Brass Instrument Oiling, Cleaning & Greasing

Brass Instrument Oiling, Cleaning & Greasing

Regular lubrication of slides, tuning slides and valves is an absolute requirement for brass players who desire the proper functioning of their instruments. Without such regular care the likelihood of problems both in both the short and long term are dramatically increased. However, because it takes a bit of time to do and the consequences of not caring for the instrument are not fully appreciated, it is constantly overlooked.

Tuning slides should be regularly moved and never allowed to set in one position for too long as this will lead to them ‘sticking’. What happens is that the tubing exposed to air begins to degrade / oxidise and the inner stocking of tubing which is exposed to moisture is continually collecting food particles, saliva and a coating from condensation on the tubing as well which degrades the exposed brass. By lubricating all contact surfaces with slide grease and frequently resetting the tuning/slide positions both problems are reduced. If the slides becomes difficult to move then the accumulated residue can be removed by coating the tubing with valve oil or a degreasing agent, the tuning slide given a thorough rubbing to remove the build up, followed by a rinse with water, a wiping over and re-lubrication. 

The rubbing can be done with a textured scrubbing sponge such as might be used for cleaning of dishes or a fabric cloth of an open weave. Be careful to not leave scouring marks on the tubing as this contributes to an increase of problems in the future. The inside of the tuning slides can be cleaned using a lighter or thinner cloth threaded through a cleaning rod - a flute rod can be very useful for this. Coat the cloth with valve oil or a degreasing agent and insert and remove repeatedly followed by re-lubricating as necessary. Every now and then (some players choose to do this every 6 months or so) the valves may be removed and the entire inside of the instrument washed out - i.e. 'given a bath' - in warm, NEVER HOT, water and then the above cleaning process undertaken, followed by lubrication and reassembly.

Trombone slides are best lubricated with a proprietary slide cream and then sprayed with water afterwards. Remember to lubricate the ‘stockings’ as well – they are located at the very bottom of the inner slide and they receive the greatest friction contact with the outer slide. A properly lubricated trombone slide should feel practically weightless in use. Any grinding or hesitation in movement at all is undesirable. It is considered good practice to wipe off the cream occasionally and reapply so that an excess does not build up.

Trumpets / Cornets and all standard valved instruments require oiling to their valves almost every time they are played. Waiting until a valve begins to stick is asking for trouble. It is usually not necessary to fully remove the valve entirely from the casing - simply unscrew the top cap and lift the valve assembly up about half way out of the casing then squirt a few drops of valve oil on the valve surface and spin the valve around inside the casing while lifting up and down to distribute the oil on all surfaces. Locate the ‘click’ position of the valve guide and gently spin into place. Before the reassembly of the valve top cap put a drop of oil on the screw threads as well (good to do the same to the bottom caps at the same time) and they will function better. This is because valve oil, a petroleum based product, helps to stop the ingress of moisture and acts as a cleaning agent as well as a lubricant. In other words it functions both as a preventative and restorative treatment. Every now and then the inside of the casings will benefit from a thorough cleaning. Use a soft, lint free cloth over a dowel rod to run through the valve casing to remove any build up within. Wipe over the surface of the valve itself and re-lubricate.

Once all three valves are returned to their positions a test to see that they are in the correct place is to blow through the leadpipe while ‘twiddling’ all the valves rapidly up and down. At all times it should feel that air is flowing freely through the instrument. If you sense resistance at any point then one or more of the valves is probably out of ‘click’ position, possibly reversed, and you will need to check them all carefully and replace as necessary in the correct position.

French horn valves are a little different as they are ‘rotary’ valves and revolve on a bearing. It is best to use proprietary French horn valve, bearing and rotor oil when lubricating the valves and valve mechanisms. Valve oil is usually applied without disturbing the valve in the casing by adding a few drops through the port of a removed tuning slide. Do not over oil or you are sure to hear the ‘gurgling’ of trapped oil in the tubing when blowing. As horn players very frequently remove their tubing for the clearance of built up saliva / water they often have the cleanest and smoothest functioning valves and slides of any of the brass family. Their valves need to move especially easily as they are operated via a string or connection arm and not receive direct pressure from fingers.

 If through neglect or abuse valves or slides become very stuck it is best they be seen to by an experienced repairer who may have to soak the instrument in a cleaning agent or use force and or heat to get the troublesome slide or valve to release and then have to spend costly time cleaning and returning the instrument to good condition. Obviously this is best avoided.

It is worth keeping an eye on the condition of any 'spit valve' corks or synthetic pads as over time these can degrade and begin to leak. I recommend replacing these as soon as any sign of a problem is evident. This is far better than being let down during a performance!

Keep the outside of a lacquer finish instrument looking good by regularly wiping off fingerprints, grease and dust with a lacquer polish cloth. Keep silverplated instruments looking good by regularly using a silver polish cloth to remove tarnish and restore the finish to good appearance. I do not recommend using liquid polishes as they can leach into the slides and valves and could cause problems.

A final comment – When assembling the mouthpiece simply place gently in the receiver of the leadpipe and give a gentle twist to secure it. NEVER TAP ON THE MOUTHPIECE. There is no need for this and it will likely result in the mouthpiece becoming stuck requiring removal with a special mouthpiece removal tool.

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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

Who Might Succeed on the Bassoon?

Who Might Succeed on the Bassoon?

While it is possible to begin upon many types of instruments when a child is younger and smaller the bassoon is not usually consider to be one of them. Until the advent of 'mini bassoons' pitched in G even the innovative 'Short Reach' models which helped make key work manageable for smaller sized hands by reducing the 'finger stretch' required were based upon full size, standard weight instruments. Thus, by default, most players coming to the bassoon have traditionally done so from other woodwind instruments or none, rather than having done their early musical training on the bassoon.

This brings up a relevant question - Who, or rather, what instrumental background, is most likely to be conducive to success on transferring to or adding the bassoon to their instrumental portfolio?

The Recorder can be an excellent preparation for the bassoon as its origin in the pre-Baroque period, its repertoire and the experience of open holes and crucially its basic fingering patterns have many elements in common with the bassoon. Even not withstanding the absence of experience of blowing a double reed, though this must of course be learned, picking up the bassoon may be less of a challenge than moving say from a single reed instrument, where a very different relationship of embouchures is a distinct difference. The bassoon also offers a recorder player an avenue into more modern ensembles.

The Flute may also be a fine preparation for the bassoon as the nimble finger technique and the wide range of the flute with its own tricky cross fingerings for higher register notes is not dissimilar to the challenges a player will face with the bassoon. Again, the lack of experience blowing a reed may actually be a benefit as the unlearning of an embouchure and the muscle shapes based upon mouthpieces can take time. The suppleness of flute embouchure and the natural aural cavity shape and focus of air are likely to make the learning of the bassoon both a bit quicker and more 'natural'. There will almost certainly be some disruption to ones optimal embouchure on the flute but this may be a small price to pay for the reward of playing an 'endangered species' instrument instead of trying to distinguish oneself amongst a crowd of other flautists.

The Clarinet is often considered as a good training instrument for the bassoon as it utilises a similar pattern of fingerings for much of its lower range and a clarinettist is already used to reading both below and above the stave. It also shares the open holes and thumb register key operation (albeit in reverse!) but a word of caution - the optimal aural cavity shape required for the clarinet as well as the fixed, taught muscle formation of the embouchure are very different than the ideal shape and embouchure for the bassoon. Coming to grips with this very fundamental difference is crucial, and usually requires much patience and careful guidance from a knowledgeable and sympathetic teacher. Failure to understand the differences between the instruments often makes for poor results and a genuine loss of good clarinet habits as well. Experience of playing the bass clarinet can be quite helpful as this larger instrument, with its more flexible embouchure and altered aural cavity, is at least a step closer to the bassoon and the 'role' of the instrument in the band or orchestra is also more similar to the bassoon than that of the Bb clarinet.

The Saxophone can also be a possible successful precursor to the bassoon as the more relaxed embouchure and aural cavity shape used on the sax, especially the tenor and baritone sax, bears a close resemblance to that used on the bassoon. The finger system, though simpler by comparison on the sax than the bassoon, does have a logic that transfers reasonably to the bassoon and, not unlike the potential experience of the recorder player, provides one with an introduction to a repertoire and to ensembles that the saxophone alone only rarely is allowed to entry.

Perhaps contrary to expectations the Oboe is possibly the least logical of the woodwind family to lead onto or share time with the bassoon. This is principally due to the very different experiences of blowing these two double reed instruments. The oboe is highly reliant on a high-pressure reservoir of air emitted in small quantities through the narrow aperture of its reed. The bassoon, while also requiring good air support, uses a larger volume of air more quickly. The relative tension of the oboe embouchure differs greatly compared with the more relaxed bassoon embouchure and the dramatically different amount of reed used beyond the lip in proper blowing position are significant differences that few players mange to accommodate successfully - certainly not without a great deal of practice!

A Pianist or String instrument player may have a decent chance of successfully learning the bassoon as their original instrument is so demanding of finger dexterity and reading (in the case of the piano) or discipline, precision finger action and tuning (in the case of string instruments) that the demands of the bassoon may not seem a great challenge - and they have a advantage of not having to unlearn anything in the way of embouchure! Such players can concentrate upon getting things right the first time.

Finally, if a Brass player, especially a low brass (trombone, euphonium or tuba) player is interested in playing the bassoon and is willing to learn take of the challenge of the fingering system, the foreign blowing feel with the reed inside the mouth (instead of the lips vibrating) and the very different sound production of relying upon a double reed, there is little danger of them doing harm to the playing of their original instrument. They will likely already have experience of reading the bass clef and the embouchure of the lower brass instruments is much less likely to be disturbed by the bassoon. Players of the more defined embouchure higher brass (trumpet/cornet, french horn, tenor and baritone horn) are only very rarely likely candidates for playing any woodwind instrument, including bassoon.

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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

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

The Well Equipped Wind Player / Teacher Tool Kit

The Well Equipped Wind Player / Teacher Tool Kit 

A Suggested Shortlist

All experienced players know that things can go wrong with our instrument(s), sometimes at the most awkward moments - i.e. your favourite reed broken just before a performance, a valve suddenly begins to stick, a french horn valve cord breaks, a spring 'pings' out of place, a mouthpiece becomes stuck, a pad or screw falls out - the list runs on and on. Fortunately these 'crises' do not happen very often and regular maintenance reduces the frequency still further, however sometimes things just happen. Getting equipped with a basic knowledge of how the mechanism(s) of your instrument works and having the tools required to effect basic 'running repairs' is I believe essential to survive such moments for player, teachers and pupils.

Brass

For brass players the list of helpful tools is largely very familiar and includes an appropriate valve oil, an tuning slide grease, cleaning cloths, a length of cord and perhaps a valve brush. A further good investment, especially recommended for teachers, would be a mouthpiece puller as pupils frequently manage to get their mouthpieces jammed in the receiver. A cleaning/scouring pad with a gentle or moderate surface and a degreasing liquid can also be very handy to remove more stubbornly built up dirt and grit. A pull through cloth on a string such as a good quality clarinet swab can be very helpful in cleaning valves and a 'snake' with a brush to run through the leadpipe to clear blockages is also a useful item.

A tapered reamer for reshaping the shank of mouthpieces when they become dented or damaged is almost proper 'repairer' territory but might prove very useful especially when teaching youngsters. Keeping a small supply of self adhesive  'spit valve' corks handy may also save the day at some point.

Woodwind

For woodwind players the list of items and tools runs a bit longer but is just as vital. The obvious starting point is extra reeds for all but the flute players, then cork grease, safe reed storage holder of some kind (where reeds can be kept safe whether wet or dry), reed making and adjusting tools (for the double reed player), including a reed knife (for all reed players) and a reed cutter for the single reed player, cleaning cloths for both inside and out (of course), pad cleaning and pad powder paper, but some additional items will have a likely become very helpful in the case of more serious 'emergency repair' situations - i.e. appropriate size tip screw drivers of good quality, a spring hook or crochet hook for repositioning or tensioning springs, a 'pad slick' to assist in repositioning pads or bending keywork or rotating large screw heads (such as found on saxophone bell keys) when desired, Evostick or similar contact cement for sticking back fallen bits of cork or felt, heavy weight key oil to silence noisy mechanisms, 'cling film' or UPVC plumbers tape that can be used to wrap up and keep a problematic pad or cork in place long enough to complete a concert, blue tack, some rubber bands and string or thread to use for temporary repairs, and a cleaning brush such as an old fashioned shaving brush or paint brush to remove dust from delicate key mechanisms.

And then, perhaps entering the rightful territory of the instrument repairer, a pair of long nose pliers to grip rod screws when removing them, a small hammer,  a flame/heat source (such as a cigarette lighter) for use in heating up shellac to more properly replace a pad into a key cup.


Once equipped with such a selection of tools, care materials and the knowledge/experience to use them well, should the unexpected happen one has a very good chance of carrying on to complete a performance and follow through as required to a repairer to finish returning the offending instrument to top condition. Good Luck!

Should you be interested courses on instrument maintenance and just such 'quick' repairs are offered through Cambridge Woodwind Makers. I recommend visiting their site:

www.cambridgewoodwindmakers.org

to see the range of course offerings available. Highly recommended.

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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

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

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

Instrumental Design - Tuning characteristics and positions.

 

In the specialist shop environment I have frequently been asked to comment on the tuning characteristics of instruments, both recent and older vintage models. This is a summary of the knowledge I have gained, published manufacturer information and advice I have received over many years - much of it reinforced by my personal experience. Thomas

Instrumental Design – Emphasis on tuning characteristics and proper tuning positions.

Modern musical instruments, manufactured by responsible firms, have benefited from enormous investments in research and design consultation with artists. The overall standard of wind instrument manufacture has never been higher and the area of greatest improvement is to be found at the student level. While superior materials and expert craftsmanship contribute to making some older models highly desirable in the eyes of knowledgeable players the advent of computer aided design and assembly has brought about vast improvements in performance and pitch consistency for quality modern instruments across the board.

Tuning

Most markets around the world aim for A = 440 (UK, USA, Australia) or at most A = 442 (Europe). Austria is an exception where A = 444 or 445 is still a preference. Instrument manufacturers design their products to these pitches under ideal conditions of approximately 72 degree Fahrenheit / 22 degrees Celsius, (i.e. room temperature). In practice there remains quite a lot for the player to understand and to learn to utilise to help her or himself to accomplish truly playing in tune.

Comfortable, room temperature conditions are rarely found in performance situations but since these are what are utilised when designing the instruments an instrument must be able to be played both above and below the intended ‘ideal’ pitch in order to accommodate adverse conditions.

Flute – the head cork must be in the correct position – check this with cleaning rod line - it must show up in the middle of the embouchure hole. The headjoint itself is usually pulled out from the fully ‘pushed-in’ position approximately 3-5mm (sometimes more) depending upon blowing style, angle of air stream and embouchure. Too far out and the player is must compensate for flat low notes, splitting tones and a dull high register – too far in and the compensation is all downwards with the lip and blowing angle. Overblown octaves, harmonics of 12ths and double octaves should all nominally ‘line-up’ when tested. The player must then handle smaller adjustments for pitch accuracy and tonal colour. The general tendency of the flute is towards sharpness especially in the upper register and when playing loudly. Pitch will sag when playing soft without great care and good air support from the player.

NB – on all other instruments the tendency is for pitch to sharpen when playing more softly.

Clarinet – Instrument manufacturers intend that a clarinet, when pushed all the way in, should play sharp. Student instruments are usually supplied with shorter barrels to allow for tuning to fixed pitch instruments (i.e. a piano or keyboard) when played by inexperienced beginners. Therefore, when played by better players and especially once warmed up, the barrel should be ‘pulled’ usually 1.5- 2.5mm. This will bring most pitches into line but some additional ‘distributive’ tuning may be necessary. This is accomplished by pulling out at the middle joint and or bell in more extreme cases. Sometimes a particular mouthpiece will have a tendency to play sharp or flat and by changing this an otherwise ‘difficult’ instrument will come into line. The Vandoren series 13 range was created with the desire to help players ‘bring down’ pitch to A = 440 where necessary. Professional players with well-developed embouchures and settled playing concepts often use longer barrels in order to create the most stable possible pitch platform throughout the full range of the instrument. Key/pad venting height is a factor in the evenness of both pitch and tone colour and must be sensitively examined for optimal playing. The clarinet’s general tendency, unique among the woodwind family as it over blows at the 12^th rather than the octave, is towards flatness, with the exception of the throat tones which are often sharp and thin and the upper register that is often played with too much lip pressure and can tend towards sharpness. Middle Bb and upper C3 are particular concerns for many players. The addition of fingers of the right hand is often done to help the tuning of and enrich the sound of throat register A and Bb.

Oboe – Most oboists count on their oboe to be as stable as possible so that their tuning is done with the reed, often choosing the staple length and the overall tied length of the reed blades specifically to match their instrument. The oboe is highly flexible and playing fatigue and the condition of the reed will continually affect pitch. In the correctly assembled position the reed should be pushed completely into the receiver socket. This is the optimal playing position. It is best practice to avoid pulling out the reed to try to adjust pitch downwards as this creates other problems by introducing a ‘bulge’ to the bore where the staple has been pulled back out of the socket. The player handles small adjustments for pitch and tonal consistency with the position of the reed on the lip and air support. The natural tendency of the oboe is toward sharpness especially as tiredness sets in. Reeds tend to drop in pitch as they tire or close up. The upper register, due to the difficulties of production, is often quite sharp and care must be taken. Too heavy a reed will lead to sharpness due to the effort of involved in producing a tone – too soft and the sound will be thin and pitch will drift downwards.

Bassoon – The bassoon is such a long instrument that corrections made by pulling the crook out from the receiver socket are virtually pointless. The player usually has a choice of crook lengths provided to them with their instrument and most will use a number 2 (crooks are available from a nominal 0 to 3, the higher number being longer and therefore providing a lower pitch level). Distributive pulling at the joints can help in a severe tuning situation (being sharp but needing to play at a lower pitch) but keywork linking across the joints is a limitation as is the undesirable introduction of a gap in the bore. Like the oboe pitch adjustments are often made at the reed and this can be successful for the shorter tube notes, principally E and F, but notes with a longer sounding tube length will not benefit nearly as much from reed adjustment alone. The tendency of the bassoon is towards sharpness, especially in the low register. This is an acoustic choice for if the instrument were absolutely to pitch in ideal conditions it would be impossible to bring up the pitch of the long tube low notes when cold. Players become used to keeping pitch down by playing with a relaxed embouchure, internal tongue position in the oral cavity and solid air support.

Saxophone – The saxophone has very flexible mouthpiece positioning on the crook and the resulting pitch is highly dependent upon good embouchure and air control from the player. There are known acoustical compromises in the tuning of the sax but as the tendency is towards sharpness the player must be very careful not to start with the mouthpiece position too far on the crook cork as all notes will then be sharp, especially the high register. One should not pull off too far either (a decision often prompted by an attempt to compensate for a poor embouchure understanding and improper air support), as this will distort the shortest notes disproportionately and throw off the balance of the response throughout especially the low register. Players must work to learn to support well and relax the embouchure as much as possible and when this is well understood the instrument settles into a manageable and predictable pattern. Tuning is highly influenced by mouthpiece selection and high baffle jazz mouthpieces in particular often require great skill from a player to be able play well in tune, as they will tend to tune more sharply.

Valved Brass – If an higher range brass instrument (trumpet or cornet) has been properly manufactured it will play it’s intended ‘ideal’ tuning pattern with little mechanical adjustment beyond a pull of the main tuning slide and secondary pulls for specific notes at the 1^st and 3^rd slides. The player must work within the acoustical limitations of the instrument to compensate with the lips for small idiosyncrasies. The larger the instrument the greater some of the known acoustical distortions and for euphonium and tuba especially additional valves, compensating mechanisms and tubing lengths are often added or manipulated to assist in obtaining better tuning in all registers, especially the low register. The french horn, being a very long tubing instrument, is played almost exclusively in the mid to upper range of the available tones and as a result produces quite a stable pitch platform. Never the less it does have some very distinctive tuning requirements. It is fair to say that well made instruments are intended to be able to play in tune with a consistent, minimal distributive pull of the valve tuning slides as long as the player plays with a good embouchure and airstream.

Trombone – Aside from a standard pull of between 1–2cm at the main tuning slide all the rest of the tuning for a well-made trombone is accomplished between the slide positions, the player’s embouchure and solid airstream. Instruments have their own individual acoustical ‘quirks; but of all the brass and woodwind instruments the trombone has the greatest ability to be played ‘in tune’ with few mechanical limitations. The trombone relies more than anything on a player’s hearing and relative tuning recognition for correct pitch placement as well as the ability to consistently supply the instrument with the correct air and embouchure balance.

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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

Care of Brass instruments Oiling / Greasing

This is my overview of care suggestions for all the brass instrument family. It has been a training guide for non-brass players as well as a 'best practice' suggestion for players and teachers. I hope you will find it useful. Thomas

Care of Brass Instruments: Oiling / Greasing

Regular lubrication of slides, tuning slides and valves is an absolute requirement for brass players who desire the proper functioning of their instruments. Without such regular care the likelihood of problems both short and long term are dramatically increased. However, because it takes a bit of time to do and the consequences of not caring for the instrument are not fully appreciated, it is constantly overlooked.

Tuning slides should be regularly moved and never allowed to set in one position for too long as this will lead to them ‘sticking’. What happens is that the tubing exposed to air begins to degrade / oxidise and the inner stocking of tubing exposed to moisture is collecting food particles, saliva and a coating from condensation on the tubing as well. By lubricating all contact surfaces with slide grease and frequently resetting the tuning/slide positions both problems are reduced. If the slides becomes difficult to move then the accumulated residue can be removed by coating the tubing with valve oil or a degreasing agent, the slide given a thorough rubbing to remove the build up, followed by wiping over and re-lubricating The rubbing can be done with a textured scrubbing sponge such as might be used for cleaning of dishes or a fabric cloth of an open weave. Be careful to not leave scouring marks on the tubing as this contributes to an increase of problems in the future. The inside of the tuning slides can be cleaned using a lighter / thinner cloth threaded through a cleaning rod - a flute rod can be very useful for this. Coat the cloth with valve oil or a degreasing agent and insert and remove repeatedly followed by re-lubricating as necessary. Every now and then (some players choose to do this every 6 months or so) the valves should be removed and the entire inside of the instrument washed out - i.e. 'given a bath' - in warm, NEVER HOT, water and then the above cleaning process undertaken followed by lubrication and reassembly.

Trombone slides are best lubricated with a proprietary slide cream and then sprayed with water afterwards. Remember to lubricate the ‘stockings’ as well – they are located at the very bottom of the inner slide and they receive the greatest contact with the outer slide. A properly lubricated trombone slide should feel practically weightless in use. Any grinding or hesitation in movement at all is undesirable. It is good practice to wipe off the cream occasionally and reapply so that excess does not build up.

Trumpets / Cornets and all standard valve instruments require oiling to their valve almost every time they are played. Waiting till a valve begins to stick is asking for trouble. It is not necessary to fully remove the valve from the casing entirely - simply unscrew the top cap and lift the valve assembly up about half way out of the casing then squirt a few drops of valve oil on the valve surface and spin it around inside the casing while lifting up and down to distribute the oil on all surfaces. Locate the ‘click’ position of the valve guide and gently spin into place. Before the reassembly of the valve top cap put a drop of oil on the screw threads as well (good to do the same to the bottom caps at the same time) and they will function better. This is because valve oil, a petroleum based product, helps to stop the ingress of moisture and acts as a cleaning agent as well as a lubricant. In other words it functions both as a preventative and restorative. Every now and then the inside of the casings will benefit from a thorough cleaning. Use a soft, lint free cloth over a dowel rod to run through the valve casing to remove any build up within. Wipe over the valve surface of the valve itself and re-lubricate.

Once all three valves are returned to their positions a test to see that they are in the correct place is to blow through the leadpipe while ‘twiddling’ all the valves rapidly up and down. At all times it should feel that air is flowing freely through the instrument. If you sense resistance at any point then one or more of the valves is probably out of ‘click’ position, possibly reversed, and you will need to check them all for the correct position.

French horn valves are a little different as they are ‘rotary’ valves and revolve on a bearing. It is best to use proprietary French horn valve, bearing and rotor oil when lubricating the valves and valve mechanisms. Valve oil is usually applied without disturbing the valve in the casing by adding a few drops through the port of a removed tuning slide. Do not over oil or you are sure to hear the ‘gurgling’ of trapped oil in the tubing when blowing. As horn players very frequently remove their tubing for the clearance of built up saliva / water they often have the cleanest and smoothest functioning valves and slides of any of the brass family. Their valves need to move especially easily as they are operated via a string or connection arm and not receive direct pressure from fingers.

If through neglect or abuse valves or slides become very stuck it is best they be seen to by an experienced repairer who may have to soak the instrument in a cleaning agent or use force and or heat to get the troublesome slide/valve to release and then spend have to spend costly time cleaning and returning the instrument to good condition. Obviously this is best avoided.

A final comment – when assembling the mouthpiece simply place gently in the receiver of the leadpipe and give a gentle twist to secure it. NEVER TAP ON THE MOUTHPIECE. There is no need for this and it will likely result in the mouthpiece becoming stuck.

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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