Double Reed Resistance and Adjustment Tips

Double Reed Performance and Adjustment Tips - What To Do and When

This is a big subject. Knowing what to do to make the most of a double reed becomes important to most players after only a few months of learning. Even with the available guidance of a knowledgeable teacher (and this is not always available) there will certainly come a time when a reed one is reliant upon just 'does not play' as it used to and something must be done in order to get through a performance. There are many textbooks and articles that can help with illustrations and advice though the best contact probably remains a successful player with experience of adjusting and if possible the making of their own reeds. This is a quick reference summary from my experience and advice I have given to pupils over many years -



Best practice starts with care in soaking the reed for about 60 seconds in water up to but not over the level of the thread - every time before you play. Bassoon reeds can be placed entirely in the water. Some players always soak their reeds by placing them in their mouth. I feel that this exposes the cane to an unnecessary degree to sugars and acids from saliva - eventually shortening the playing live. Water is cleaner, warm water is best as this relaxes the reed fibres more quickly. Not wetting at all prior to playing is a sure route to disappointment and shorter reed life.

Once wetted the reed blades may require subtle adjustment to achieve a good-looking aperture.

• If the opening is too great the blades may be pressed together with a light touch of the fingers taking care to not press so hard that the cane splits. If the reed is wired (oboe or bassoon) adjusting at the wire by hand or using a small pair of pliers may be required. For bassoon reeds adjusting at the second  (middle wire) 'opposite' to what initially seems logical will often be what is required as the first wire will act as a fulcrum.
• If the opening is too small the blades may require the opposite correction with a gentle squeeze to increase the aperture on the oboe reed and once again the 'opposite' correction for a bassoon reed.

Test the aperture and the readiness of the reed to play by blowing a 'crow' on the reed - accomplished by playing more of the reed in the mouth than usual and blowing a sustained and forceful air stream with a minimum of lip support. This is a simultaneously high and low rackety noise that is an indication of a reasonable 'balance' to the reed. If after practice you cannot obtain a crow then that reed is likely to need further adjustment to get into a proper balance and a reed knife may be called upon to remove cane. Always use a plaque when working to remove cane from a reed. I prefer a 'bellied' plaque, as these tend to provide the reed blades more support during scraping. Always work slowly and carefully with a wetted reed and test frequently.

• If the upper noise is absent in the crow cane may need to be scraped from the tip area using the knife and a plaque. It is often said that the secret to a good reed is a thin tip.

•  If the lower noise is hesitant or resistant in the crow the tip area may need to be 'integrated' into the heart and back profile of the reed. Check against a strong light source to see the location of darkened areas on the reed. Compare the 'look' of the problem reed to the appearance of a good reed and see what areas might need to be scraped.

• If all looks good but the reed is still resistant then try scraping cane from the rear of the cut away profile at the 'back' of the reed vamp. Do this slowly and keep testing, as you do not want to take away the resilience of the reed and leave it incapable of supporting pitch.

•  If the crow is satisfactory but the pitch has gone flat the usual correction on an oboe reed is to carefully 'clip the tip' removing a fraction of a millimetre of cane. To do this you will need a very sharp straight knife and a cutting block. Test the result after clipping and be prepared to rebalance the reed if necessary to ensure the proper relationship between tip, heart and back of the reed. On a bassoon reed this may also be the appropriate correction before cutting the tip try arching the reed at the second wire to see what effect this has upon pitch. Bear in mind you may have to rebalance at the first wire also to maintain a proper aperture opening.

• If the crow is satisfactory but the pitch has gone sharp the cane may be 'clogging up' and might benefit from a light general scraping overall to remove the build up of skin cells, saliva and dirt that may have come over time. If no response is gained from the approach one can take 'pitch' out of a reed by scraping the tip, the heart region and or the back to give the reed back its flexibility. Try this systematically and in very small stages and test frequently. It is very easy to go too far!

A further note - Playing the oboe and the bassoon should require a strong, well-supported air stream. I should not require a great deal of 'biting' at the lips or cause fatigue in your embouchure within a few minutes of blowing. The most attractive double reed sounds are lyrical, exciting and characteristic over the entire range of the instrument without any sense of hesitation or 'dropping out' due to problems with basic tone production. Strive for this always and try to make sure that, as much as possible, you have your reed on your side!

-------------------

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 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!

------------------

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 Saxophone Intonation Learning Curve

The Saxophone Intonation Learning Curve

When a player begins playing the saxophone it is natural to accept just about any sound and tuning as acceptable. After all there are some many other things to think about and the instrument is designed to blow easily and usually does - as long as we provide it with a reasonable air stream and allow the reed to vibrate.

As one slowly gets better and wishes to demonstrate more control over the tone quality a progression towards the use of stronger reeds begins and this is to be welcomed. As the embouchure and the ability to support the air column both develop there is frequently a perception that, in order to keep a reed from 'closing up', a still stiffer reed and possibly a more open tip mouthpiece must be used. While this might be true in some cases is is certainly questionable for many players.

Why is this important? Because the degree of effort required to produce the basic sound and the related embouchure strength used contribute very directly to the ability to play the saxophone in tune.

When beginning the middle range notes we first encounter are fairly predictable and our standards are lower. We do not know how to play 'up high' and are not often asked to do more than honk out low notes. The overall tuning is often rather flat and the tone unfocused. As progress is made and high notes are attempted they are usually found to be thin in tone and can be unreliable. It follows then that we are suggested to try a stronger reed to aid playing in this upper register. In the normal course of events this change makes the high palm key notes easier to produce and makes the playing of lower notes more challenging. With a bit more practice and progress a sensitivity to a more consistent tone and pitch begins to develop and, following tuning to a concert A (or Bb) as one will usually start out doing, comes the realisation that even in this 'in tune' position upper octave notes will often be quite sharp, lower register notes (low D and below) quite flat, middle D very sharp and, especially when played in close proximity to the middle D, the middle C# will be found to be very flat.

This realisation can be and often is very upsetting to the player and can be the beginning of a great deal of searching for answers to the problem of 'playing out of tune' including changes of equipment and much self doubt. What is missing is a simple realisation that all players and especially teachers should try to keep in mind at all times:

The design of all acoustic wind instruments is a compromise and best performance relies upon the player understanding the compromises made.

 

An octave key is only an aid, it is not a substitute for correct blowing and proper 'voicing' in the aural cavity for the register desired. An embouchure that is ill formed (too tight or too lose) can distort the tuning of any instrument. A poorly supported air column will cause response and tonal problems even with the finest of equipment available. An internal shape in the aural cavity will compromise the response and tuning despite the very best embouchure.

The best tuning position for the mouthpiece on the crook is where (with whatever skills the player has by that stage developed) the greatest portion of the instrument's range can be manipulated into an acceptable 'pattern' of tuning.

 

 Manufacturers try to anticipate what their customers will be able to manage and are of course taking advice on their designs from highly experienced performers. Each firm then decides how to accomplish the goal of creating instruments of character with stable intonation patterns.

The saxophone, with its two and one half octave standard range, relies upon two octave vents that are automatically linked to switch depending upon the fingering used (the exchange happens between upper G# and A). The first note that benefits from an octave key will always have a tendency to be sharp - on saxophones this is middle D and upper A.

NB - If for the player these two notes (middle D and upper A) are not able to be adjusted down ('lipped down') to pitch successfully then this is an indication of a deeper problem with air support and embouchure that must be rectified - this will benefit all notes on the sax. I suggest checking the pitch sounded playing on the mouthpiece alone. This should be no higher than a concert A, better an Ab, for the alto, for tenor concert G, better a Gb, for the soprano concert C and for baritone concert D.

The last notes prior to the engagement of an octave key will be weaker and have a tendency to be flat - on saxophones this is middle C# and upper G#. The upper G# in particular (and sometimes G) will often 'fall' or break downwards in the absence of a well supported air stream. The response and accuracy of all other notes within the range of the interval of the vent's use will vary proportionally with their position within the range of the vent. There will always be a 'stretch' between the octaves of the same fingered pitch.

The longest 'bell' notes will often be flatter not only because the instrument often does not 'warm-up' sufficiently for this end of the sax but they must not be tuned 'sharp' or the overall overtone characteristics of the instrument will be affected. High register palm key notes will often be sharp not only because they are at the mercy of a correct embouchure and air balance but also because that end of the instrument becomes very warm through constant playing and the last thing a player wishes to find is that they should have to 'lip up' a high note when so much effort is being made to achieve the best tone and tuning through relaxing the embouchure throughout the rest of the range.

Understanding and accepting that such compromises in designs are inescapable will hopefully prompt attention being given to achieving the best possible air/embouchure/aural cavity position while playing and lead on to anticipating the now much smaller corrections required to address the remaining subtleties of correct pitching.

---------------


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