Getting the Most from a Specialist Music Shop

Getting the Most from a Specialist Music Shop

Sometimes it pays to stop, take a deep breath, and think about what we as musicians expect from the music shops, specialist repairers and instrument manufacturers that we rely upon. Having trained as a performer on multiple woodwind instruments and as a result having to purchase and maintain many examples and various instruments over my lifetime I certainly have experience as a consumer of goods and services. Having also worked in the Music Industry in specialist shops selling and servicing instruments for nearly 3 decades to date I have also seen the 'other side' and there is much to share with those who might not have had this experience.

Here are the 'Bullet Points':

• Things can go wrong and accidents do happen despite the best efforts of all concerned
• Most mysteries can be explained when you understand the 'bigger picture'
• A musician's needs change over time - otherwise known as 'Progress'
• The purchase of a 'final instrument' is a myth for most players if you intend to get better and accept that products that might be attractive to you in the future are in continual development
• Transferring your anxieties to your equipment is rarely a good strategy
• Be Reasonable. The person with whom you might be frustrated is possibly the one who you will end up relying upon to sort out your problem
• Sometimes genuine 'Value for Money' does cost more and is worth the expense
• Quality products are usually better investments
• People whose livelihood depends upon customer service really do care 
• Hard earned reputations for good service are valuable and are based on fact
• Music is a 'People Business', customers are important and shop staff members do care
• Remember - The specialist advising you may actually know more than you do and in any event will likely be doing their best to help

....and the following is a bit of background that I am glad to share:

When we are learning to play a musical instrument both the beginner and parents are highly reliant on a teacher, where present, or word of mouth from colleagues and friends, when it comes to taking advice on instruments. When I was starting out so many things seemed baffling to me. I struggled to 'tongue' properly and just resolved to not use my tongue to separate notes - I just stopped blowing instead. This unfortunate habit took a lot of effort to undo. I can remember wondering for years why some of my school friends seemed to sound better than me and how it came as a great revelation that a player might upgrade a mouthpiece on their original instrument and that reeds came in different strengths and that by changing these things I too could play better! I also remember living with an unknown problem with the low notes on my saxophone not speaking until the day someone kindly explained that there the sax had adjustment screws that sometimes go out of position - a twist of a screwdriver and years of frustration were relegated to history. Perhaps needless to say I did not have a specialist shop, a knowledgeable teacher or a skilled repairer available to me in those early years.

Once I began to pursue music more seriously I became aware of a world of products, accessories, instruments, customisations and skills that were available. I began to experiment and tried many things. Practice suggestions, exercises, resource books, sheet music recommendations, etc were all of enormous interest. Items were recommended by more knowledgeable teachers, mouthpieces that friends were using and found inspiring and new reed possibilities were sampled. I sought out and spent time with repairers who offered tips and quick fixes to keep my instruments in top shape. I also read a great many articles from respected musicians who had contributed to journals and magazines. I listened to everyone who had an opinion on anything musical to discover from what further knowledge I might benefit. I did make mistakes, invested in things I only used briefly, bought poorly at times, and missed other opportunities - but I tried to learn from everything.

Then, many years later and quite unexpectedly, I found myself with the opportunity to move from full time performing and teaching into full time working in a specialist music shop. All the learning, the investment and attention that I paid over the decades of my studies, my on the job training and my previous experience helped to make my 'skill set' attractive to an employer. But it was only after entering the music industry that my real awareness began to develop. Suddenly, I had a responsibility to advise customers, to understand and grasp the intricacies of product ranges and to distil an increased awareness of a huge range of available accessories into a sensible presentation to others. I found myself regularly meeting with experienced players from many differing backgrounds and possessing a wide range of musical interests as well as many aspiring younger musicians. I was handling repair questions and requests from these customers on a daily basis, some questions were familiar to me but many also arose where I had to defer to more experienced colleagues and repairers - and those repairers were deferring back to me to test and approve their repair efforts. I found myself frequently liaising with manufacturers and distributors - learning of their challenges and obligations as suppliers. All in all this was a very significant advance on the knowledge that I had managed to accrue in my previous years of training and professional experience. The Specialist Shop environment encourages this type of learning and growth and I have been very grateful for the opportunities that came my way.

The learning curve never ends. Interesting, passionate people with greater knowledge than myself abound and I still seek them out. I try to listen more than I talk but I do look forward to the opportunity to share my knowledge with others when something I know or strongly believe in may be helpful to them. What goes around comes around. Please refer back to the bullet points above.

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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 Clarinet Intonation Learning Curve

The Clarinet Intonation Learning Curve


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

Pre-Grade 1 to approximately Grade 2 standard -

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

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

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

A useful concept that I have often shared is:

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

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

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

Grade 3 to approximately Grade 6 standard -

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

Grade 7 and beyond -

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

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

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

Thomas Dryer-Beers

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

The Flute Learning Curve

The Flute Learning Curve

 When one begins to learn flute there is a lot to think about: developing a correct embouchure shape, the blowing angle, proper breathing, finger placement, standing position - even just holding the instrument properly. Simply managing the making of tone of any kind is an achievement! Almost always the first sounds are often very breathy, weak and inconsistent. Very frustrating for all. 

However, if one is patient control begins to develop with practice and repetition and eventually the beginner becomes functional over a range of the first and perhaps second octave of the instrument. This is enough for most players to join a group, play some solos and generally feel good about their music making. 

At some point comes the realisation that not every note is sounding as good as the others and some notes may seem more difficult to play and possibly even be out of tune with other instruments in the group or band. At this juncture the guidance of an experienced teacher, if this has not already been available, becomes a necessity - for learning how to focus and shape each individual tone to sound its best and to take its place in a reliable, predictable intonation pattern is vital. This is a goal of every player and careful attention needs to be paid to fundamentals to achieve this.

Here is a short checklist:

• Is my stance correct, i.e. balanced weight, feet spread apart, able to move without tension?
• Am I breathing fully and supporting the breath well once taken?
• How are my lips 'addressing' the embouchure hole? Are they relaxed and supple?
• How and where am I directing my air stream?
• How efficient am I being when moving across larger leaps or octaves?
• Are my lips under control - moving easily and only as required?
• Is the tone quality the same throughout all registers?
• Can I play upper notes quietly and lower register notes loudly?
• Do all notes respond to slurring as well as tonguing?
• Can I play softly and stay in tune (avoiding the pitch dropping)?
• Can I play loudly and not go sharp?
• Am I tonguing efficiently or is my tongue stroke disrupting my lips?

Also check:

• Is my headjoint cork in the correct position? (Insert the bottom of the cleaning rod and check the line is in the centre of the embouchure hole)
• Have I pulled out the headjoint an 'appropriate' amount? (For most players approx 6-8mm to A440 pitch position)

All the above points deserve consideration and the time spent improving and developing control will be very valuable. As a general observation improving or intermediate players often play sharp without being aware of it and, until remedies are pointed out to them, they will not know how to respond. Just pulling out the headjoint is not enough as every note has its own 'best' embouchure and blowing angle.

Practice with a tuner will help (and probably shock initially) but eventually the intonation pattern of the instrument begins to be revealed. When this is observed then attention can be given to making the appropriate corrections required while playing to achieve proper tuning. This process can be helped enormously by remembering that very few good sounding, centered and attractive tones will be far if at all 'out of tune' whereas almost all bad sounding notes will be! This leads to a very memorable sentence:

Good in-tone-ation leads to good in-tune-ation.

 

As a quick aid this catchy concept is hard to beat and it can lead on to a lifetime of rewarding and efficient practice. As one reaches top levels of achievement standards the challenges do not end they just change and a player will become able to handle more difficult passages with ease but when faced with something daunting must still go back to basics to figure out how to tackle the problem and somehow make the seemingly impossible appear not only possible but beautiful!

 

 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