We all are creatures of habit when it comes to assembling musical instrument(s). It is my hope that by observing the following tips one should be able to avoid creating problems and thereby help ensure the very best performance from the instrument.
Note: Players have their own approach to assembly, sometimes
informed, most often formed simply out of repetition. There is such a thing as 'best practice' in the assembly of an instrument. The bottom line should be
to assemble (and disassemble) without putting delicate keywork or valves at risk. Thomas
- Pay attention and handle with care - never in a rush
-
Avoid placing unnecessary pressure on key work or valves
- Keep all cork joints and valves/slides lubricated and metal cleaned
- Carefully clean following use
Instrument Assembly Tips
My suggestions are summarised below:
Flute – Make sure the tenon joints (headjoint and
body tube) are clean and free of dirt and grease. Holding the main tube at the
ferrule with the left hand, and the footjoint with the right hand positioned at the bottom
with thumb on the low C-key, align the joints and twist the footjoint into place
with a gentle back and forth motion. The pillar of the Eb/D#-key is usually
positioned approximately 2/3 to 3/4 down the length of the D-key touch. Continue to hold
the ferrule with the left hand and assemble the headjoint with the same motion.
Align the headjoint by sighting down the flute from headjoint end after
assembly and lining up the embouchure hole to proper playing position with the headjoint pulled out between 3-5mm for most playing situations.
Clarinet – Make sure the joints are well greased.
Holding the upper joint between the LH fingers and palm (fingers where fingers
go is an easy way to communicate this) and grasping the lower joint with the RH
over the bottom of the joint with thumb closing the low E-key bring the joints
together in a twisting motion rotating as you do so that the bridge key linking
the RH rings to lift the LF Bb/Eb-key arm lines up properly. Continue to hold
the clarinet in the left hand and add the barrel with a twisting motion then
re-grasp the clarinet in the LH with the palm holding down both low E and F
(F#)-key cups and add the bell with the twisting motion. It is traditional to
line up the insignias when present but this is not vital. Finally add the
mouthpiece to the assembled instrument pushing down while resting the clarinet
bell on a chair or leg if desired. The reed can then be positioned with ease. The entire assembly (and disassembly) can be accomplished in under 10 seconds using this method.
Sax – Assemble the mouthpiece alone to the crook into
rough tuning position first then add reed and ligature. Following that, grasp
the instrument by the bell with the LH and taking the crook assembly with the
RH over the top of the crook and with pressure exerted between palm and finger tips
and slip a finger under the octave key arm near the pad (for alto and tenor
sax). Then bring the crook and body together in a side to side rotating motion
while watching that the octave key arm does not foul the octave key link tube
on the sax body. This is to avoid inadvertently causing damage to the octave key extension are above the body or bend the delicate lever arm on the crook itself. When assembling double crook sopranos take care to hold the
crook carefully between fingers and thumb at the octave key mount to better
control the assembly and help avoid wrenching the octave key arm out of
alignment.
Oboe – Make sure the joints are well greased.
Grasping the upper joint in the LH between fingers and palm ‘fingers where
fingers go’ and holding the lower joint in the RH with the bottom of the joint
in the palm and thumb over the low B-key align the tenons and assemble with a
small rotating back and forth motion while watching carefully that any link
keywork is not damaged – ending up in proper alignment for G# regulation screw,
conservatoire link keywork and duplicated trill key mechanism when present. This is
often (but not always) achieved by lining up the pillar posts. Re-grasp the oboe bottom joint with
the LH palm below the thumbrest and fingers curved over the feather key rod
(the long key starting with the LH little finger touch and operating the low B
and Bb-keys) and closing the RH finger keys and take the bell in the RH with
thumb depressing the low Bb-key. With a rotating motion assemble and align the
link key(s). Finally, add the reed last holding it with fingers squeezing at the thread and pushing the corked staple down
into the receiver tube in the top joint. This is often made easier by resting
the bottom of the bell on a chair and having both hands free to steady the oboe
and insert the reed.
Bassoon – Make sure the joints are well greased. Take
the wing joint in the RH with palm over the holes and finger tips in the ‘cut
away’ on the opposite side. Insert the wing into the small hole of the boot
joint and make sure the cut away portion is lined up with the larger hole (used
for the long joint) in a concentric ark – make sure you do not damage the crook
key link mechanism – it must finish up above the boot joint lever arm. Next
grasp the long joint over the top end with the RH holding down the low B key
with fingers and insert this joint to the boot joint larger hole being careful
to not over rotate the joint and cause the low D#/C#-keywork to bash into the
wing joint. Then rest the partially assembled instrument with the boot joint on
the ground and holding the long joint with the LH over the B-key with palm
grasp the bell joint with the RH placing the thumb over the Bb-key and assemble
and line up the keywork. Add the ‘bird’ or handrest. The final stage of
assembly is adding the crook (held between RH fingers and palm in the ‘middle
of the bend’ to the top of the wing joint being careful to line up the ‘nipple’
with the crook key pad and add the reed last.
Brass –
Brass instruments are much simpler to handle and assemble but still deserve respect and consideration. Always try to avoid unnecessary pressure on slides and valves and take time to move the slides frequently to avoid them becoming 'locked in' or stuck.
Take care to insert the mouthpiece with only a gentle twist into the receiver –
never a tap!
Trombones are assembled with extra care with the slide lock
engaged to avoid the outer slide shooting off out onto the floor and to avoid any chance of denting the slide itself. Once
assembled the bell and slide should form an acute angle (at least a right
angle) with the bell on the left for playing position and both the slide and the
bell sections able to be held comfortably by the left hand palm, index and first
fingers.
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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
