What is all the FUSS ABOUT REEDS - Clarinet & Sax
I strikes me now, as I am now approaching my senior years, that clarinet and saxophone players do seem to fall into a couple of different categories regarding their attitudes toward reeds. I do not believe that any player would wish to deny the importance and potential for both great satisfaction or disappointment with any reed brand, strength or type - after all we cannot play our instruments without a reed - but the range of behaviour evidenced by players towards their reeds is very great indeed.
I find it interesting to note the various ways in which reed manufacturers present their products for consumption in diverse markets and even more diverse customers. Over the years I have developed much sympathy for reed manufacturers when I think of the broad base of players whose requirements they are attempting to satisfy. Perhaps you might wish to take a moment to reflect on this subject - or even discuss it with your colleagues and musician friends - and see where you stand.
Do you fall into one or more of the following groups?
The LOYAL DEVOTEE - has played the same products and strengths for many years and perhaps even based the purchase of successive mouthpieces or instruments always relying upon the same reeds. Has little idea what is available in the 'wider world'.
The SEARCHER - has tried everything and wishes to know all about new products. May never have settled on any product for any length of time and, despite having tried many products, remains dissatisfied.
The COMPLAINER - has a favourite reed product and wishes to continue to play these reeds even though 'they do not play like they used to' and seems uninterested in experiencing alternative products.
The ACCEPTER - plays on just about anything, no matter how old / broken / dirty or difficult to use even though they know that their reed is not helping them to play their best.
The ADJUSTER - is quite happy to 'fiddle about' with reeds endlessly and cannot settle down to play or practice until every last adjustment has been made and is rarely satisfied.
The INSTANT performer - wishes every new reed selected to play perfectly straight out of the box and is disappointed when any reed displays any variation.
The PATIENT player - accepts that their reeds will never play well at first and is willing to work with a reed(s) for ages before it seems to finally be 'right'. Sometimes never experiencing their reed(s) in an optimum state.
The EXCUSER - not really interested in sorting out his/her reeds as blaming a reed for poor performance is too attractive an option. After all, if a reed works perfectly then he/she would have to look at themselves with greater scrutiny.
The IGNORANCE IS BLISS - by not taking an interest, not questioning the status quo, or never having learned from or observed others, this player has no idea (yet!) how the right reed for their needs could transform their playing.
I am not ashamed to admit to having evidenced
most of the above behaviours at one point
or other in my career.
And now, as a result of my efforts, interests and enquiries, mistakes made and of course benefiting from hindsight and years of experience gained, I feel that I do now have the 'bigger picture' more clearly in my mind. I feel that the knowledge that I have gained through trial and error and after much listening to others as well has been very worthwhile not least because:
- I believe that I can 'make the most' out of almost any product
- I can get myself out of trouble when necessary
- I know what a good reed is capable of and I know when I am being let down
- I believe that I can 'decipher' the terminology in product descriptions and understand essential information
- I no longer feel threatened by new products - if they are not for me I do not bother - if they might be useful I give them a try
- I understand that all strengths are not created equal
- I understand and accept that not all products will work on my equipment
- I am open to surprises!
My blood pressure now only rarely rises in reed exasperation. My practice sessions have become more productive. My teaching is more informative and I feel that I am able to demonstrate problems and consequences more effectively. An extra benefit is that my conversations with other musicians are more varied and interesting now - reeds are almost never mentioned as they are considered too boring!
I wish you all well in your own progress to a better understanding of reeds and I hope you will find increased enjoyment in your playing as a result.
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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
