The question of what strength of reed to play and whether to change reed brands is well known to players and teachers at all levels. The following guide was originally prepared for Reeds Direct Cambridge (
www.reeds-direct.co.uk) and has served as staff training guidance. I have altered it slightly for inclusion in this blog and I hope that it might be found useful. Thomas
Reed
Strength Advice and Reed Blog
Starting
at the beginning:
Welcome to playing your instrument. We recommend that
beginner clarinettists and saxophonists start by using softer reeds, such as
strength 1.5 reeds (or strength 1 for some), that are intended to be free blowing for ease of
sound production. These reeds work well in the middle to lower registers and are ideal
for initial learning. However, as a consequence of such reeds being thin in
profile, the tone produced is often thin and “buzzy”, so moving up in strength
is advised when players become more experienced.
Softer reeds work best on medium open and open tip
mouthpieces – the type usually supplied by manufactures with their student level
instruments – where the reed has a fair distance to travel before it closes
upon the mouthpiece facing and must therefore be quite flexible. If the reed
were stronger the effort required to produce a sound might be uncomfortable for
the player when she/he starts. If the mouthpiece tip were closer/narrower the typical starter
reeds would feel too soft. We feel that this is the best approach for the first year or two of playing (Exam Board Grade 1-3 approximately),
though each player and every situation is different and other approaches can also be successful.
Take a moment to look at the RDC Strength Banding
Selection to find recommendations (available from Wood, Wind & Reed, Cambridge). Do not be afraid to experiment with alternatives
– this is all part of learning.
Then as one gets better:
As players learn more they will gain experience and
confidence, develop their breathing and embouchure control and wish to sound
better and to play into their instrument’s upper register. This means that the set-up that once
worked well is actually likely to hold them back from making progress. It is
time to move up in strength of reed! This is important to recognise as the
need to change strengths is often overlooked and can cause such frustration
that it can be a major factor in a player giving up their studies.
A step-up strength of reed (strength 2 or 2.5), used on the
same starting-level mouthpiece, should help the meet the needs of the player
trying for control of the higher register and wishing to improve the overall sound
particularly when articulating (tonguing). To test if you are ready for this
change try placing your present reed ‘too high’ on the mouthpiece (leaving a
visible 1mm or so extending over the tip when viewed from the ‘back’ or 'top') and secure with your ligature as usual. Then try blowing a legato (slurred) passage into the
register(s) notes that concern you and see if you notice an improvement in the sound
quality and in the way the reed feels to blow. You can also try some tonguing and see
how the instrument speaks (though this may be a bit tough on the tip of your
tongue – take it easy). If you like the results and can hear an improvement in tone
quality then you are ready to change! Reed strengths at this level are
usually satisfactory for the next year or so while progress is continuing and
commitment grows. (Exam Board Grade 4-5 approximately).
Take a moment to look at the RDC Strength Banding
Selection to find recommendations (available from Wood, Wind & Reed,
Cambridge). Do not be afraid to experiment with alternatives
– this is all part of learning.
Further
refinement:
By the time a number of years of learning have passed you should no
longer consider yourself a beginner (of course this point could arrive sooner
with lots of good practice) but certainly by the equivalent of Grade 5
level of achievement several important changes are likely to be desirable.
Clarinet players will, in many cases, have outgrown
their starter mouthpiece and possibly their instrument as well. They are by now
ready to be rewarded with a greater depth of sound, a more interesting and
personal sound quality and the greater musical reward available from an upgrade to
a quality ebonite mouthpiece and wooden clarinet. When changing such
fundamental elements the reed match will also need to be examined. Most
players will find that a newly selected mouthpiece will now have a medium
or medium close tip opening and will perform best with strength 2.5 or 3 reeds.
Congratulations – this is where many players correctly stay for a
lifetime of playing. (Exam board Grade 5–8+ approximately).
Saxophone players have another level of consideration
as they progress upwards as they may well wish to play both classical and jazz
styles of music and it is time to discover what a great help and inspiration can be found in an appropriate choice of mouthpiece suited to these different styles. Not surprisingly
the reeds that will work best on two such different concept mouthpieces are
rarely the same.
Reeds suitable for classical playing (strengths 2.5 or
3 usually) are designed to offer stability, consistency of attack, roundness of
tone colour and subtle control of dynamics on the medium close and close tip
opening mouthpieces most often preferred. Many jazz players find themselves
competing for volume and will choose medium open or quite open tip openings to
allow for aggressive blowing, exciting tone colours and flexibility of attack. Reeds
suitable for jazz playing (could be anywhere from strength 2, 2.5, 3 or
3.5) need to offer a suitable resistance match to the mouthpiece and provide an attractive sparkle and ‘edge’
for presence in an ensemble or small group setting. Reeds described as ‘Jazz’
will generally offer these characteristics and one must experiment to find just the right
match for their choice of mouthpiece.
Take a moment to examine the RDC Strength Banding Selection
to discover popular reeds from around the world. You are now ready to make the most
of your musicianship and discover the musical pleasure a well-selected reed can provide.
For further background on available jazz reeds see the RDC Reed Category Guide.
Remember - do not be afraid to experiment – it is part of learning and becoming
the best you can be.
Advanced
and Professional considerations:
By now you know the type of sound you are looking for and how you wish
your instrument to play in the practice studio, in the pit, on the stage and in the
concert hall. Hopefully you have a clear understanding of what has worked well in the past and what may still be missing. You may be engaged in the
search for ‘the perfect reed’ and perhaps becoming frustrated that what you
have been playing seems to have ‘changed’ or is simply no longer good enough.
In that case you may wish to explore what some of the ‘boutique options' available from smaller and
more custom reed makers. Their businesses are founded on
satisfying the needs of the most discerning customers and they pride themselves
on product consistency and the ability to provide what the mass
manufactures do not. Make sure that you understand the subtle differences
between a reed manufacturer’s ranges of offerings. Many designs have been introduced
to offer genuine performance differences even at the same strength.
Alternatively you may wish to take more responsibility for adjusting your reeds
and sympathetically ‘breaking in’ reeds over time so that you are in greater control of the ‘settling in’ process. You may also wish to review reed options
that you may have overlooked in the past, i.e. filed or unfiled profile reeds,
thick blank reeds and even synthetic reeds, to find just the right combination
for your requirements. (Exam board Grade 8+ and beyond).
Take a moment to see the RDC Strength Banding Selection
to find a number of options that might be of interest. Remember - do not be
afraid to experiment – it is now a vital part of your music making and your
satisfaction as a performing musician. If you are teaching as well it is
important that you know what is available so that you can knowledgeably and sympathetically advise your own pupils.
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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
