico brands, but even within their ranges some products are much more likely to succeed for one type of playing style over another.

In my personal opinion it is best to identify what one wishes to achieve from every set-up and for every style of music and select the best performing reeds for the purpose - even it this means having multiple brands and/or strengths always to hand.This is a relatively small price to pay for getting the best possible results from your equipment.

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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 Consultant to Reeds Direct Cambridge
Compiler of the Reeds Direct Cambridge Reed Strength Comparison Chart
www.reeds-direct.co.uk 

Instrument Assembly Tips - Woodwind & Brass

We all are creatures of habit when it comes to assembling musical instrument(s). It is my hope that by observing the following tips one should be able to avoid creating problems and thereby help ensure the very best performance from the instrument. 

Note: Players have their own approach to assembly, sometimes informed, most often formed simply out of repetition. There is such a thing as 'best practice' in the assembly of an instrument. The bottom line should be to assemble (and disassemble) without putting delicate keywork or valves at risk. Thomas 

• Pay attention and handle with care - never in a rush 
• Avoid placing unnecessary pressure on key work or valves
• Keep all cork joints and valves/slides lubricated and metal cleaned
• Carefully clean following use

  

Instrument Assembly Tips

My suggestions are summarised below:

Flute – Make sure the tenon joints (headjoint and body tube) are clean and free of dirt and grease. Holding the main tube at the ferrule with the left hand, and the footjoint with the right hand positioned at the bottom with thumb on the low C-key, align the joints and twist the footjoint into place with a gentle back and forth motion. The pillar of the Eb/D#-key is usually positioned approximately 2/3 to 3/4  down the length of the D-key touch. Continue to hold the ferrule with the left hand and assemble the headjoint with the same motion. Align the headjoint by sighting down the flute from headjoint end after assembly and lining up the embouchure hole to proper playing position with the headjoint pulled out between 3-5mm for most playing situations.

Clarinet – Make sure the joints are well greased. Holding the upper joint between the LH fingers and palm (fingers where fingers go is an easy way to communicate this) and grasping the lower joint with the RH over the bottom of the joint with thumb closing the low E-key bring the joints together in a twisting motion rotating as you do so that the bridge key linking the RH rings to lift the LF Bb/Eb-key arm lines up properly. Continue to hold the clarinet in the left hand and add the barrel with a twisting motion then re-grasp the clarinet in the LH with the palm holding down both low E and F (F#)-key cups and add the bell with the twisting motion. It is traditional to line up the insignias when present but this is not vital. Finally add the mouthpiece to the assembled instrument pushing down while resting the clarinet bell on a chair or leg if desired. The reed can then be positioned with ease. The entire assembly (and disassembly) can be accomplished in under 10 seconds using this method.

Sax – Assemble the mouthpiece alone to the crook into rough tuning position first then add reed and ligature. Following that, grasp the instrument by the bell with the LH and taking the crook assembly with the RH over the top of the crook and with pressure exerted between palm and finger tips and slip a finger under the octave key arm near the pad (for alto and tenor sax). Then bring the crook and body together in a side to side rotating motion while watching that the octave key arm does not foul the octave key link tube on the sax body. This is to avoid inadvertently causing damage to the octave key extension are above the body or bend the delicate lever arm on the crook itself. When assembling double crook sopranos take care to hold the crook carefully between fingers and thumb at the octave key mount to better control the assembly and help avoid wrenching the octave key arm out of alignment.

Oboe – Make sure the joints are well greased. Grasping the upper joint in the LH between fingers and palm ‘fingers where fingers go’ and holding the lower joint in the RH with the bottom of the joint in the palm and thumb over the low B-key align the tenons and assemble with a small rotating back and forth motion while watching carefully that any link keywork is not damaged – ending up in proper alignment for G# regulation screw, conservatoire link keywork and duplicated trill key mechanism when present. This is often (but not always) achieved by lining up the pillar posts. Re-grasp the oboe bottom joint with the LH palm below the thumbrest and fingers curved over the feather key rod (the long key starting with the LH little finger touch and operating the low B and Bb-keys) and closing the RH finger keys and take the bell in the RH with thumb depressing the low Bb-key. With a rotating motion assemble and align the link key(s). Finally, add the reed last holding it with fingers squeezing at the thread and pushing the corked staple down into the receiver tube in the top joint. This is often made easier by resting the bottom of the bell on a chair and having both hands free to steady the oboe and insert the reed.

Bassoon – Make sure the joints are well greased. Take the wing joint in the RH with palm over the holes and finger tips in the ‘cut away’ on the opposite side. Insert the wing into the small hole of the boot joint and make sure the cut away portion is lined up with the larger hole (used for the long joint) in a concentric ark – make sure you do not damage the crook key link mechanism – it must finish up above the boot joint lever arm. Next grasp the long joint over the top end with the RH holding down the low B key with fingers and insert this joint to the boot joint larger hole being careful to not over rotate the joint and cause the low D#/C#-keywork to bash into the wing joint. Then rest the partially assembled instrument with the boot joint on the ground and holding the long joint with the LH over the B-key with palm grasp the bell joint with the RH placing the thumb over the Bb-key and assemble and line up the keywork. Add the ‘bird’ or handrest. The final stage of assembly is adding the crook (held between RH fingers and palm in the ‘middle of the bend’ to the top of the wing joint being careful to line up the ‘nipple’ with the crook key pad and add the reed last.

Brass –

Brass instruments are much simpler to handle and assemble but still deserve respect and consideration. Always try to avoid unnecessary pressure on slides and valves and take time to move the slides frequently to avoid them becoming 'locked in' or stuck. Take care to insert the mouthpiece with only a gentle twist into the receiver – never a tap!

Trombones are assembled with extra care with the slide lock engaged to avoid the outer slide shooting off out onto the floor and to avoid any chance of denting the slide itself. Once assembled the bell and slide should form an acute angle (at least a right angle) with the bell on the left for playing position and both the slide and the bell sections able to be held comfortably by the left hand palm, index and first fingers.

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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

Flute Regular Adjustment and Regulation

Regular Adjustment & Regulation - Flute

Proper handling, cleaning and assembly will minimise the occurrence of most problems but some regulations benefit from regular attention and are often required - even on new instruments recently supplied.

The basic tools required for adjustment are minimal but a good quality, small tip screwdriver is essential. A spring hook is desireable as well as is a 'pad slick' or small, flat blade knife.

1)   For me the most frequent regulation required is the screw adjustment under the LH 2^nd finger touch. This screw regulates the closure of the Bb key just above. Under a light finger pressure the Bb pad often stays slightly open and so the regulation screw must be adjusted to close the key. As a leak here will affect all notes below it frequently causes response problems and accidental 'overblowing' of harmonics.

2)   On split E mechanism flutes (most instruments in recent years) there is a similar adjustment required for proper closure of the G-key pads. The LH 3^rd finger key touch closes the ‘split’ portion of the G-key via an adjustment screw.

3)   The 1 and 1 or long fingering for Bb relies upon the correct amount of contact from the engagement of the RH 1^st finger key via its connection arm. This arm frequently becomes bent or damaged and also the cushioning felt or cork often compresses over time. Regulation is accomplished by bending the arm (raised via the touch of the LH A-key) usually downward until sufficient contact is made with the RH arm when the RH 1^st or 2^nd finger is engaged. This adjustment often requires several attempts to get right and is worth constant monitoring.

4)   The RH F# touch regulation is another adjustment often required. Closing the F#-key touch must hold down the correspondence keypad just below the G-keys and problems can be masked by other keys functioning well until F# is required on its own. Turn the regulation screw by small degrees until the F# keypad closes under a light finger pressure.

5)   On the footjoint the low C# and C are meant to be held down with just the touch of the low C-key without having to hold down the C#-key as well – but often this does not work properly. Usually the C# key has been bent through assembly handling or a small compression has occurred in the cushioning felt. To remedy this hold the C#-key pad down with your RH first finger and push up the C#-key touch piece with your LH thumb. In most cases a small movement is all that is required. If you go too far then to correct simply do a reverse bending of the C# key arm. Test by touching only the low C roller arm with a light pressure and tap to see if both pads are properly closing.

Finally it is worth checking that the headjoint cork is in the correct position. This often moves about due to unnecessary ‘twiddling’ of the headjoint crown, which pulls out the threaded screw and this the cork - out of position. Place the cleaning rod with the non-slotted end inside the headjoint to see if the inscribed line is centred on the embouchure hole. Do not try to remove the headjoint cork out the top of the headjoint as the tube is tapered. Instead reposition the cork with a combination of backing off of the crown a few turns and pushing the assembly in or winding the crown tighter to pull the assembly out a bit.

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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

Clarinet Regular Adjustment and Regulation

This is an area of knowledge that every player should try to take on board. One never knows when a situation might arise where knowing what to do for a 'quick' repair may save the day. 

In my opinion questions or problems relating to pad seating and the air tightness of an instrument are best referred to expert repairers. Having said that, the greatest frequency of problems in clarinet functioning arises from bent keywork, the correspondence mechanism, and ring height adjustments - and these can be sorted out relatively quickly with a bit of background, confidence and practice.

The basic tools required for adjustment are minimal but a good quality, small tip screwdriver is essential. A spring hook is desireable as well as is a 'pad slick' or small, flat blade knife. Thomas

Regular Adjustment & Regulation - Clarinet

1)      The ‘crows foot’ key, found in the little finger RH cluster of keys, exists to link up the closure of the low E / B key to hold down the low F / C key, and is frequently becomes bent due to poor handling during assembly and / or compaction of the felt or cork that cushions the contact. If it is not working correctly the player will be unable to engage the LH E / B without also holding down the RH F / C (or the converse). This is very frustrating as the player expects the notes to work with only one little finger lightly applied. To correct - place your thumb under the crows foot and press upwards to return the keyfoot to correct position. If you go too far this can be reversed. Test by playing middle D and engaging the E / B keys alternatively with first LH then RH little fingers. The middle B should sound without difficulty. If marginal try playing middle B and adding and releasing the F / C key – if there is an improvement or loss of response you must readjust the crows foot key.

2)      The linking arm from the RH key stack through to the upper joint correspondence key for the ‘1 & 1’ Eb / Bb is often bent (either upper or lower arm) or the upper arm may have lost its cork / felt. This correspondence must be correctly adjusted in order to close the upper joint 2^nd key ring and pad when the RH stack keys are closed otherwise the ‘1 & 1’ fingering for Eb / Bb will not work or will at will speak very badly or be out of tune. After the key is in position and having ensured that the proper dimension of cork or felt is in place adjust this correspondence from the upper joint key arm bending up or down until the a light touch of the RH ring keys will operate the upper joint keys properly.

3)      All ring keys are intended to close connected / related pads with a minimum of finger pressure. Often pads will swell due to moisture absorption or may have collapsed due to playing pressure or develop too deep a pad seat over time and then an hairline leak of air can  result either between tone hole and pad or between chimney and the ring (under the finger). In either case the instrument will behave unpredictably and frequently squeak to an upper harmonic pitch. This can be corrected by the insertion of a thin metal knife blade (or pad slick – even a broken reed will do!) and push down either the pad (via the key) or raise the ring (or visa versa) depending upon what needs to be achieved - then re-test by blowing with light finger pressure and trying to replicate the problem. It you cannot then the correction was successful.

4)   The throat A key has a regulation screw that contacts the G# key. If this screw is over-regulated (turned too far) the A key will hold off closing and squeaks will follow. There should always be a clearance between the regulation screw contact and the bed of the A key. If this is not the case back off the G# regulation screw and perform a suction test on the top joint to see if the problem is then corrected.

Three additional recommendations:

Keep joints well greased - this simple action avoids so many problems related to assembly.

Alternative fingerings for the same pitch should sound the same – adjust vent height openings if they do not.

The register key sometimes vents too high and / or travels too far – reduce by bending the touch piece down towards the body of the instrument if this is so. Too low - bend the register key upwards till the result sounds correct for both middle Bb pitch and gives the correct upper register resonse.

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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

The Claritie - Right Hand Thumb and Wrist Support for Clarinet players - made by Daniel Bangham

Introducing The 'Claritie' - Right Hand Thumb and Wrist Support for Clarinet Players

I am fortunate enough to not have suffered greatly from pain in my hands from supporting my musical instruments but I know many players who have struggled with strain induced problems, sadly some to the point of giving up playing altogether. I have recently become aware of a product that really works and which any players suffering from such problems needs to know about. To order follow the link below to see the 'Claritie' as offered by Woodwind and Reed, specialist music shop, Cambridge, UK:

http://www.wwr.co.uk/other-clarinet-accessories/pid89425/cid417/clarinet-support-to-suppliment-the-use-o.asp

Here is the advertising blurb itself:

For all clarinet players who suffer from pain and tension in their right hand thumb and wrist from playing – there is now a total solution available!

A fantastic, new invention that holds the clarinet in the correct playing position, but takes all the weight of the thumb. An excellent solution for those with RSS or Arthritis.

The hook ring fits between the bell and bottom joint and the hanger goes between your body and the hook fitting.

Daniel Bangham, a master craftsman, repairer and retailer based in Cambridge in the United Kingdom, has developed a support that has the effect of making a clarinet virtually weightless, suspended without reliance on the right hand thumb for lifting.

This clarinet support, invented and perfected over the last few years with leading UK players and in consultation with long term sufferers of thumb and wrist agonies, is the best answer available to provide relief from pain and eliminate this aggravating problem.

Forget making alterations to your instrument or thumbrest, complicated and fussy pegs requiring frequent adjustments, stands that can only be used when seated, this clever device takes all the weight of the instrument without compromising your optimum playing angle. It can be used seated or standing. Easy and quick to install and use, its neat design requires no modifications to the clarinet, no screws changed or holes drilled and can be transferred from one instrument to another without fuss.

Made from the finest materials, polished steel and rosewood contact support the Claritie is as elegant as it is effective.

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Once I became aware of the value of the Claritie I became so enthusiastic about it I wrote the following product review:

Product Review

A proven new support device for sufferers of aching thumbs and sore wrists as a result of playing the clarinet is now available. It has been my privilege to observe the development of this new product through my work at Woodwind & Reed in Cambridge, UK. It was here in this shop that Daniel Bangham, owner and innovative thinker about such matters, worked alongside visiting customers who had experienced problems ranging from minor occasional discomfort in their right hand thumbs to career-threatening pain that could have resulted in a forced cessation from all playing of the clarinet. Fortunately for these customers Daniel was able to create a device that really does make a clarinet feel virtually weightless allowing players to perform without complete comfort and at no sacrifice to their musical or physical experience.

I have performed with this device myself and IT REALLY WORKS.

When using this device the clarinet is suspended via a sprung wire triangulation attached to a hook slipped in-between the lower joint and the bell during assembly, a contact point on the abdomen (ever so comfortable) and a sling that, when properly adjusted, provides position and stabilisation to the device itself. The sling is not attached to the clarinet at all. No restrictions in holding position, no unwanted contact between a sling and the left hand thumb, no bulky or awkward tabs to get in the way of the right hand thumb and no fixed location contact points to chair or to the floor that so many stand based products require.

I have seen customers full of praise for this device and as a result of using the Claritie they have been able to return to regular pain-free playing for the first time in years. Not only is it a clever application of fundamental physics but it is so simple to use. It can be set-up in a matter of seconds, is lightweight as you would expect, and requires no alteration to the instrument itself. The experience of standing up playing an open G, with no contact of either hand at all required to hold the instrument, is so surprising and initially disorientating that it is hard to believe that it really is possible. With the clarinet support in use the amount of contact required in either hand is an absolute minimum to close the rings, cover the holes and depress keywork – nothing extra from the fingers to maintain the playing position.

I would recommend this device to any player suffering from pain as a result of holding their clarinet and for those who thought they would have to give up playing their beloved instrument I can quite honestly say – think again – help is truly at hand.

Thomas Dryer-Beers, staff member WWR (www.wwr.co.uk)

Woodwind Performer and Teacher

Consultant to Reeds Direct Cambridge (www.reedsdirect.co.uk)