Upper Register Performance Soprano Sax - A Question

A question was posed to me last week and as there are many elements of my reply that might be of interest to others I offer the following on this topic.

Question:

I struggle with getting high notes on my soprano sax. Should I change my reed (strength) ?

Reply:

Changing your reed strength may be helpful but just playing a harder reed (I have to assume this is what you mean) will not necessarily be the answer. The soprano sax should not be more ‘difficult’ than other saxophones but its small size means that it may be more critical. Little things will make big differences. Every aspect of your playing technique is ‘under the microscope’ in ways larger saxes do not require to the same degree. This is why prior experience in alto or tenor sax is usually recommended before adding the soprano to your saxophone armoury.

There are many factors that will affect the response and stability of the saxophone upper register, especially on soprano, so a review of them may be useful:

• The embouchure must still be ‘round and supportive’ but not too tight. Playing a stable concert C on the soprano mouthpiece setup alone is a good target (concert Ab for alto, concert Gb for tenor).
• The correct amount of mouthpiece in the mouth is very important – too much in the mouth and the sound and upper register response will suffer, too little and the tone will be dead and both high and low registers will be compromised.
• The airstream used should feel significantly faster for the soprano and if the high notes are unstable you may need to ‘focus’ the air into a smaller yet still energetic stream in order to provide what the upper range notes require.
• The quantity of air used for different registers will need to be varied – higher, shorter tube notes require less (they are easy to overpower) whereas lower, longer tube notes will require a proportionally greater volume of air to fill the tube and stabilise their response.
• Inside your oral cavity the tongue must have a more exaggerated ‘arch’ position than what you use on the alto, tenor or baritone and this arch is closer to the rear of the mouth. This is a bit like saying the vowel sound ‘Eeeeee’
• Your mouthpiece must be in a good tuning position on the cork. If pulled off too far the low notes will not speak properly and high notes will be very flat in pitch and unresponsive. If the mouthpiece is pushed on too far on you might think all is okay - until you check your tuning – when you are likely to find the high register to be extremely sharp and the instrument very out of tune with itself.
• If your mouthpiece tip opening is moderate or narrow then a medium to medium strong reed (strength 2.5 to 3.5 in most brands) is likely to be required in order to provide stability throughout the instrumental range, right up to high F# or G.
• If your mouthpiece tip opening is on the larger side a somewhat softer reed may provide a better match. Too strong and you will find yourself fighting the low register and having to ‘bite’ too hard to make your basic sound.
• Higher baffle mouthpieces (including many jazz style mouthpieces) will be generally brighter and in fact may facilitate upper register playing but may also demand more relaxation in the embouchure and ‘favouring’ downward for pitch. Moderate or lower baffle mouthpieces are generally more stable for intonation and are likely be more manageable throughout the entire range.

As a guide I would suggest that you are in search of a reed strength that provides enough resistance to meet the demands of your properly focused and well-regulated airstream without excess embouchure pressure required.

Success with higher register notes should follow.

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 Clarinet Double Lip Embouchure

Reprinted from an article for the Clarinet & Saxophone Soceity Single Reed Doctor

Question:

I have recently overheard friends speaking about using a ‘double lip’ embouchure on the clarinet. What is this and will it help me?

SDR Reply:

The standard clarinet embouchure, used by most players is known as a single lip embouchure, one where tissue of the lower lip tissue is folded over the lower teeth to form a cushion and contact the reed. The upper lip then lies in front of the upper teeth where they contact the mouthpiece and the lip’s role is to wrap around the mouthpiece to keep air from escaping.

The double lip embouchure, as it sounds, uses both lips to wrap over the teeth therefore placing lip tissue entirely around the mouthpiece – no contact from the teeth on the mouthpiece at all.

For some players with either very thin or rather large lips, a double lip approach is simply not a physically practical option. For others it could be considered an option but it does take time and much practice to learn and to grow comfortable with the position of the upper lip between teeth and mouthpiece.

A double lip embouchure places a great responsibility on the power of an air stream to generate sufficient pressure to vibrate the reed – without the benefit of the regular ‘grip’ between upper and lower teeth. Any attempt to ‘squeeze’ the reed shut with jaw pressure is likely to result in pain as the lips, especially the upper lip, will be trapped by the teeth.

The potential benefits of a double lip approach are:

·        A rounder, warmer sound may be developed as all tendencies to compress reed and mouthpiece are unlearned

·        The necessity for much greater awareness of air stream support leading to better control

·        An increased awareness of all elements of tone production

·        Greater subtlety in control as lips are simply more sensitive than teeth

·        A strengthening of upper lip muscles as they are engaged in a new ‘drawn down and in’ position

·        A genuine rethink of what it means to ‘properly blow’ your instrument

Possible downsides include:

• Pain and the risk of damage to upper lip tissue whilst learning the embouchure position
• Fatigue of the facial muscles while adapting to a new approach
• Loss of upper note accuracy and response due to the loss of familiar pressure from the lower lip
• A potential need to move to softer strength reeds
• A feeling is instability in holding the instrument still while playing

You can see from the above that there can be numerous benefits, principally in the area of tone production and flexibility but there are many possible risks to consider and for many the double lip approach is not a viable option. (NB - I would never recommend it for use on the saxophone due to the different holding angle of all saxes, even including soprano.)

My own opinion is that giving double lip approach a try, if for nothing else as a spur to develop a better awareness of REALLY GOOD AIR SUPPORT, is worth the time invested experimenting for all those who can manage the drawn down position of the lip.

After a period of time spent experimenting and benefiting from the improved breathing and blowing skills acquired I would recommend, for the vast majority of players, a return to a single lip embouchure combined with the use of a mouthpiece cushion and the application of all the positive elements experienced:

• Better initial breathing awareness
• MUCH greater support from abdominal muscles while blowing
• A more relaxed ‘grip’ from the jaw muscles
• Increased involvement from the upper lip in the surrounding and support of the embouchure on the top of the mouthpiece

All the above can only improve a players normal sound and ability to control their instrument so what is there to lose?

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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

Recommended Clarinet 'Care Kit'

The Clarinet Care Kit

I was obliged to make some recommendations when a new beginner pupil has come to me with a clarinet and no additional accessories. The instrument had sticky pads and dirty keys. The following were my recommendations for a ‘care kit’ for years to come...

Thoughts - 

I have never felt the need to bombard a novice player with a bewildering and costly list of ‘extras’ or special equipment as they begin their study. A well made instrument, quality mouthpiece, appropriate reeds and the development of good habits and practice discipline rate much higher in my priorities. However, some items are sensible to purchase and introduced from the outset so that an instrument can be well cared for, serve better and its value maintained.

To address the sticky pads I would recommend cleaning paper. Cleaning paper is paper that has a finely ribbed texture and which has no sticky gum line like one would find with cigarette paper. It is used to absorb excess moisture when smaller tone holes have become blocked through a build up of water or as a first level treatment for the onset of the ‘tacky’ sound of a sticky pad. Cleaning paper can be used when pad surfaces are wet but the sheets are very thin and are likely to disintegrate if used under too great a pressure. Yamaha make a good product.

If the sticky pad problem persists move on to powder paper. The application of powder paper has been around for years as a treatment to reduce the surface adhesion of pads to tone holes on woodwind instrument, i.e. the familiar ‘tacky’ sound on the lifting of a pad that is caused by a build up of saliva or moisture on the surface from playing or even just during transport when keys are held shut for a long period. The powder residue on the paper creates a new barrier between the pad surface and the tone hole rim. Best applied when the pad surface is dry. Once again, Yamaha make a fine product.

For individual ‘problem pads’ I would recommend the BG Pad Dryers. These are a washable, micro fibre fabric product that provides an alternative to cigarette paper or cleaning paper to use for removal of moisture from tone holes. Simply insert between pad surface and tone hole and allow the moisture to be soaked up into the Pad Dryer. They are very absorbent and one Pad Dryer is intended to last for years of regular use.

To avoid moisture build up in the first place an absolute must is a good cleaning swab. Many types are available, good and bad, but my preference runs to the Dryer Swab which I helped design. I believe that this is simply the best clarinet swab on the market for both absorption and easy of use. Designed with an asymmetrical shape that makes pulling through the clarinet far easier and the brushed cotton fabric used is both highly absorbent and durable. The addition of a ‘pull back’ strap is a bonus ‘belt and braces’ extra to lend confidence when using the swab. High quality alternatives from BG and Yamaha are also available, each with different features. All of these are preferred to basic cotton or felt versions on the market.

Every clarinettist should use some type of cork grease to aid in the assembly of their instrument and to preserve the cork itself. Most brands are acceptable but some stand out for being either longer lasting or more effective. Rico and D’Addario greases are good, Elm bark grease from Doctor Slick products is a very ‘clean’ product and Selmer Tuning Slide and Cork Grease is deservedly recommended.

To clean around keywork a traditional shaving brush is the best quick answer to removal of dust and link from between keywork mechanisms on any clarinet (or other woodwind). Simply use the brush to lightly and quickly dislodge particles that otherwise might ‘gum up’ mechanisms or compromise the seating of the pads themselves. Regular use will not only keep an instrument looking better but playing better as well.

I like to see all players using mouthpiece patches to protect their mouthpiece and aid the formation of good habits for teeth placement. For most purposes I would recommend ‘thick’ patches, as they tend to be more durable and provide a greater cushion for the teeth. Thinner patches serve well to reduce mouthpiece wear and are almost unnoticeable to the player. Yamaha, BG and Kolbl are leading brands.

To protect reeds from damaged and warping once they begin to be used some type of reed storage device, other than that supplied by the reed manufacturer, should be used. Whether to hold 1, 2, 4, 6 or 8 reeds or more, something that will protect the reed tip, allow for air circulation during storage will help reeds to serve better and last longer. Many brands are available and some of these are small enough to store easily inside a case and some that also feature a humidity control.

Finally a silver polish cloth, used to wipe over keywork after playing to remove fingerprints reduce oxidation tarnish is a good practice. Denis Wick and others offer good, generous cloths for the purpose.

These products represent my suggestions for a best practice maintenance ‘kit’. As a player progresses and becomes more discriminating the enhancements to be found from experimentation with equipment including the upgrade of instruments, experiencing different mouthpiece options, learning about varieties of reeds and the effects of different ligature designs, barrels, bells, etc. are all waiting to be discovered – but after a good foundation in playing has been laid.

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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