Thoughts on Clarinet Double Lip Embouchure

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

Question:

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

SDR Reply:

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

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

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

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

The potential benefits of a double lip approach are:

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

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

·        An increased awareness of all elements of tone production

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

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

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

Possible downsides include:

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

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

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

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

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

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

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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful. 

Thomas Dryer-Beers

Recommended Clarinet 'Care Kit'

The Clarinet Care Kit

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

Thoughts - 

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

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

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

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

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

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

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

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

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

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

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

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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful. 

Thomas Dryer-Beers

Tips on Switching Between Clarinet and Saxophone

Tips on Switching Between Clarinet and Saxophone

from The Single Reed Doctor Column, CASS Article December 2016

In response to a question posed by a member of the Clarinet and Saxophone Society of Great Britain I the reply below. I hope it might also be of interest and helpful for Wind Player Advice readers.

Question:

I play both clarinet and saxophone but find it difficult to move between the two. The sax feels very open, requiring a lot of air, while the clarinet feels tight and pressured. I have recently started playing in shows and need to improve my quick changes between the two. Is there anything I could do to my set-up that would make this easier?

My 'Single Reed Doctory' reply:

This is a very good and multifaceted question and one that I am afraid does not have a quick or straight forward answer. Some players never seem to need help with this. They just ‘get it’ and manage to double sax and clarinet seemingly without much effort. Most players need to examine this question in greater detail and the process of examination should prove useful for anyone wishing to play their best.

You will find examples of equipment intended to make switching between clarinet and saxophone easier but in my opinion this route does not help in the long run as it can obscure the issue. It is fair to say that moderate tip openings and standard chamber mouthpieces are likely to make for easier control of both instruments possible - therefore you may wish to avoid extremes - however, leaving equipment aside - a thorough understanding of the requirements for good playing on each instrument is the best way to develop your control and to achieve a rewarding, characteristic tone on both clarinet and saxophone(s).

The clarinet has a cylindrical bore and all saxophones have conical bores. This central difference contributes to not only how each instrument overblows but how it responds. The reason the sax feels so ‘open’, something quite disorienting to many clarinettists, is that the amount of air required to fill the tube is highly variable depending upon the length of tube in use and the register. The clarinet bore, to many saxophonists, feels quite ‘stuffy’ and resistant - or pressured as you suggest. This is largely due to the more consistent taper dimension of the bore (varying significantly only at the bell) and the requirement of a uniformly higher pressure throughout the entire range of the instrument regardless of the fingered length of the tube.

In my teaching I have used the concept of the Two Q’s when trying to explain this and perhaps you might find this helpful.

• The Quality of the air pressure must remain the same for both instruments, at all times and at all dynamics.

• The Quantity of the air used varies depending upon the range, register, dynamics and resistance of the instruments. This is much more obvious on the sax than the clarinet. Understanding and applying these concepts can transform a players experience.

The mouthpiece used must allow a player to be comfortable whilst utilising the best air support they can provide without requiring an excess of embouchure pressure. The appropriate resistance to a well supported air column is not just to be found at the embouchure surrounding the mouthpiece and reed but the airstream is also focused and shaped in the oral cavity via the position of the tongue. In my experience the tongue is uniformly arched higher at the back of the oral cavity on the clarinet and the progressively positioned slightly further forward in the cavity as one moves to saxophones and larger clarinets.

Time spent learning how the ‘flick the switch’ and instantly apply the appropriate blowing techniques to each instrument will mean that a player can more quickly and consistently achieve a more satisfying and convincing performance even when switching in a show environment.

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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

Instrumental Tuning and Design - Proper Tuning Approaches

Instrumental Tuning and Design - Proper Tuning Approaches

Modern musical instruments, manufactured by responsible firms, have benefited enormously from investments in acoustical 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 perform at 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 at the design stage 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 frequently 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 Bb2 and upper C3 are particular concerns for many players. The addition of fingers of the right/left hand (sometimes referred to as resonance fingering) is often done to help the tuning of and enrich the sound of throat register A2 and Bb2.

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, affecting as they do only the shorter wing joint notes, 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 general 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 moveable 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 will be 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 and is prepared to make further subtle adjustments with the bell hand.

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. Some 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

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

Placement of Single Reeds on Mouthpieces and a Useful Test

Placement of Single Reeds on Mouthpieces and a Useful Test

Over many years customer have regularly asked me how best to place their reeds on their mouthpiece. Since the reed and mouthpiece combine to vibrate the air column this actually quite an important question. 

Following soaking, the reed should be positioned on the mouthpiece with the reed lined up evenly distributed on the flat cutaway that is the mouthpiece ‘table’ with the tip of the reed aligned with the end of the tip rail of the mouthpiece. When examined perpendicularly you should be able to see a hairline of the tip rail over top of the reed tip in standard playing position. Once you are satisfied with the positioning hold the reed with a thumb and carefully place the ligature over top. Lower the ligature until it sits in a position where there is an equal amount of the ‘bark’ of the reed visible on either side of the ligature. Tighten the screw(s) (where present) finger tight but do not over tighten them as this can damage the reed fibres and inhibit vibration.

If you wish to check the success of your placement you can perform a suction test as follows to see if the reed is ready to use:

• Wet the palm of your hand and place the shank end of mouthpiece end on your palm

• Take the tip of the mouthpiece and reed in your mouth, wrap your lips around the mouthpiece and create a vacuum by sucking aggressively and repeatedly to remove air from within the mouthpiece

• When you feel this has been achieved release your lips and the reed should hold shut for a few seconds (you may even hear a ‘hissing’ sound) before it ‘pops’ open with a noise, as the vacuum is lost.

• If you do not get a ‘pop’ first try again – If after repeated attempts your reed does not hold a vacuum it may be miss-aligned, warped or damaged. If it seems to take a very long time to ‘pop’ then if may be fatigued and ready to be changed.

It takes a bit of practice to gain ‘the knack’ of this test but it can be quite useful in confirming that the set-up is likely to work well.

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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 & Saxophone Pads and Repadding CASS Article

Clarinet & Saxophone Pads and Repadding

I was asked the question below about pads last month for my Single Reed Doctor column in the Clarinet & Saxophone Society of Great Britain ( CASS ) magazine and following some time for thought and discussion I have tried to answer in general but, hopefully, still useful terms.

There are so many different pads on the market now. Why do different makers use different pads, and which should I choose if I get my instrument repadded?

My reply follows:

Since for most players a total replacement of pads – a ‘repad’ – is a rare occurrence a logical piece of standard advice would be to replace single or even multiple worn pads with whatever type of pad was previously used. Combining or mixing a variety of pads is not usually recommended. Your repairer should be able to advise you and employ the appropriate pads. However, on the occasion when a complete repad is required one really does have a choice to make.

The construction of musical instrument pads is quite a complicated business involving different layers of materials to provide the desired combination of stability, rigidity, flexibility, air tightness and durability. The quality of the finished pad also can vary greatly with more expensive pads (using better materials) often well worth the additional cost. Pads are usually referred to by the material used on their surface and there are indeed many options available from frequently used ‘skin’ pads traditionally made from fish bladder, to various types and qualities of leather (white, brown, black), cork, and numerous synthetic surface material pads. Virtually all will be found successfully in use depending upon both the quality of the materials used to create the pads and the expertise and familiarity of the installer (repairer) in their fitting. All pad types require experience and practice in their fitting to perform at their best. Do bear in mind that manufacturers choose and supply the type of pads they use in their new instruments for a variety of different reasons including but not limited to: durability, ease of installation, cost, tradition, artistic input, availability, air tightness and appearance.

Let’s consider clarinet and saxophone options separately as they have fundamentally different requirements from their padding.

Clarinets have traditionally been padded in either skin or leather pads. In my experience the performance of good quality pads made from either material, expertly fitted, is very similar and can be highly satisfactory. Leather pads are anecdotally often credited with being more slightly more durable and tending to mellow a tone quality when compared with skin pads. They may also be more forgiving for seating to tone holes. Cork pads are sometimes used for smaller upper joint tone holes but the successful employment of cork depends hugely the experience of the repairer doing the fitting  and on the quality of the cork itself as high quality ‘clean’ cork is increasingly difficult and costly to obtain. Cork is not suitable for lower joint pads so by default a less desirable ‘mix’ of pads ends up being used. New synthetic material pads have the opportunity to be more airtight than any natural product but, also anecdotally, have a tendency to acquire ’tackiness’ on their surfaces, which, while this can be addressed by cleaning when it occurs, can be very annoying.

For saxophones the widely respected quality of Gordon Beeson leather pads has set a standard of comparison for all padding options ever since their introduction in the 1940’s. Older instruments, dating to the 1940’s and earlier, were occasionally padded in white leather with inadequate backing materials and the quality of their performance varied widely. There were some examples of excellent pad performance but also much indifferent or poor performance as well. Skin and cork pads have never been routinely used. For some players synthetic pads may have a genuine role to play for use in smaller left and ‘palm key’ tone holes which attract a great deal of moisture and they are certainly capable of great durability. However they can be problematic for stability when used in pad cups covering larger tone holes and on pads that rely upon spring action to open, specifically the G# and low C# pads, as a result of the propensity for the surfaces of synthetic pads to become ‘tacky’ and stick. For the saxophone player the additional choice of reflectors, plastic or metal, flat or domed, also arises and one may wish to consider these options carefully as there are different sound qualities also attributed to the choice of reflector. Domed metal reflectors tend to brighten a tone and aid projection whereas plastic or ‘flat’ reflectors affect or ‘boost’ the tone far less.

My suggestion would be to hold a conversation with the repairer who will be entrusted with repadding your instrument to learn their opinions and what experience they have with the different pad options and their properties. Where it seems desirable I would advise one stay with what has worked well your instrument in the past. In general avoid any temptation to ‘mix’ pads. If you do wish to try something new and you discover that your repairer is less or even unfamiliar with the type of pad you are considering you should precede with caution – they could find themselves learning how to handle and seat the pads you that have specified with no prior experience and the final result may not be what you imagined. Hopefully the combination of an appropriate pad choice that is suitable for your future needs and expectations as well as the expertise of your repairer will result in an inspirational ‘fresh start’ and long lasting good performance from your instrument.

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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

What is all the FUSS ABOUT REEDS - Clarinet & Sax

What is all the FUSS ABOUT REEDS - Clarinet & Sax

I strikes me now, as I am now approaching my senior years, that clarinet and saxophone players do seem to fall into a couple of different categories regarding their attitudes toward reeds. I do not believe that  any player would wish to deny the importance and potential for both great satisfaction or disappointment with any reed brand, strength or type - after all we cannot play our instruments without a reed - but the range of behaviour evidenced by players towards their reeds is very great indeed.

I find it interesting to note the various ways in which reed manufacturers present their products for consumption in diverse markets and even more diverse customers. Over the years I have developed much sympathy for reed manufacturers when I think of the broad base of players whose requirements they are attempting to satisfy. Perhaps you might wish to take a moment to reflect on this subject - or even discuss it with your colleagues and musician friends - and see where you stand.

Do you fall into one or more of the following groups?

The LOYAL DEVOTEE - has played the same products and strengths for many years and perhaps even based the purchase of successive mouthpieces or instruments always relying upon the same reeds. Has little idea what is available in the 'wider world'.

The SEARCHER - has tried everything and wishes to know all about new products. May never have settled on any product for any length of time and, despite having tried many products, remains dissatisfied.

The COMPLAINER - has a favourite reed product and wishes to continue to play these reeds even though 'they do not play like they used to' and seems uninterested in experiencing alternative products.

The ACCEPTER - plays on just about anything, no matter how old / broken / dirty or difficult to use even though they know that their reed is not helping them to play their best.

The ADJUSTER - is quite happy to 'fiddle about' with reeds endlessly and cannot settle down to play or practice until every last adjustment has been made and is rarely satisfied.

The INSTANT performer - wishes every new reed selected to play perfectly straight out of the box and is disappointed when any reed displays any variation.

The PATIENT player - accepts that their reeds will never play well at first and is willing to work with a reed(s) for ages before it seems to finally be 'right'. Sometimes never experiencing their reed(s) in an optimum state.

The EXCUSER - not really interested in sorting out his/her reeds as blaming a reed for poor performance is too attractive an option. After all, if a reed works perfectly then he/she would have to look at themselves with greater scrutiny.

The IGNORANCE IS BLISS - by not taking an interest, not questioning the status quo, or never having learned from or observed others, this player has no idea (yet!) how the right reed for their needs could transform their playing.

I am not ashamed to admit to having evidenced 

most of the above behaviours at one point

 or other in my career. 

And now, as a result of my efforts, interests and enquiries, mistakes made and of course benefiting from hindsight and years of experience gained, I feel that I do now have the 'bigger picture' more clearly in my mind. I feel that the knowledge that I have gained through trial and error and after much listening to others as well has been very worthwhile not least because:

• I believe that I can 'make the most' out of almost any product
• I can get myself out of trouble when necessary 
• I know what a good reed is capable of and I know when I am being let down
• I believe that I can 'decipher' the terminology in product descriptions and understand essential information 
• I no longer feel threatened by new products - if they are not for me I do not bother - if they might be useful I give them a try
• I understand that all strengths are not created equal
• I understand and accept that not all products will work on my equipment
• I am open to surprises!

My blood pressure now only rarely rises in reed exasperation. My practice sessions have become more productive. My teaching is more informative and I feel that I am able to demonstrate problems and consequences more effectively. An extra benefit is that my conversations with other musicians are more varied and interesting now - reeds are almost never mentioned as they are considered too boring!

I wish you all well in your own progress to a better understanding of reeds and I hope you will find increased enjoyment in your playing as a result.

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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 Response and The One Handed Scale

Clarinet Response and 'The One Handed Scale'

One of more challenging early stages of clarinet learning is gaining control of the upper clarion register, specifically G3 at the top of the staff through to C3 and the first notes entering the true upper range, C# and D. I certainly remember to this day how these notes at first felt very 'wild' and later I well remember struggling with both consistent and accurate pitching and placement of this range. I wish I knew in my youth what I know now but that was not available to me!

As a teacher I feel that a great opportunity is almost always missed when introducing this register to a younger player. The mistake so often made is introducing the expectation that the upper register plays simply with the addition of the register key to the lower register fingerings. Reliance on the register key alone, while possible with reasonable effort, does not prepare the player (of any age) for the sympathetic placement and shaping that should take place in the aural cavity in order to play and tune this register most reliably. This is best accomplished by understanding that the register key is an aid to sounding these notes but it's performance is not automatic.

In my own regular practice and in my teaching now I use the production of harmonics to make sure that I have correctly shaped my airstream and to play this upper register properly. With a higher, lifted placement of the tongue, and careful application of a sufficiently pressurised airstream, it should be possible to sound the entire clarion register by simply repeating the lower chalumeau register fingerings (low E through open G2) - without using employing the register key.  Admittedly this takes a bit of practice and a some patience of course but it teaches a number of very useful concepts

• 'hearing' and anticipating the feel of upper notes before they are begun
• correct balance between reed strength and embouchure pressure
• increased reliance on air support
• decreased expectancy on lip pressure as a part of the playing of 'high' notes
• stability and predictability of pitch
• increased resonance for all pitches as unnecessary lip pressure is discarded

If regular practice of these 'overtone' harmonics is encouraged early enough many of the problems of producing the upper register tones simply disappear.

Even if a player has long ago succeeded in understanding this register there is almost certain to be a time when, on his/her Bb clarinet, or more likely an A clarinet, there will be an entrance or a sustained quite passage on a note in the range A3 through C3 where 'something' does not feel right or the notes 'crack' downwards or simply not seem to want to behave. When this occurs it is very unnerving and I well remember how helpless I felt when I experienced this phenomenon for the first time. I sought to find answers in the regulation of the instrument, in changing the key heights venting, experimenting with reed strength and mouthpiece changes - all to only limited benefit. Years later I was introduced to learning to play overtones as above and to 'The One Handed Scale' and these approaches improved my playing greatly.

I was introduced to 'The One Handed Scale' by clarinet designer, acoustician and performer Tom Ridenour and I wish to acknowledge him and thank him for the time and interest he displayed in showing me this. The production is simple and I would encourage all clarinet players to give it a try:

Staring with long fingered middle C2, utilising the RH F/C key play the first 5 notes of a C major scale exactly as normal - including use of the register key. When ready to play the 6th note, A3, replace your fingers on the starting fingering for C2 and 'think' and shape higher, as if to 'miss' the note deliberately, and if you are fortunate, you will be able to sound an admittedly false sounding A3 as an harmonic of C2. For the next 2 notes simply finger middle register D2 and Eb2 while continuing to 'think' and 'shape' for the harmonic register. You will have played your C major scale and only have used your right hand! 'The One Handed Scale'.

If you find the A3 difficult to sound you are not alone. Acoustically it is the weakest harmonic note of this range and requires the most shaping from the player. Sometimes it is easier to access it and learn the proper feel to expect by descending from overblown fingered Eb2 (sounding C3) going to fingered D2 (sounding B3) and then working to settle into fingered C2 (sounding A3). Experiment with tongue, air and lip positions to improve the pitching and resonance of these notes. The difference when one returns to 'normal fingerings' is remarkable and can make a huge difference to how you feel about this register. If you have enjoyed this process you can, of course, expand upon the ideas expressed above and apply the principal of overblown harmonics to a number of other scales and passages where this sort of practice might help improve the results of 'normal' playing later. It can be great fun and a useful challenge for anyone. Best wishes.

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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

Cracks In Wooden Instruments - Do They Matter? CASS Article

Cracks In Wooden Instruments - Do They Matter?

The vexed question of cracks in wooden clarinets and oboes arises frequently and can be the cause of much anxiety for players or potential purchasers of instruments. A bit of background may help to bridge a gap in the perception of cracking, its reason for occurrence and its relevance to performance. I wish to state that this blog entry is a sharing of information and a relation of my experience over many years - it is not a scientific treatise and should not be interpreted as such.

The African blackwood Grenadilla, latin name Dalbergia melanoxylon, or mpingo in Swahili, which is chosen for most wooden instruments is among the densest wood available for instrument manufacture. It has been the wood of choice for centuries, prized for its stability, workability and resonance for the purpose. It is still a piece of wood. The wood has a grain and the grain is a natural occurrence.  Blackwood grows very slowly (hence its density) and with a very close grain that helps to resist motion and absorption of moisture. The best wood is quite rare and supplies are diminishing worldwide so manufacturers take great care of their wood stocks and use them very efficiently.

Once the wood is harvested, billets are cut from which the joints, barrels and bells will eventually be manufactured. Since the late 1970's until the present day the billets are subjected to a heat and pressure treatment by the manufacturers to stabilise them and further reduce the likelihood of cracks occurring. For instruments manufactured before this technology came into use oil soaking was employed to the same end.

FYI - This is why oiling is not often recommended for modern instruments as it tends to be ineffectual and is more likely to cause damage to pads than real protection to the wood. For older instruments oiling with almond or linseed oil can be very helpful but the caveat of taking great care not to oil in excess must be observed. Oil will shorten the life of any pad with which it comes into contact. If you do wish to oil an instrument use a dedicated swab, chamois leather if available, and only apply a small quantity of oil at a time. Oil the inside of the instrument, as this is where the oil has a preventative role stopping moisture absorption. If the outside of the instrument has a 'tired' or dry look about it some oil may be applied to 'liven up' the appearance but do exercise caution.

Should the wood grain on the surface of an instrument 'open up', either following use or due to climate changes, it is a sign of the wood releasing tension and if this is sorted out by a skilled repairer, usually by the application of modern 'super glue(s)', the wood will actually be more stable than previously and the repaired 'crack' will be made invisible. If the crack opens up to a greater extent and goes through the wood entirely it may require more extensive attention including the possibility of 'pinning' to stabilise it - this is the more serious insertion of a screw mechanism into the wood which is used to draw together the walls of the crack. Prior to the advent of super glue technology this was the common practice to address cracks. If the crack goes through to the edge of a tone hole sealing with glue may work and should be tried initially but it may be necessary for an experienced repairer to insert a liner, usually made of plastic, and remake the tone hole itself. Once this is done the instrument should perform 'as good as new' and will be even less likely to have a similar problem in the same are in the future.

I have played on clarinets and oboes that have had cracks both sealed and pinned for many years with no loss of performance or my confidence in them. When a crack happens on a new instrument despite the best efforts of the manufacturer, if it still under warranty (typically a 1 year warranty is standard with exceptional manufacturers offering a 2 year warranty against cracking) in most cases the instrument will be received back by the manufacturer to have the crack assessed for either repair or  joint replacement. If an instrument is out of warranty an experienced repairer should be able to offer the same attention and the same likelihood of a successful repair to the instrument.

Players can dramatically reduce the occurrence of cracking by observing some very simple care suggestions:

• Use the swab frequently during practice sessions and performances
• Pull it through slowly to allow for absorption of moisture - do not 'whip it though'
• Blow across opened upper joint tone and trill key holes to dislodge moisture
• Clean the inside of joint recesses to remove accumulated moisture
• Use cork grease regularly as this helps both assembly and to seal joint tenons
• Avoid moisture extremes wherever possible
• Avoid 'stressing' cold instruments with warm air, always bring to room temperature before use
• Never store instruments in cold conditions
• Avoid direct sunlight or any heat source that could damage the wood
• Examine your instrument regularly but without anxiety - just get to know it's natural condition
• If a grain is noticed to be opening up have it seen to straight away and you will likely have no further trouble

In my experience it is extremely rare that a grain 'crack' has not been able to be successfully and cosmetically satisfactorily corrected. I have taken more than a little solace in the knowledge that should a crack happen and been sorted out my (an) instrument is actually better off and more stable than it was previously when the 'crack' was waiting to happen. It is a bit like the adage 'Whatever does not kill you makes you stronger' and but another example for the musician to heed.

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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 

Oiling a Wooden Clarinet or Oboe - A Discussion CASS Article

Oiling a Wooden Clarinet or Oboe - A Discussion

There are many opinions 'out and about' regarding the advantages or necessity of oiling the bore of wooden instruments, particularly clarinets and oboes. Some proponents are adamant that oiling must be done routinely or accept an increased risk of cracking in the wood. Others say never to oil as the wood will not absorb the oil applied. I have not noticed many contributors who try explain the contradictory advice. This is my brief summary attempt to address this. (for a more detailed discussion about care please see my blog entry Owning and Caring for a Wooden Clarinet, date of entry 27th Nov, 2015)

The coating of African Blackwood (Grenadilla), the material from which the bodies of most wooden clarinets and oboes are constructed, has been a practice of players for many years. When Grenadilla was first adopted for instrument construction oil was applied as a sealant to keep the wood from suffering the effects of moisture absorption through playing and to maintain, as much as possible, a stability in the wood to resist changes in both temperature and humidity levels. Since even this most dense wood is still a natural product it has a grain which is subject to opening up under stress.

• A light oiling, usually with almond or linseed oil was common practice on wooden instruments manufactured up until the late 1970's / early 1980's, and this was as effective a preventative treatment as was then available. 

The use of a small quantity of oil, carefully applied with a pull through swab or pheasant feather, was observed to reduce moisture absorption and lessen the occurrence of 'cracks' - the opening up of the grain.

It is good to bear in mind the following caveat: 

Do not oil apply in excess as the oil can run and will eat away at pad surfaces and attract lint which will affect the pad seating and keywork mechanism function.

Beginning around the early 1980's manufacturers began to use newly available technology to help stabilise their wood stocks. Pressure treatment and impregnation of the their 'billets' (the blocks of wood from which joints are cut) became common practice. Once wood has been treated in this way it has a much greater inherent stability and any oils that are applied are far less likely to be able to be absorbed and provide any useful additional protection to the wood of the instrument.

• It is not generally necessary to use bore oil on modern era instruments (post approx 1980), as their wood has usually been pressure treated prior to manufacture.

Indeed, if oil is used it may have a detrimental effect as a result of not being able to be absorbed by the wood - see the caveat above.

In extreme circumstances an instrument of any age could be completely stripped of keywork and subjected to an 'oil bath' for an extended period of time to attempt to complete rejuvenate a tired looking body and provide a new start. This is best done by an experienced repairer who will also remove all excess oil following the treatment, polish the body and return the keywork afterwards.

Everyone interested in this topic must judge for themselves whether it is oiling is likely to provide a beneficial additional 'belt and braces' protection.

• These days, for the purpose of most players, I believe that it is fair to say that oiling is unnecessary. 

Rest assured that should a 'crack' occur in most cases it can be successful sealed and stabilised by an experienced repairer and your confidence in your beloved instrument will likely be regained in a very short time.

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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

An Inspiring Teacher - A Personal Memorium

 An Inspiring Teacher - A Personal Memoriam

Robert McCuaig was a rare musician. He was a talented and disciplined performer on both woodwind (Clarinet, Saxophone, Flute and Oboe) and brass instruments (Trumpet). Largely self-taught he became good enough to turn professional at a young age and help support his family as a young man throughout the aftermath of the American Depression. He served in the military as a bandsman and revelled in the positions, unique in my experience, of both solo clarinet in the band and lead trumpet in the jazz band. He continued to perform and teacher privately throughout his life and he influenced many thousands of pupils during his tenure as a High School Band Director. I knew him as a private pupil myself and I credit him for instilling in me an appreciation for the art and craft of music making as well as the perseverance required to succeed.

Having heard that he was suffering an illness I was on my way to see him on a brief return to my home town from University aged 23 only to find an ambulance pulling away from his house. He had passed away an hour before I arrived and I was never to see him again. My tribute below was composed as soon as I arrived back home that day. It was my attempt to gain some solace and a way of thanking him for all he meant to me. I presented it to his widow and was humbled to later hear that she asked to have it read at his funeral.

Thomas Dryer-Beers

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A dear friend of mine died today. His death leaves a chasm in my heart and a responsibility for my future that I am feeling for the first time. I am not the only one who feels these sensations, but there won't be a crowd at his memorial service. His was a kind of gift people do not measure by its quantity but by its quality. This is not to say that there are not many people he touched, only that those who treasure his memory most fervently are unfortunately few in number.

Robert McCuaig was an old-fashioned man. His principles, his values and his style remained untainted by the passing of time. He was a musician, a director, a performer, but---most of all---a music teacher. He taught discipline and commitment, and music was his vehicle. Though couples throughout the Midwest danced to his music, he won't be remembered as an artist. And, though he reached thousands of students in area schools (both public and private), his prowess as a director will not be lauded. Only his private students will carry his memory with them.

His credentials as a teacher are not the kind that gets notice in these times. A professional musician in his teens, Bob McCuaig helped support his family by playing jobs during the depression. His reputation had him travelling all over the state (of Indiana, USA) to play with anyone who needed a player, and a player they got! His teaching philosophy came out of his experience: knowing what had to be learned, he taught the skills necessary to accomplish the task. And he taught practice. The desire to achieve and the devotion to music that he instilled cannot be taught in today's classrooms. These qualities require the guidance of someone who has met the demands of his profession and who retains the joy o learning. Such a man was Bob McCuaig. His long hours, patiently devoted to young students in the hope that he might spark then in their quest of music, will inspire me always.

I have been told that he thought of me as a son. That is indeed an honour. Like any child, I took what was give me with little realization of its value until long after the giving had ceased and the debt had grown too large to repay or even fully express. Bob McCuaig knew that I love him and how I came to treasure what I had shared with him. What he cannot see now is the way I put that experience to use. I hope that what happens in the future will be a fulfilment of his faith in me.

He was fond of saying that, in his life he never had to beg for a job nor seek out a single student. I hope I may someday earn the reputation for quality that leads to such a statement. In the process, I will have made my first down payment on an honest debt that I can never fully repay.

25th August 1980

The Clarinet Intonation Learning Curve

The Clarinet Intonation Learning Curve


Perhaps you remember your first sounds on the clarinet? Mine remain fresh in my mind even after many years. They were frankly ugly, unpredictable and unrewarding - but I was determined to get better and of course, with practice, things did improve. Almost everyone who begins playing the clarinet will have some version of my experience and perhaps by sharing some of the usual stages of progression to playing well some benefit can be gained and some frustrations avoided.

Pre-Grade 1 to approximately Grade 2 standard -

When we begin the initial sounds, when they are produced at all, are often very spread in tone and flat in pitch. A combination of a yet to develop embouchure, often too great a quantity of air in use and a thin reed make such results predictable. Manufactures know this is likely to be the case and they design their student instruments to be able to correct for this when assembled completely 'pushed in'.

A helpful tip is to not worry too much (or not at all) about the higher (clarion) register and to concentrate upon making a good and predictable tone in the lower (chalumeau) register. As most beginners seem to be recommended to begin on a soft reed, strength 1.5 usually, this should work well for starting off but by the time one comes to play in the upper register it is probably best to have moved on to a slightly stronger strength. Strength 2 or 2.5 depending upon the brand would be my recommendation.

Whilst still concentrating on the low register it is possible to improve the tone quality by concentrating on using a well-supported, fast moving air stream that is delivered to the instrument in an appropriate quantity for the note(s) being played. It is worth checking that a Concert C can be sounded on the clarinet mouthpiece alone. This is the highest pitch sensibly available on the mouthpiece and the only correct pitch when the embouchure and air are in balance.

A useful concept that I have often shared is:

'The Two Q's': Quantity and Quality.

Players should always be aware of supplying the appropriate Quantity of air for whatever notes are being played, varying with the register, the volume being attempted, the type of attack and the timbre or expression sought.

They must always use the best Quality of air that they can produce - this never varies and is the foundation of all beautiful playing. The degree of success one has in musical performance at all stages of learning is usually a direct indication of how well this principle has been understood and incorporated.

Grade 3 to approximately Grade 6 standard -

So, after beginning to play and everything seem to be pitched flat one is improving, blowing better air, managing with a firmer reed and the embouchure is beginning to develop. The upper register is being attempted and expectations are rising. So often is pitch! It is time to consider pulling out the barrel from the top joint of the student clarinet (up to 3mm is not unusual) and even consider additional 'distributive tuning' at the middle tenon and at the bell if necessary. Often a willingness to play with too great an embouchure pressure has taken over the best practice on the supply of air. If this is the case a symptom may be that newly learned altissimo register notes (D3 above the staff and higher) will likely be thin sounding, unstable and 'brittle' as well as sharp. Keep working at The Two Q's and remember - high notes are not meant to be hard to play - they are just more demanding of accuracy in blowing.

Grade 7 and beyond -

You will hopefully have upgraded to a higher quality instrument and better mouthpiece by now. In addition your altissimo notes (high F, F#, G and above) have become an important focus and regular expectation for your playing, hopefully your overall tuning has begun to stabilise and the characteristics of your instrument, as designed by the manufacturer are beginning to be recognised. You should be aware that your lowest 'bell notes' (low E through low F#) are usually low in pitch so that the corresponding 12th above (middle B, through C#) are not uncomfortably sharp in their tuning. Left hand first first finger and thumb E and thumb F are often intentionally a bit low so that their overblown 12ths, the upper B and C, are not incorrect-ably sharp. Throat A and Bb, notes that once seemed very flat and ugly in tone now are much closer to true pitch and will actually benefit from the addition of combinations of right and left hand fingers, referred to as 'resonance fingerings' that will help to lower pitch and enrich the tone.

It is worth reminding oneself that the clarinet, as with all wind instruments, is an acoustical compromise with inherent challenges to be overcome. Once these known compromises are recognised and understood it is possible, with a well supported and appropriately shaped air stream and flexible embouchure control, to obtain predictable and very functional intonation - ultimately leaving one able to match and blend with other players, difficult performance conditions and ensembles where other players do not play as well 'in tune' as you do!

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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful. 

Thomas Dryer-Beers

Recommended First Upgrade Mouthpieces (Clarinet & Saxophone)

Recommended First Upgrade Mouthpieces (Clarinet & Saxophone)

When a player, often but not always a younger child, begins to play their clarinet or saxophone they (and often also their parents) are faced with an almost completely unknown new world. The shiny instrument and lovely case are inspiring and the entire experience quite mysterious and perhaps a bit daunting but, working largely on trust and perhaps with the help of a knowledgeable teacher, the journey begins. 

The very first 'playing' involves trying to make a noise at all by learning to blowing upon the mouthpiece and reed, later the assembled instrument, and hopefully succeeding reasonably. With a soft reed and a bit of good coaching most players will eventually manage this and be inspired to keep going. 

With a reasonable amount of practice progress usually follows and so does the level of expectation of the player - both on herself / himself and of the equipment being used. The point at which it occurs to a player, or even the teacher involved, that the level of equipment might be an obstacle to future progress varies widely - and often the realisation come too late as frustrations may have begun that end with a player giving up dissatisfied with their tone or ability to control their instrument.

At the risk of being overly prescriptive I would like to make a few suggestions aimed at avoiding this fate and in the process encouraging and inspiring players in their musical efforts.

After many years working as teacher, shop sales advisor and drawing on my personal experience as well there are some easy, 'immediate' recommendations that can be made which may dramatically improve ones playing over even the best of the 'student', usually plastic, mouthpieces that are supplied with most clarinets and saxophones. These recommendations are as close as I can come to be guaranteed to be successful. All the below made of ebonite hard rubber unless stated otherwise. My quick comments follow each listed item.

Try the following for Bb clarinet:

• Vandoren B45 - suited to softer and mid-strength reeds, bright and responsive
• Vandoren M30 - mid-strength reeds, dark and mellow sound
• Portnoy BP02 or BP03 - mid-strength reeds, great projection

For Bass clarinet:

• Vandoren B45 - the all around standard of comparison

 For Alto and Tenor Sax (Classical):

•  Selmer S80 C*, C** or D - the standard of comparison
• Vandoren Optimum AL3 or AL5 - mid-strength reeds, dark and mellow sound
• Rousseau New Classic 5 - great control with a lively sound

For Alto or Tenor Sax (Jazz):

• Meyer 5, 6 or 7 - the absolute standard mouthpiece, warmth and projection 
• Otto Link 5 or 6 - darker and rounder
• D'Addario Reserve Jazz - centred sound and warmth with projection

For Alto Sax (Jazz Metal):

• Yanagisawa 6 or 7 - power with control

For Tenor Sax Jazz (Metal):

• Yanagisawa 6 or 7 - power with control
• Otto Link 6, 6* or 7 - a great 'traditional' jazz sound, favoured by players for decades

Soprano (Classical):

• Selmer S80 C*, C** or D - warm sound with great intonation characteristics

Soprano (Jazz Metal):

• Yanagisawa 6 or 7 - power with control

Any of the above, though different in sound quality (and that is the most important bit after all) are never-the-less considered reliable, tried and trusted and frequently recommended mouthpieces that will improve the tuning characteristics and control of almost any sax, from the cheapest and most cheerful to the finest professional models. I strongly feel that getting onto one of the above at the earliest sensible opportunity (Grade 3 is not too early and it is never too late to improve). 

In my opinion the mouthpiece accounts for at least 80% of the perceived sound with the instrument behaving like a megaphone, amplifying and adding resonance to the tone generated by the mouthpiece.

I have often found myself saying to customers and pupils - if you stay with such deservedly popular mouthpiece choices you cannot make a mistake. You might change your mind years later and you might purchase other options as well to suit your changing tastes - that is called progress - but you won't regret the investment in a good mouthpiece. 

Happy 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