Why Play An Acoustic Instrument in the Digital Age - Some Thoughts

Why Play An Acoustic Instrument in the Digital Age? Some Thoughts

The digital age in which we live is bringing about changes at such a pace that fundamental questions are being raised about the relative values of different human activities. After all why would someone wish to expend the effort required to learn to play the piano when one can push a button and pre-recorded piano tracks are produced? What compels a person to learn the violin when performances can be downloaded to electronic devices? Why would someone wish to devote years of learning and sometimes great expense to learn the oboe, the harp, the drums or trumpet? By way of an answer most musicians would be inclined to reply: Because it is fun! But much more lies behind this reply and a bit of consideration of the additional benefits that come from instrumental study is, I believe, well worth taking the time to ponder.

Personal Responsibility

The study of instrumental music, whether from an early age or as a late starter, is an exciting and, for some, a daunting challenge. Improvement requires much practice, learning foreign terminology, a acceptance of large doses of humility in facing up to ones limitations and a great deal of patience in overcoming them. As a metaphor for life it is hard to beat. The personal satisfaction to be gained through such a step by step progression leading to a feeling of achievement and reward for the efforts made is arguably unequalled by other activities and rivalled by very few. Someone who can confidently 'hold their own' in a group, can inspire others through their performance and even attract and receive recognition for their excellence, is one who has taken personal responsibility for their study. This is a person who will then realise that their efforts have been not only worthwhile but valued by their peers and colleagues.

Socialisation

The opportunity to perform with others, whether in a small ensemble or a larger band, is so rewarding that few other activities in life can compare. Think of the bonding that takes place between athletes competing as a team or how close actors become over the course of rehearsing and presenting a play. A great deal of empathy and understanding is required to make the most of every situation. Trained musicians will experience these same feelings over and over throughout a lifetime of performances, at all levels, with a diverse number of groups and people whom they might never encounter in any other situation. This confidence gained from such opportunities leads to the development of life-long relationships based upon mutual respect and appreciation.

Time Management

The adage 'If you want to get something done ask a busy person' certainly applies to most musicians. The management of time is a learned skill and in order to accomplish effective practice and progress each practice session must be organised, targets established and once achieved, new targets must be set. One also learns valuable lessons about time management from ensemble rehearsals and organisational demands. Managing to arrive on time at rehearsal and performance venues, getting to lesson locations and supplying the required materials, sheet music, instruments, concert dress, etc are all valuable lessons from which everyone benefits.

Developing Patience

It takes time and discipline to learn a musical instrument - no matter which one is chosen. In a world that seems to move ever faster and with less time to cultivate 'non essential' skills taking on the process of learning to read music and play an instrument is quite an investment. The patience required and the discipline of critical observation that one employs in order to progress in music will benefit a huge range of other life activities and result in a well rounded and better balanced individual more capable of dealing constructive with the unpredictability of life in general.

Physical Activity

Most all instruments require a degree of muscular refinement and training, whether it be the bow arm of a string player, the finger dexterity of a pianist, the breathing capacity of a tuba player or the embouchure strength of a oboist they all require development over many years and bring enormous and well documented health benefits to the musician. The improvements to overall cardiovascular function, blood pressure, muscle development, awareness of good posture and general flexibility more than offset the sedentary nature of many rehearsals and the unavoidable occasional physical 'niggles' one must endure along the way.

Mental Stimulation

It takes imagination and concentration to create or re-create music. The musician is continually anticipating, evaluating and imagining how to produce their best sound, shape the finest phrase and convey the intention of a third party, the composer, in a performance. The mind is fully engaged and rewarded by the instantaneous nature of result - even when the lingering feeling maybe that one 'could have done that better' there is always the next opportunity!

Cultural Appreciation

Music brings all of humanity together in an appreciation of what it means to be human. Peoples and races can all appreciate the traditions that each other have developed and the amazing music that has originated in every culture. Musical performers are continually challenged to take on elements of new traditions, perhaps initially foreign to their personal experience, and through understanding them and the cultures that produced them, incorporate such styles and inflections into their own performances.

Understanding World History

The music we hear around us from birth is a product of many centuries of practice by diverse peoples from all around the world. The study of music does not happen in a vacuum. Folk music, dance tunes, spiritual sounds, Church music, drum beats, vocal tones and lyrics all emanate from countries that must be acknowledged and investigated as part of the greater understanding of any music. Centuries of development underlay almost any works of art and the threads that connect them and the influences that come together to bring about what we experience as a final 'product' must be placed in context.

Additional Identity and Association

Musical instruments and their mastery open up associations that reach far wider than one's own geographical region. One might tend to say 'I am a sax player' or 'I play piano' even before thinking of one's nationality. I.e. if one plays flute there are flautists around the world with whom one is an immediate associate. Trumpet players, trombonists, clarinettists, violinists, cellists, oboists, guitarists, drummers etc. are all part of the larger societies of their chosen instruments as well as of the type of music to which they are drawn and that they perform. The instant affinity from such association breaks down barriers and opens up interesting lines of communication that those outside cannot easily access or sometimes even begin to understand. The shared experiences of learning and mastering an instrument sufficiently to give pleasure to oneself and to others binds musicians together as well as the pursuit of excellence and the appreciation of performance at the highest levels.

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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

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

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 Importance of the Air Stream in Wind Playing

The Importance of the Air Stream in Wind Playing

In my teaching and throughout my time advising in the retail shop environment the topic of good air support has always been very important. I certainly did not know enough nor pay enough attention to developing good breathing and support habits when I was younger and many other players share the same difficulties and frustrations that I had. Indeed it was only in my early twenties following a great deal of rethinking and the guidance of some significant teachers that I began to sort myself out. Now many years later I believe that I am ready to refine what I have experienced and found useful to hopefully help others.

Breathing...Where it all begins.

Wind instrument playing all begins with a relaxed. efficient intake of air. Taken properly, utilising the greatest lung capacity available and dispensed under controlled pressure appropriate to the requirement of the instrument involved, an air stream is created that will energise an air column, then a reed or set of lips to do exactly what is desired for the musical execution of a phrase. Anything less that total control and execution will result in some level of musical loss - the air stream is that important.

When taking a breath the first stage is getting enough air into the lung quickly. Most tutors will advise opening the mouth, clearing the past of access to the throat, pushing out the abdominal muscles energetically and allowing air to 'rush in' to fill the void. Try standing or sitting in a well balanced position and work to expand your abdominal cavity in all directions: downwards, outwards, up to the bottom of the rib cage and at the back. I say to pupils that this is like trying to make oneself intentionally 'fat' with air.

If taken in successfully this large quantity of air will be held under pressure via the expanded 'stretched' position of the intercostal abdominal muscles for a brief period of time as you begin to release the air by blowing out. The challenge comes as the volume of air is reduced as you play. One must attempt to keep the air pressure constant while this loss of air is taking place by continuing to think of pushing the abdominal muscles 'out' - in other words keeping them engaged in the process of air support and not allowing them to merely collapse as the volume of air decreases. This is perhaps counter-intuitive but the action of attempting to 'compress' the abdominal muscles will only add tension to the process of blowing. Try taking a breath, beginning to speak and then, while speaking squeeze the abdominal muscles inwards. Your voice is likely to break or sound 'strangled' by this squeezing. Imagine what such undesirable tension could do to your instrumental tone!

Tongue and Oral Cavity Shape - Whistling

The shape that the player imparts to an air stream is another very important and altogether under appreciated aspect of tonal control. Many teachers speak of 'singing' via the instrument or illustrating good practice by using a series of vocalisations of various vowel sounds, i.e. Ahh, Eee,  Ooo, Ohhh. While this approach does work for some players I believe that it is not the most direct means of imparting an understanding of best practice positioning of the tongue. In my teaching I have found it more useful to suggest that a pupil first whistle for me - and notice the elevated position of the back of the tongue at the back of the top teeth and the position of the tip of the tongue near and behind the lower jaw front teeth. With the tongue in this position, blowing the air 'faster than you can sustain the whistle sound' is better illustration of an air stream shape suitable for most wind instrument blowing and well as providing a sense of the compression that must take place within the oral cavity. If a player is not familiar with or unable to whistle through the lips all is not lost. I like the following alternate approach: Imagine attempting to drink a very thick milkshake through a very weak straw. The aggressive 'sucking' position and sensitive 'drawn in' shape of the lips closely mirror a whistle position. Reverse the air flow to blowing instead of sucking and you are there!

When playing highly pitched instruments (i.e. Eb clarinet,  soprano sax, oboe, piccolo trumpet, etc.) or the higher regions of any instrument, the elevated part of tongue is best to be shaped high at the back of the oral cavity. As one performs on mid-pitch instruments or low-pitch instruments and lower ranges or pitch the 'focus' point of the tongue arch moves further forward in the oral cavity. Experimentation with this positioning can greatly aid the understanding involved in successfully 'doubling' between different size instruments i.e. oboe to cor anglais, flute to alto flute, Bb clarinet to bass clarinet, etc. and between different families, i.e. clarinet to saxophone, flute to bassoon, trumpet to trombone, etc.

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

I firmly believe that the notion of how to deal with the variable column length and dimension of tubing that is fundamental to all wind instrument playing is vital and under appreciated. The concept of 'The Two Q's' is something that I have synthesised from many methods of trying to explain this elusive concept. The sensitivity of a player to the requirements of his or her instrument is vital to the development of instrumental control and this succinct summary will hopefully be both helpful and memorable:

• Players should always take care to supply the appropriate Quantity of air for whatever notes are being played, varying with the register, the volume being attempted, the length of the sounding tube, the type of attack being used and the timbre or expression sought.

• They must continually support and 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

 

 A Method of Practice

 

When faced with a phrase or section that contains many and various challenges to achieve the best possible musical expression many players resort to the repetitive practice of small sections, connecting up notes, addressing finger changes, experimenting with various dynamics, etc. This traditional approach is perfectly valid and often absolutely necessary. In addition I would like to propose a further practice option that in my experience is often overlooked. That is to play all or part of the phase(s) in question utilising at first a single pitch. This can be chosen from the phrase or completely unrelated. Within this sustained note one should try to express all the dynamic shape, control and duration of the original phrase. Once satisfied one can try introducing a selected series of note changes which begin to represent the phrase shape and challenges, perhaps the first notes of groupings or the extremes of interval leaps of the most dramatic of the required volume differentials - without sacrificing the overall control gained on the one sustained pitch. Once these intermediate stages have been successfully managed then work to add in further notes and/or finger changes until the entire phrase is being performed as intended.

If for instance an entire 4 bar phrase in a given tempo can be played with one breath using a sustained single pitch then the same 4 bar phrase should be able to be successfully played in the same tempo no matter how many subdivisions of notes are present or how wicked the intervals. If one struggles it is likely to be due to undesirable tension, less than ideal breath control or a lack of concentration while one is preoccupied with notes. Take a step back, practise the simplified phrase till confidence grows and then try again.

Very 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

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.

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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

CASS Article - Choosing a Saxophone - Incorporating How to Trial an Instrument

Choosing a Saxophone

 Written for the Clarinet and Saxophone Society Journal of Great Britain

an article by Thomas Dryer-Beers

Choosing a saxophone, either to begin one's studies, to indulge a long nurtured wish to play or to invest at the professional level on 'an instrument for life' has in many ways never been easier. The quality of the various models available is generally high at all price levels - the differences between similarly priced saxophones are not huge and even the variation between starter instruments and top of the range models is relatively small. This means that in many ways it is difficult to make a truly bad investment as long as one is aware of a few important points.

Saxophones seem to be offered from all corners of the world these days. Gone are the times when the only choice seemed to be to buy French or American. Very successful instruments are now also being manufactured in Japan, Germany, the Czech Republic, Italy, the numerous workshops of Taiwan and in recent years China, and one can become overwhelmed indeed! Added to this there is increasing globalisation of parts manufacture, assembly and sourcing of the accessories that come supplied with an instrument.

Improving designs and standards of manufacture in student saxophones and fierce competition in professional pricing have meant that the notion of an intermediate instrument, in anything other than price, is almost completely gone. Many models that were considered to be of professional standard 30-50 years ago would no longer be recommended by teachers as adequate for learning. Many once rather expensive student models have been supplanted by better-designed and less expensive new models.

In order to form an unbiased opinion of the performance of an instrument (indeed even models by the same maker) each saxophone should be evaluated on its own merits, not necessarily by its name or past history. Responsible music shops undertake just such evaluations on a continuing basis in order to be able to offer their customers the best of all the available models. This helps to ensure that as much as possible, your choice of saxophone will be of the correct standard to do the job for which it is being purchased.

Beginner Level Choice

Since so many makes of student instruments have borrowed (even directly copied) features of dominant professional instruments, it is now possible to experience the feel of many top name saxophones in some budget priced models. Some recent models have borrowed keywork design, others body tube proportions, and others attempt to reproduce the weight or mass in the brass alloy used.

So, how can a new player begin to select their sax? A good way to start perhaps, is by conversing with knowledgeable sax playing colleagues, teacher to be, school etc. Then select a recommended specialist shop in which you can have confidence. A definite plus will be a shop with in-house repair technicians as their contribution is vital in ensuring a good experience.

When you visit you should explain your situation and ask to view recommended models within an affordable price range. Having been provided with a selection of instruments to hold, or better yet to play, however inexpertly, players will almost always to be able to identify something that will help them form preferences and eventually lead them to a selection. All the many contributing factors which make up the instrument contribute to a 'feel' and players will often separate themselves broadly into two categories - those who, particularly at the earliest stages, wish to experience playing as easily as possible, and those who are looking for something more than just ease of blowing in the character of sound. I should quickly say that such a comparison test will be most useful if the same mouthpiece and reed are used across all the instruments tried. More on that later.

Any good quality beginner model is likely to see a young player through at least grades five to six. If they are keen to continue to play then their investment in a good student instrument will then have prepared the way for a smooth transition to a professional instrument when the time is right. As a result, I feel that a new player's early preferences for sound and feel can be indulged largely without adverse consequences. What really matters is that the instrument selected be well made and that a suitable, good quality mouthpiece is obtained. It is now possible to invest well at the beginning, upgrade a quality student instrument with a 'professional' mouthpiece and later purchase a 'top-grade' pro model after a few years of experience (perhaps around grade seven to eight level) with neither your learning opportunities or your bank balance suffering inordinately. I feel that this development should be very encouraging to players and might inspire greater confidence in parents with children eager to learn.

What Constitutes Good Value?

Ask a good repairer and they will confirm that even the best pads, properly seated, will not perform well if there is motion in the fit of the keywork or poor regulation. It is worth checking closely how much long key rods (such as those used for the G key, high E and bell B and Bb) are able to 'move about' when pushed sideways. Similarly, check how much lateral travel short keys like side Bb, high F and palm D experience under stress. As the fit of these keys is dependent upon both the quality of materials and good construction standards (contributing to additional expense for the manufacturer) many cheaper instruments will not pass this 'fitness' test. Such an instrument will probably have other manufacturer related problems and will be likely to become unreliable and expensive to maintain in the future. If regulations, particularly those which govern the articulated G# key, the left hand C correspondence and the related closure of the bis Bb key are not correctly set, then the finest instrument will perform little better than the worst. If an instrument is soundly made and well set-up it will be much more likely to play satisfactorily for longer and, when maintenance work is required (as it surely will be in time) the job will go much better.

Professional Level Choice

This brings me to the vexed topic of professional models. How does one choose with confidence? In the broadest terms a musician selects a saxophone at this level as a 'tool of the trade'. Does it do what he/she wants it to do? Will it be respected in musical circles? Does it fit the image of what an instrument should be? All of these points are valid ones but for me the bottom line is much simpler.

Does this instrument inspire you to want to practise and play? If so, then you are surely on to a winner. Remember also - If they all seem so good that you cannot choose between them, then you cannot truly consider any choice a mistake.

Every person's experience is bound to be different. Some find the right saxophone early on and then continue to use it out of preference throughout their lifetime. Others find that their changing tastes, the introduction of new products, a change of circumstance, professional opportunities, etc. will dictate that many different saxes be purchased during the course of a career. As long as you are being well served by your instrument you should feel good!

Before closing it is worth mentioning something regarding the increasing diversity of metals being used for saxophone bodies and the many finishes which now proliferate. In my personal opinion these are largely a diversion from the real essence of an instrument. Each reputable manufacturer attempts to create an identity for their products. Each seeks to create a consistency in the feel, intonation, resistance, appearance and tonal colour to unify their models. In general, such identity is achieved through the acoustic design of instruments, through some specific keywork features and very importantly, via the body tube mass/alloy used. Cosmetic finishes on the standard brass tubing e.g. silver plate, enamel of any colour or lacquer have a proportionally minute effect when compared with the more important structural elements. 

Different metals such as bronze, silver or nickel do make more of a difference, as the instrument will actually resonate with different frequencies given prominence by the vibrating metal. Even this is moderated by the fact that, unlike brass instruments, the tube of the sax is not fully engaged at all times in vibration. Patently it has holes in it and with the dampening effect of lots of leather pads affecting every note differently the overall contribution of these various materials is diminished. If looks are very important to you then by all means select from the range of options available with the knowledge that not much benefit comes from the finishes, and the confidence that not much loss occurs either. I'll always go with what really plays for me.

One of my teachers once gave me some very wise advice whilst encouraging me to consider the benefits I might gain from changing my own well-loved instrument for another. He implored me to 'learn to love the saxophone not a saxophone'. These words have proved themselves invaluable numerous times during my own musical career and never has this advice seemed more appropriate than during the preparation of this article.

How To Trial An Instrument

• Play all instruments with a mouthpiece and reed that you know well. Too many variables make attempting comparisons a nonsense.
• Take along or have in mind some music you are familiar with of the type you wish to play - be prepared.
• If you know the technique of over-blowing octaves and twelfths use this to see whether the instrument is 'in tune with itself'. Alternatively find a reliable 'fixed pitch' source and carefully tune to it. You can get a very poor feeling from an instrument if you do not get the mouthpiece correctly positioned on the crook for proper tuning. Be wary of relying on electronic tuners. All saxophones are acoustic compromises. When you use a tuner you are generally learning more about yourself and how you play than about any individual instrument.
• Test a range of volumes. Instruments reveal more of their tonal colour when blown loudly but you will want to know that you can sustain the sound softly as well.
• Other than checking for finger fluency and comfort, fast notes don't inform you nearly as well as sustained tones. A point worth remembering is that spring tensions or keys can be adjusted if they are too strong or too weak. Never reject an instrument because a spring feels odd.
• Test the response at the high and low extremes of the range but don't expect miracles - especially when tonguing. It takes a while to really get to know a new instrument and you may need to make some adjustments (for the better - this is known as 'progress'!). If you select a sax that plays just like your old instrument you have to wonder whether the purchase was worthwhile.
• Compare alternative fingerings, e.g. the several Bb, C, F# options to see if the instrument has been well set-up. This can be an indication of good preparation by the seller.

It is worth considering that you are most likely to choose a sax that suits your own level of ability (as long as finances permit). Therefore, as every individual is unique, not all players will find themselves choosing the same model. What matters most is that the saxophone selected is one that will provide you with the greatest encouragement and inspiration for your musical future.

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

Thomas Dryer-Beers

Brass Instrument Mute Overview

Mutes for Brass Instruments - A Brief Review

When it comes to mutes whether you are buying your first mute or looking for that ‘special’ sound you need to know a bit before you can choose the right one for your use. Mutes are an important part of your kit and a selection of sounds and types will help you to meet your playing demands as well as increase your enjoyment. Thomas

First a bit of background for those who need help choosing.

Mute Types -

Straight – The one to buy as your first mute. It is good for all-round use and the most often specified by composers. Offers a quieter 'buzzy' sound. Used in all types of ensembles.

Cup – The second most often requested. A cup mute is darker, warmer and quieter than a straight mute. Frequently specified by composers. Used in all types of ensembles.

Extending Tube or ‘Harmon’ - also known as a ‘wha wha’ mute. This is a distinctive sound usually associated with jazz use. It consists of a mute that completely blocks the bell but which has a hole in the middle of the mute in which a moveable 'extending tube' is fitted. This tube can be positioned in different places for effect or removed altogether. If the tube is in place and the player uses their hand to cover and uncover the opening the end of the tube a 'wha wha' sound is produced. Miles Davis was a very prominent user of the Harmon mute without the extending tube.

Adjustable Cup – A ‘two for one’ value purchase. The Cup section can be removed leaving a straight mute or repositioned to work as a cup. A neat solution if a player wishes to carry around only one mute.

Practice – Very effective mute for personal practice. Significantly reduces the audible sound to all but the player and the player can benefit from the additional resistance offered to strengthen air and lips during a warm-up.

Plunger – A jazz speciality effect mute. As the name suggest this mute looks uncannily like a plumber's plunger used to unblock pipes - and indeed the original plunger mutes were just that! The mute is used to contrast an alternating closed and open sound. One can practice making an instrument 'talk' almost like speech.

Bucket Mute - Clips on the the bell and produces a distinctive sound. Primarily requested in big band swing music.

Stopping/Transposing – For the French Horn player for pitch alteration and tonal effect – mimics the effect of the ‘hand stop’ but in a mute.

Silent Practice Mute – The Yamaha Silent Brass system virtually eliminates all sound from the instrument yet retains a natural sound quality to the player via earphones. Practice anytime / anywhere with no compromise in feel. An amazing technology!

Manufacture -

The  number of firms making mutes seems to increase every year with small speciality companies introducing new products or variations on established ones. The main names in the market include Humes & Berg, Denis Wick, Tom Crown and Jo Ral each of which offers a range or mutes usually available across the entire brass instrument range.

Effects of Materials –

Most mutes are made of pressed fibreboard, metal (aluminium or copper) or wood. The effects upon the resulting muted sounds are different with each material but they all function in similar ways according to the type. Mutes made from metal tend to be brighter and feel more vibrant to the player whereas fibreboard or wood is darker sounding and more restrained or 'covered'.

Learning to Use – 

Virtually all acoustic mutes have an effect upon the overall tuning of an instrument. The use of a mute raises pitch and requires some compensation by the player, at the lips may be sufficient for some smaller instruments or by pulling tuning slides a small distance when necessary. Larger instruments will require significant tuning pull. Once experience has been gained there is usually little problem adjusting to pitch requirements though reminding oneself of the playing 'feel' of the mute may remain a challenge for a period of time.

Installation – 

Most musts are held in place by small pieces of cork. If just before placing the mute in the bell the player adds a little bit of moisture (often accomplished by exhaling with mouth over the cork or by licking) to the cork and the position the mute using a slight twisting action it is less likely to fall out of the bell. It is worth taking care of your mutes for it they do become dented or cracked it will almost certainly affect their performance. Once purchased a good mute can serve for a lifetime.

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

Thomas Dryer-Beers

Care of Brass instruments Oiling / Greasing

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

Care of Brass Instruments: Oiling / Greasing

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

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

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

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

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

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

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

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

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

Thomas Dryer-Beers