Tips on Switching Between Clarinet and Saxophone

Tips on Switching Between Clarinet and Saxophone

from The Single Reed Doctor Column, CASS Article December 2016

In response to a question posed by a member of the Clarinet and Saxophone Society of Great Britain I the reply below. I hope it might also be of interest and helpful for Wind Player Advice readers.

Question:

I play both clarinet and saxophone but find it difficult to move between the two. The sax feels very open, requiring a lot of air, while the clarinet feels tight and pressured. I have recently started playing in shows and need to improve my quick changes between the two. Is there anything I could do to my set-up that would make this easier?

My 'Single Reed Doctory' reply:

This is a very good and multifaceted question and one that I am afraid does not have a quick or straight forward answer. Some players never seem to need help with this. They just ‘get it’ and manage to double sax and clarinet seemingly without much effort. Most players need to examine this question in greater detail and the process of examination should prove useful for anyone wishing to play their best.

You will find examples of equipment intended to make switching between clarinet and saxophone easier but in my opinion this route does not help in the long run as it can obscure the issue. It is fair to say that moderate tip openings and standard chamber mouthpieces are likely to make for easier control of both instruments possible - therefore you may wish to avoid extremes - however, leaving equipment aside - a thorough understanding of the requirements for good playing on each instrument is the best way to develop your control and to achieve a rewarding, characteristic tone on both clarinet and saxophone(s).

The clarinet has a cylindrical bore and all saxophones have conical bores. This central difference contributes to not only how each instrument overblows but how it responds. The reason the sax feels so ‘open’, something quite disorienting to many clarinettists, is that the amount of air required to fill the tube is highly variable depending upon the length of tube in use and the register. The clarinet bore, to many saxophonists, feels quite ‘stuffy’ and resistant - or pressured as you suggest. This is largely due to the more consistent taper dimension of the bore (varying significantly only at the bell) and the requirement of a uniformly higher pressure throughout the entire range of the instrument regardless of the fingered length of the tube.

In my teaching I have used the concept of the Two Q’s when trying to explain this and perhaps you might find this helpful.

• The Quality of the air pressure must remain the same for both instruments, at all times and at all dynamics.

• The Quantity of the air used varies depending upon the range, register, dynamics and resistance of the instruments. This is much more obvious on the sax than the clarinet. Understanding and applying these concepts can transform a players experience.

The mouthpiece used must allow a player to be comfortable whilst utilising the best air support they can provide without requiring an excess of embouchure pressure. The appropriate resistance to a well supported air column is not just to be found at the embouchure surrounding the mouthpiece and reed but the airstream is also focused and shaped in the oral cavity via the position of the tongue. In my experience the tongue is uniformly arched higher at the back of the oral cavity on the clarinet and the progressively positioned slightly further forward in the cavity as one moves to saxophones and larger clarinets.

Time spent learning how the ‘flick the switch’ and instantly apply the appropriate blowing techniques to each instrument will mean that a player can more quickly and consistently achieve a more satisfying and convincing performance even when switching in a show environment.

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

Thomas Dryer-Beers

Reed Strengths, FAQ's and General Comment

Reed Strengths, FAQ's and General Comment

(The following is adapted from an article for Reeds Direct Cambridge)

I hope that this page and some of the FAQ’s that follow will help you to gain confidence in making the choice of reed, finding the right strength and assisting in the search for reeds.

First things first –

If you are new to playing, or buying for someone who is, softer reeds, often strength 1.5 or 2 are your best bet. Using lower strength reeds at first is more encouraging to the younger player, easier on the lip and less demanding for air support. You may also wish to purchase less expensive reeds at first, as without careful handling they can be easily broken. As players learn to better handle their reeds then the expense of higher quality reeds can be justified as they will last longer and be more enjoyable to play. As a player learns to blow better, learns more notes and expects more from the tone of their instrument then they should be encouraged to move up in strength of reed and experiment with what different brands have to offer. Manufacturers offer strengths usually starting from 1.5 (or even 1) and extending to 5 (or more). These numbers represent an increasing strength of resistance. Most players will settle on strength 2.5 or 3 after a number of years of playing – this is very standard, though some advanced players or those with particular mouthpieces will require both higher and softer strengths than this. Teachers can help decide the appropriate time to change strengths.

One practice that will definitely help to keep your reeds in use for longer is to rotate them from one practice session to another. Keeping 3 to 4 reeds going at all times will allow each reed to recover from use and will highlight when one reed is beginning to lose its quality in relation to the others. We recommend purchasing cane reeds by the box and working in new reeds as old ones need replacing.

FAQ’s

• What is the difference between different make of reeds?

Each manufacture tries to offer a unique cut and quality of cane in their product. As these factors are crucial to sound and response the player will find reasons in time to prefer one make over another. 

• How do I know when to try a harder /softer strength?

When sound suffers beyond what the player can adjust for is the time to examine the strength being used. If upper register notes are thin and unstable a harder strength may help. If low notes cannot be produced in spite of one’s best efforts then a softer reed may help. The ideal is an comfortable control and even response throughout the range with a gratifying musical sound. 

• Why are reeds difference sizes for different instruments?

 As each size of instrument uses a specific size of mouthpiece the reed used must fit. Reeds are an integral part of the production of the sound through the vibration they provide to the air column and must be designed specifically for the mouthpieces. 

• What makes a reed a ‘Jazz’ reed, what makes a reed a ‘Classical’ reed?

 In general, a ‘Jazz’ will be a slightly more flexible and vibrant reed intended to allow higher overtones to be present in the sound – producing a so called ‘brilliant/punchy’ quality often associated with jazz music. A ‘Classical’ reed will be more resistant and is intended to produce a greater concentration of lower overtones in the sound – the so called ‘dark/rich’ quality associated with symphonic or classical music.

• Why are some reeds more expensive than others?

 Cane is selected by manufacturers for the intended product market – the highest of selection criteria means that fewer canes are suitable, more wastage occurs and more care is taken in finishing – contributing to higher cost. 

• Why are some reeds less expensive than others?

Some lesser expensive reeds are made from lower qualities of cane, cut more simply with less concern for final finishing. These can be well suited to players at any level but are often associated with initial years learning. 

• What are some reed brands more popular than others?

 Some products have been around for a century or more – ample time to become well known and respected. Some are more widely available therefore easier to recommend by teachers and some have a proven track record for specific mouthpieces and/or types of use. Successful products have a following in different regions around the world so what is well known in one country may be very differently regarded elsewhere. 

• Why have I been recommended to a particular brand of reed when there are so many different brands available? 

Perhaps because a player or teacher has had a very good experiences themselves with a product, perhaps a name has been well established and is easily available or perhaps because a certain brand is believed to constitute good value. In the end every player will want to find their own best answer and should sample a variety of reeds. 

• Why don’t all reeds correspond in strength? 

 This is a bit like ‘Why don’t all cars look alike?’ They just don’t and for a variety of reasons. Strength guides are generally relative and roughly proportional to each other but each manufacturer wishes to do something unique to meet the perceived requirements of the musician. Experience of different reeds will lead someone to a personal understanding of the relationships between brands and strengths – in the meantime a strength comparison chart and some background reading will help to fill the gaps in knowledge.

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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

Reed Adjustment - A Survival Guide for the Single Reed Player

Reed Adjustment – a Survival Guide for the Single Reed Player

The single reed that clarinet and saxophone players rely upon is a piece of cane (from bamboo, Arundo Donax, therefore wood) which, when in use, is continually changing state between moist and dry conditions. The reed fibres swell and contract with moisture absorption and evaporation. In addition, the fibres of the cane are tubes that will collect skin cells from lip tissue and handling as well as saliva residue, food particles and dirt. The fibres will also, over time, lose their resilience after being subjected to the many hundreds of thousands of vibrations required in order to produce the tones we all love to make.

 No wonder reeds need care and attention!

To make your reeds last longer and player better try the following: 
Have a planned ‘break-in’ routine with your reeds - 

• Soak your reed for 30 seconds to 1 minute, in warm water if possible, tap / cold water if warm is not possible, or soak in your mouth if no water source is available.

• Place on a flat surface and press with your thumb along the vamp of the reed before playing for a maximum of 5 minutes when new. 

• Place that reed safely in a reed storage case and repeat with another new reed.

One should ideally try to have 3-4 reeds on the go at any time so as to avoid getting ‘caught out’ with nothing ready to play. Once a reed has settled the period of use can be extended to an hour or more over several sessions. If a reed is working particularly well you may wish to set it aside and mark it for performance use in the future.

If on the other hand a reed does not seem to be performing as well as you wish then it is time to see if it can be improved …

Sounding dull / playing with a stuffy, resistant feel -

Place the wetted reed on a flat surface and use reedrush (natural sandpaper), a ReedGeek tool or a very sharp, straight knife and gently work at the tip area to remove some of the some cane (always stroke away from the reed tip, never back towards it). If the tip area is evened up and made more flexible this may be all that is required. If the reed is still ‘not right’ check that the underside of the reed is truly flat by sighting along the underside of the reed with a flat ruler or straight edge of the knife looking in the direction of a strong light. If you see daylight leaking through either at the edges or in the middle then the underside of the reed has warped and must be flattened. You can use the tool edge or the straight edge of the knife to accomplish this. Finally, if this is not enough you can experiment with removal of some cane in the ‘heart’ region to reduce resistance. Be careful – you cannot put anything back once it has been removed.

If a reed is almost right but just feels a bit like ‘to much hard work’ try placing reed on the mouthpiece as usual and then press it in towards the facing with your thumb, holding it in a closed position for 10 seconds or so. I refer to this practice as ‘pre-ageing’ a reed and it can often be all a new reed needs to quickly settle in ready for successful use. 

Sounding thin / playing without enough resistance -

 First, test to see if it seems to play better when positioned ‘too high’ on the mouthpiece (i.e. deliberately extending the reed over the end of the mouthpiece tip by 1mm or so). If this seems promising then try to return strength to the reed by clipping it with a reed cutter (Cordier is my  favourite clipper, Vandoren do a fine precision clipper for their own reed range). Work in small stages and try blowing again following each clip. When the resistance feels right the reed may need re-balancing at the tip (see above) as you have effectively returned thicker wood to the tip through the clipping process.

The changing nature of reeds -

Once good reed begins to decline try rejuvenating it by gently placing it on the mouthpiece and with the ligature in place, insert a thin/stiff playing card between reed and mouthpiece facing and gently bend the reed away from the mouthpiece using the card. Re-test. This often does just enough to get through a concert or rehearsal session.

If you are returning to a reed which was once good and now seems to perform differently it is useful to bear in mind that changes of humidity and moisture content will affect cane reeds and what the reed may require is breaking in again or a review given a change of season. Do not throw it away as in a month or two it may be 'just right' once again.

In summary - 

The ability to analyse reed behaviour and to be resourceful with various adjustment options in the face of the inevitable challenges posed by the use of cane reeds is of great benefit to all players. This knowledge increases your confidence, reduces pre-performance stress, and leads to more playing enjoyment and helps to save money!

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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