How Do I know What Instrument To Play - FAQ Advice for Beginners Of Any Age

 How Do I know What Instrument To Play

FAQ Advice for Beginners Of Any Age

Are you new to playing a woodwind or brass instrument? Perhaps looking to help a child get started?  Below you will find some of the most frequently asked questions that I have encountered over many years of advising customers - and some answers that I hope may help.

FAQs

How do I know what to play?

Most decisions regarding what instrument to play are made by falling in love with a sound an instrument makes or after taking inspiration from a performer for recording. This is a good enough reason for many choices as the desire to practise and achieve is vital to success on any instrument and if you love the process of working at an instrument so much the better!

There are some practical considerations however:

• Players with large lips may find the flute embouchure (the way you shape your mouth) difficult and would be better off with a reed or brass instrument. 

• It is best to start with an appropriate size instrument for the age as hand size and arm length are vital to holding standard models. For the younger/smaller player ‘child-size’ models for flute, clarinet and alto sax are available. These are often referred to as Kinder models. Bassoon is best left until a player has the height to hold a proper sized instrument though so called ‘short reach’ versions are available where hand size has not caught up with height! 

• It is important that teeth be in place before a child starts a single reed instrument (clarinet or sax) as the mouthpiece position relies on contact with the upper teeth.

• Players of oboe and bassoon need to be extra patient as they have to come to grips with the demand of their finicky double reeds and often beginners need to rely on a good, often specialist teacher for years to keep them playing.

• Clarinet and saxophone are closely related and playing one often leads to playing both with some ease.

• Small children interested in brass instruments are best advised to begin on cornet (rather than the longer trumpet) or specially designed beginners trombones or french horns rather than larger brass like tenor horn, baritone horn, euphonium or tuba. As the playing technique is similar for all valved brass instruments learning on one can lead to any of the others in the future. Teeth should be in place before starting any brass instrument. 

• Players with larger lips or wider teeth structure are often directed towards lower pitched / larger size brass as they grow as these instruments are often more comfortable to play – and sought after in ensembles.

What is a Woodwind or Brass instrument?

• A woodwind instrument is one that is played with the air stream (breath) either directly, like the flute or recorder or indirectly by vibrating a single reed, like the clarinet, saxophone, or double reed, like the oboe or bassoon. Despite the family name not all are made of wood. Flutes and saxophones are made of metal, nickel silver or silver in the case of flute, brass (with few exceptions) for saxophones. Oboes and bassoons are usually made of wood but some good quality student instruments are made with plastic bodies to keep costs down and reduce maintenance.

• All brass instruments are played with a vibration supplied via buzzing of the lips. The may be finished with a lacquer (looking golden yellow) or in silver plate, bright and shiny silver. Underneath the finish they are all made of metal, usually brass.

Are some instruments more difficult to play than others?

Every instrument has a blowing technique to learn. Some with be larger and require control of more air, often referred to as more ‘puff’. Some play with greater resistance to generate the sound, not necessarily harder but a bit more physical. Some take some getting used to as they play so easily that they are easy to overblow. It is fair to say that almost all instruments are possible to play when there is a determination to do so but that good advise, patient guidance and a reliable instrument and mouthpiece are always helpful.

Should I purchase a new or second hand instrument?

• New instruments are one way to guarantee (as much as one can) the excitement off starting off the learning experience with everything going for the player. They will have the latest designs and supporting warranties in place and be able to be recommended by teachers and schools as readily available. They will often have available rental or trial schemes to help bring confidence to the parent looking for a demonstration of desire and practice on the part of younger beginners.

• Good condition second hand instruments, when available, can be a good value as the instrument will have had some depreciation in cost already but the buyer should be aware that the playing condition of instruments do vary greatly and it is best to be sure that an instrument has been service before being offered for sale and a warranty of some length is in place.

• In general buying through auction sites and pawnbrokers is best left to those with experience who can afford to take a risk. Such purchases can lead to disappointment for vulnerable pupils and parents.

Should I consider renting?

• In most cases where a child has had some prior successful experience of music, perhaps on another instrument, e.g. piano or recorder, then a parent can have reasonable confidence that a good result will come from purchase outright. If you are concerned you can ensure a buy-back position or willingness to sell an instrument on your behalf at a later date from a full service shop.

• If there is some question about how successful the learning will be a rental scheme with benefit towards purchase may be desirable. This allows for supply of recommended new instruments with a split of payments and a delay of the decision to purchase until confidence is gained.

• If there is a lack of confidence in the whole project but still a wish to ‘give it a go’ then a straight rental on an instrument will allow player and parent to see if things are working out well. If they are then the return of the rented instrument when you are ready to purchase new or second hand instrument with confidence is possible and if things do not go well, then return of the rented instrument will cancel all arrangements with minimal expenditure.

What makes a shop a ‘specialist’ shop?

The short answer is a business that really knows and cares about the products it sells as opposed to a warehouse operation that sells boxes. In the case of musical instruments this is usually taken to mean a business that offers a wide range of products and attempts to understand them and seeks to offer the best combination of price, performance and long-term value to its customers. In house repair service is a key part of the equation as is a knowledgeable sales team and a willingness to ‘go the extra mile’ when unusual requests are made. We try to meet these criteria on all counts.

At what age can a player begin to play?

           When they are physically ready to handle their chosen instrument and responsible enough to do the practise required.

How much time should a new player be prepared to practise each day / week?

‘Little and Often’ is frequently quoted by teachers. The general advise runs to 15 minutes or so, ideally each day, to ensure good progress. For some instruments this will be physically taxing in the early days but regular practice in smaller quantities is usually better than cramming in lots of playing just before a lesson. As ability grows and the enjoyment with it so will the time spent.

What do I receive with an instrument?

Most instruments are supplied as ‘outfits’ that will include a mouthpiece and case. Clarinets and saxophones will also have a cork grease, ligature and cap supplied; saxes will also have a sling provided. Flutes will have a cleaning rod.

What else will I need to get going?

           Reed instruments will require reeds to be purchased, often individually at first, later in quantity. Cleaning materials are sometimes required or simply better quality care items than provided by manufacturers. Some brass instrument outfits do not come with oils that are very important for maintaining valves right from the very start.

Do I need a teacher¹s help?

Early instruction by an informed and resourceful teacher is often very worthwhile. This can help avoid problems and frustrations and can make the difference between success and failure. It has to be said that some individuals manage without but they are few and often realise much later that many problems or mysteries are explained with simple guidance from someone who ‘has been there before’.

Do some instruments lead on to others?

• Yes. Woodwind players are frequently asked if they can play other woodwinds.

• Recorder players often play the entire family of recorders for interest and ensembles. 

• Flute players add piccolo and other flutes when they are ready. 

• Clarinet players often add saxophone and the rest of the clarinet family to much enjoyment. Sax players play multiple saxophones, all with the same technique, and are often expected to play flute, clarinet and sometimes double reeds. 

• Trumpet players will be asked to play cornet or flugelhorn interchangeably.

• Low brass players will often move between Baritone, Euphonium and Tuba with ease and some also trombone.

Are some makes of instruments better investments than others?

Instruments of quality, from established manufacturers tend to hold their value and have a greater recognition value when sold second hand. They will also tend to last longer in use. Customers are often then able to move directly from good student instruments to higher intermediate or professional models when progress warrants and have a valuable item to part exchange or sell on. Poorly made instruments with little or no name recognition can be a false economy, even when purchased cheaply as they can be difficult to resell and are often costly to maintain.

How long will a student instrument last or serve well in use?

This can depend on how quickly a player progresses and how critical they are in their expectations. Good quality student models will usually serve a player very satisfactorily until at least Grade 5 standard with some continuing on to Grade 6 or 7. Often a supportive teacher will suggest an upgrade of mouthpiece for clarinet, sax or brass players around grade 3 or 4 as this can provide a big benefit in sound and control. Flute players reaching Grade 5 or 6 are often recommended to consider moving up to a flute with a precious metal (silver) headjoint as this will improve their sound quality. Brass players move up to better instruments, often around grade 4 or 5 when they are ready to provide a stronger and more developed air stream and are looking for a more centred sound.

What makes a professional instrument ‘better’?

The quality of materials and amount of time spent in construction as well as some additional features that are often of no interest to beginners. It is fair comment that if someone does not notice the difference between a student instrument and a professional one in a play test then they may not be ready to make a change.

How can I best care for an instrument?

            Clean it regularly and keep it from being knocked about by storing on an instrument specific stand or back in the case. In the case of woodwinds this means removing moisture when packing away, greasing cork joints and for all wooden instruments being aware of extreme temperatures that could cause problem with the wood. For brass instruments oiling the valves and greasing the slides

What is covered by a warranty?

Manufacturers cover all aspects of their own manufacture and materials. Responsible specialist shops will cover additional aspects of performance related to set-up and function.

When can a player expect to begin playing with others in a group?

Almost straight away. This depends upon music reading and listening skills as much as instrumental ability. We encourage playing in ensembles at the earliest opportunity as playing with others is one of the most enjoyable experiences in music.

What music is available to play?

There is a huge range of music from traditional repertoire for recital and concert performance, exam music, duets, trios, jazz and rock materials, music with CD backing for playing along with and of course larger groups such as bands and orchestras.

Instrument Specific Background

 Recorder – This is the traditional school starter instrument for young players. It makes a great introduction to music making for wind players and allows encourages music reading skills and finger technique that transfers to all woodwind instruments.

Flute – Light, fast, brilliant and thrilling as wells as intimate and expressive the flute is often compared to the voice in its quality. The highest voice of the woodwind family the flute has been and remains very popular for players of all ages and in many different contexts.

Clarinet – Cool and moody or hot and jazzy the clarinet is both facile and languorous. It fits in almost anywhere and has a great tradition in learning as an excellent starter for players of any age. A well established solo and orchestral instrument. The discipline learned on the clarinet can transfer well to all other woodwinds.

Saxophone – The wind instrument of the times it seems the saxophone is everywhere on advertising, in rock and jazz and in the media. The sax can be mellow or brash, played hot and fast or cool and bluesy as well as classical. A great all round chameleon that is reputed to be the easiest of the woodwind family to learn.

Double Reeds (Oboe & Bassoon) – Characterful, pungent often rough in tone as well as haunting and humorous the double reeds are individualistic instruments which reward the patient player who likes the idea of being special.

Trumpet & Cornet – Strong and brilliant, able to play in a wide mix of situations as soloist or ensemble member including the Wind Band, Brass Band, Jazz Band and the Orchestra, the trumpet for cornet are the powerful leading voices of any group. Great for the player who wants to be heard and noticed!

Trombone – A real clown of the brass family as it slides around and interrupts the ensemble. It can be played as beautifully or as forcefully as one would wish. The trombone is welcomed in all manner of ensembles and in all styles from classical to jazz and it is a highly versatile and exciting.

French Horn – Elegant and refined the horn is one of the most respected members of the brass family. Players must have a particularly good ear and lip control for accuracy. Primarily a solo or orchestral instrument it never the less has a role in the wind band and even is a regular member of the Woodwind Quintet.

Harmony / Low Brass (Tenor Horn, Baritone Horn, Euphonium & Tuba) – Low brass are a great deal of fun helping as they do to support larger ensembles. As solo instruments the bigger brass like baritone horn, euphonium or tuba are for players who like to be different and are glad to play on their own. These are quite large instruments in their cases and will require a willingness to be carried about but as players of these instruments are often few in numbers they are rare and always welcomed in ensembles!


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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

Tips on How to Trial a Saxophone CASS Article

 

Tips on How to Trial a Saxophone

From CASS article on Choosing a Saxophone, by Thomas Dryer-Beers

   

Tips on How to Trial a Saxophone

• Play all instruments with a mouthpiece and reed that you know well. Too many variables make attempting comparisons a nonsense.
• Take along or have in mind some music you are familiar with of the type you wish to play - be prepared.
• If you know the technique of over-blowing octaves and twelfths use this to see whether the instrument is 'in tune with itself'. Alternatively find a reliable 'fixed pitch' source and carefully tune to it. You can get a very poor feeling from an instrument if you do not get the mouthpiece correctly positioned on the crook for proper tuning. Be wary of relying on electronic tuners. All saxophones are acoustic compromises. When you use a tuner you are generally learning more about yourself and how you play than about any individual instrument.
• Test a range of volumes. Instruments reveal more of their tonal colour when blown loudly but you will want to know that you can sustain the sound softly as well.
• Other than checking for finger fluency and comfort, fast notes don't inform you nearly as well as sustained tones. A point worth remembering is that spring tensions or keys can be adjusted if they are too strong or too weak. Never reject an instrument because a spring feels odd.
• Test the response at the high and low extremes of the range but don't expect miracles - especially when tonguing. It takes a while to really get to know a new instrument and you may need to make some adjustments (for the better - this is known as 'progress'!). If you select a sax that plays just like your old instrument you have to wonder whether the purchase was worthwhile.
• Compare alternative fingerings, e.g. the several Bb, C, F# options to see if the instrument has been well set-up. This can be an indication of good preparation by the seller.

It is worth considering that you are most likely to choose a sax that suits your own level of ability (as long as finances permit). Therefore, as every individual is unique, not all players will find themselves choosing the same model. 

What matters most is that the saxophone selected is one that will provide you with the greatest encouragement and inspiration for your musical future.

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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

CASS Article - Choosing a Saxophone - Incorporating How to Trial an Instrument

Choosing a Saxophone

 Written for the Clarinet and Saxophone Society Journal of Great Britain

an article by Thomas Dryer-Beers

Choosing a saxophone, either to begin one's studies, to indulge a long nurtured wish to play or to invest at the professional level on 'an instrument for life' has in many ways never been easier. The quality of the various models available is generally high at all price levels - the differences between similarly priced saxophones are not huge and even the variation between starter instruments and top of the range models is relatively small. This means that in many ways it is difficult to make a truly bad investment as long as one is aware of a few important points.

Saxophones seem to be offered from all corners of the world these days. Gone are the times when the only choice seemed to be to buy French or American. Very successful instruments are now also being manufactured in Japan, Germany, the Czech Republic, Italy, the numerous workshops of Taiwan and in recent years China, and one can become overwhelmed indeed! Added to this there is increasing globalisation of parts manufacture, assembly and sourcing of the accessories that come supplied with an instrument.

Improving designs and standards of manufacture in student saxophones and fierce competition in professional pricing have meant that the notion of an intermediate instrument, in anything other than price, is almost completely gone. Many models that were considered to be of professional standard 30-50 years ago would no longer be recommended by teachers as adequate for learning. Many once rather expensive student models have been supplanted by better-designed and less expensive new models.

In order to form an unbiased opinion of the performance of an instrument (indeed even models by the same maker) each saxophone should be evaluated on its own merits, not necessarily by its name or past history. Responsible music shops undertake just such evaluations on a continuing basis in order to be able to offer their customers the best of all the available models. This helps to ensure that as much as possible, your choice of saxophone will be of the correct standard to do the job for which it is being purchased.

Beginner Level Choice

Since so many makes of student instruments have borrowed (even directly copied) features of dominant professional instruments, it is now possible to experience the feel of many top name saxophones in some budget priced models. Some recent models have borrowed keywork design, others body tube proportions, and others attempt to reproduce the weight or mass in the brass alloy used.

So, how can a new player begin to select their sax? A good way to start perhaps, is by conversing with knowledgeable sax playing colleagues, teacher to be, school etc. Then select a recommended specialist shop in which you can have confidence. A definite plus will be a shop with in-house repair technicians as their contribution is vital in ensuring a good experience.

When you visit you should explain your situation and ask to view recommended models within an affordable price range. Having been provided with a selection of instruments to hold, or better yet to play, however inexpertly, players will almost always to be able to identify something that will help them form preferences and eventually lead them to a selection. All the many contributing factors which make up the instrument contribute to a 'feel' and players will often separate themselves broadly into two categories - those who, particularly at the earliest stages, wish to experience playing as easily as possible, and those who are looking for something more than just ease of blowing in the character of sound. I should quickly say that such a comparison test will be most useful if the same mouthpiece and reed are used across all the instruments tried. More on that later.

Any good quality beginner model is likely to see a young player through at least grades five to six. If they are keen to continue to play then their investment in a good student instrument will then have prepared the way for a smooth transition to a professional instrument when the time is right. As a result, I feel that a new player's early preferences for sound and feel can be indulged largely without adverse consequences. What really matters is that the instrument selected be well made and that a suitable, good quality mouthpiece is obtained. It is now possible to invest well at the beginning, upgrade a quality student instrument with a 'professional' mouthpiece and later purchase a 'top-grade' pro model after a few years of experience (perhaps around grade seven to eight level) with neither your learning opportunities or your bank balance suffering inordinately. I feel that this development should be very encouraging to players and might inspire greater confidence in parents with children eager to learn.

What Constitutes Good Value?

Ask a good repairer and they will confirm that even the best pads, properly seated, will not perform well if there is motion in the fit of the keywork or poor regulation. It is worth checking closely how much long key rods (such as those used for the G key, high E and bell B and Bb) are able to 'move about' when pushed sideways. Similarly, check how much lateral travel short keys like side Bb, high F and palm D experience under stress. As the fit of these keys is dependent upon both the quality of materials and good construction standards (contributing to additional expense for the manufacturer) many cheaper instruments will not pass this 'fitness' test. Such an instrument will probably have other manufacturer related problems and will be likely to become unreliable and expensive to maintain in the future. If regulations, particularly those which govern the articulated G# key, the left hand C correspondence and the related closure of the bis Bb key are not correctly set, then the finest instrument will perform little better than the worst. If an instrument is soundly made and well set-up it will be much more likely to play satisfactorily for longer and, when maintenance work is required (as it surely will be in time) the job will go much better.

Professional Level Choice

This brings me to the vexed topic of professional models. How does one choose with confidence? In the broadest terms a musician selects a saxophone at this level as a 'tool of the trade'. Does it do what he/she wants it to do? Will it be respected in musical circles? Does it fit the image of what an instrument should be? All of these points are valid ones but for me the bottom line is much simpler.

Does this instrument inspire you to want to practise and play? If so, then you are surely on to a winner. Remember also - If they all seem so good that you cannot choose between them, then you cannot truly consider any choice a mistake.

Every person's experience is bound to be different. Some find the right saxophone early on and then continue to use it out of preference throughout their lifetime. Others find that their changing tastes, the introduction of new products, a change of circumstance, professional opportunities, etc. will dictate that many different saxes be purchased during the course of a career. As long as you are being well served by your instrument you should feel good!

Before closing it is worth mentioning something regarding the increasing diversity of metals being used for saxophone bodies and the many finishes which now proliferate. In my personal opinion these are largely a diversion from the real essence of an instrument. Each reputable manufacturer attempts to create an identity for their products. Each seeks to create a consistency in the feel, intonation, resistance, appearance and tonal colour to unify their models. In general, such identity is achieved through the acoustic design of instruments, through some specific keywork features and very importantly, via the body tube mass/alloy used. Cosmetic finishes on the standard brass tubing e.g. silver plate, enamel of any colour or lacquer have a proportionally minute effect when compared with the more important structural elements. 

Different metals such as bronze, silver or nickel do make more of a difference, as the instrument will actually resonate with different frequencies given prominence by the vibrating metal. Even this is moderated by the fact that, unlike brass instruments, the tube of the sax is not fully engaged at all times in vibration. Patently it has holes in it and with the dampening effect of lots of leather pads affecting every note differently the overall contribution of these various materials is diminished. If looks are very important to you then by all means select from the range of options available with the knowledge that not much benefit comes from the finishes, and the confidence that not much loss occurs either. I'll always go with what really plays for me.

One of my teachers once gave me some very wise advice whilst encouraging me to consider the benefits I might gain from changing my own well-loved instrument for another. He implored me to 'learn to love the saxophone not a saxophone'. These words have proved themselves invaluable numerous times during my own musical career and never has this advice seemed more appropriate than during the preparation of this article.

How To Trial An Instrument

• Play all instruments with a mouthpiece and reed that you know well. Too many variables make attempting comparisons a nonsense.
• Take along or have in mind some music you are familiar with of the type you wish to play - be prepared.
• If you know the technique of over-blowing octaves and twelfths use this to see whether the instrument is 'in tune with itself'. Alternatively find a reliable 'fixed pitch' source and carefully tune to it. You can get a very poor feeling from an instrument if you do not get the mouthpiece correctly positioned on the crook for proper tuning. Be wary of relying on electronic tuners. All saxophones are acoustic compromises. When you use a tuner you are generally learning more about yourself and how you play than about any individual instrument.
• Test a range of volumes. Instruments reveal more of their tonal colour when blown loudly but you will want to know that you can sustain the sound softly as well.
• Other than checking for finger fluency and comfort, fast notes don't inform you nearly as well as sustained tones. A point worth remembering is that spring tensions or keys can be adjusted if they are too strong or too weak. Never reject an instrument because a spring feels odd.
• Test the response at the high and low extremes of the range but don't expect miracles - especially when tonguing. It takes a while to really get to know a new instrument and you may need to make some adjustments (for the better - this is known as 'progress'!). If you select a sax that plays just like your old instrument you have to wonder whether the purchase was worthwhile.
• Compare alternative fingerings, e.g. the several Bb, C, F# options to see if the instrument has been well set-up. This can be an indication of good preparation by the seller.

It is worth considering that you are most likely to choose a sax that suits your own level of ability (as long as finances permit). Therefore, as every individual is unique, not all players will find themselves choosing the same model. What matters most is that the saxophone selected is one that will provide you with the greatest encouragement and inspiration for your musical future.

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 Well Equipped Wind Player / Teacher Tool Kit

The Well Equipped Wind Player / Teacher Tool Kit 

A Suggested Shortlist

All experienced players know that things can go wrong with our instrument(s), sometimes at the most awkward moments - i.e. your favourite reed broken just before a performance, a valve suddenly begins to stick, a french horn valve cord breaks, a spring 'pings' out of place, a mouthpiece becomes stuck, a pad or screw falls out - the list runs on and on. Fortunately these 'crises' do not happen very often and regular maintenance reduces the frequency still further, however sometimes things just happen. Getting equipped with a basic knowledge of how the mechanism(s) of your instrument works and having the tools required to effect basic 'running repairs' is I believe essential to survive such moments for player, teachers and pupils.

Brass

For brass players the list of helpful tools is largely very familiar and includes an appropriate valve oil, an tuning slide grease, cleaning cloths, a length of cord and perhaps a valve brush. A further good investment, especially recommended for teachers, would be a mouthpiece puller as pupils frequently manage to get their mouthpieces jammed in the receiver. A cleaning/scouring pad with a gentle or moderate surface and a degreasing liquid can also be very handy to remove more stubbornly built up dirt and grit. A pull through cloth on a string such as a good quality clarinet swab can be very helpful in cleaning valves and a 'snake' with a brush to run through the leadpipe to clear blockages is also a useful item.

A tapered reamer for reshaping the shank of mouthpieces when they become dented or damaged is almost proper 'repairer' territory but might prove very useful especially when teaching youngsters. Keeping a small supply of self adhesive  'spit valve' corks handy may also save the day at some point.

Woodwind

For woodwind players the list of items and tools runs a bit longer but is just as vital. The obvious starting point is extra reeds for all but the flute players, then cork grease, safe reed storage holder of some kind (where reeds can be kept safe whether wet or dry), reed making and adjusting tools (for the double reed player), including a reed knife (for all reed players) and a reed cutter for the single reed player, cleaning cloths for both inside and out (of course), pad cleaning and pad powder paper, but some additional items will have a likely become very helpful in the case of more serious 'emergency repair' situations - i.e. appropriate size tip screw drivers of good quality, a spring hook or crochet hook for repositioning or tensioning springs, a 'pad slick' to assist in repositioning pads or bending keywork or rotating large screw heads (such as found on saxophone bell keys) when desired, Evostick or similar contact cement for sticking back fallen bits of cork or felt, heavy weight key oil to silence noisy mechanisms, 'cling film' or UPVC plumbers tape that can be used to wrap up and keep a problematic pad or cork in place long enough to complete a concert, blue tack, some rubber bands and string or thread to use for temporary repairs, and a cleaning brush such as an old fashioned shaving brush or paint brush to remove dust from delicate key mechanisms.

And then, perhaps entering the rightful territory of the instrument repairer, a pair of long nose pliers to grip rod screws when removing them, a small hammer,  a flame/heat source (such as a cigarette lighter) for use in heating up shellac to more properly replace a pad into a key cup.


Once equipped with such a selection of tools, care materials and the knowledge/experience to use them well, should the unexpected happen one has a very good chance of carrying on to complete a performance and follow through as required to a repairer to finish returning the offending instrument to top condition. Good Luck!

Should you be interested courses on instrument maintenance and just such 'quick' repairs are offered through Cambridge Woodwind Makers. I recommend visiting their site:

www.cambridgewoodwindmakers.org

to see the range of course offerings available. Highly recommended.

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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

Thoughts on Selmer Saxophone Models

Selmer Saxophones – a Short History and Personal Comment

Following the decline of US saxophone manufacturing after WWII and prior to the introduction and rise of quality from Japanese manufacturers (establishing themselves from the mid-1970's onwards) from the 1950’s to the late 1970’s Selmer Paris ruled the professional saxophone market with their Selmer MKVI model. This instrument evolved in both the qualities of the materials and details of manufacture sufficiently over this long period of time to bring about ‘eras’ of particular interest among collectors but it is fair to say that the MKVI model was the principal choice of serious players, both jazz and classical, throughout these decades and remains popular to this day. The ergonomics of the keywork operation, fleetness of touch, standard of intonation and tone projection are the hallmarks.

Following this era (as a result it is said of worn tooling needing replacement) the new MKVII instrument was introduced. Its design was heavily influenced by Frederick Hemke who, being a solely classical player and very large in stature, desired a heavier built instrument with a darker, heavier tone and more substantial keywork feel. While this suited some players it disappointed many and within a few years this model was dropped in favour of the Super Action 80.

The introduction of the S80 in 1981 was an attempt to regain the custom of both jazz and classical players but, while it is unquestionably more responsive and easier to operate than the MKVII and the lighter keywork feel and more ‘characteristic’ tone have being well received by classical players, the S80 did not persuade many jazz musicians – incidentally opening up the door for Yanagisawa to step-in and fill the desire for a brighter sounding lighter keywork feel model. Other manufacturers have also based many of their new introductions on the MKVI as well the current Reference 54, Cannonball and Antigua saxophones all being examples of the ‘nominal Selmer’ design.

Selmer introduced the model we know today as the S80 Series II in 1986 to try to improve on the original S80 and the biggest notable difference is that the individual key rods are ‘spring loaded’ to try to lighten and improve the key action. This model has been a huge seller to this day and is successfully played in all manner of styles – with appropriate mouthpiece selection.

The S80 Series III was introduced in 1996 following artistic input from Claude Delangle, the present leading classical teacher and performer at the Paris Conservatoire. He desired a pitch correction mechanism for the stretched octave of middle and high C# and the alteration to achieve this is the most obvious difference between the models. Further alternations to the tone hole placement (mainly in the palm keys) and the crook have meant that this model (Alto, Tenor and double crook Soprano) has appealed primarily to a limited, primarily classical players and it should not be considered an furtherance of the S80 Series II – rather more like a divergence to meet the requirements of a specific market.

Finally, to meet the too long overlooked desires of jazz saxophonists in 2000 Selmer introduced the Reference 54 (and for the tenor the additional 36) models. While keeping the crucial aspects of bore and crook taper the same as other models the Reference introduced a different weight (density) and thickness of metal and a significant remake of keywork in an attempt to recover the best and most favoured aspects of the MKVI model – the standard Reference against which all their subsequent models were being compared. In my opinion the current Reference offering is at least as good as most of the MKVI instruments that I have ever played and, as both the intonation and quality of manufacture are much improved over the worst examples of MKVI manufacture, the Reference will usually be found to be superior to almost all available examples of the now more than 40 year old MKVI.

The significant differences between the current Super Action 80 Series II and the Reference are in the body tube material used and its resonance (the Reference being the slightly lighter/brighter/more responsive), the slimmer profile and reduced weighting of the keywork and the less important finish options – Vintage ‘old gold’ lacquer being the most typical for the Reference, with more traditional lighter gold lacquer finish being standard for the S80 II. I do not attribute any significant difference in tone to the choice of finish but it cannot be denied that the Reference finishes looks much more like the original MKVI – so much so that it can be difficult to distinguish at a distance.

To summarise – I continue to think in terms of the S80 II as a wonderful ‘all round’ instrument capable of meeting the expectations of all playing styles with a reasonable favouring more to the Classical side, but able to be used for Jazz. The Reference is more of a Jazz instrument perfectly able to be used for Classical playing, as was the original MKVI (Marcel Mule, to whom all saxophonists owe so much was involved in the creation and development of the original MKVI). In my opinion the Series III is probably best considered the domain of the strictly Classical player allowing for the exceptionally musician who might prefer its tone quality or different intonation pattern.

Selmer has moved, since the introduction of the Series II (now in the Jubilee version), the Series III, the Reference and now the Axos (introduced in 2015 to meet a more affordable price point) models to a period of simultaneously offering more choice than ever before in their history. It is fair to say that as a rule Selmer remains the most often desired and equally most appropriate model instrument for the majority of professionals and aspiring students. The combination of the great tradition the brand represents and the overall quality of the product suggest that these instruments will continue to be used, preferred and appreciated for many years to come.

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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