Owning and Caring for a Wooden Clarinet

Owning and Caring for a Wooden Clarinet

 This is a subject of interest to all clarinet players at some point in their musical progress and of vital understanding for teachers or those in a position of influence and guidance for younger players. I hope the following thoughts and suggestions will be found helpful.

Why purchase a wooden bodied instrument in the first place?

The short answer is that it should sound better and almost without exception be more rewarding to play than even the best of the plastic bodied models. However, to understand the reason for the recommendation (and the expense) of upgrading to a wooden instrument a few other points might be useful to bear in mind:

• Grenadilla (African Blackwood), the wood from which most instruments are made, grows very slowly and is in short supply, and the highest quality wood, with the greatest density of grain, is rarer still.
• The billets of wood (the rectangular blocks of wood cut to size from the tree trunk and limbs) are stored and dried for years and specially treated before being turned into instruments.
• While computer aided manufacture is now common for boring the billets, the cutting of tone holes and the making of keywork, much handwork for the fitting of keys, padding and finishing remains. The workers undertaking this work are specialists who have been highly trained for years.
• Most metal parts are silver plated to a high standard of finish and the turned wood is stained and polished.
• Even the least expensive model ranges carry these costs but corners are cut to help to hold down prices at the intermediate and upgrade levels. More expensive and professional quality top end instruments receive additional finishing by hand to balance resonance and playing response as well as careful final fine-tuning. Such instruments are quality control tested by experts prior to release for sale.
• Cases, accessories and mouthpieces supplied add to the overall cost.

Care tips and suggestions

Once you have invested in your lovely instrument you will hopefully wish to take good care of it. Developing a few good habits and taking on board a couple of tips will pay large dividends in long term performance and service.

• Handle the clarinet carefully during both assembly and disassembly. Apply cork grease whenever needed and when handling hold the instrument in such a way as to avoid damaging or bending the keywork.
• Warm up the instrument before playing by holding in your hands or placing under your arm for a time and never blow warm/hot air down the tube as this will risk stressing the wood.
• After playing use a swab to dry out the instrument including the recesses of the barrel and joints - moisture often accumulates here as well. Do this frequently during a practice session and draw the swab through slowly even allowing it to come to a stop for several seconds in the top joint to allow it to absorb the moisture within and not just 'spread it around'. There are many brands of swab available and using any are better than doing nothing but my favourite, for many reasons including the fact that I designed it, is the Dryer Swab available from Woodwind & Reed and Reeds Direct Cambridge ( www.wwr.co.uk/clarinet.../the-dryer-pull-through-bbaeb-clarinet.asp ) Follow the link to read about this product. It is pictured here: 

 

• If your wooden instrument is brand new you should consider being kind to it and playing it for short periods of time - say 30 minutes maximum at a session - then giving an hour or so to recover before playing again. Following this routine for a settling-in period of a month or so can avoid many future problems.
• If, despite your best efforts, a joint becomes stiff to assemble or remove then you may be experiencing a swelling of the wood due to moisture. A skilled repairer will be able to sort this problem out but if, in the meantime, you need to remove the offending joint then here is a tip: Hold the stuck parts firmly one in each hand and exert a rocking pressure in each of the four points of the compass to try to 'break' the tension of the wood-to-wood contact that has developed. Patiently repeat as necessary. You may have to leave the stuck portions for a period of time or even overnight to allow for drying out and then repeat the process. This almost always works but is of course best to avoid through regular use of your swab.
• It is not generally necessary to use bore oil on modern era instruments (post approx 1980), as their wood has usually been pressure treated. However, for older instruments or wherever the wood has begun to look 'dry' a light oiling with almond oil or a proprietary bore oil can be helpful. Do not apply in excess as the oil can run and will eat away at pads and attract lint.
• It is very good advice to have your clarinet checked over by a skilled repairer once a year as any instrument can suffer adjustment or regulation problems from the atmosphere, handling, compression and moisture whether used infrequently, regularly or heavily. 

Having said all the above it remains to add that playing and taking care of your wooden clarinet should be a great joy as well as a responsibility. The tips above should help you to increase the pleasure you experience from playing and reduce both the cost and frustration related to maintenance.


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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

Instrument Assembly Tips - Woodwind & Brass

We all are creatures of habit when it comes to assembling musical instrument(s). It is my hope that by observing the following tips one should be able to avoid creating problems and thereby help ensure the very best performance from the instrument. 

Note: Players have their own approach to assembly, sometimes informed, most often formed simply out of repetition. There is such a thing as 'best practice' in the assembly of an instrument. The bottom line should be to assemble (and disassemble) without putting delicate keywork or valves at risk. Thomas 

• Pay attention and handle with care - never in a rush 
• Avoid placing unnecessary pressure on key work or valves
• Keep all cork joints and valves/slides lubricated and metal cleaned
• Carefully clean following use

  

Instrument Assembly Tips

My suggestions are summarised below:

Flute – Make sure the tenon joints (headjoint and body tube) are clean and free of dirt and grease. Holding the main tube at the ferrule with the left hand, and the footjoint with the right hand positioned at the bottom with thumb on the low C-key, align the joints and twist the footjoint into place with a gentle back and forth motion. The pillar of the Eb/D#-key is usually positioned approximately 2/3 to 3/4  down the length of the D-key touch. Continue to hold the ferrule with the left hand and assemble the headjoint with the same motion. Align the headjoint by sighting down the flute from headjoint end after assembly and lining up the embouchure hole to proper playing position with the headjoint pulled out between 3-5mm for most playing situations.

Clarinet – Make sure the joints are well greased. Holding the upper joint between the LH fingers and palm (fingers where fingers go is an easy way to communicate this) and grasping the lower joint with the RH over the bottom of the joint with thumb closing the low E-key bring the joints together in a twisting motion rotating as you do so that the bridge key linking the RH rings to lift the LF Bb/Eb-key arm lines up properly. Continue to hold the clarinet in the left hand and add the barrel with a twisting motion then re-grasp the clarinet in the LH with the palm holding down both low E and F (F#)-key cups and add the bell with the twisting motion. It is traditional to line up the insignias when present but this is not vital. Finally add the mouthpiece to the assembled instrument pushing down while resting the clarinet bell on a chair or leg if desired. The reed can then be positioned with ease. The entire assembly (and disassembly) can be accomplished in under 10 seconds using this method.

Sax – Assemble the mouthpiece alone to the crook into rough tuning position first then add reed and ligature. Following that, grasp the instrument by the bell with the LH and taking the crook assembly with the RH over the top of the crook and with pressure exerted between palm and finger tips and slip a finger under the octave key arm near the pad (for alto and tenor sax). Then bring the crook and body together in a side to side rotating motion while watching that the octave key arm does not foul the octave key link tube on the sax body. This is to avoid inadvertently causing damage to the octave key extension are above the body or bend the delicate lever arm on the crook itself. When assembling double crook sopranos take care to hold the crook carefully between fingers and thumb at the octave key mount to better control the assembly and help avoid wrenching the octave key arm out of alignment.

Oboe – Make sure the joints are well greased. Grasping the upper joint in the LH between fingers and palm ‘fingers where fingers go’ and holding the lower joint in the RH with the bottom of the joint in the palm and thumb over the low B-key align the tenons and assemble with a small rotating back and forth motion while watching carefully that any link keywork is not damaged – ending up in proper alignment for G# regulation screw, conservatoire link keywork and duplicated trill key mechanism when present. This is often (but not always) achieved by lining up the pillar posts. Re-grasp the oboe bottom joint with the LH palm below the thumbrest and fingers curved over the feather key rod (the long key starting with the LH little finger touch and operating the low B and Bb-keys) and closing the RH finger keys and take the bell in the RH with thumb depressing the low Bb-key. With a rotating motion assemble and align the link key(s). Finally, add the reed last holding it with fingers squeezing at the thread and pushing the corked staple down into the receiver tube in the top joint. This is often made easier by resting the bottom of the bell on a chair and having both hands free to steady the oboe and insert the reed.

Bassoon – Make sure the joints are well greased. Take the wing joint in the RH with palm over the holes and finger tips in the ‘cut away’ on the opposite side. Insert the wing into the small hole of the boot joint and make sure the cut away portion is lined up with the larger hole (used for the long joint) in a concentric ark – make sure you do not damage the crook key link mechanism – it must finish up above the boot joint lever arm. Next grasp the long joint over the top end with the RH holding down the low B key with fingers and insert this joint to the boot joint larger hole being careful to not over rotate the joint and cause the low D#/C#-keywork to bash into the wing joint. Then rest the partially assembled instrument with the boot joint on the ground and holding the long joint with the LH over the B-key with palm grasp the bell joint with the RH placing the thumb over the Bb-key and assemble and line up the keywork. Add the ‘bird’ or handrest. The final stage of assembly is adding the crook (held between RH fingers and palm in the ‘middle of the bend’ to the top of the wing joint being careful to line up the ‘nipple’ with the crook key pad and add the reed last.

Brass –

Brass instruments are much simpler to handle and assemble but still deserve respect and consideration. Always try to avoid unnecessary pressure on slides and valves and take time to move the slides frequently to avoid them becoming 'locked in' or stuck. Take care to insert the mouthpiece with only a gentle twist into the receiver – never a tap!

Trombones are assembled with extra care with the slide lock engaged to avoid the outer slide shooting off out onto the floor and to avoid any chance of denting the slide itself. Once assembled the bell and slide should form an acute angle (at least a right angle) with the bell on the left for playing position and both the slide and the bell sections able to be held comfortably by the left hand palm, index and first fingers.

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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

Flute Regular Adjustment and Regulation

Regular Adjustment & Regulation - Flute

Proper handling, cleaning and assembly will minimise the occurrence of most problems but some regulations benefit from regular attention and are often required - even on new instruments recently supplied.

The basic tools required for adjustment are minimal but a good quality, small tip screwdriver is essential. A spring hook is desireable as well as is a 'pad slick' or small, flat blade knife.

1)   For me the most frequent regulation required is the screw adjustment under the LH 2^nd finger touch. This screw regulates the closure of the Bb key just above. Under a light finger pressure the Bb pad often stays slightly open and so the regulation screw must be adjusted to close the key. As a leak here will affect all notes below it frequently causes response problems and accidental 'overblowing' of harmonics.

2)   On split E mechanism flutes (most instruments in recent years) there is a similar adjustment required for proper closure of the G-key pads. The LH 3^rd finger key touch closes the ‘split’ portion of the G-key via an adjustment screw.

3)   The 1 and 1 or long fingering for Bb relies upon the correct amount of contact from the engagement of the RH 1^st finger key via its connection arm. This arm frequently becomes bent or damaged and also the cushioning felt or cork often compresses over time. Regulation is accomplished by bending the arm (raised via the touch of the LH A-key) usually downward until sufficient contact is made with the RH arm when the RH 1^st or 2^nd finger is engaged. This adjustment often requires several attempts to get right and is worth constant monitoring.

4)   The RH F# touch regulation is another adjustment often required. Closing the F#-key touch must hold down the correspondence keypad just below the G-keys and problems can be masked by other keys functioning well until F# is required on its own. Turn the regulation screw by small degrees until the F# keypad closes under a light finger pressure.

5)   On the footjoint the low C# and C are meant to be held down with just the touch of the low C-key without having to hold down the C#-key as well – but often this does not work properly. Usually the C# key has been bent through assembly handling or a small compression has occurred in the cushioning felt. To remedy this hold the C#-key pad down with your RH first finger and push up the C#-key touch piece with your LH thumb. In most cases a small movement is all that is required. If you go too far then to correct simply do a reverse bending of the C# key arm. Test by touching only the low C roller arm with a light pressure and tap to see if both pads are properly closing.

Finally it is worth checking that the headjoint cork is in the correct position. This often moves about due to unnecessary ‘twiddling’ of the headjoint crown, which pulls out the threaded screw and this the cork - out of position. Place the cleaning rod with the non-slotted end inside the headjoint to see if the inscribed line is centred on the embouchure hole. Do not try to remove the headjoint cork out the top of the headjoint as the tube is tapered. Instead reposition the cork with a combination of backing off of the crown a few turns and pushing the assembly in or winding the crown tighter to pull the assembly out a bit.

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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 Regular Adjustment and Regulation

This is an area of knowledge that every player should try to take on board. One never knows when a situation might arise where knowing what to do for a 'quick' repair may save the day. 

In my opinion questions or problems relating to pad seating and the air tightness of an instrument are best referred to expert repairers. Having said that, the greatest frequency of problems in clarinet functioning arises from bent keywork, the correspondence mechanism, and ring height adjustments - and these can be sorted out relatively quickly with a bit of background, confidence and practice.

The basic tools required for adjustment are minimal but a good quality, small tip screwdriver is essential. A spring hook is desireable as well as is a 'pad slick' or small, flat blade knife. Thomas

Regular Adjustment & Regulation - Clarinet

1)      The ‘crows foot’ key, found in the little finger RH cluster of keys, exists to link up the closure of the low E / B key to hold down the low F / C key, and is frequently becomes bent due to poor handling during assembly and / or compaction of the felt or cork that cushions the contact. If it is not working correctly the player will be unable to engage the LH E / B without also holding down the RH F / C (or the converse). This is very frustrating as the player expects the notes to work with only one little finger lightly applied. To correct - place your thumb under the crows foot and press upwards to return the keyfoot to correct position. If you go too far this can be reversed. Test by playing middle D and engaging the E / B keys alternatively with first LH then RH little fingers. The middle B should sound without difficulty. If marginal try playing middle B and adding and releasing the F / C key – if there is an improvement or loss of response you must readjust the crows foot key.

2)      The linking arm from the RH key stack through to the upper joint correspondence key for the ‘1 & 1’ Eb / Bb is often bent (either upper or lower arm) or the upper arm may have lost its cork / felt. This correspondence must be correctly adjusted in order to close the upper joint 2^nd key ring and pad when the RH stack keys are closed otherwise the ‘1 & 1’ fingering for Eb / Bb will not work or will at will speak very badly or be out of tune. After the key is in position and having ensured that the proper dimension of cork or felt is in place adjust this correspondence from the upper joint key arm bending up or down until the a light touch of the RH ring keys will operate the upper joint keys properly.

3)      All ring keys are intended to close connected / related pads with a minimum of finger pressure. Often pads will swell due to moisture absorption or may have collapsed due to playing pressure or develop too deep a pad seat over time and then an hairline leak of air can  result either between tone hole and pad or between chimney and the ring (under the finger). In either case the instrument will behave unpredictably and frequently squeak to an upper harmonic pitch. This can be corrected by the insertion of a thin metal knife blade (or pad slick – even a broken reed will do!) and push down either the pad (via the key) or raise the ring (or visa versa) depending upon what needs to be achieved - then re-test by blowing with light finger pressure and trying to replicate the problem. It you cannot then the correction was successful.

4)   The throat A key has a regulation screw that contacts the G# key. If this screw is over-regulated (turned too far) the A key will hold off closing and squeaks will follow. There should always be a clearance between the regulation screw contact and the bed of the A key. If this is not the case back off the G# regulation screw and perform a suction test on the top joint to see if the problem is then corrected.

Three additional recommendations:

Keep joints well greased - this simple action avoids so many problems related to assembly.

Alternative fingerings for the same pitch should sound the same – adjust vent height openings if they do not.

The register key sometimes vents too high and / or travels too far – reduce by bending the touch piece down towards the body of the instrument if this is so. Too low - bend the register key upwards till the result sounds correct for both middle Bb pitch and gives the correct upper register resonse.

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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