Reed Strengths, FAQ's and General Comment

Reed Strengths, FAQ's and General Comment

(The following is adapted from an article for Reeds Direct Cambridge)

I hope that this page and some of the FAQ’s that follow will help you to gain confidence in making the choice of reed, finding the right strength and assisting in the search for reeds.

First things first –

If you are new to playing, or buying for someone who is, softer reeds, often strength 1.5 or 2 are your best bet. Using lower strength reeds at first is more encouraging to the younger player, easier on the lip and less demanding for air support. You may also wish to purchase less expensive reeds at first, as without careful handling they can be easily broken. As players learn to better handle their reeds then the expense of higher quality reeds can be justified as they will last longer and be more enjoyable to play. As a player learns to blow better, learns more notes and expects more from the tone of their instrument then they should be encouraged to move up in strength of reed and experiment with what different brands have to offer. Manufacturers offer strengths usually starting from 1.5 (or even 1) and extending to 5 (or more). These numbers represent an increasing strength of resistance. Most players will settle on strength 2.5 or 3 after a number of years of playing – this is very standard, though some advanced players or those with particular mouthpieces will require both higher and softer strengths than this. Teachers can help decide the appropriate time to change strengths.

One practice that will definitely help to keep your reeds in use for longer is to rotate them from one practice session to another. Keeping 3 to 4 reeds going at all times will allow each reed to recover from use and will highlight when one reed is beginning to lose its quality in relation to the others. We recommend purchasing cane reeds by the box and working in new reeds as old ones need replacing.

FAQ’s

• What is the difference between different make of reeds?

Each manufacture tries to offer a unique cut and quality of cane in their product. As these factors are crucial to sound and response the player will find reasons in time to prefer one make over another. 

• How do I know when to try a harder /softer strength?

When sound suffers beyond what the player can adjust for is the time to examine the strength being used. If upper register notes are thin and unstable a harder strength may help. If low notes cannot be produced in spite of one’s best efforts then a softer reed may help. The ideal is an comfortable control and even response throughout the range with a gratifying musical sound. 

• Why are reeds difference sizes for different instruments?

 As each size of instrument uses a specific size of mouthpiece the reed used must fit. Reeds are an integral part of the production of the sound through the vibration they provide to the air column and must be designed specifically for the mouthpieces. 

• What makes a reed a ‘Jazz’ reed, what makes a reed a ‘Classical’ reed?

 In general, a ‘Jazz’ will be a slightly more flexible and vibrant reed intended to allow higher overtones to be present in the sound – producing a so called ‘brilliant/punchy’ quality often associated with jazz music. A ‘Classical’ reed will be more resistant and is intended to produce a greater concentration of lower overtones in the sound – the so called ‘dark/rich’ quality associated with symphonic or classical music.

• Why are some reeds more expensive than others?

 Cane is selected by manufacturers for the intended product market – the highest of selection criteria means that fewer canes are suitable, more wastage occurs and more care is taken in finishing – contributing to higher cost. 

• Why are some reeds less expensive than others?

Some lesser expensive reeds are made from lower qualities of cane, cut more simply with less concern for final finishing. These can be well suited to players at any level but are often associated with initial years learning. 

• What are some reed brands more popular than others?

 Some products have been around for a century or more – ample time to become well known and respected. Some are more widely available therefore easier to recommend by teachers and some have a proven track record for specific mouthpieces and/or types of use. Successful products have a following in different regions around the world so what is well known in one country may be very differently regarded elsewhere. 

• Why have I been recommended to a particular brand of reed when there are so many different brands available? 

Perhaps because a player or teacher has had a very good experiences themselves with a product, perhaps a name has been well established and is easily available or perhaps because a certain brand is believed to constitute good value. In the end every player will want to find their own best answer and should sample a variety of reeds. 

• Why don’t all reeds correspond in strength? 

 This is a bit like ‘Why don’t all cars look alike?’ They just don’t and for a variety of reasons. Strength guides are generally relative and roughly proportional to each other but each manufacturer wishes to do something unique to meet the perceived requirements of the musician. Experience of different reeds will lead someone to a personal understanding of the relationships between brands and strengths – in the meantime a strength comparison chart and some background reading will help to fill the gaps in knowledge.

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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

 

Placement of Single Reeds on Mouthpieces and a Useful Test

Placement of Single Reeds on Mouthpieces and a Useful Test

Over many years customer have regularly asked me how best to place their reeds on their mouthpiece. Since the reed and mouthpiece combine to vibrate the air column this actually quite an important question. 

Following soaking, the reed should be positioned on the mouthpiece with the reed lined up evenly distributed on the flat cutaway that is the mouthpiece ‘table’ with the tip of the reed aligned with the end of the tip rail of the mouthpiece. When examined perpendicularly you should be able to see a hairline of the tip rail over top of the reed tip in standard playing position. Once you are satisfied with the positioning hold the reed with a thumb and carefully place the ligature over top. Lower the ligature until it sits in a position where there is an equal amount of the ‘bark’ of the reed visible on either side of the ligature. Tighten the screw(s) (where present) finger tight but do not over tighten them as this can damage the reed fibres and inhibit vibration.

If you wish to check the success of your placement you can perform a suction test as follows to see if the reed is ready to use:

• Wet the palm of your hand and place the shank end of mouthpiece end on your palm

• Take the tip of the mouthpiece and reed in your mouth, wrap your lips around the mouthpiece and create a vacuum by sucking aggressively and repeatedly to remove air from within the mouthpiece

• When you feel this has been achieved release your lips and the reed should hold shut for a few seconds (you may even hear a ‘hissing’ sound) before it ‘pops’ open with a noise, as the vacuum is lost.

• If you do not get a ‘pop’ first try again – If after repeated attempts your reed does not hold a vacuum it may be miss-aligned, warped or damaged. If it seems to take a very long time to ‘pop’ then if may be fatigued and ready to be changed.

It takes a bit of practice to gain ‘the knack’ of this test but it can be quite useful in confirming that the set-up is likely to work well.

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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

Why Play the Cor Anglais?

Why Play the Cor Anglais?

I imagine that almost any oboist who has had experience playing or owning a cor anglais will be inclined to answer quickly simply and immediately - because it is fun! I fully share and support this opinion - but it does not say enough about the benefits to the oboist so I hope to expand a little. I would say that experience of playing and better yet owning, playing and treasuring your own cor anglais deserves to be viewed as an important part of the development and maturation of every oboist.

The similarities between oboe and cor are many and following a predictable initial shock and the requisite alteration of habits and expectations transferred from the oboe the cor is largely playable by most oboists of a reasonable standard. The primary differences one will at first encounter are the relatively larger size and weight of the instrument, the stretch fingers and placement of keywork and the blowing position as the cor does rely upon a bent crook.

The size and weight are best addressed by using a sling, a fairly standard practice for the cor, to take the weight and relax the hands. The finger stretch and placement do take some getting used to however, since the demands for speed of finger action are considerably lower for most of the cor repertoire, there is usually time and opportunity to learn to ease the fingers into place to cover holes correctly and gently.  Allow the instrument to hang down between the legs so that the reed on the crook enters your mouth at approximately the same angle as you have with your oboe reed. Transferring some of these skills back to the oboe is often beneficial in itself and may eventually result in a more fluid technique on your main instrument.

Oboists often discover that the cor uses up a greater amount of air than the oboe. This is true and logical if you consider the larger size bore. Learning how to breathe more deeply and how to best hold onto the greater reservoir of air required is a very useful learning process and the discipline and awareness that one learns are sure to enhance breathing and phrasing on the oboe as well.

The Cor Anglias is almost entirely a solo voice in the orchestra or ensemble and as such when it is included in a score it is intended to be heard - almost never a 'filler'. This implies that tone and projection are very important concerns for the player. Mastering the production of a fine, centred, colourful tone with good projection takes time and more than anything replies upon learing to relax the embouchure so as to not 'stifle' the sound with the same embouchure pressure as one uses on the oboe. In addition the aural cavity should be adjusted to 'shape' the air to optimise the resulting tone colour by giving 'space' for the air within the body before filling the reed/crook/instrument. Getting used to hearing oneself instead of feeling 'buried' within an ensemble texture can be a bit nerve wracking to be sure but it also can be a wonderful confidence boost!

Balancing the tonal qualities of different ranges of the cor requires careful listening and the cultivation of new sensitivities. The skills gained through this process are likely to benefit the oboe as well. Learning to produce and then employ vibrato is ofter easier to do at first on the Cor Anglais as it is a more flexible instrument and a wider amplitude of vibrato and a slower speed can be acceptable. Vibrato skills learned on the cor can later be transferred to the more precise demands of the oboe.

Even if one does not make their own cor reeds learing how to handle and adjust a different size of reed can be very useful. Most players will play a less resistant reed on their cor than their oboe and learing to 'take pressure off the lips and place emphasis upon the air' will not only make for a better cor sound and more accurate intonation but can be applied to the oboe often with great benefit.

Learning to switch between, care for and maintain your instrument is also very beneficial as it is often the case (even likely) that your oboe and cor will have been made by different manufacturers and the key mechanisms and even the specification (covered hole, ring system, thoumbplate, conservatoire system, half hole split keys, LH F, trill keys, 3rd octave key, etc.) will be different. Coping with this is a fact of life for many players and it should make you a more flexible individual capable of understanding all your equipment better.

I would recommend splitting your practice time between the different instruments on a regular basis. Playing scales, arpeggios, interval studies and long tones on the cor is time well spent. When the much smaller, lighter and more facile oboe is picked up it is almost certain to feel amazing by contrast.

A final point I would add is that the ability to play the cor, and the ownership of or access to an instrument, can often be the 'ticket' to opportunities to perform with a wider range of ensembles and even result in participation in groups where just being to provide the oboe would not be of interest.

I would encourage all oboists to embrace whatever opportunities they get to play the Cor Anglais. Make sure any instrument you might use is in good condition by having it checked over by a repairer and then go away and do the necessary 'familiarisation' practice. When you feel that you are ready then go out and let everyone know that you have added cor to your skill set. You will be glad you did!

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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 & Saxophone Pads and Repadding CASS Article

Clarinet & Saxophone Pads and Repadding

I was asked the question below about pads last month for my Single Reed Doctor column in the Clarinet & Saxophone Society of Great Britain ( CASS ) magazine and following some time for thought and discussion I have tried to answer in general but, hopefully, still useful terms.

There are so many different pads on the market now. Why do different makers use different pads, and which should I choose if I get my instrument repadded?

My reply follows:

Since for most players a total replacement of pads – a ‘repad’ – is a rare occurrence a logical piece of standard advice would be to replace single or even multiple worn pads with whatever type of pad was previously used. Combining or mixing a variety of pads is not usually recommended. Your repairer should be able to advise you and employ the appropriate pads. However, on the occasion when a complete repad is required one really does have a choice to make.

The construction of musical instrument pads is quite a complicated business involving different layers of materials to provide the desired combination of stability, rigidity, flexibility, air tightness and durability. The quality of the finished pad also can vary greatly with more expensive pads (using better materials) often well worth the additional cost. Pads are usually referred to by the material used on their surface and there are indeed many options available from frequently used ‘skin’ pads traditionally made from fish bladder, to various types and qualities of leather (white, brown, black), cork, and numerous synthetic surface material pads. Virtually all will be found successfully in use depending upon both the quality of the materials used to create the pads and the expertise and familiarity of the installer (repairer) in their fitting. All pad types require experience and practice in their fitting to perform at their best. Do bear in mind that manufacturers choose and supply the type of pads they use in their new instruments for a variety of different reasons including but not limited to: durability, ease of installation, cost, tradition, artistic input, availability, air tightness and appearance.

Let’s consider clarinet and saxophone options separately as they have fundamentally different requirements from their padding.

Clarinets have traditionally been padded in either skin or leather pads. In my experience the performance of good quality pads made from either material, expertly fitted, is very similar and can be highly satisfactory. Leather pads are anecdotally often credited with being more slightly more durable and tending to mellow a tone quality when compared with skin pads. They may also be more forgiving for seating to tone holes. Cork pads are sometimes used for smaller upper joint tone holes but the successful employment of cork depends hugely the experience of the repairer doing the fitting  and on the quality of the cork itself as high quality ‘clean’ cork is increasingly difficult and costly to obtain. Cork is not suitable for lower joint pads so by default a less desirable ‘mix’ of pads ends up being used. New synthetic material pads have the opportunity to be more airtight than any natural product but, also anecdotally, have a tendency to acquire ’tackiness’ on their surfaces, which, while this can be addressed by cleaning when it occurs, can be very annoying.

For saxophones the widely respected quality of Gordon Beeson leather pads has set a standard of comparison for all padding options ever since their introduction in the 1940’s. Older instruments, dating to the 1940’s and earlier, were occasionally padded in white leather with inadequate backing materials and the quality of their performance varied widely. There were some examples of excellent pad performance but also much indifferent or poor performance as well. Skin and cork pads have never been routinely used. For some players synthetic pads may have a genuine role to play for use in smaller left and ‘palm key’ tone holes which attract a great deal of moisture and they are certainly capable of great durability. However they can be problematic for stability when used in pad cups covering larger tone holes and on pads that rely upon spring action to open, specifically the G# and low C# pads, as a result of the propensity for the surfaces of synthetic pads to become ‘tacky’ and stick. For the saxophone player the additional choice of reflectors, plastic or metal, flat or domed, also arises and one may wish to consider these options carefully as there are different sound qualities also attributed to the choice of reflector. Domed metal reflectors tend to brighten a tone and aid projection whereas plastic or ‘flat’ reflectors affect or ‘boost’ the tone far less.

My suggestion would be to hold a conversation with the repairer who will be entrusted with repadding your instrument to learn their opinions and what experience they have with the different pad options and their properties. Where it seems desirable I would advise one stay with what has worked well your instrument in the past. In general avoid any temptation to ‘mix’ pads. If you do wish to try something new and you discover that your repairer is less or even unfamiliar with the type of pad you are considering you should precede with caution – they could find themselves learning how to handle and seat the pads you that have specified with no prior experience and the final result may not be what you imagined. Hopefully the combination of an appropriate pad choice that is suitable for your future needs and expectations as well as the expertise of your repairer will result in an inspirational ‘fresh start’ and long lasting good performance from your instrument.

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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