What is all the FUSS ABOUT REEDS - Clarinet & Sax

What is all the FUSS ABOUT REEDS - Clarinet & Sax

I strikes me now, as I am now approaching my senior years, that clarinet and saxophone players do seem to fall into a couple of different categories regarding their attitudes toward reeds. I do not believe that  any player would wish to deny the importance and potential for both great satisfaction or disappointment with any reed brand, strength or type - after all we cannot play our instruments without a reed - but the range of behaviour evidenced by players towards their reeds is very great indeed.

I find it interesting to note the various ways in which reed manufacturers present their products for consumption in diverse markets and even more diverse customers. Over the years I have developed much sympathy for reed manufacturers when I think of the broad base of players whose requirements they are attempting to satisfy. Perhaps you might wish to take a moment to reflect on this subject - or even discuss it with your colleagues and musician friends - and see where you stand.

Do you fall into one or more of the following groups?

The LOYAL DEVOTEE - has played the same products and strengths for many years and perhaps even based the purchase of successive mouthpieces or instruments always relying upon the same reeds. Has little idea what is available in the 'wider world'.

The SEARCHER - has tried everything and wishes to know all about new products. May never have settled on any product for any length of time and, despite having tried many products, remains dissatisfied.

The COMPLAINER - has a favourite reed product and wishes to continue to play these reeds even though 'they do not play like they used to' and seems uninterested in experiencing alternative products.

The ACCEPTER - plays on just about anything, no matter how old / broken / dirty or difficult to use even though they know that their reed is not helping them to play their best.

The ADJUSTER - is quite happy to 'fiddle about' with reeds endlessly and cannot settle down to play or practice until every last adjustment has been made and is rarely satisfied.

The INSTANT performer - wishes every new reed selected to play perfectly straight out of the box and is disappointed when any reed displays any variation.

The PATIENT player - accepts that their reeds will never play well at first and is willing to work with a reed(s) for ages before it seems to finally be 'right'. Sometimes never experiencing their reed(s) in an optimum state.

The EXCUSER - not really interested in sorting out his/her reeds as blaming a reed for poor performance is too attractive an option. After all, if a reed works perfectly then he/she would have to look at themselves with greater scrutiny.

The IGNORANCE IS BLISS - by not taking an interest, not questioning the status quo, or never having learned from or observed others, this player has no idea (yet!) how the right reed for their needs could transform their playing.

I am not ashamed to admit to having evidenced 

most of the above behaviours at one point

 or other in my career. 

And now, as a result of my efforts, interests and enquiries, mistakes made and of course benefiting from hindsight and years of experience gained, I feel that I do now have the 'bigger picture' more clearly in my mind. I feel that the knowledge that I have gained through trial and error and after much listening to others as well has been very worthwhile not least because:

• I believe that I can 'make the most' out of almost any product
• I can get myself out of trouble when necessary 
• I know what a good reed is capable of and I know when I am being let down
• I believe that I can 'decipher' the terminology in product descriptions and understand essential information 
• I no longer feel threatened by new products - if they are not for me I do not bother - if they might be useful I give them a try
• I understand that all strengths are not created equal
• I understand and accept that not all products will work on my equipment
• I am open to surprises!

My blood pressure now only rarely rises in reed exasperation. My practice sessions have become more productive. My teaching is more informative and I feel that I am able to demonstrate problems and consequences more effectively. An extra benefit is that my conversations with other musicians are more varied and interesting now - reeds are almost never mentioned as they are considered too boring!

I wish you all well in your own progress to a better understanding of reeds and I hope you will find increased enjoyment in your playing as a result.

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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

How Long Should a Reed Last? ( Clarinet and Saxophone)

How Long Should a Clarinet or Saxophone Reed Last?

This question is sure to have occurred to all players of single reed instruments at some point in their playing journey. It must seem at times to be our version of  'How long is a piece of string?' and must surely be a real frustration to beginners, parents and non-players who need or wish to answer what might seem like a straight forward question.

The answer is not easy and a thorough explanation involves many variables, some of which we all would probably not wish to contemplate, i.e. cane is a natural product, we expose it to our acidic saliva and encase the reed under a mouthpiece cap or reed holder where bacteria can easily thrive, etc.

However a few observations and generalisations can be made that may be of some help - 

• Beginners tend to be very hard on their reeds, chipping the tips or breaking them during handling. For best results one should consider changing reeds frequently, perhaps every week
• If a reed has been chipped or split then it is best to through it away
• If a reed has become discoloured with mould or dirt it is unlikely to play its best and should be considered for retirement
• The more frequently you play a reed the shorter its 'life span' 
• A longer practise / playing session will shorten the time any reed will play at its peak 
• Rotating reeds (usually between 3 or 4 at a time) will allow them to recover and extend their useful life - as well as allow for more direct performance comparisons 
• Softer reeds 'give up' more quickly than medium strength and stronger reeds
• Reeds cut with thinner tips to be more immediately playable and more responsive will generally not last as long
• Reeds will not last as long in high humidity conditions
• Reeds change in their resistance with the change of the seasons i.e. a reed that played well in Winter may not play the same in Summer
• Reed performance changes with different altitudes and temperatures - anyone who might have toured or travelled extensively may have experienced this
• If you are a better player and your standard is high you will likely be more selective and critical of your reeds meaning that fewer may meet your expectations
• If you consciously improve your reed handling and storage habits, e.g. by using a storage case or reed holder, you will be able to get better performance from your reeds for longer
• If you learn the skills of reed adjustment, i.e. how to adjust your reeds by clipping the tip and also how, by altering the profile with reed rush, sandpaper, reed knife or finishing tool, you can extend the life of your reeds
• If you knowledgeably save your 'best' reeds for concert performance and are content to do at least some of your practice on reeds of slightly lower quality you will tend to be happier overall

SOME INDIVIDUAL REEDS ARE JUST NOT RIGHT FOR YOU OR YOUR EQUIPMENT- this does not mean that they are not likely to serve someone else well or that the manufacturer is awful or that you are a bad player - TRY SOMETHING ELSE

Every now and then we may find an EXCEPTIONAL REED.  It is almost of mystical status as it seems to make us capable of playing everything better: high notes speak more readily and accurately, low notes are pure and responsive, dynamics come easily, our tone is gorgeous and both we and our audience know it - HOWEVER - it also pays to remember that this is not normal and I suggest a quick read of the following:

An excerpt from the Merriam-Webster Dictionary offers this: 


Simple Definition of exceptional

• : not usual : unusual or uncommon
• : unusually good : much better than average
   

We are extremely fortunate to live in an age where commercial reed manufactures have, with the aid of computer technology, much research and mass production quality control, succeeded in making such a wide range of finely graded products that have a remarkable consistency. I often say to pupils and also must remind myself that, however frustrated I might become, I am more likely to have contributed to poor reed performance than the manufacturer, i.e. have I 'overplayed' the reed?, have I taken care in handling?, stabilised the moisture content?, kept my reed clean?, asked too much of it during rehearsals? etc. 

At such times it is worth remembering that we players have the responsibility to do our best with what we have available at any point in time and, of course, we can always change our reed - and we can be grateful that we are not brass players who have only their lips to blame!

Have 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

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