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

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

Who Might Succeed on the Bassoon?

Who Might Succeed on the Bassoon?

While it is possible to begin upon many types of instruments when a child is younger and smaller the bassoon is not usually consider to be one of them. Until the advent of 'mini bassoons' pitched in G even the innovative 'Short Reach' models which helped make key work manageable for smaller sized hands by reducing the 'finger stretch' required were based upon full size, standard weight instruments. Thus, by default, most players coming to the bassoon have traditionally done so from other woodwind instruments or none, rather than having done their early musical training on the bassoon.

This brings up a relevant question - Who, or rather, what instrumental background, is most likely to be conducive to success on transferring to or adding the bassoon to their instrumental portfolio?

The Recorder can be an excellent preparation for the bassoon as its origin in the pre-Baroque period, its repertoire and the experience of open holes and crucially its basic fingering patterns have many elements in common with the bassoon. Even not withstanding the absence of experience of blowing a double reed, though this must of course be learned, picking up the bassoon may be less of a challenge than moving say from a single reed instrument, where a very different relationship of embouchures is a distinct difference. The bassoon also offers a recorder player an avenue into more modern ensembles.

The Flute may also be a fine preparation for the bassoon as the nimble finger technique and the wide range of the flute with its own tricky cross fingerings for higher register notes is not dissimilar to the challenges a player will face with the bassoon. Again, the lack of experience blowing a reed may actually be a benefit as the unlearning of an embouchure and the muscle shapes based upon mouthpieces can take time. The suppleness of flute embouchure and the natural aural cavity shape and focus of air are likely to make the learning of the bassoon both a bit quicker and more 'natural'. There will almost certainly be some disruption to ones optimal embouchure on the flute but this may be a small price to pay for the reward of playing an 'endangered species' instrument instead of trying to distinguish oneself amongst a crowd of other flautists.

The Clarinet is often considered as a good training instrument for the bassoon as it utilises a similar pattern of fingerings for much of its lower range and a clarinettist is already used to reading both below and above the stave. It also shares the open holes and thumb register key operation (albeit in reverse!) but a word of caution - the optimal aural cavity shape required for the clarinet as well as the fixed, taught muscle formation of the embouchure are very different than the ideal shape and embouchure for the bassoon. Coming to grips with this very fundamental difference is crucial, and usually requires much patience and careful guidance from a knowledgeable and sympathetic teacher. Failure to understand the differences between the instruments often makes for poor results and a genuine loss of good clarinet habits as well. Experience of playing the bass clarinet can be quite helpful as this larger instrument, with its more flexible embouchure and altered aural cavity, is at least a step closer to the bassoon and the 'role' of the instrument in the band or orchestra is also more similar to the bassoon than that of the Bb clarinet.

The Saxophone can also be a possible successful precursor to the bassoon as the more relaxed embouchure and aural cavity shape used on the sax, especially the tenor and baritone sax, bears a close resemblance to that used on the bassoon. The finger system, though simpler by comparison on the sax than the bassoon, does have a logic that transfers reasonably to the bassoon and, not unlike the potential experience of the recorder player, provides one with an introduction to a repertoire and to ensembles that the saxophone alone only rarely is allowed to entry.

Perhaps contrary to expectations the Oboe is possibly the least logical of the woodwind family to lead onto or share time with the bassoon. This is principally due to the very different experiences of blowing these two double reed instruments. The oboe is highly reliant on a high-pressure reservoir of air emitted in small quantities through the narrow aperture of its reed. The bassoon, while also requiring good air support, uses a larger volume of air more quickly. The relative tension of the oboe embouchure differs greatly compared with the more relaxed bassoon embouchure and the dramatically different amount of reed used beyond the lip in proper blowing position are significant differences that few players mange to accommodate successfully - certainly not without a great deal of practice!

A Pianist or String instrument player may have a decent chance of successfully learning the bassoon as their original instrument is so demanding of finger dexterity and reading (in the case of the piano) or discipline, precision finger action and tuning (in the case of string instruments) that the demands of the bassoon may not seem a great challenge - and they have a advantage of not having to unlearn anything in the way of embouchure! Such players can concentrate upon getting things right the first time.

Finally, if a Brass player, especially a low brass (trombone, euphonium or tuba) player is interested in playing the bassoon and is willing to learn take of the challenge of the fingering system, the foreign blowing feel with the reed inside the mouth (instead of the lips vibrating) and the very different sound production of relying upon a double reed, there is little danger of them doing harm to the playing of their original instrument. They will likely already have experience of reading the bass clef and the embouchure of the lower brass instruments is much less likely to be disturbed by the bassoon. Players of the more defined embouchure higher brass (trumpet/cornet, french horn, tenor and baritone horn) are only very rarely likely candidates for playing any woodwind instrument, including bassoon.

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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

What is all the FUSS ABOUT REEDS - Clarinet & Sax

What is all the FUSS ABOUT REEDS - Clarinet & Sax

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

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

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

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

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

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

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

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

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

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

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

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

I am not ashamed to admit to having evidenced 

most of the above behaviours at one point

 or other in my career. 

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

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

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

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

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


Thomas Dryer-Beers

An Inspiring Teacher - A Personal Memorium

 An Inspiring Teacher - A Personal Memoriam

Robert McCuaig was a rare musician. He was a talented and disciplined performer on both woodwind (Clarinet, Saxophone, Flute and Oboe) and brass instruments (Trumpet). Largely self-taught he became good enough to turn professional at a young age and help support his family as a young man throughout the aftermath of the American Depression. He served in the military as a bandsman and revelled in the positions, unique in my experience, of both solo clarinet in the band and lead trumpet in the jazz band. He continued to perform and teacher privately throughout his life and he influenced many thousands of pupils during his tenure as a High School Band Director. I knew him as a private pupil myself and I credit him for instilling in me an appreciation for the art and craft of music making as well as the perseverance required to succeed.

Having heard that he was suffering an illness I was on my way to see him on a brief return to my home town from University aged 23 only to find an ambulance pulling away from his house. He had passed away an hour before I arrived and I was never to see him again. My tribute below was composed as soon as I arrived back home that day. It was my attempt to gain some solace and a way of thanking him for all he meant to me. I presented it to his widow and was humbled to later hear that she asked to have it read at his funeral.

Thomas Dryer-Beers

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A dear friend of mine died today. His death leaves a chasm in my heart and a responsibility for my future that I am feeling for the first time. I am not the only one who feels these sensations, but there won't be a crowd at his memorial service. His was a kind of gift people do not measure by its quantity but by its quality. This is not to say that there are not many people he touched, only that those who treasure his memory most fervently are unfortunately few in number.

Robert McCuaig was an old-fashioned man. His principles, his values and his style remained untainted by the passing of time. He was a musician, a director, a performer, but---most of all---a music teacher. He taught discipline and commitment, and music was his vehicle. Though couples throughout the Midwest danced to his music, he won't be remembered as an artist. And, though he reached thousands of students in area schools (both public and private), his prowess as a director will not be lauded. Only his private students will carry his memory with them.

His credentials as a teacher are not the kind that gets notice in these times. A professional musician in his teens, Bob McCuaig helped support his family by playing jobs during the depression. His reputation had him travelling all over the state (of Indiana, USA) to play with anyone who needed a player, and a player they got! His teaching philosophy came out of his experience: knowing what had to be learned, he taught the skills necessary to accomplish the task. And he taught practice. The desire to achieve and the devotion to music that he instilled cannot be taught in today's classrooms. These qualities require the guidance of someone who has met the demands of his profession and who retains the joy o learning. Such a man was Bob McCuaig. His long hours, patiently devoted to young students in the hope that he might spark then in their quest of music, will inspire me always.

I have been told that he thought of me as a son. That is indeed an honour. Like any child, I took what was give me with little realization of its value until long after the giving had ceased and the debt had grown too large to repay or even fully express. Bob McCuaig knew that I love him and how I came to treasure what I had shared with him. What he cannot see now is the way I put that experience to use. I hope that what happens in the future will be a fulfilment of his faith in me.

He was fond of saying that, in his life he never had to beg for a job nor seek out a single student. I hope I may someday earn the reputation for quality that leads to such a statement. In the process, I will have made my first down payment on an honest debt that I can never fully repay.

25th August 1980

Introducing A New Plateau (Covered Hole) Key Clarinet

Introducing A New Plateau (Covered Hole) Key Clarinet

I have recently (March 2016) had the pleasure of the final testing of several wonderful plateau key clarinets prior to supply to customers. Each of these instruments had new touch pieces done altering all the formerly open rings into covered touches with other keywork, notably the left hand Eb/Bb and the right hand chromatic B/F#, altered as required for ease of use.

These custom alterations, done to a design by Daniel Bangham and executed to perfection by master craftsman Peter Worrell, have the effect of transforming the clarinet in a most wonderful way - adding complete ease and confidence of fingering and, due to the small additional mass of the keywork, enhancing the power and resonance of the instrument itself.

Over many years I have come to know the limitations of other familiar commercially available covered hole clarinet options, notably from Noblet and Vito. I can honestly say that this new version is in a completely different league to anything I have ever previously played. I had no feeling of compromise over the performance and tonal quality of a standard instrument when playing these clarinets. Indeed I experienced the unexpected feeling of freedom that I attribute to being able relax my fingers and not worry about precision in my fingering position. It was very much like fingering a fine soprano sax but hearing a wonderful clarinet!

I can imagine this customisation to be of great interest to any clarinettist suffering from a loss of finger dexterity, touch sensitivity or arthritis and I will venture that the covered holes could be a great boon to any saxophonist who longs for the comfort and relaxed feel of their beloved saxophone when required to pick up and perform on a clarinet.

Any model clarinet can, in theory, have this work undertaken but I would recommend that it be considered on higher value professional models as this is where the outstanding comfort and additional resonance will be most likely to be perceived and be of the greatest value. The converted models I have tried have been from Buffet and included both R13 and Prestige versions.

I cannot praise the design and craftsmanship enough. Wood, Wind & Reed are keeping a converted Buffet R13 in stock for customers to experience and are able to take orders for both new instruments and existing personal instrument conversions. Please speak to Daniel Bangham or Timothy Taylor at the shop. Contact telephone 01223 500442 or email shop@wwr.co.uk.

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

Reed Strength Advice and Reed Blog

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

Reed Strength Advice and Reed Blog

Starting at the beginning:

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

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

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

Then as one gets better:

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

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

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

Further refinement:

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

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

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

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

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

Advanced and Professional considerations:

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

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

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

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