Which Saxophone Should I Play?

Which Saxophone Should I Play?

The question of which size of saxophone one should play is frequently asked and sometimes the answer is very straight forward depending the size of the player, the budget available, any previous instrumental experience, etc. Often however other factors also enter the frame and perhaps a discussion would be helpful.

When a potential player is quite young or very small the options are limited. Some teachers, with the best of intentions, will recommend starting on the fully curved soprano sax. I do not agree with this, as the soprano, being so small, is more demanding and far less tolerant of initial learning efforts. I would recommend that a keen young player start either on the recorder (never a bad suggestion for any future woodwind player), the standard Bb clarinet (or C clarinet if necessary) as this is such a common double later in life anyway, or wait until the alto sax can be comfortably held and operated.

IF ONE SIMPLY MUST GET STARTED ON THE SAX STRAIGHT AWAY then I would recommend beginning on a Trevor James Alpha alto sax which is purpose designed with fewer keys for lightness, smaller finger stretches and key work positioned for easy reach by the small beginner. It is ideal for the purpose and introduces the player to the 'proper' Eb alto straight away. The upgrade to a fully keyed alto can happen with ease when growth and experience allows.

Assuming one is not limited by age or size then the full SATB range of the saxophone options could be considered. In a quick summary here are my thoughts:

• The ALTO sax is the MAIN MEMBER OF THE SAX FAMILY with most of the educational and performance literature written with it in mind. The alto features most strongly in the classical solo repertoire with many original works and transcriptions now available, the wind band or in the orchestra as a solo instrument. Its position leading the traditional Big Band and as a jazz solo instrument is well established. Rock and pop, funk and reggae use in horn sections is also common.

•  The TENOR sax is often thought of as THE JAZZ SOLO INSTRUMENT as a result of the many superb artists who have made this instrument their 'voice'. It is too big for most beginners (other than adults) but is easy to either add to the alto sax when ready or to learn on, with some repertoire challenges, when a player is physically big enough to manage the tenor. Deeper and richer in tone quality than the alto, it figures in the same classical ensembles but less frequently and with much less literature written specifically for the tenor. The tenor sax has a huge range and the high altissimo register is easier to exploit than that of the alto or soprano.

• The SOPRANO sax is usually added by an experienced player to augment their established alto or tenor sax playing. It is a REGARDED AS A SOLOISTS INSTRUMENT and as such has a small classical repertoire and a growing use in a wide variety of jazz settings. It is the highest sounding member of the sax quartet (and other sax ensembles) and is usually played by the strongest, most musically knowledgeable player of the group as it is used to carry the melody and lead the ensemble. I personally prefer the double crook soprano as having the option of either a straight or curved top crook to use depending upon your desired holding position seems a very sensible choice. Some players prefer the fully curved instrument and others choose the straight, one-piece body version. I do not attribute a tonal difference to the shapes but the player does hear them differently due to the position relative to the head and ears.

• The BARITONE sax is a very important COLOUR INSTRUMENT providing the foundation of an wind band or sax ensemble offering great power and facility. It has a limited role in classical music but has a much more established role in the jazz band and has some outstanding examples of players who have pushed to instrument to marvellous extremes as a jazz solo instrument. Instruments with a low A (Concert C) bell are now most common but some lovely instruments extending to only low Bb are still available. The baritone is a valuable sax to be familiar with and there are often opportunities to join groups if one can provide this instrument.

•  The remaining members of the modern saxophone family, the SOPRANINO, the BASS, the CONTRABASS, the older C MELODY, and other even less well known instruments are all about COLOUR and specific ENSEMBLE ROLES. These should never be considered 'first choice' saxophones upon which to learn but may prove to be valuable additional instruments to play and own as they are rare and often welcomed in ensembles.

Many sax players end up playing multiple saxophones for the sheer joy of the variety of sounds and musical opportunities that playing and owning these different saxophones make available. Players eventually learn to move freely and with minimal effort between their different saxes and often undergo a change of and musical 'attitude' and 'personality' while they play their different instruments. The usual pairings as I have experienced them are:

• Alto adding Soprano
• Alto adding Tenor
• Tenor adding Soprano
• Alto adding Baritone
• Soprano adding Sopranino
• Baritone adding Bass

The tone quality, sensitivity, projection and playing response of all saxophones can be altered dramatically by the choice of mouthpiece used. To get the most out of any sax it is a good idea to select a mouthpiece suited to your abilities and comfort as well as the requirements of the music you wish to play. Owning a number of mouthpieces for each saxophone is not uncommon and can be a great source of inspiration keeping oneself freshly engaged and fully idiosyncratic in a wide variety of styles on the same instrument. More than anything else it help make all your playing MORE FUN!

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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

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

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

Jazz and Classical Reeds. A Brief Comment on Jazz and Classical Single Reed Design

What makes a JAZZ reed? 

Why are some reeds designated CLASSICAL for use?

In truth almost any type of reed can be used for any type of music, after all, jazz and classical music are playing styles and as such they not specific to an narrow or exclusive sound palette or technical demands. However, in anticipation of the expectations of players, reed manufacturers make great efforts to offer products more likely to perform well on the type of equipment, i.e. mouthpieces and instruments, used and therefore more likely to meet the repertoire requirements for the different playing styles and as a result satisfy the needs of their diverse customers.

In general it is fair to say that JAZZ use reeds will have greater flexibility, less subtle (thicker) tip regions and less wood in the central heart region. CLASSICAL use reeds are generally the opposite having greater rigidity, thinner tip regions for greater subtlety of articulation and more wood in the central ‘heart’ region.

Many jazz reeds are designed to impart an ‘edge’ quality to the sounds to aid projection and achieve a distinctive ‘personality’ to an individuals tone. Classical reeds are intended to warm and round out the tone quality providing a more focused quality with an emphasis on stability and accuracy as these are most important aspects of performance for classical playing. Having said this there are many reed brands which are used successfully by musicians for both styles of performance, notably those by Vandoren (Traditional Blue Box) and various Rico brands, but even within their ranges some products are much more likely to succeed for one type of playing style over another.

In my personal opinion it is best to identify what one wishes to achieve from every set-up and for every style of music and select the best performing reeds for the purpose - even it this means having multiple brands and/or strengths always to hand.This is a relatively small price to pay for getting the best possible results from your equipment.

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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 Consultant to Reeds Direct Cambridge
Compiler of the Reeds Direct Cambridge Reed Strength Comparison Chart
www.reeds-direct.co.uk 

Woodwind Instrument Clarinet and Saxophone Mouthpiece Advice - 'Mouthpiece Maniacs'

I refer to this posting series as 'Mouthpiece Maniacs' with some fondness as I have heard this term applied in admiration, frustration, sympathy and dismay to a wide variety of players who share an appreciation of musical performance and a curiosity about their equipment and how the right 'gear' can help their playing. I believe an element of this knowledge is absolutely vital for anyone in the position of advising other players, i.e. teachers, performers, music shop assistants, repairers, etc. In addition I believe that knowing something about the aspects of design, how equipment 'works' and what choices we have as players is both enlightening and empowering when we begin taking responsibility for our own performance. Thomas

Clarinet and Saxophone – why is the mouthpiece so important?

Want to find out why your teacher makes such a fuss about her/his mouthpiece? Tired of working had and getting very little for your efforts? Hear a sound you just can’t get from your own set-up? It is time to examine the basics. 

If you get the right match between your reed and mouthpiece you are at least 70% better off – vibration starts with the mouthpiece and reed set-up and it is by far the biggest single determinant of your success. Your instrument acts like a megaphone to the sound from the mouthpiece – bad mouthpiece fit equals bad tone, good mouthpiece fit equals good tone. The more you have experienced by trying mouthpieces the more important you realise they are to the process of personalising your music making. What others hear from you determines the largest part of what they think of your playing!

You can help your high notes, even up register response, improve tuning, aid projection or mellow your sound and most importantly enjoy your practice and performance more - all benefitting from a change in the mouthpiece. 

 

Important features explained –

 

Tip Opening 

This is the measure from the plane of the table (the flat surface upon which the reed is positionee and secured with the ligature) to the maximum opening of the curvature measured at the tip of the mouthpiece. A narrow tip opening makes for very easy playing with softer reeds. With harder reeds both response and focus are improved and pitch is very stable. A wider tip opening is not very comfortable to play with reeds which are too hard - softer mid-strength and softer reeds are the order of the day. A wide tip introduces more flexibility and freedom but requires more care from the player to control the result!

 

Facing Length 

This is the measure from the end of the tip rail to the point at which the curvature begins as it leaves the horizontal plane of the facing. A longer facing allows for more freedom of vibration and flex for the reed making soft reeds feel even softer and harder reeds feel comfortable. A shorter facing requires a ‘softer’ reed as a hard reed will not be able to work without lip fatigue, and the shorter facing adds a ‘snap’ or ‘bite’ to the sound as it emphasis the tip vibration of the reed.

 

Tip Rail 

 At the very end of the mouthpiece where the reed tip ‘seats’. This area must be clean and undamaged or the vacuum necessary for the creation of the sound will be inefficient or impossible to obtain. A narrow tip enhances higher harmonic partials in the sound as the reed vibration is less muffled. A wider tip helps to ‘cut-out’ some of the higher partials and brings about a darker ‘warmer’ sound.

 

Side Rails 

The reed seals all along the length of the side rails in the process of vibrating. These rails need to be parallel and undamaged or performance will suffer.

 

Table

This is the point where your ligature holds the reed. It is meant to be either flat (preferred) or slightly scalloped (a minority choice) where an airtight fit, which contributes to successful vibration of the reed, is obtained. If this area is damaged or poorly finished your reeds are likely to play with more difficulty and suffer warp more quickly.

 

Baffle

The baffle is the area just behind the tip rail and it has a very important role in the production of the sound. It is useful to understand the terminology when discussing this area. A ‘high’ baffle is one that restricts the vibrating air column; effectively squeezing it once the air has passed the opening of the reed. It excites the air, disturbing the flow and this adds a bright, 'edgy quality' to the sound – this is what is usually associated with a ‘jazz’ mouthpiece. A ‘low’ baffle does the opposite – it allows for the expansion of the vibrating air column in this critical area and emphasises the lower partials of the sound – creating the qualities associated with ‘classical’ orchestral, wind band or solo playing.

 

Throat 

This is the transition area where the opening beyond the baffle is focused into the straighter bore of the mouthpiece. Here you will see many variations of shape (round, square, tapered, blunt) but each intended by the manufacturer to complement the other areas of the internal flow of air in the mouthpiece.

 

Chamber – Saxophone  

 This is the region found after the baffle and before the throat of the mouthpiece. Most mouthpieces now utilize a fairy standard medium chamber. This is so common that unless specified otherwise you can assume that this is what is in use. A small chamber, when available, adds a further compression to the flow of the vibrating air column boosting the feeling of projection by emphasising ‘edgier’ higher partials in the sound. Conversely a large chamber, when available, ‘rounds out’ the sound by not restricting the airflow and creating a warmer sound. This style of mouthpiece was very popular in the early days of the saxophone and is sometimes referred to as an ‘old boxcar’ style alluding to the large space inside.

 

Bore – Clarinet

 The bore is the area after the throat that begins the internal dimension of the clarinet taper leading into the barrel. Bore sizes have largely been standardised with the popularity of the nominal ‘French’ bore clarinet being now dominant but some types of instruments with unusual, usually larger bores themselves, must be matched with an appropriate larger bore mouthpiece to obtain proper tuning.

Material –

Most student mouthpieces (and even some supplied with much more expensive instruments) are made from modern plastics to keep down costs. Plastic resonates easily and, if well designed and crafted, works well to encourage early playing. Ebonite or rod rubber is the preferred material for most professional range mouthpieces. The inherent vibrational qualities of ebonite are superior and mouthpieces can be crafted by cutting, not moulding as in the case of plastic, allowing for greater finish quality and consistency. Some ‘jazz’ mouthpieces exploit an ebonite/plastic highbred material that adds a ‘brightness’ and liveliness to the feel of the mouthpiece with its distinctive vibration characteristics. Various metals (brass, stainless steel, and alloys) are used in some saxophone mouthpieces largely for manufacture reasons when wishing to create high-baffle ‘jazz’ mouthpieces. The vibrational qualities of metals are different to those of ebonite and plastic both for the player and the audience but I believe are not inherently darker or brighter – that depends much more upon the design.

My advice is try to not go 'mad' chasing the perfect mouthpiece - they all exist for a reason and players are all different. What you prefer will be likely to change not only as our playing needs change but also as time passes and we tend to look for different aspects of performance from the mouthpiece. It is not unusual to own and use several different mouthpieces and enjoy them all for what they do to enhance your 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

Reed Strength Advice and Reed Blog

The question of what strength of reed to play and whether to change reed brands is well known to players and teachers at all levels. The following guide was originally prepared for Reeds Direct Cambridge (www.reeds-direct.co.uk) and has served as staff training guidance. I have altered it slightly for inclusion in this blog and I hope that it might be found useful. Thomas

Reed Strength Advice and Reed Blog

Starting at the beginning:

Welcome to playing your instrument. We recommend that beginner clarinettists and saxophonists start by using softer reeds, such as strength 1.5 reeds (or strength 1 for some), that are intended to be free blowing for ease of sound production. These reeds work well in the middle to lower registers and are ideal for initial learning. However, as a consequence of such reeds being thin in profile, the tone produced is often thin and “buzzy”, so moving up in strength is advised when players become more experienced.

Softer reeds work best on medium open and open tip mouthpieces – the type usually supplied by manufactures with their student level instruments – where the reed has a fair distance to travel before it closes upon the mouthpiece facing and must therefore be quite flexible. If the reed were stronger the effort required to produce a sound might be uncomfortable for the player when she/he starts. If the mouthpiece tip were closer/narrower the typical starter reeds would feel too soft. We feel that this is the best approach for the first year or two of playing (Exam Board Grade 1-3 approximately), though each player and every situation is different and other approaches can also be successful.

Take a moment to look at the RDC Strength Banding Selection to find recommendations (available from Wood, Wind & Reed, Cambridge). Do not be afraid to experiment with alternatives – this is all part of learning.

Then as one gets better:

As players learn more they will gain experience and confidence, develop their breathing and embouchure control and wish to sound better and to play into their instrument’s upper register. This means that the set-up that once worked well is actually likely to hold them back from making progress. It is time to move up in strength of reed! This is important to recognise as the need to change strengths is often overlooked and can cause such frustration that it can be a major factor in a player giving up their studies.

A step-up strength of reed (strength 2 or 2.5), used on the same starting-level mouthpiece, should help the meet the needs of the player trying for control of the higher register and wishing to improve the overall sound particularly when articulating (tonguing). To test if you are ready for this change try placing your present reed ‘too high’ on the mouthpiece (leaving a visible 1mm or so extending over the tip when viewed from the ‘back’ or 'top') and secure with your ligature as usual. Then try blowing a legato (slurred) passage into the register(s) notes that concern you and see if you notice an improvement in the sound quality and in the way the reed feels to blow. You can also try some tonguing and see how the instrument speaks (though this may be a bit tough on the tip of your tongue – take it easy). If you like the results and can hear an improvement in tone quality then you are ready to change! Reed strengths at this level are usually satisfactory for the next year or so while progress is continuing and commitment grows. (Exam Board Grade 4-5 approximately).

Take a moment to look at the RDC Strength Banding Selection to find recommendations (available from Wood, Wind & Reed, Cambridge). Do not be afraid to experiment with alternatives – this is all part of learning.

Further refinement:

By the time a number of years of learning have passed you should no longer consider yourself a beginner (of course this point could arrive sooner with lots of good practice) but certainly by the equivalent of Grade 5 level of achievement several important changes are likely to be desirable.

Clarinet players will, in many cases, have outgrown their starter mouthpiece and possibly their instrument as well. They are by now ready to be rewarded with a greater depth of sound, a more interesting and personal sound quality and the greater musical reward available from an upgrade to a quality ebonite mouthpiece and wooden clarinet. When changing such fundamental elements the reed match will also need to be examined. Most players will find that a newly selected mouthpiece will now have a medium or medium close tip opening and will perform best with strength 2.5 or 3 reeds. Congratulations – this is where many players correctly stay for a lifetime of playing. (Exam board Grade 5–8+ approximately).

Saxophone players have another level of consideration as they progress upwards as they may well wish to play both classical and jazz styles of music and it is time to discover what a great help and inspiration can be found in an appropriate choice of mouthpiece suited to these different styles. Not surprisingly the reeds that will work best on two such different concept mouthpieces are rarely the same.

Reeds suitable for classical playing (strengths 2.5 or 3 usually) are designed to offer stability, consistency of attack, roundness of tone colour and subtle control of dynamics on the medium close and close tip opening mouthpieces most often preferred. Many jazz players find themselves competing for volume and will choose medium open or quite open tip openings to allow for aggressive blowing, exciting tone colours and flexibility of attack. Reeds suitable for jazz playing (could be anywhere from strength 2, 2.5, 3 or 3.5) need to offer a suitable resistance match to the mouthpiece and provide an attractive sparkle and ‘edge’ for presence in an ensemble or small group setting. Reeds described as ‘Jazz’ will generally offer these characteristics and one must experiment to find just the right match for their choice of mouthpiece.

Take a moment to examine the RDC Strength Banding Selection to discover popular reeds from around the world. You are now ready to make the most of your musicianship and discover the musical pleasure a well-selected reed can provide. For further background on available jazz reeds see the RDC Reed Category Guide. Remember - do not be afraid to experiment – it is part of learning and becoming the best you can be.

Advanced and Professional considerations:

By now you know the type of sound you are looking for and how you wish your instrument to play in the practice studio, in the pit, on the stage and in the concert hall. Hopefully you have a clear understanding of what has worked well in the past and what may still be missing. You may be engaged in the search for ‘the perfect reed’ and perhaps becoming frustrated that what you have been playing seems to have ‘changed’ or is simply no longer good enough. In that case you may wish to explore what some of the ‘boutique options' available from smaller and more custom reed makers. Their businesses are founded on satisfying the needs of the most discerning customers and they pride themselves on  product consistency and the ability to provide what the mass manufactures do not. Make sure that you understand the subtle differences between a reed manufacturer’s ranges of offerings. Many designs have been introduced to offer genuine performance differences even at the same strength. Alternatively you may wish to take more responsibility for adjusting your reeds and sympathetically ‘breaking in’ reeds over time so that you are in greater control of the ‘settling in’ process. You may also wish to review reed options that you may have overlooked in the past, i.e. filed or unfiled profile reeds, thick blank reeds and even synthetic reeds, to find just the right combination for your requirements. (Exam board Grade 8+ and beyond).

Take a moment to see the RDC Strength Banding Selection to find a number of options that might be of interest. Remember - do not be afraid to experiment – it is now a vital part of your music making and your satisfaction as a performing musician. If you are teaching as well it is important that you know what is available so that you can knowledgeably and sympathetically advise your own pupils.

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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 Consultant to Reeds Direct Cambridge
Compiler of the Reeds Direct Cambridge Reed Strength Comparison Chart
www.reeds-direct.co.uk