Getting the Most from a Specialist Music Shop

Getting the Most from a Specialist Music Shop

Sometimes it pays to stop, take a deep breath, and think about what we as musicians expect from the music shops, specialist repairers and instrument manufacturers that we rely upon. Having trained as a performer on multiple woodwind instruments and as a result having to purchase and maintain many examples and various instruments over my lifetime I certainly have experience as a consumer of goods and services. Having also worked in the Music Industry in specialist shops selling and servicing instruments for nearly 3 decades to date I have also seen the 'other side' and there is much to share with those who might not have had this experience.

Here are the 'Bullet Points':

• Things can go wrong and accidents do happen despite the best efforts of all concerned
• Most mysteries can be explained when you understand the 'bigger picture'
• A musician's needs change over time - otherwise known as 'Progress'
• The purchase of a 'final instrument' is a myth for most players if you intend to get better and accept that products that might be attractive to you in the future are in continual development
• Transferring your anxieties to your equipment is rarely a good strategy
• Be Reasonable. The person with whom you might be frustrated is possibly the one who you will end up relying upon to sort out your problem
• Sometimes genuine 'Value for Money' does cost more and is worth the expense
• Quality products are usually better investments
• People whose livelihood depends upon customer service really do care 
• Hard earned reputations for good service are valuable and are based on fact
• Music is a 'People Business', customers are important and shop staff members do care
• Remember - The specialist advising you may actually know more than you do and in any event will likely be doing their best to help

....and the following is a bit of background that I am glad to share:

When we are learning to play a musical instrument both the beginner and parents are highly reliant on a teacher, where present, or word of mouth from colleagues and friends, when it comes to taking advice on instruments. When I was starting out so many things seemed baffling to me. I struggled to 'tongue' properly and just resolved to not use my tongue to separate notes - I just stopped blowing instead. This unfortunate habit took a lot of effort to undo. I can remember wondering for years why some of my school friends seemed to sound better than me and how it came as a great revelation that a player might upgrade a mouthpiece on their original instrument and that reeds came in different strengths and that by changing these things I too could play better! I also remember living with an unknown problem with the low notes on my saxophone not speaking until the day someone kindly explained that there the sax had adjustment screws that sometimes go out of position - a twist of a screwdriver and years of frustration were relegated to history. Perhaps needless to say I did not have a specialist shop, a knowledgeable teacher or a skilled repairer available to me in those early years.

Once I began to pursue music more seriously I became aware of a world of products, accessories, instruments, customisations and skills that were available. I began to experiment and tried many things. Practice suggestions, exercises, resource books, sheet music recommendations, etc were all of enormous interest. Items were recommended by more knowledgeable teachers, mouthpieces that friends were using and found inspiring and new reed possibilities were sampled. I sought out and spent time with repairers who offered tips and quick fixes to keep my instruments in top shape. I also read a great many articles from respected musicians who had contributed to journals and magazines. I listened to everyone who had an opinion on anything musical to discover from what further knowledge I might benefit. I did make mistakes, invested in things I only used briefly, bought poorly at times, and missed other opportunities - but I tried to learn from everything.

Then, many years later and quite unexpectedly, I found myself with the opportunity to move from full time performing and teaching into full time working in a specialist music shop. All the learning, the investment and attention that I paid over the decades of my studies, my on the job training and my previous experience helped to make my 'skill set' attractive to an employer. But it was only after entering the music industry that my real awareness began to develop. Suddenly, I had a responsibility to advise customers, to understand and grasp the intricacies of product ranges and to distil an increased awareness of a huge range of available accessories into a sensible presentation to others. I found myself regularly meeting with experienced players from many differing backgrounds and possessing a wide range of musical interests as well as many aspiring younger musicians. I was handling repair questions and requests from these customers on a daily basis, some questions were familiar to me but many also arose where I had to defer to more experienced colleagues and repairers - and those repairers were deferring back to me to test and approve their repair efforts. I found myself frequently liaising with manufacturers and distributors - learning of their challenges and obligations as suppliers. All in all this was a very significant advance on the knowledge that I had managed to accrue in my previous years of training and professional experience. The Specialist Shop environment encourages this type of learning and growth and I have been very grateful for the opportunities that came my way.

The learning curve never ends. Interesting, passionate people with greater knowledge than myself abound and I still seek them out. I try to listen more than I talk but I do look forward to the opportunity to share my knowledge with others when something I know or strongly believe in may be helpful to them. What goes around comes around. Please refer back to the bullet points above.

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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

Differences Between Student, Intermediate & Professional Models

Differences Between Student, Intermediate 

& Professional Models

In common usage these terms are becoming less relevant with the passage of time – other than a still useful way to differentiate between the costs of the ranges of instruments. The quality of student instruments has, on the whole, risen significantly while the number of true ‘intermediate’ models has declined and in the meantime the number of highly competitive models claiming to be of professional standard has increased.

As a rule in general, the best ‘made for purpose’ models still aim to achieve the following:

Student – Lighter weight, often designed to be more responsive and encouraging for young players frequently offering beginner specific keywork designs, simplified key mechanisms, quality starter mouthpieces/headjoints and supplied with durable yet convenient cases many with shoulder carry or rucksack straps.

Intermediate – Heavier built than student models and using better materials to enhance tonal quality and reward the progress that has been made in the early years of playing. Slight increases in resistance to match the player’s growing capabilities, often more fully keyed, sometimes accompanied by better quality mouthpieces and frequently supplied as outfits with more sophisticated cases that will stand up to longer periods of use.

Professional – Here you will find the highest degree of intonation accuracy, even heavier built and weighted to make the most well developed of airstreams and still hold sound together. Top quality materials are used, more hand finishing employed and the highest level of quality control, more design input from professional players and development teams, the fullest range of keywork and other options. A wider range of finishes is often available including custom looks. Greater responsiveness and tonal evenness are a priority and projection is emphasised – all with the intention of aiding the player to better produce a more personal sound and to meet the requirements of a wide range of playing circumstances while allowing the greatest freedom of expression and reliability.

It is worth noting that the quality of the mouthpieces supplied with intermediate and professional level clarinets,  saxophones and many brass instruments are often not equal to the standard of the instrument as manufacturers expect most players to have upgraded to their own choice of mouthpiece by the time they come to choosing a professional standard instrument. Some notable exceptions to this are Selmer, Yanagisawa, Holton, Conn, Bach, Paxman and Yamaha Custom each of whom includes a quality mouthpiece with their outfits.

NB – Sadly there are some very poor quality instruments, especially in the student range and often generic or ‘shop branded’ that are simply best avoided. Often compromises to the materials used, quality control and design will have been compromised  and performance will be sacrificed. When considering the purchase if a musical instrument I would always suggest seeking advice from an experienced, knowledgeable player and visiting a specialist shop who can offer the support and guidance necessary to make you feel comfortable making your choice.

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

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

Crooks for Saxophone and Bassoon - 'Crook Maniacs' - An Overview

Crooks for Saxophone and Bassoon

For saxophonists and bassoonists this is the way you can custom tailor your beloved instrument upgrading both sound and very often intonation and response for a fraction of the cost of changing your instrument. The crook is a vital component of your set-up as it is the first part of the instrument after the mouthpiece to encounter the air column. It is in vibration during the production of all of the notes you play and its very subtle changes in tapers, design and materials have a disproportionately large effect at this end of your instrument. This upgrade option is often best reserved for professionals who are looking for 'he last bit of 'icing on the cake' as one must be able to make fine distinctions between options and have the confidence of your decisions. Students considering a crook purchase may wish to engage to help of an experienced player or teacher. Thomas

Saxophonists

The crook is at the heart of your sound. A change of crook can open up a sound or give it a more compact focus. You can move from classical to jazz and vice versa or find that ‘special’ combination that allows you to use your favourite mouthpiece for everything! A poorly designed or damaged crook can spoil the very best efforts of both player and instrument. More choice is available now than ever before. New materials and new designs are opening up options for customising your playing that no one can afford to ignore.

Important Points Explained –  Saxophone

Design – The internal taper of the crook, air-flow modifications, its length, the positioning of upper octave vent and the nature and dimensions of the materials used all influence the performance of your sax. Most student instruments do not receive great attention at the crook level as it costs time/money and is little appreciated by learners as they have many other factors on their minds. However, as a player progresses little differences mean much more and can be appreciated. Professionals, often without realising it, make choices of instrument based largely upon how much they like the performance of a particular crook when paired with their favourite mouthpiece(s).

Materials – Most crooks are made from brass just like the instrument itself but alternate metals are now being offered including bronze, nickel and precious metals like silver and silver plated with gold. The density of the various materials contributes to the character of the vibration of your entire instrument. In general it is accurate to say that the greater the density (mass) of the material the ‘darker’ or warmer the sound. Materials with less density such as nickel will be brighter. The finishing process for specialty crooks usually involves hardening or annealing which changes the vibration characteristics for the better – more immediate response being the most noticeable effect. Lacquering and plating have a less pronounced effect as they are basically altering the vibration efficiency of the base material but in general a lacquer or enamel application will minutely restrain vibration as these are a coating whereas as a plating of nickel, silver or gold adheres to the base metal and changes the vibration by adding mass and enhancing the sound timbre. Firms such as Selmer, Yanagisawa, Yamaha, Keilwerth, Cannonball and many others offer different crook options either with their instrument models or available to purchase separately.

Fit – A good fit is vital to get the best from your crook. Where a crook is slightly undersized a temporary wrapping with a layer of tape may take up the necessary gap for trial but if selected the crook tenon should be properly expanded to fit without the aid of tape. If the crook tenon is too large for the saxophone body receiver the sax would have to be altered to allow a trial – this must only be done by a skilled repairer – or the tenon dimension of the crook must be reduced – also a skilled operation requiring special tools.

Bassoonists

A player can upgrade a student level bassoon to often very surprising degree by outfitting with a higher standard crook. The better quality of design and use of better materials will often stabilise weak notes, draw 'difficult' notes more into proper tuning, even out response and tonal qualities and open up a stuffy sound. Schreiber crooks are well regarded as 'upgrade' choices for players needing to make the most of an indifferent instrument.

Important Points Explained –  Bassoon

What do the numbers mean? - Most crooks are numbered 1, 2, or 3 (you will occasionally see a number 0 but this is rare). These are relative measurements moving from shorter to longer. A number 2 crook is standard for most instruments. A number 1 will have the effect of raising pitch and a number 3 of lowering pitch. Most players feel the need for at least two crooks (usually a number 1 & 2) to be able to meet the playing demands of different temperatures and the tuning of different ensembles.

Does the plating matter? - Most crooks are made from nickel silver and either nickel-plated or silver-plated. This plating protects the base metal from which they are made from deterioration as well as contributing to the vibration characteristics of the crook. You can match whatever type you prefer without worrying about the plating finish of your instrument.

What about additional letters? - Some makers (notably Heckel and Fox) have a wide range of types of crook designed to address specific areas of an instruments range or performance. When you are searching for specific help in the tenor register, or freedom of vibration overall or specifically high note help then understanding each makers intention is vital. It is best to consult a specialty supplier if contemplating such a purchase.

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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

Brass Instrument Mute Overview

Mutes for Brass Instruments - A Brief Review

When it comes to mutes whether you are buying your first mute or looking for that ‘special’ sound you need to know a bit before you can choose the right one for your use. Mutes are an important part of your kit and a selection of sounds and types will help you to meet your playing demands as well as increase your enjoyment. Thomas

First a bit of background for those who need help choosing.

Mute Types -

Straight – The one to buy as your first mute. It is good for all-round use and the most often specified by composers. Offers a quieter 'buzzy' sound. Used in all types of ensembles.

Cup – The second most often requested. A cup mute is darker, warmer and quieter than a straight mute. Frequently specified by composers. Used in all types of ensembles.

Extending Tube or ‘Harmon’ - also known as a ‘wha wha’ mute. This is a distinctive sound usually associated with jazz use. It consists of a mute that completely blocks the bell but which has a hole in the middle of the mute in which a moveable 'extending tube' is fitted. This tube can be positioned in different places for effect or removed altogether. If the tube is in place and the player uses their hand to cover and uncover the opening the end of the tube a 'wha wha' sound is produced. Miles Davis was a very prominent user of the Harmon mute without the extending tube.

Adjustable Cup – A ‘two for one’ value purchase. The Cup section can be removed leaving a straight mute or repositioned to work as a cup. A neat solution if a player wishes to carry around only one mute.

Practice – Very effective mute for personal practice. Significantly reduces the audible sound to all but the player and the player can benefit from the additional resistance offered to strengthen air and lips during a warm-up.

Plunger – A jazz speciality effect mute. As the name suggest this mute looks uncannily like a plumber's plunger used to unblock pipes - and indeed the original plunger mutes were just that! The mute is used to contrast an alternating closed and open sound. One can practice making an instrument 'talk' almost like speech.

Bucket Mute - Clips on the the bell and produces a distinctive sound. Primarily requested in big band swing music.

Stopping/Transposing – For the French Horn player for pitch alteration and tonal effect – mimics the effect of the ‘hand stop’ but in a mute.

Silent Practice Mute – The Yamaha Silent Brass system virtually eliminates all sound from the instrument yet retains a natural sound quality to the player via earphones. Practice anytime / anywhere with no compromise in feel. An amazing technology!

Manufacture -

The  number of firms making mutes seems to increase every year with small speciality companies introducing new products or variations on established ones. The main names in the market include Humes & Berg, Denis Wick, Tom Crown and Jo Ral each of which offers a range or mutes usually available across the entire brass instrument range.

Effects of Materials –

Most mutes are made of pressed fibreboard, metal (aluminium or copper) or wood. The effects upon the resulting muted sounds are different with each material but they all function in similar ways according to the type. Mutes made from metal tend to be brighter and feel more vibrant to the player whereas fibreboard or wood is darker sounding and more restrained or 'covered'.

Learning to Use – 

Virtually all acoustic mutes have an effect upon the overall tuning of an instrument. The use of a mute raises pitch and requires some compensation by the player, at the lips may be sufficient for some smaller instruments or by pulling tuning slides a small distance when necessary. Larger instruments will require significant tuning pull. Once experience has been gained there is usually little problem adjusting to pitch requirements though reminding oneself of the playing 'feel' of the mute may remain a challenge for a period of time.

Installation – 

Most musts are held in place by small pieces of cork. If just before placing the mute in the bell the player adds a little bit of moisture (often accomplished by exhaling with mouth over the cork or by licking) to the cork and the position the mute using a slight twisting action it is less likely to fall out of the bell. It is worth taking care of your mutes for it they do become dented or cracked it will almost certainly affect their performance. Once purchased a good mute can serve for a lifetime.

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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

Woodwind Instrument Clarinet and Saxophone Mouthpiece Advice - 'Mouthpiece Maniacs'

I refer to this posting series as 'Mouthpiece Maniacs' with some fondness as I have heard this term applied in admiration, frustration, sympathy and dismay to a wide variety of players who share an appreciation of musical performance and a curiosity about their equipment and how the right 'gear' can help their playing. I believe an element of this knowledge is absolutely vital for anyone in the position of advising other players, i.e. teachers, performers, music shop assistants, repairers, etc. In addition I believe that knowing something about the aspects of design, how equipment 'works' and what choices we have as players is both enlightening and empowering when we begin taking responsibility for our own performance. Thomas

Clarinet and Saxophone – why is the mouthpiece so important?

Want to find out why your teacher makes such a fuss about her/his mouthpiece? Tired of working had and getting very little for your efforts? Hear a sound you just can’t get from your own set-up? It is time to examine the basics. 

If you get the right match between your reed and mouthpiece you are at least 70% better off – vibration starts with the mouthpiece and reed set-up and it is by far the biggest single determinant of your success. Your instrument acts like a megaphone to the sound from the mouthpiece – bad mouthpiece fit equals bad tone, good mouthpiece fit equals good tone. The more you have experienced by trying mouthpieces the more important you realise they are to the process of personalising your music making. What others hear from you determines the largest part of what they think of your playing!

You can help your high notes, even up register response, improve tuning, aid projection or mellow your sound and most importantly enjoy your practice and performance more - all benefitting from a change in the mouthpiece. 

 

Important features explained –

 

Tip Opening 

This is the measure from the plane of the table (the flat surface upon which the reed is positionee and secured with the ligature) to the maximum opening of the curvature measured at the tip of the mouthpiece. A narrow tip opening makes for very easy playing with softer reeds. With harder reeds both response and focus are improved and pitch is very stable. A wider tip opening is not very comfortable to play with reeds which are too hard - softer mid-strength and softer reeds are the order of the day. A wide tip introduces more flexibility and freedom but requires more care from the player to control the result!

 

Facing Length 

This is the measure from the end of the tip rail to the point at which the curvature begins as it leaves the horizontal plane of the facing. A longer facing allows for more freedom of vibration and flex for the reed making soft reeds feel even softer and harder reeds feel comfortable. A shorter facing requires a ‘softer’ reed as a hard reed will not be able to work without lip fatigue, and the shorter facing adds a ‘snap’ or ‘bite’ to the sound as it emphasis the tip vibration of the reed.

 

Tip Rail 

 At the very end of the mouthpiece where the reed tip ‘seats’. This area must be clean and undamaged or the vacuum necessary for the creation of the sound will be inefficient or impossible to obtain. A narrow tip enhances higher harmonic partials in the sound as the reed vibration is less muffled. A wider tip helps to ‘cut-out’ some of the higher partials and brings about a darker ‘warmer’ sound.

 

Side Rails 

The reed seals all along the length of the side rails in the process of vibrating. These rails need to be parallel and undamaged or performance will suffer.

 

Table

This is the point where your ligature holds the reed. It is meant to be either flat (preferred) or slightly scalloped (a minority choice) where an airtight fit, which contributes to successful vibration of the reed, is obtained. If this area is damaged or poorly finished your reeds are likely to play with more difficulty and suffer warp more quickly.

 

Baffle

The baffle is the area just behind the tip rail and it has a very important role in the production of the sound. It is useful to understand the terminology when discussing this area. A ‘high’ baffle is one that restricts the vibrating air column; effectively squeezing it once the air has passed the opening of the reed. It excites the air, disturbing the flow and this adds a bright, 'edgy quality' to the sound – this is what is usually associated with a ‘jazz’ mouthpiece. A ‘low’ baffle does the opposite – it allows for the expansion of the vibrating air column in this critical area and emphasises the lower partials of the sound – creating the qualities associated with ‘classical’ orchestral, wind band or solo playing.

 

Throat 

This is the transition area where the opening beyond the baffle is focused into the straighter bore of the mouthpiece. Here you will see many variations of shape (round, square, tapered, blunt) but each intended by the manufacturer to complement the other areas of the internal flow of air in the mouthpiece.

 

Chamber – Saxophone  

 This is the region found after the baffle and before the throat of the mouthpiece. Most mouthpieces now utilize a fairy standard medium chamber. This is so common that unless specified otherwise you can assume that this is what is in use. A small chamber, when available, adds a further compression to the flow of the vibrating air column boosting the feeling of projection by emphasising ‘edgier’ higher partials in the sound. Conversely a large chamber, when available, ‘rounds out’ the sound by not restricting the airflow and creating a warmer sound. This style of mouthpiece was very popular in the early days of the saxophone and is sometimes referred to as an ‘old boxcar’ style alluding to the large space inside.

 

Bore – Clarinet

 The bore is the area after the throat that begins the internal dimension of the clarinet taper leading into the barrel. Bore sizes have largely been standardised with the popularity of the nominal ‘French’ bore clarinet being now dominant but some types of instruments with unusual, usually larger bores themselves, must be matched with an appropriate larger bore mouthpiece to obtain proper tuning.

Material –

Most student mouthpieces (and even some supplied with much more expensive instruments) are made from modern plastics to keep down costs. Plastic resonates easily and, if well designed and crafted, works well to encourage early playing. Ebonite or rod rubber is the preferred material for most professional range mouthpieces. The inherent vibrational qualities of ebonite are superior and mouthpieces can be crafted by cutting, not moulding as in the case of plastic, allowing for greater finish quality and consistency. Some ‘jazz’ mouthpieces exploit an ebonite/plastic highbred material that adds a ‘brightness’ and liveliness to the feel of the mouthpiece with its distinctive vibration characteristics. Various metals (brass, stainless steel, and alloys) are used in some saxophone mouthpieces largely for manufacture reasons when wishing to create high-baffle ‘jazz’ mouthpieces. The vibrational qualities of metals are different to those of ebonite and plastic both for the player and the audience but I believe are not inherently darker or brighter – that depends much more upon the design.

My advice is try to not go 'mad' chasing the perfect mouthpiece - they all exist for a reason and players are all different. What you prefer will be likely to change not only as our playing needs change but also as time passes and we tend to look for different aspects of performance from the mouthpiece. It is not unusual to own and use several different mouthpieces and enjoy them all for what they do to enhance your playing.


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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

Brass Instrument Mouthpiece Advice - 'Mouthpiece Maniacs'

I refer to this posting series as 'Mouthpiece Maniacs' with some fondness as I have heard this term applied in admiration, frustration, sympathy and dismay to a wide variety of players who share an appreciation of musical performance and a curiosity about their equipment and how the right 'gear' can help their playing. I believe an element of this knowledge is absolutely vital for anyone in the position of advising other players, i.e. teachers, performers, music shop assistants, repairers, etc. In addition I believe that knowing something about the aspects of design, how equipment 'works' and what choices we have as players is both enlightening and empowering when we begin taking responsibility for our own performance. Thomas

Brass Mouthpiece Maniacs

Whether you have never tried anything but your original mouthpiece or you have own several already there is always something to learn about, something new to experience and very likely, something to improve your playing.

Brass Players –

Do you know the difference between an ‘all-rounder’, an orchestral cup or a jazz ‘screamer’? Do you want a ‘fat’ dark sound or an ’edgier’ tone to cut through a big band? Do you lips feel better with a wider rim or narrower? These things matter and you deserve the best.

Important features explained –

Cup – The depth and internal size of the cup are critical dimensions in the performance of mouthpieces. This is where the sound ‘develops’ after the lips have created the vibrating air stream. A deep cup will favour the lower range and lower partials in the sound where as a shallower cup will favour the higher range and upper partials. A shallower cup assists in the production of upper range notes with the trade off of reduced freedom in the production of lower tones.

Rim – This is a very important area for player comfort. Some mouthpieces are sharper edged than others though most strive to be comfortable on the ‘chops’. A wider rim will tend to relax the lips and facilitate middle and lower range production whereas a narrower rim tends to facilitate higher notes.

Bore – A narrower bore adds a ‘squeeze’ to the air and increases resistance that helps in the focus of higher notes. A larger bore allows for a greater airflow, demanding better support from the player to achieve the upper register but facilitating tone production in middle and lower registers.

Back-bore – Contributes to the ‘feel’ of the mouthpieces. This is the area of transition into the bore of the trumpet itself and is an extension of the dimensions and taper of the leadpipe. In combination with the leadpipe this area accounts for much of the resistance 'feel' of the set up.

Shank – The outside dimension of the mouthpiece as it is tapered to insert into the leadpipe. Though shanks are now largely standardised in size the fit to some leadpipes, particularly those of trombone and harmony brass instruments, may require use of a large or small shank mouthpiece to obtain an accurate fit.

Density/Mass – Most mouthpieces are of similar weight and mass though they may very tremendously in external shape. The advent of the ‘mega’ mouthpiece has introduced a new consideration for the discerning player. By building in added weight at the mouthpiece end many players feel that their sound and control benefits in both focus and consistency particularly players who might feel that the 'overblow' more conventinal mouthpieces.

Materials – The vast majority of mouthpieces are made of brass, brass alloy or stainless steel that is then plated. Recently some very successful plastic mouthpieces have been introduced which are both inexpensive, very lightweight and a joy to play in cold temperatures. No more aching lips!

Plating – Metal mouthpieces are usually finished in either silver plate or gold plate though some nickel silver mouthpieces are still available. Some individuals have skin or lip tissue that reacts badly to silver plate and for them the choice of gold plating may be necessary. For everyone else the choice is largely cosmetic – go with what you fancy!

It is not uncommon to have several mouthpieces with different internal shapes or designs that will assist in top performance of a wide range of musical styles. It is worth being careful to be sure that you are comfortable with the feel of such different mouthpieces on the lips as changes in rim shape and dimensions could be rather disturbing. 

My advice is try to not go 'mad' chasing the perfect mouthpiece is my advice - they all exist for a reason and players are all different - not only as our needs change but also as time passes and we tend to look for different aspects of performance from the mouthpiece.

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

Reed Strength Advice and Reed Blog

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 

And so it begins! My biographical background and the reason for blogging. Thomas Dryer-Beers

 Hello future readers - wind players all.

My name is Thomas Dryer-Beers. I am a woodwind player, a former working musician, soloist, ensemble performer, lecturer, author, private teacher, peripatetic teacher and ensemble coach. I am a product of the American band system having grown up in the state of Indiana and having begun my musical career playing recorder, violin, trombone in successive years before gravitating to the saxophone which finally 'took' and later adding all the other members of the woodwind family. I earned music degrees in Woodwind Performance at two major music schools in the USA, Indiana University (BMus) and University of North Texas (MMus), but have been living and working in the United Kingdom since the late 1980's. In the UK I carried on my teaching and performing but was introduced to the music industry through work with specialist music shops, most notably as a former Instrument Sales Manager Woodwind & Reed based in Cambridge ( www.wwr.co.uk ) and its associated mail order company Reeds Direct Cambridge ( www.reeds-direct.co.uk ) where I still work part time and serve as a consultant.

I have been a teacher and performer since the mid 1970's and have advised retail customers since 1988 till the present day. I have also been the principal consultant to Reeds Direct Cambridge since its beginnings and am responsible for the creation of the RDC Reed Strength Comparison Chart and author of many reed product descriptions. Customers throughout the UK and worldwide have relied upon this chart to help in assessing and selecting appropriate single reeds for their clarinets and saxophones.

Recently I have taken a more limited advisory role with Woodwind and Reed due to a permanent partial hearing loss that began to affect me several years ago. I do benefit from hearing aids that have been a great help for conversation but the technology is simply not advanced enough to allow me to hear clearly enough to advise customers as I once did. This change has been a bit of a shock to say the least but I am coping with it and looking forward to a different future than I previously imagined.

I have begun this web log, which I hope will be of interest to a wide range of woodwind and brass musicians, so that I might be able to share the experiences, insights and observations gathered in my over 40 years of playing and more than 25 years in the music industry. I have also been recently been asked to serve as a regular contributor corresponding as 'The Single Reed Doctor' for the Journal of the Clarinet & Saxophone Society of Great Britain (CASS). Writing contributions in this manner is my way of saying thank you to all the players, teachers, pupils both young and old, and the many customers whom I have met, advised, supported and most importantly from whom I have learned a great deal in the process of assisting them and attempting to answer their questions. I have no agenda except sharing what I consider to be useful thoughts, memories and accumulated knowledge though and products of interest. I will not hesitate to acknowledge individuals who have been significant to my development as a musician, cite where further information or products can be found when such citation is appropriate and direct my blog readers to where instruments, accessories or services may be experienced or purchased.

I wish to thank Daniel Bangham - proprietor, Tim Taylor - general manager, and the staff at Woodwind & Reed for encouraging me in this web blog project. I hope that readers will find the topics and information useful and if so please let others know in order to help disseminate the blog content as widely as possible. Please add your comments as they are welcome.

Thomas Dryer-Beers, August 2015