A Concept for Blowing - Jazz vs Classical

A Concept for Blowing - Jazz vs Classical Saxophone and More

In the shop environment, and throughout many years of teaching, I have frequently been asked to help players resolve their issues with sound and blowing in order that they may produce the type of tone, and gain the requisite control, for the style of music that they wish to play - or a multitude of styles if they are interested in many. Saxophonists are usually familiar with the dichotomy of Jazz versus Classical playing and often struggle with this. For many other wind and brass players it is matter of producing a personal sound that is appropriate for the style of playing desired.

While I certainly acknowledge that some players quite happily find a 'hybrid' personal approach that bridges the various established styles and may even build their careers from such a position, I believe that  most players are seeking to find how they can manage to separate their approaches and equipment to facilitate and to better define the differences between styles.

I suggest below a couple of concepts that I have developed and players have found helpful.

Since 'Classical' styles of playing are primarily concerned with:

• accuracy of pitch
• control of fine subtleties of tone
• a variety of articulation demands
• focus of the sound
• blend and the ability to balance dynamics

I therefore believe that a player should look for a set-up that allows them to 'blow up to'  a resistance that offers the stability and predictability to meet these criteria. For me this implies the creation of a reliable and manageable 'platform' where if I do 'my bit' to meet the tone generation requirements of the set-up I know that everything I desire to produce is achieveable with as little additional manipulation as possible.

Since 'Jazz' styles of playing are primarily concerned with:

• projection in loud environments
• excitement
• individuality of tone
• flexibility of control
• comfort of sound production

I therefore believe that a player should look for a set-up that allow them to 'blow through' a resistance and in doing so create the desired result. For me this implies a comfort and directness of response without unnecessary additional effort or restriction - where the mouthpiece is free to generate a sound 'propelled', as it were, by the player - while retaining maximum flexibility and ability to influence the tone.

These are concepts not just words

They imply finding the correct balance of resistance from the mouthpiece (and reed where present), the provision of a fundamentally correct and well supported air column, an understanding and application of focus in the oral cavity to the airstream itself, a well considered use of an appropriate embouchure and a choice of equipment that is designed to facilitate the achievement of the desired end result.

• Doing everything 'right' but on the wrong equipment will surely lead to dissatisfaction.
• Doing anything 'wrong', to varying degrees, will likely lead to disappointment with even the very best equipment.

In my opinion it is vital to view the choice of equipment and the player's readiness for physical/musical change as a whole, as ones abilities and requirements are constantly changing.
Furthermore, while there are undoubtedly many good and possibly excellent equipment suggestions to help meet the demands of a particular situation or stage of musical development there is almost never a 'magic mouthpiece' or perfect solution that will last forever.

Perhaps the best we teachers can seek to convey to our students is an understanding of the elements that go into the choice of equipment and their relationship to various playing styles. Players and pupils would do well to understand that what they 'bring to the party' (in terms of their ability to use the equipment and adapt their playing habits to suit the requirements of the desired style) is a very large part of the likely success to be found in any equipment choice - and this should be a continuing focus throughout anyone's playing career.

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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

Review of the New 'Mozart' Basset Clarinet by Daniel Bangham

The New 'Mozart' Basset Clarinet by Daniel Bangham - A Review

I have recently had the opportunity to trial a newly introduced extended A clarinet, with range to low C, known as a Basset Clarinet. This is the type of clarinet for which Mozart composed his Clarinet Concerto. The instrument that I tried is the first production of a new design by clarinet craftsman and instrument designer Daniel Bangham. The clarinet I tried utilised the body of the popular Buffet R13 professional model though I am told the extension, which is also made of high quality African blackwood, could be matched with almost any modern issue clarinet in A. This ‘Mozart’ basset clarinet has the extended lower compass of the pitches of low Eb, D, Db and C that are necessary for the correct - as composed - performance of the Mozart Clarinet Concerto.

Daniel Bangham has researched and improved upon the mechanisms of historical Classical era basset clarinets for the keywork layout and his new concept design allows for far greater security and ease of operation than that found on any previously available commercial instrument. The wooden body and silver plated key work for this extension has been executed by Norfolk based master craftsman Peter Worrell and they are beautiful to behold. However, the real beauty of this instrument is found in the ease of operation and simplicity of function of the keys touches.

The Bangham Basset does not reply on the little finger of either hand learning a new 'routine' in order to operate the mechanism for the extended notes - the keys are operated by the right hand thumb alone - in conjunction with the low E key. Descending a C scale or executing a C major arpeggio are made very easy and logical indeed. This ease is achieved by the low D and C keys independently closing their tone holes. When one wishes to play the less often required low Eb and Db these tones are achieved by engaging their keys with a sliding motion while continuing to engage the primary key - i.e. low D + Eb key for Eb, low C + Db key for Db. Full chromatic motion is made possible with rollers in all directions on the thumb keys. No separate low Eb key is required so the right hand little finger cluster remains unaltered from a standard instrument.

Obviously the weight of the instrument is greater than that of a standard clarinet and the balance is not the same due to the longer length but a beautifully crafted sling mount / thumb rest has been created for the Bangham Basset clarinet which helps to reduce these differences. The new technique required for the right hand thumb is no more demanding than that required to operate the key work on a bassoon and, though it does require an investment of practice time to gain facility the thumb motion should become second nature within a few sessions. The tone of the clarinet remains the same throughout the range and all sounds are clearly produced.

The extension is branded CWM as it originated as a concept and collaboration out of the Cambridge Woodwind Makers project (www.cambridgewoodwindmakers.org) at the Stapleford Granary near Cambridge where both Daniel and Peter run making and repair courses. The instrument is supplied as an outfit in a well padded, slimline gig bag made specifically for the Basset by the British firm Bass Bags. It is played with a standard Bb/A clarinet mouthpiece on the instrument and the first productions are available from Woodwind & Reed to purchase from Dec 2015.

Price £5400 inc VAT (£4500 ex VAT)

Thomas Dryer-Beers, staff member WWR (www.wwr.co.uk)

Woodwind Performer and Teacher

Consultant to Reeds Direct Cambridge (www.reedsdirect.co.uk)