Upper Register Performance Soprano Sax - A Question

A question was posed to me last week and as there are many elements of my reply that might be of interest to others I offer the following on this topic.

Question:

I struggle with getting high notes on my soprano sax. Should I change my reed (strength) ?

Reply:

Changing your reed strength may be helpful but just playing a harder reed (I have to assume this is what you mean) will not necessarily be the answer. The soprano sax should not be more ‘difficult’ than other saxophones but its small size means that it may be more critical. Little things will make big differences. Every aspect of your playing technique is ‘under the microscope’ in ways larger saxes do not require to the same degree. This is why prior experience in alto or tenor sax is usually recommended before adding the soprano to your saxophone armoury.

There are many factors that will affect the response and stability of the saxophone upper register, especially on soprano, so a review of them may be useful:

• The embouchure must still be ‘round and supportive’ but not too tight. Playing a stable concert C on the soprano mouthpiece setup alone is a good target (concert Ab for alto, concert Gb for tenor).
• The correct amount of mouthpiece in the mouth is very important – too much in the mouth and the sound and upper register response will suffer, too little and the tone will be dead and both high and low registers will be compromised.
• The airstream used should feel significantly faster for the soprano and if the high notes are unstable you may need to ‘focus’ the air into a smaller yet still energetic stream in order to provide what the upper range notes require.
• The quantity of air used for different registers will need to be varied – higher, shorter tube notes require less (they are easy to overpower) whereas lower, longer tube notes will require a proportionally greater volume of air to fill the tube and stabilise their response.
• Inside your oral cavity the tongue must have a more exaggerated ‘arch’ position than what you use on the alto, tenor or baritone and this arch is closer to the rear of the mouth. This is a bit like saying the vowel sound ‘Eeeeee’
• Your mouthpiece must be in a good tuning position on the cork. If pulled off too far the low notes will not speak properly and high notes will be very flat in pitch and unresponsive. If the mouthpiece is pushed on too far on you might think all is okay - until you check your tuning – when you are likely to find the high register to be extremely sharp and the instrument very out of tune with itself.
• If your mouthpiece tip opening is moderate or narrow then a medium to medium strong reed (strength 2.5 to 3.5 in most brands) is likely to be required in order to provide stability throughout the instrumental range, right up to high F# or G.
• If your mouthpiece tip opening is on the larger side a somewhat softer reed may provide a better match. Too strong and you will find yourself fighting the low register and having to ‘bite’ too hard to make your basic sound.
• Higher baffle mouthpieces (including many jazz style mouthpieces) will be generally brighter and in fact may facilitate upper register playing but may also demand more relaxation in the embouchure and ‘favouring’ downward for pitch. Moderate or lower baffle mouthpieces are generally more stable for intonation and are likely be more manageable throughout the entire range.

As a guide I would suggest that you are in search of a reed strength that provides enough resistance to meet the demands of your properly focused and well-regulated airstream without excess embouchure pressure required.

Success with higher register notes should follow.

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 Clarinet 'Care Kit'

The Clarinet Care Kit

I was obliged to make some recommendations when a new beginner pupil has come to me with a clarinet and no additional accessories. The instrument had sticky pads and dirty keys. The following were my recommendations for a ‘care kit’ for years to come...

Thoughts - 

I have never felt the need to bombard a novice player with a bewildering and costly list of ‘extras’ or special equipment as they begin their study. A well made instrument, quality mouthpiece, appropriate reeds and the development of good habits and practice discipline rate much higher in my priorities. However, some items are sensible to purchase and introduced from the outset so that an instrument can be well cared for, serve better and its value maintained.

To address the sticky pads I would recommend cleaning paper. Cleaning paper is paper that has a finely ribbed texture and which has no sticky gum line like one would find with cigarette paper. It is used to absorb excess moisture when smaller tone holes have become blocked through a build up of water or as a first level treatment for the onset of the ‘tacky’ sound of a sticky pad. Cleaning paper can be used when pad surfaces are wet but the sheets are very thin and are likely to disintegrate if used under too great a pressure. Yamaha make a good product.

If the sticky pad problem persists move on to powder paper. The application of powder paper has been around for years as a treatment to reduce the surface adhesion of pads to tone holes on woodwind instrument, i.e. the familiar ‘tacky’ sound on the lifting of a pad that is caused by a build up of saliva or moisture on the surface from playing or even just during transport when keys are held shut for a long period. The powder residue on the paper creates a new barrier between the pad surface and the tone hole rim. Best applied when the pad surface is dry. Once again, Yamaha make a fine product.

For individual ‘problem pads’ I would recommend the BG Pad Dryers. These are a washable, micro fibre fabric product that provides an alternative to cigarette paper or cleaning paper to use for removal of moisture from tone holes. Simply insert between pad surface and tone hole and allow the moisture to be soaked up into the Pad Dryer. They are very absorbent and one Pad Dryer is intended to last for years of regular use.

To avoid moisture build up in the first place an absolute must is a good cleaning swab. Many types are available, good and bad, but my preference runs to the Dryer Swab which I helped design. I believe that this is simply the best clarinet swab on the market for both absorption and easy of use. Designed with an asymmetrical shape that makes pulling through the clarinet far easier and the brushed cotton fabric used is both highly absorbent and durable. The addition of a ‘pull back’ strap is a bonus ‘belt and braces’ extra to lend confidence when using the swab. High quality alternatives from BG and Yamaha are also available, each with different features. All of these are preferred to basic cotton or felt versions on the market.

Every clarinettist should use some type of cork grease to aid in the assembly of their instrument and to preserve the cork itself. Most brands are acceptable but some stand out for being either longer lasting or more effective. Rico and D’Addario greases are good, Elm bark grease from Doctor Slick products is a very ‘clean’ product and Selmer Tuning Slide and Cork Grease is deservedly recommended.

To clean around keywork a traditional shaving brush is the best quick answer to removal of dust and link from between keywork mechanisms on any clarinet (or other woodwind). Simply use the brush to lightly and quickly dislodge particles that otherwise might ‘gum up’ mechanisms or compromise the seating of the pads themselves. Regular use will not only keep an instrument looking better but playing better as well.

I like to see all players using mouthpiece patches to protect their mouthpiece and aid the formation of good habits for teeth placement. For most purposes I would recommend ‘thick’ patches, as they tend to be more durable and provide a greater cushion for the teeth. Thinner patches serve well to reduce mouthpiece wear and are almost unnoticeable to the player. Yamaha, BG and Kolbl are leading brands.

To protect reeds from damaged and warping once they begin to be used some type of reed storage device, other than that supplied by the reed manufacturer, should be used. Whether to hold 1, 2, 4, 6 or 8 reeds or more, something that will protect the reed tip, allow for air circulation during storage will help reeds to serve better and last longer. Many brands are available and some of these are small enough to store easily inside a case and some that also feature a humidity control.

Finally a silver polish cloth, used to wipe over keywork after playing to remove fingerprints reduce oxidation tarnish is a good practice. Denis Wick and others offer good, generous cloths for the purpose.

These products represent my suggestions for a best practice maintenance ‘kit’. As a player progresses and becomes more discriminating the enhancements to be found from experimentation with equipment including the upgrade of instruments, experiencing different mouthpiece options, learning about varieties of reeds and the effects of different ligature designs, barrels, bells, etc. are all waiting to be discovered – but after a good foundation in playing has been laid.

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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

High Energy / High Baffle Sax Mouthpieces

High Energy / High Baffle Sax Mouthpieces

A recent question from a pupil revived this subject for me and inspired some further thoughts that I would like to share.

The subject of how a sax player creates a distinctive sound and musical personality is complicated and one of the biggest factors is the mouthpiece and reed 'set-up' they choose. For many players their choice of equipment is an evolution, from whatever was supplied with their starter instrument, to perhaps a mouthpiece recommended by a tutor or colleague, to mouthpieces that they have selected themselves following many comparisons and perhaps finally to one inspired by an influential player whose sound and musical approach seem to represent exactly what one wishes to achieve. It was whilst considering this final stage that my thoughts have recently been engaged.

One of the most attractive qualities associated with contemporary popular sax styles is an 'edgy', vibrant tone, one that is soulful and expressive and that competes, when amplified, with the sounds guitars, keyboards and synthesizers. For example, alto saxophonist David Sanborn established a personal style that was highly influential throughout the 1970's through to the present day and is now widely imitated and admired to this day. He learned how to get the most out of his Dukoff Silverite metal mouthpiece and for many players this set-up became their choice as well. Other brands including Berg Larsen (ebonite and metal), Brilhart 'Level Air' (metal), Beechler (plastic and metal), Claude Lakey (plastic) and Lawton (ebonite and metal) have also been popular (and no doubt other makes as well). The late and greatly missed Michael Brecker had huge influence on tenor saxophone sounds using his Dukoff and later Dave Guardala mouthpieces. Since the late 1980's many other manufactures have also entered the market place manufacturing 'high energy' mouthpieces.

The common factor amongst all of these mouthpieces is the presence of a 'high baffle' the terminology for which can itself cause some confusion. This feature is a reduction of the distance of the gap inside the chamber of a mouthpiece between the flat underside surface of the reed and the mouthpiece baffle itself. The result is a 'squeeze' of the vibrating air column as air passes through the gap. One could almost say that the 'ceiling' of the mouthpiece inside chamber shape has been 'lowered' to achieve this - hence the confusion. The exaggerated 'high' position of the baffle accentuates the higher overtones present in the vibrating column of air, allows for an easier response of the upper altissimo register, can make lower register tones more difficult to attack with subtlety (without playing with a subtone), may alter or accentuate intonation patterns, creates the impression of greater projection and, of course, adds 'edge'.

When many saxophonists first try such mouthpieces they can be shocked by the sounds they make. These may vary from surprisingly attractive, to promising but challenging to control, to positively ugly or sqeaky. What I believe lies behind these reactions and helps to explain the range of responses by players is something that frequently goes unstated and under appreciated:

How one uses and focuses the air stream is critical to success.

• A 'high baffle' mouthpiece must be allowed to 'do its thing' and the musician must learn how not to interfere and allow the set-up to work freely.

A frequent further contributing factor to potential disappointment is the use of too much lip pressure on the reed. High baffle mouthpieces are highly efficient. They will create their sound with a minimum of embouchure effort as long as sufficient, energised and well-focussed air is present. In fact they will often play best when matched with a slightly stronger reed as a too-soft reed will not provide sufficient resistance to the powerful air stream in use and is likely to lead to a kazoo like sound and an overall loss of control.

When I watch wonderful players deeply involved in blowing their saxes I often note the impression they can give of 'working hard' as they blow, especially as they strive for upper register notes. In fact I am convinced what is actually happening is an intense concentration on proper focus of their air stream and the removal of lip pressure.

The players are seeking the 'sweet spot':

• Where minimal lip pressure, an ideal positioning of the lower lip on reed for best vibration for the register involved and the employment of a perfectly regulated quantity of air combine to achieve the desired results.

Fine players achieve this complex balancing act so effectively that their listeners do not imagine the effort involved and, those who are themselves sax players, tend to credit their musical heroes and heroines wonderful tones and exciting musicianship to the magic of their mouthpiece - overlooking the skills they have gained through learning how to best use their 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

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

Brass Instrument Oiling, Cleaning & Greasing

Brass Instrument Oiling, Cleaning & 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 in both the 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 which is exposed to moisture is continually collecting food particles, saliva and a coating from condensation on the tubing as well which degrades the exposed brass. 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 tuning slide given a thorough rubbing to remove the build up, followed by a rinse with water, a wiping over and re-lubrication. 

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 or 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 may 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 friction 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 considered good practice to wipe off the cream occasionally and reapply so that an excess does not build up.

Trumpets / Cornets and all standard valved instruments require oiling to their valves almost every time they are played. Waiting until a valve begins to stick is asking for trouble. It is usually not necessary to fully remove the valve entirely from the casing - 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 the valve 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 treatment. 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 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 carefully and replace as necessary in 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 or valve to release and then have to spend costly time cleaning and returning the instrument to good condition. Obviously this is best avoided.

It is worth keeping an eye on the condition of any 'spit valve' corks or synthetic pads as over time these can degrade and begin to leak. I recommend replacing these as soon as any sign of a problem is evident. This is far better than being let down during a performance!

Keep the outside of a lacquer finish instrument looking good by regularly wiping off fingerprints, grease and dust with a lacquer polish cloth. Keep silverplated instruments looking good by regularly using a silver polish cloth to remove tarnish and restore the finish to good appearance. I do not recommend using liquid polishes as they can leach into the slides and valves and could cause problems.

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 requiring removal with a special mouthpiece removal tool.

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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

Instrumental Tuning and Design - Proper Tuning Approaches

Instrumental Tuning and Design - Proper Tuning Approaches

Modern musical instruments, manufactured by responsible firms, have benefited enormously from investments in acoustical research and design consultation with artists. The overall standard of wind instrument manufacture has never been higher and the area of greatest improvement is to be found at the student level. While superior materials and expert craftsmanship contribute to making some older models highly desirable in the eyes of knowledgeable players the advent of computer aided design and assembly has brought about vast improvements in performance and pitch consistency for quality modern instruments across the board.

Tuning

Most markets around the world aim for A = 440 (UK, USA, Australia) or at most A = 442 (Europe). Austria is an exception where A = 444 or 445 is still a preference. Instrument manufacturers design their products to perform at these pitches under ideal conditions of approximately 72 degree Fahrenheit / 22 degrees Celsius, (i.e. room temperature). In practice there remains quite a lot for the player to understand and to learn to utilise to help her or himself to accomplish truly playing in tune.

Comfortable, room temperature conditions are rarely found in performance situations but since these are what are utilised at the design stage an instrument must be able to be played both above and below the intended ‘ideal’ pitch in order to accommodate adverse conditions.

Flute – the head cork must be in the correct position – check this with cleaning rod line - it must show up in the middle of the embouchure hole. The headjoint itself is usually pulled out from the fully ‘pushed-in’ position approximately 3-5mm (sometimes more) depending upon blowing style, angle of air stream and embouchure. Too far out and the player is must compensate for flat low notes, splitting tones and a dull high register – too far in and the compensation is all downwards with the lip and blowing angle. Overblown octaves, harmonics of 12ths and double octaves should all nominally ‘line-up’ when tested. The player must then handle smaller adjustments for pitch accuracy and tonal colour. The general tendency of the flute is towards sharpness especially in the upper register and when playing loudly. Pitch will sag when playing soft without great care and good air support from the player.

NB – on all other instruments the tendency is for pitch to sharpen when playing more softly.

Clarinet – Instrument manufacturers intend that a clarinet, when pushed all the way in, should play sharp. Student instruments are frequently supplied with shorter barrels to allow for tuning to fixed pitch instruments (i.e. a piano or keyboard) when played by inexperienced beginners. Therefore, when played by better players and especially once warmed up, the barrel should be ‘pulled’ usually 1.5- 2.5mm. This will bring most pitches into line but some additional ‘distributive’ tuning may be necessary. This is accomplished by pulling out at the middle joint and or bell in more extreme cases. Sometimes a particular mouthpiece will have a tendency to play sharp or flat and by changing this an otherwise ‘difficult’ instrument will come into line. The Vandoren series 13 range was created with the desire to help players ‘bring down’ pitch to A = 440 where necessary. Professional players with well-developed embouchures and settled playing concepts often use longer barrels in order to create the most stable possible pitch platform throughout the full range of the instrument. Key/pad venting height is a factor in the evenness of both pitch and tone colour and must be sensitively examined for optimal playing. The clarinet’s general tendency, unique among the woodwind family as it over blows at the 12^th rather than the octave, is towards flatness, with the exception of the throat tones which are often sharp and thin and the upper register that is often played with too much lip pressure and can tend towards sharpness. Middle Bb2 and upper C3 are particular concerns for many players. The addition of fingers of the right/left hand (sometimes referred to as resonance fingering) is often done to help the tuning of and enrich the sound of throat register A2 and Bb2.

Oboe – Most oboists count on their oboe to be as stable as possible so that their tuning is done with the reed, often choosing the staple length and the overall tied length of the reed blades specifically to match their instrument. The oboe is highly flexible and playing fatigue and the condition of the reed will continually affect pitch. In the correctly assembled position the reed should be pushed completely into the receiver socket. This is the optimal playing position. It is best practice to avoid pulling out the reed to try to adjust pitch downwards as this creates other problems by introducing a ‘bulge’ to the bore where the staple has been pulled back out of the socket. The player handles small adjustments for pitch and tonal consistency with the position of the reed on the lip and air support. The natural tendency of the oboe is toward sharpness especially as tiredness sets in. Reeds tend to drop in pitch as they tire or close up. The upper register, due to the difficulties of production, is often quite sharp and care must be taken. Too heavy a reed will lead to sharpness due to the effort of involved in producing a tone – too soft and the sound will be thin and pitch will drift downwards.

Bassoon – The bassoon is such a long instrument that corrections made by pulling the crook out from the receiver socket, affecting as they do only the shorter wing joint notes, are virtually pointless. The player usually has a choice of crook lengths provided to them with their instrument and most will use a number 2 (crooks are available from a nominal 0 to 3, the higher number being longer and therefore providing a lower pitch level). Distributive pulling at the joints can help in a severe tuning situation (being sharp but needing to play at a lower pitch) but keywork linking across the joints is a limitation as is the undesirable introduction of a gap in the bore. Like the oboe pitch adjustments are often made at the reed and this can be successful for the shorter tube notes, principally E and F, but notes with a longer sounding tube length will not benefit nearly as much from reed adjustment alone. The tendency of the bassoon is towards sharpness, especially in the low register. This is an acoustic choice for if the instrument were absolutely to pitch in ideal conditions it would be impossible to bring up the pitch of the long tube low notes when cold. Players become used to keeping pitch down by playing with a relaxed embouchure, internal tongue position in the oral cavity and solid air support.

Saxophone – The saxophone has very flexible mouthpiece positioning on the crook and the resulting pitch is highly dependent upon good embouchure and air control from the player. There are known acoustical compromises in the tuning of the sax but as the general tendency is towards sharpness the player must be very careful not to start with the mouthpiece position too far on the crook cork as all notes will then be sharp, especially the high register. One should not pull off too far either (a decision often prompted by an attempt to compensate for a poor embouchure understanding and improper air support), as this will distort the shortest notes disproportionately and throw off the balance of the response throughout especially the low register. Players must work to learn to support well and relax the embouchure as much as possible and when this is well understood the instrument settles into a manageable and predictable pattern. Tuning is highly influenced by mouthpiece selection and high baffle jazz mouthpieces in particular often require great skill from a player to be able play well in tune, as they will tend to tune more sharply.

Valved Brass – If an higher range brass instrument (trumpet or cornet) has been properly manufactured it will play it’s intended ‘ideal’ tuning pattern with little mechanical adjustment beyond a pull of the main tuning slide and secondary pulls for specific notes at the moveable 1^st and 3^rd slides. The player must work within the acoustical limitations of the instrument to compensate with the lips for small idiosyncrasies. The larger the instrument the greater will be some of the known acoustical distortions and for euphonium and tuba especially additional valves, compensating mechanisms and tubing lengths are often added or manipulated to assist in obtaining better tuning in all registers, especially the low register. The french horn, being a very long tubing instrument, is played almost exclusively in the mid to upper range of the available tones and as a result produces quite a stable pitch platform. Never the less it does have some very distinctive tuning requirements. It is fair to say that well made instruments are intended to be able to play in tune with a consistent, minimal distributive pull of the valve tuning slides as long as the player plays with a good embouchure and airstream and is prepared to make further subtle adjustments with the bell hand.

Trombone – Aside from a standard pull of between 1–2cm at the main tuning slide all the rest of the tuning for a well-made trombone is accomplished between the slide positions, the player’s embouchure and solid airstream. Some instruments have their own individual acoustical ‘quirks’; but of all the brass and woodwind instruments the trombone has the greatest ability to be played ‘in tune’ with few mechanical limitations. The trombone relies more than anything on a player’s hearing and relative tuning recognition for correct pitch placement as well as the ability to consistently supply the instrument with the correct air and embouchure balance.

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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

Placement of Single Reeds on Mouthpieces and a Useful Test

Placement of Single Reeds on Mouthpieces and a Useful Test

Over many years customer have regularly asked me how best to place their reeds on their mouthpiece. Since the reed and mouthpiece combine to vibrate the air column this actually quite an important question. 

Following soaking, the reed should be positioned on the mouthpiece with the reed lined up evenly distributed on the flat cutaway that is the mouthpiece ‘table’ with the tip of the reed aligned with the end of the tip rail of the mouthpiece. When examined perpendicularly you should be able to see a hairline of the tip rail over top of the reed tip in standard playing position. Once you are satisfied with the positioning hold the reed with a thumb and carefully place the ligature over top. Lower the ligature until it sits in a position where there is an equal amount of the ‘bark’ of the reed visible on either side of the ligature. Tighten the screw(s) (where present) finger tight but do not over tighten them as this can damage the reed fibres and inhibit vibration.

If you wish to check the success of your placement you can perform a suction test as follows to see if the reed is ready to use:

• Wet the palm of your hand and place the shank end of mouthpiece end on your palm

• Take the tip of the mouthpiece and reed in your mouth, wrap your lips around the mouthpiece and create a vacuum by sucking aggressively and repeatedly to remove air from within the mouthpiece

• When you feel this has been achieved release your lips and the reed should hold shut for a few seconds (you may even hear a ‘hissing’ sound) before it ‘pops’ open with a noise, as the vacuum is lost.

• If you do not get a ‘pop’ first try again – If after repeated attempts your reed does not hold a vacuum it may be miss-aligned, warped or damaged. If it seems to take a very long time to ‘pop’ then if may be fatigued and ready to be changed.

It takes a bit of practice to gain ‘the knack’ of this test but it can be quite useful in confirming that the set-up is likely to work well.

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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

Differences Between Student, Intermediate & Professional Models

Differences Between Student, Intermediate 

& Professional Models

In common usage these terms are becoming less relevant with the passage of time – other than a still useful way to differentiate between the costs of the ranges of instruments. The quality of student instruments has, on the whole, risen significantly while the number of true ‘intermediate’ models has declined and in the meantime the number of highly competitive models claiming to be of professional standard has increased.

As a rule in general, the best ‘made for purpose’ models still aim to achieve the following:

Student – Lighter weight, often designed to be more responsive and encouraging for young players frequently offering beginner specific keywork designs, simplified key mechanisms, quality starter mouthpieces/headjoints and supplied with durable yet convenient cases many with shoulder carry or rucksack straps.

Intermediate – Heavier built than student models and using better materials to enhance tonal quality and reward the progress that has been made in the early years of playing. Slight increases in resistance to match the player’s growing capabilities, often more fully keyed, sometimes accompanied by better quality mouthpieces and frequently supplied as outfits with more sophisticated cases that will stand up to longer periods of use.

Professional – Here you will find the highest degree of intonation accuracy, even heavier built and weighted to make the most well developed of airstreams and still hold sound together. Top quality materials are used, more hand finishing employed and the highest level of quality control, more design input from professional players and development teams, the fullest range of keywork and other options. A wider range of finishes is often available including custom looks. Greater responsiveness and tonal evenness are a priority and projection is emphasised – all with the intention of aiding the player to better produce a more personal sound and to meet the requirements of a wide range of playing circumstances while allowing the greatest freedom of expression and reliability.

It is worth noting that the quality of the mouthpieces supplied with intermediate and professional level clarinets,  saxophones and many brass instruments are often not equal to the standard of the instrument as manufacturers expect most players to have upgraded to their own choice of mouthpiece by the time they come to choosing a professional standard instrument. Some notable exceptions to this are Selmer, Yanagisawa, Holton, Conn, Bach, Paxman and Yamaha Custom each of whom includes a quality mouthpiece with their outfits.

NB – Sadly there are some very poor quality instruments, especially in the student range and often generic or ‘shop branded’ that are simply best avoided. Often compromises to the materials used, quality control and design will have been compromised  and performance will be sacrificed. When considering the purchase if a musical instrument I would always suggest seeking advice from an experienced, knowledgeable player and visiting a specialist shop who can offer the support and guidance necessary to make you feel comfortable making your choice.

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

Tips on How to Trial a Saxophone CASS Article

 

Tips on How to Trial a Saxophone

From CASS article on Choosing a Saxophone, by Thomas Dryer-Beers

   

Tips on How to Trial a Saxophone

• 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.

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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

Dry Weather / Wet Weather Single Reed Performance

The effects of Humidity, Altitude and Seasons Upon Reed Performance

It is in the experience of many players, certainly including my own, that on occasion an excellent reed which I/they enjoyed playing on a day or two previously suddenly seems to no longer work well - for reasons unexplained by any obvious damage or misalignment on the mouthpiece. On such occasions I look to the skies, not in exasperation but to see what the weather is doing - here is why:

Cane reeds are intended to vibrate and play their best in a controlled moisture environment. This is why soaking your reed prior to playing is so important and why many players develop a specific routine to ensure that they obtain the best results.

Assuming the reed has already been well wetted if the climate conditions indoors or out are very dry the moisture (both within the reed and on its surface creating the vacuum seal with the mouthpiece) is likely to be reduced within a very short period of time - possibly even seconds - and this change can effect reed performance dramatically. A reed will often feel much harder to play and perhaps begin to squeak as a result of a warp developing on the underside of the reed.

Conversely a reed that becomes overly wet, due perhaps to very humid conditions indoors or out, will be likely to 'give out' quite quickly becoming too easy to blow and sounding thin and buzzy. It is likely to lose its resilience and effectively 'collapse' into the mouthpiece facing in a very short period of time. High note control and tone quality are both likely to be affected .

Such changes in weather conditions can account for why a reed selected as good or promising one day may feel 'rubbish' the next and why a reed dismissed as poor at one sitting should perhaps be reviewed again when the weather changes.

Altitude can be a factor as well as the conditions at higher altitudes, all other things being equal, will tend towards low humidity and near sea level conditions are usually more humid. Such factors matter a great deal to touring musicians who learn how to plan for these changes and adjust their equipment accordingly but the experience of such changes in reed performance can arise for anyone at any time. Even seasonal changes from the warmer and more humid months of Spring and Summer to the colder temperatures and drier conditions of Autumn and Winter can have some effect.

Bearing all this in mind can seem tricky but may be some consolation and assistance should you experience an unexplained reed crisis. Armed with this knowledge you have be able to increase the number of 'good' reeds you obtain from any box!

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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