Thoughts on Clarinet Double Lip Embouchure

Reprinted from an article for the Clarinet & Saxophone Soceity Single Reed Doctor

Question:

I have recently overheard friends speaking about using a ‘double lip’ embouchure on the clarinet. What is this and will it help me?

SDR Reply:

The standard clarinet embouchure, used by most players is known as a single lip embouchure, one where tissue of the lower lip tissue is folded over the lower teeth to form a cushion and contact the reed. The upper lip then lies in front of the upper teeth where they contact the mouthpiece and the lip’s role is to wrap around the mouthpiece to keep air from escaping.

The double lip embouchure, as it sounds, uses both lips to wrap over the teeth therefore placing lip tissue entirely around the mouthpiece – no contact from the teeth on the mouthpiece at all.

For some players with either very thin or rather large lips, a double lip approach is simply not a physically practical option. For others it could be considered an option but it does take time and much practice to learn and to grow comfortable with the position of the upper lip between teeth and mouthpiece.

A double lip embouchure places a great responsibility on the power of an air stream to generate sufficient pressure to vibrate the reed – without the benefit of the regular ‘grip’ between upper and lower teeth. Any attempt to ‘squeeze’ the reed shut with jaw pressure is likely to result in pain as the lips, especially the upper lip, will be trapped by the teeth.

The potential benefits of a double lip approach are:

·        A rounder, warmer sound may be developed as all tendencies to compress reed and mouthpiece are unlearned

·        The necessity for much greater awareness of air stream support leading to better control

·        An increased awareness of all elements of tone production

·        Greater subtlety in control as lips are simply more sensitive than teeth

·        A strengthening of upper lip muscles as they are engaged in a new ‘drawn down and in’ position

·        A genuine rethink of what it means to ‘properly blow’ your instrument

Possible downsides include:

• Pain and the risk of damage to upper lip tissue whilst learning the embouchure position
• Fatigue of the facial muscles while adapting to a new approach
• Loss of upper note accuracy and response due to the loss of familiar pressure from the lower lip
• A potential need to move to softer strength reeds
• A feeling is instability in holding the instrument still while playing

You can see from the above that there can be numerous benefits, principally in the area of tone production and flexibility but there are many possible risks to consider and for many the double lip approach is not a viable option. (NB - I would never recommend it for use on the saxophone due to the different holding angle of all saxes, even including soprano.)

My own opinion is that giving double lip approach a try, if for nothing else as a spur to develop a better awareness of REALLY GOOD AIR SUPPORT, is worth the time invested experimenting for all those who can manage the drawn down position of the lip.

After a period of time spent experimenting and benefiting from the improved breathing and blowing skills acquired I would recommend, for the vast majority of players, a return to a single lip embouchure combined with the use of a mouthpiece cushion and the application of all the positive elements experienced:

• Better initial breathing awareness
• MUCH greater support from abdominal muscles while blowing
• A more relaxed ‘grip’ from the jaw muscles
• Increased involvement from the upper lip in the surrounding and support of the embouchure on the top of the mouthpiece

All the above can only improve a players normal sound and ability to control their instrument so what is there to lose?

--------------

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

Why Pick Up the Piccolo?

Why Pick Up the Piccolo?

 

I imagine that almost any flute player who has had experience playing or owning a good piccolo will be inclined to answer quickly simply and immediately - because it is fun! I fully share and support this opinion - but it does not say enough about the benefits to the flautist so I hope to expand a little. I would say that experience of playing and better yet, playing and treasuring your own piccolo deserves to be viewed as an important part of the development and maturation of every flautist.

The similarities between the flute and piccolo are many. The piccolo sounds a straight octave higher which makes immediate sense, but some differences remain to be addressed. Despite the tendency of many new players to try to 'force' the lips into a smaller embouchure and exert extra effort for the piccolo it actually responds best with a more relaxed embouchure. Yes, the airstream may be more forceful but the lips should almost be allowed to relax to no effort at all to create the ideal small aperture desired. The placement of the piccolo on the lip is also higher than the placement for the flute and this will take some practice to refine. This studied relaxation and related embouchure placement will come with practice (long tones and slurred octaves are very useful) and once the tone and response settle down a piccolo 'attitude' should hopefully become second nature.

This practice may be a bit upsetting for the flute embouchure at first but if you think of the results gained from piccolo practice as an extension of high note practice on the flute the benefits of the greater embouchure relaxation and experimentation with placement will transfer to the flute and be very useful.

The smaller size and lighter weight of the piccolo is an obvious difference. The player's finger technique must be lighter and more precise on the piccolo as tension or unnecessarily heavy contact with keys will disrupt the embouchure and is likely to affect the cleanliness of the sound and response. Transferring some of these skills back to the flute is often beneficial in itself and may eventually result in a more fluid technique on your main instrument.

Carefully observing the tuning of characteristics of a new instrument, in this case the piccolo, can 'open up your ears' to better habits and greater awareness of the tuning on your flute. Everything becomes more critical, not harder, just requiring more refinement and subtle adjustments to work correctly.

Flute players usually discover that the piccolo uses up a smaller amount of air than the flute but requires more solid air support. Learning how to breathe more deeply and how to best hold onto the greater reservoir of air required to stabilise the sound is a very useful learning process and the discipline and awareness that one learns are sure to enhance breathing and phrasing on the flute as well. One's playing posture, important as it is to all musicians, is especially important on the piccolo and working to improve posture goes along with better breathing habits.

The piccolo is almost entirely a solo voice in the band, orchestra or ensemble and as such when it is included in a score it is intended to be heard - almost never a 'filler'. Becoming used to hearing oneself instead of feeling 'buried' within a section may be a bit nerve but it also can be a wonderful confidence boost!

Balancing the tonal qualities of different ranges of the piccolo requires careful listening and the cultivation of new sensitivities. Some ranges where a healthy tone comes easily on the flute may feel weak on the piccolo and vice versa. It is a good goal to strive for evenness of tone from bottom D to top Bb at least. The highest B and C are tricky for many players and downright near impossible on some instruments but they should be pursued, with the relaxed embouchure and very solid airstream mentioned above. If consistently achieved they are a real glory for the player and wonderful to experience.

Learning to switch between and care for your instrument is also very beneficial as it is often the case (even likely) that your flute and piccolo will have been made by different manufacturers and the key mechanisms could feel quite different. Coping with this is a fact of life for many players and it should make you a more flexible individual capable of understanding all your equipment better.
 
I would recommend regularly splitting your practice time between the flute and piccolo. Playing scales, arpeggios, interval studies and long tones on the piccolo is time well spent. When the flute is picked up again your technique is almost certain to feel more fluent. 

Anything written for the flute can be played on the piccolo (with the exception of the low notes below D) but the most rewarding playing may be excerpts from orchestral repertoire, exercise studies or solo repertoire originally for the Descant or Sopranino recorder. I recommend that all learners purchase the 2 volume method by Danielle Eden titled Piccolo Piccolo! It contains progressive studies that deal with all the familiar requirements of the instrument. There is also an excellent collection of practice exercises, studies and orchestral repertoire that has been put together by Trevor Wye and Patricia Morris titled Practice Book for the Piccolo. An excellent investment for anyone.

A final point I would add is that the ability to play the piccolo, and the ownership of or access to an instrument, can often be the 'ticket' to opportunities to perform with a wider range of ensembles and even result in participation in groups where just being able to play the flute would not be of interest.

I would encourage all flute players to embrace whatever opportunities they get to play the piccolo. Make sure any instrument you might use is in good condition by having it checked over by a repairer and then go away and do the necessary 'familiarisation' practice. When you feel that you are ready then go out and let everyone know that you have added piccolo to your skill set. You will be glad you did! 

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

Why Play the Cor Anglais?

Why Play the Cor Anglais?

I imagine that almost any oboist who has had experience playing or owning a cor anglais will be inclined to answer quickly simply and immediately - because it is fun! I fully share and support this opinion - but it does not say enough about the benefits to the oboist so I hope to expand a little. I would say that experience of playing and better yet owning, playing and treasuring your own cor anglais deserves to be viewed as an important part of the development and maturation of every oboist.

The similarities between oboe and cor are many and following a predictable initial shock and the requisite alteration of habits and expectations transferred from the oboe the cor is largely playable by most oboists of a reasonable standard. The primary differences one will at first encounter are the relatively larger size and weight of the instrument, the stretch fingers and placement of keywork and the blowing position as the cor does rely upon a bent crook.

The size and weight are best addressed by using a sling, a fairly standard practice for the cor, to take the weight and relax the hands. The finger stretch and placement do take some getting used to however, since the demands for speed of finger action are considerably lower for most of the cor repertoire, there is usually time and opportunity to learn to ease the fingers into place to cover holes correctly and gently.  Allow the instrument to hang down between the legs so that the reed on the crook enters your mouth at approximately the same angle as you have with your oboe reed. Transferring some of these skills back to the oboe is often beneficial in itself and may eventually result in a more fluid technique on your main instrument.

Oboists often discover that the cor uses up a greater amount of air than the oboe. This is true and logical if you consider the larger size bore. Learning how to breathe more deeply and how to best hold onto the greater reservoir of air required is a very useful learning process and the discipline and awareness that one learns are sure to enhance breathing and phrasing on the oboe as well.

The Cor Anglias is almost entirely a solo voice in the orchestra or ensemble and as such when it is included in a score it is intended to be heard - almost never a 'filler'. This implies that tone and projection are very important concerns for the player. Mastering the production of a fine, centred, colourful tone with good projection takes time and more than anything replies upon learing to relax the embouchure so as to not 'stifle' the sound with the same embouchure pressure as one uses on the oboe. In addition the aural cavity should be adjusted to 'shape' the air to optimise the resulting tone colour by giving 'space' for the air within the body before filling the reed/crook/instrument. Getting used to hearing oneself instead of feeling 'buried' within an ensemble texture can be a bit nerve wracking to be sure but it also can be a wonderful confidence boost!

Balancing the tonal qualities of different ranges of the cor requires careful listening and the cultivation of new sensitivities. The skills gained through this process are likely to benefit the oboe as well. Learning to produce and then employ vibrato is ofter easier to do at first on the Cor Anglais as it is a more flexible instrument and a wider amplitude of vibrato and a slower speed can be acceptable. Vibrato skills learned on the cor can later be transferred to the more precise demands of the oboe.

Even if one does not make their own cor reeds learing how to handle and adjust a different size of reed can be very useful. Most players will play a less resistant reed on their cor than their oboe and learing to 'take pressure off the lips and place emphasis upon the air' will not only make for a better cor sound and more accurate intonation but can be applied to the oboe often with great benefit.

Learning to switch between, care for and maintain your instrument is also very beneficial as it is often the case (even likely) that your oboe and cor will have been made by different manufacturers and the key mechanisms and even the specification (covered hole, ring system, thoumbplate, conservatoire system, half hole split keys, LH F, trill keys, 3rd octave key, etc.) will be different. Coping with this is a fact of life for many players and it should make you a more flexible individual capable of understanding all your equipment better.

I would recommend splitting your practice time between the different instruments on a regular basis. Playing scales, arpeggios, interval studies and long tones on the cor is time well spent. When the much smaller, lighter and more facile oboe is picked up it is almost certain to feel amazing by contrast.

A final point I would add is that the ability to play the cor, and the ownership of or access to an instrument, can often be the 'ticket' to opportunities to perform with a wider range of ensembles and even result in participation in groups where just being to provide the oboe would not be of interest.

I would encourage all oboists to embrace whatever opportunities they get to play the Cor Anglais. Make sure any instrument you might use is in good condition by having it checked over by a repairer and then go away and do the necessary 'familiarisation' practice. When you feel that you are ready then go out and let everyone know that you have added cor to your skill set. You will be glad you did!

--------------

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

Double Reed Resistance and Adjustment Tips

Double Reed Performance and Adjustment Tips - What To Do and When

This is a big subject. Knowing what to do to make the most of a double reed becomes important to most players after only a few months of learning. Even with the available guidance of a knowledgeable teacher (and this is not always available) there will certainly come a time when a reed one is reliant upon just 'does not play' as it used to and something must be done in order to get through a performance. There are many textbooks and articles that can help with illustrations and advice though the best contact probably remains a successful player with experience of adjusting and if possible the making of their own reeds. This is a quick reference summary from my experience and advice I have given to pupils over many years -



Best practice starts with care in soaking the reed for about 60 seconds in water up to but not over the level of the thread - every time before you play. Bassoon reeds can be placed entirely in the water. Some players always soak their reeds by placing them in their mouth. I feel that this exposes the cane to an unnecessary degree to sugars and acids from saliva - eventually shortening the playing live. Water is cleaner, warm water is best as this relaxes the reed fibres more quickly. Not wetting at all prior to playing is a sure route to disappointment and shorter reed life.

Once wetted the reed blades may require subtle adjustment to achieve a good-looking aperture.

• If the opening is too great the blades may be pressed together with a light touch of the fingers taking care to not press so hard that the cane splits. If the reed is wired (oboe or bassoon) adjusting at the wire by hand or using a small pair of pliers may be required. For bassoon reeds adjusting at the second  (middle wire) 'opposite' to what initially seems logical will often be what is required as the first wire will act as a fulcrum.
• If the opening is too small the blades may require the opposite correction with a gentle squeeze to increase the aperture on the oboe reed and once again the 'opposite' correction for a bassoon reed.

Test the aperture and the readiness of the reed to play by blowing a 'crow' on the reed - accomplished by playing more of the reed in the mouth than usual and blowing a sustained and forceful air stream with a minimum of lip support. This is a simultaneously high and low rackety noise that is an indication of a reasonable 'balance' to the reed. If after practice you cannot obtain a crow then that reed is likely to need further adjustment to get into a proper balance and a reed knife may be called upon to remove cane. Always use a plaque when working to remove cane from a reed. I prefer a 'bellied' plaque, as these tend to provide the reed blades more support during scraping. Always work slowly and carefully with a wetted reed and test frequently.

• If the upper noise is absent in the crow cane may need to be scraped from the tip area using the knife and a plaque. It is often said that the secret to a good reed is a thin tip.

•  If the lower noise is hesitant or resistant in the crow the tip area may need to be 'integrated' into the heart and back profile of the reed. Check against a strong light source to see the location of darkened areas on the reed. Compare the 'look' of the problem reed to the appearance of a good reed and see what areas might need to be scraped.

• If all looks good but the reed is still resistant then try scraping cane from the rear of the cut away profile at the 'back' of the reed vamp. Do this slowly and keep testing, as you do not want to take away the resilience of the reed and leave it incapable of supporting pitch.

•  If the crow is satisfactory but the pitch has gone flat the usual correction on an oboe reed is to carefully 'clip the tip' removing a fraction of a millimetre of cane. To do this you will need a very sharp straight knife and a cutting block. Test the result after clipping and be prepared to rebalance the reed if necessary to ensure the proper relationship between tip, heart and back of the reed. On a bassoon reed this may also be the appropriate correction before cutting the tip try arching the reed at the second wire to see what effect this has upon pitch. Bear in mind you may have to rebalance at the first wire also to maintain a proper aperture opening.

• If the crow is satisfactory but the pitch has gone sharp the cane may be 'clogging up' and might benefit from a light general scraping overall to remove the build up of skin cells, saliva and dirt that may have come over time. If no response is gained from the approach one can take 'pitch' out of a reed by scraping the tip, the heart region and or the back to give the reed back its flexibility. Try this systematically and in very small stages and test frequently. It is very easy to go too far!

A further note - Playing the oboe and the bassoon should require a strong, well-supported air stream. I should not require a great deal of 'biting' at the lips or cause fatigue in your embouchure within a few minutes of blowing. The most attractive double reed sounds are lyrical, exciting and characteristic over the entire range of the instrument without any sense of hesitation or 'dropping out' due to problems with basic tone production. Strive for this always and try to make sure that, as much as possible, you have your reed on your side!

-------------------

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

The Importance of the Air Stream in Wind Playing

The Importance of the Air Stream in Wind Playing

In my teaching and throughout my time advising in the retail shop environment the topic of good air support has always been very important. I certainly did not know enough nor pay enough attention to developing good breathing and support habits when I was younger and many other players share the same difficulties and frustrations that I had. Indeed it was only in my early twenties following a great deal of rethinking and the guidance of some significant teachers that I began to sort myself out. Now many years later I believe that I am ready to refine what I have experienced and found useful to hopefully help others.

Breathing...Where it all begins.

Wind instrument playing all begins with a relaxed. efficient intake of air. Taken properly, utilising the greatest lung capacity available and dispensed under controlled pressure appropriate to the requirement of the instrument involved, an air stream is created that will energise an air column, then a reed or set of lips to do exactly what is desired for the musical execution of a phrase. Anything less that total control and execution will result in some level of musical loss - the air stream is that important.

When taking a breath the first stage is getting enough air into the lung quickly. Most tutors will advise opening the mouth, clearing the past of access to the throat, pushing out the abdominal muscles energetically and allowing air to 'rush in' to fill the void. Try standing or sitting in a well balanced position and work to expand your abdominal cavity in all directions: downwards, outwards, up to the bottom of the rib cage and at the back. I say to pupils that this is like trying to make oneself intentionally 'fat' with air.

If taken in successfully this large quantity of air will be held under pressure via the expanded 'stretched' position of the intercostal abdominal muscles for a brief period of time as you begin to release the air by blowing out. The challenge comes as the volume of air is reduced as you play. One must attempt to keep the air pressure constant while this loss of air is taking place by continuing to think of pushing the abdominal muscles 'out' - in other words keeping them engaged in the process of air support and not allowing them to merely collapse as the volume of air decreases. This is perhaps counter-intuitive but the action of attempting to 'compress' the abdominal muscles will only add tension to the process of blowing. Try taking a breath, beginning to speak and then, while speaking squeeze the abdominal muscles inwards. Your voice is likely to break or sound 'strangled' by this squeezing. Imagine what such undesirable tension could do to your instrumental tone!

Tongue and Oral Cavity Shape - Whistling

The shape that the player imparts to an air stream is another very important and altogether under appreciated aspect of tonal control. Many teachers speak of 'singing' via the instrument or illustrating good practice by using a series of vocalisations of various vowel sounds, i.e. Ahh, Eee,  Ooo, Ohhh. While this approach does work for some players I believe that it is not the most direct means of imparting an understanding of best practice positioning of the tongue. In my teaching I have found it more useful to suggest that a pupil first whistle for me - and notice the elevated position of the back of the tongue at the back of the top teeth and the position of the tip of the tongue near and behind the lower jaw front teeth. With the tongue in this position, blowing the air 'faster than you can sustain the whistle sound' is better illustration of an air stream shape suitable for most wind instrument blowing and well as providing a sense of the compression that must take place within the oral cavity. If a player is not familiar with or unable to whistle through the lips all is not lost. I like the following alternate approach: Imagine attempting to drink a very thick milkshake through a very weak straw. The aggressive 'sucking' position and sensitive 'drawn in' shape of the lips closely mirror a whistle position. Reverse the air flow to blowing instead of sucking and you are there!

When playing highly pitched instruments (i.e. Eb clarinet,  soprano sax, oboe, piccolo trumpet, etc.) or the higher regions of any instrument, the elevated part of tongue is best to be shaped high at the back of the oral cavity. As one performs on mid-pitch instruments or low-pitch instruments and lower ranges or pitch the 'focus' point of the tongue arch moves further forward in the oral cavity. Experimentation with this positioning can greatly aid the understanding involved in successfully 'doubling' between different size instruments i.e. oboe to cor anglais, flute to alto flute, Bb clarinet to bass clarinet, etc. and between different families, i.e. clarinet to saxophone, flute to bassoon, trumpet to trombone, etc.

'The Two Q's': Air Quantity and Quality

I firmly believe that the notion of how to deal with the variable column length and dimension of tubing that is fundamental to all wind instrument playing is vital and under appreciated. The concept of 'The Two Q's' is something that I have synthesised from many methods of trying to explain this elusive concept. The sensitivity of a player to the requirements of his or her instrument is vital to the development of instrumental control and this succinct summary will hopefully be both helpful and memorable:

• Players should always take care to supply the appropriate Quantity of air for whatever notes are being played, varying with the register, the volume being attempted, the length of the sounding tube, the type of attack being used and the timbre or expression sought.

• They must continually support and always use the best Quality of air that they can produce - this never varies and is the foundation of all beautiful playing. The degree of success one has in musical performance at all stages of learning is usually a direct indication of how well this principle has been understood and incorporated

 

 A Method of Practice

 

When faced with a phrase or section that contains many and various challenges to achieve the best possible musical expression many players resort to the repetitive practice of small sections, connecting up notes, addressing finger changes, experimenting with various dynamics, etc. This traditional approach is perfectly valid and often absolutely necessary. In addition I would like to propose a further practice option that in my experience is often overlooked. That is to play all or part of the phase(s) in question utilising at first a single pitch. This can be chosen from the phrase or completely unrelated. Within this sustained note one should try to express all the dynamic shape, control and duration of the original phrase. Once satisfied one can try introducing a selected series of note changes which begin to represent the phrase shape and challenges, perhaps the first notes of groupings or the extremes of interval leaps of the most dramatic of the required volume differentials - without sacrificing the overall control gained on the one sustained pitch. Once these intermediate stages have been successfully managed then work to add in further notes and/or finger changes until the entire phrase is being performed as intended.

If for instance an entire 4 bar phrase in a given tempo can be played with one breath using a sustained single pitch then the same 4 bar phrase should be able to be successfully played in the same tempo no matter how many subdivisions of notes are present or how wicked the intervals. If one struggles it is likely to be due to undesirable tension, less than ideal breath control or a lack of concentration while one is preoccupied with notes. Take a step back, practise the simplified phrase till confidence grows and then try again.

Very best wishes.

-----------------

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


Thomas Dryer-Beers

The Saxophone Intonation Learning Curve

The Saxophone Intonation Learning Curve

When a player begins playing the saxophone it is natural to accept just about any sound and tuning as acceptable. After all there are some many other things to think about and the instrument is designed to blow easily and usually does - as long as we provide it with a reasonable air stream and allow the reed to vibrate.

As one slowly gets better and wishes to demonstrate more control over the tone quality a progression towards the use of stronger reeds begins and this is to be welcomed. As the embouchure and the ability to support the air column both develop there is frequently a perception that, in order to keep a reed from 'closing up', a still stiffer reed and possibly a more open tip mouthpiece must be used. While this might be true in some cases is is certainly questionable for many players.

Why is this important? Because the degree of effort required to produce the basic sound and the related embouchure strength used contribute very directly to the ability to play the saxophone in tune.

When beginning the middle range notes we first encounter are fairly predictable and our standards are lower. We do not know how to play 'up high' and are not often asked to do more than honk out low notes. The overall tuning is often rather flat and the tone unfocused. As progress is made and high notes are attempted they are usually found to be thin in tone and can be unreliable. It follows then that we are suggested to try a stronger reed to aid playing in this upper register. In the normal course of events this change makes the high palm key notes easier to produce and makes the playing of lower notes more challenging. With a bit more practice and progress a sensitivity to a more consistent tone and pitch begins to develop and, following tuning to a concert A (or Bb) as one will usually start out doing, comes the realisation that even in this 'in tune' position upper octave notes will often be quite sharp, lower register notes (low D and below) quite flat, middle D very sharp and, especially when played in close proximity to the middle D, the middle C# will be found to be very flat.

This realisation can be and often is very upsetting to the player and can be the beginning of a great deal of searching for answers to the problem of 'playing out of tune' including changes of equipment and much self doubt. What is missing is a simple realisation that all players and especially teachers should try to keep in mind at all times:

The design of all acoustic wind instruments is a compromise and best performance relies upon the player understanding the compromises made.

 

An octave key is only an aid, it is not a substitute for correct blowing and proper 'voicing' in the aural cavity for the register desired. An embouchure that is ill formed (too tight or too lose) can distort the tuning of any instrument. A poorly supported air column will cause response and tonal problems even with the finest of equipment available. An internal shape in the aural cavity will compromise the response and tuning despite the very best embouchure.

The best tuning position for the mouthpiece on the crook is where (with whatever skills the player has by that stage developed) the greatest portion of the instrument's range can be manipulated into an acceptable 'pattern' of tuning.

 

 Manufacturers try to anticipate what their customers will be able to manage and are of course taking advice on their designs from highly experienced performers. Each firm then decides how to accomplish the goal of creating instruments of character with stable intonation patterns.

The saxophone, with its two and one half octave standard range, relies upon two octave vents that are automatically linked to switch depending upon the fingering used (the exchange happens between upper G# and A). The first note that benefits from an octave key will always have a tendency to be sharp - on saxophones this is middle D and upper A.

NB - If for the player these two notes (middle D and upper A) are not able to be adjusted down ('lipped down') to pitch successfully then this is an indication of a deeper problem with air support and embouchure that must be rectified - this will benefit all notes on the sax. I suggest checking the pitch sounded playing on the mouthpiece alone. This should be no higher than a concert A, better an Ab, for the alto, for tenor concert G, better a Gb, for the soprano concert C and for baritone concert D.

The last notes prior to the engagement of an octave key will be weaker and have a tendency to be flat - on saxophones this is middle C# and upper G#. The upper G# in particular (and sometimes G) will often 'fall' or break downwards in the absence of a well supported air stream. The response and accuracy of all other notes within the range of the interval of the vent's use will vary proportionally with their position within the range of the vent. There will always be a 'stretch' between the octaves of the same fingered pitch.

The longest 'bell' notes will often be flatter not only because the instrument often does not 'warm-up' sufficiently for this end of the sax but they must not be tuned 'sharp' or the overall overtone characteristics of the instrument will be affected. High register palm key notes will often be sharp not only because they are at the mercy of a correct embouchure and air balance but also because that end of the instrument becomes very warm through constant playing and the last thing a player wishes to find is that they should have to 'lip up' a high note when so much effort is being made to achieve the best tone and tuning through relaxing the embouchure throughout the rest of the range.

Understanding and accepting that such compromises in designs are inescapable will hopefully prompt attention being given to achieving the best possible air/embouchure/aural cavity position while playing and lead on to anticipating the now much smaller corrections required to address the remaining subtleties of correct pitching.

---------------


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

Thomas Dryer-Beers

The Flute Learning Curve

The Flute Learning Curve

 When one begins to learn flute there is a lot to think about: developing a correct embouchure shape, the blowing angle, proper breathing, finger placement, standing position - even just holding the instrument properly. Simply managing the making of tone of any kind is an achievement! Almost always the first sounds are often very breathy, weak and inconsistent. Very frustrating for all. 

However, if one is patient control begins to develop with practice and repetition and eventually the beginner becomes functional over a range of the first and perhaps second octave of the instrument. This is enough for most players to join a group, play some solos and generally feel good about their music making. 

At some point comes the realisation that not every note is sounding as good as the others and some notes may seem more difficult to play and possibly even be out of tune with other instruments in the group or band. At this juncture the guidance of an experienced teacher, if this has not already been available, becomes a necessity - for learning how to focus and shape each individual tone to sound its best and to take its place in a reliable, predictable intonation pattern is vital. This is a goal of every player and careful attention needs to be paid to fundamentals to achieve this.

Here is a short checklist:

• Is my stance correct, i.e. balanced weight, feet spread apart, able to move without tension?
• Am I breathing fully and supporting the breath well once taken?
• How are my lips 'addressing' the embouchure hole? Are they relaxed and supple?
• How and where am I directing my air stream?
• How efficient am I being when moving across larger leaps or octaves?
• Are my lips under control - moving easily and only as required?
• Is the tone quality the same throughout all registers?
• Can I play upper notes quietly and lower register notes loudly?
• Do all notes respond to slurring as well as tonguing?
• Can I play softly and stay in tune (avoiding the pitch dropping)?
• Can I play loudly and not go sharp?
• Am I tonguing efficiently or is my tongue stroke disrupting my lips?

Also check:

• Is my headjoint cork in the correct position? (Insert the bottom of the cleaning rod and check the line is in the centre of the embouchure hole)
• Have I pulled out the headjoint an 'appropriate' amount? (For most players approx 6-8mm to A440 pitch position)

All the above points deserve consideration and the time spent improving and developing control will be very valuable. As a general observation improving or intermediate players often play sharp without being aware of it and, until remedies are pointed out to them, they will not know how to respond. Just pulling out the headjoint is not enough as every note has its own 'best' embouchure and blowing angle.

Practice with a tuner will help (and probably shock initially) but eventually the intonation pattern of the instrument begins to be revealed. When this is observed then attention can be given to making the appropriate corrections required while playing to achieve proper tuning. This process can be helped enormously by remembering that very few good sounding, centered and attractive tones will be far if at all 'out of tune' whereas almost all bad sounding notes will be! This leads to a very memorable sentence:

Good in-tone-ation leads to good in-tune-ation.

 

As a quick aid this catchy concept is hard to beat and it can lead on to a lifetime of rewarding and efficient practice. As one reaches top levels of achievement standards the challenges do not end they just change and a player will become able to handle more difficult passages with ease but when faced with something daunting must still go back to basics to figure out how to tackle the problem and somehow make the seemingly impossible appear not only possible but beautiful!

 

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

Thomas Dryer-Beers

The Claritie - Right Hand Thumb and Wrist Support for Clarinet players - made by Daniel Bangham

Introducing The 'Claritie' - Right Hand Thumb and Wrist Support for Clarinet Players

I am fortunate enough to not have suffered greatly from pain in my hands from supporting my musical instruments but I know many players who have struggled with strain induced problems, sadly some to the point of giving up playing altogether. I have recently become aware of a product that really works and which any players suffering from such problems needs to know about. To order follow the link below to see the 'Claritie' as offered by Woodwind and Reed, specialist music shop, Cambridge, UK:

http://www.wwr.co.uk/other-clarinet-accessories/pid89425/cid417/clarinet-support-to-suppliment-the-use-o.asp

Here is the advertising blurb itself:

For all clarinet players who suffer from pain and tension in their right hand thumb and wrist from playing – there is now a total solution available!

A fantastic, new invention that holds the clarinet in the correct playing position, but takes all the weight of the thumb. An excellent solution for those with RSS or Arthritis.

The hook ring fits between the bell and bottom joint and the hanger goes between your body and the hook fitting.

Daniel Bangham, a master craftsman, repairer and retailer based in Cambridge in the United Kingdom, has developed a support that has the effect of making a clarinet virtually weightless, suspended without reliance on the right hand thumb for lifting.

This clarinet support, invented and perfected over the last few years with leading UK players and in consultation with long term sufferers of thumb and wrist agonies, is the best answer available to provide relief from pain and eliminate this aggravating problem.

Forget making alterations to your instrument or thumbrest, complicated and fussy pegs requiring frequent adjustments, stands that can only be used when seated, this clever device takes all the weight of the instrument without compromising your optimum playing angle. It can be used seated or standing. Easy and quick to install and use, its neat design requires no modifications to the clarinet, no screws changed or holes drilled and can be transferred from one instrument to another without fuss.

Made from the finest materials, polished steel and rosewood contact support the Claritie is as elegant as it is effective.

--------------

Once I became aware of the value of the Claritie I became so enthusiastic about it I wrote the following product review:

Product Review

A proven new support device for sufferers of aching thumbs and sore wrists as a result of playing the clarinet is now available. It has been my privilege to observe the development of this new product through my work at Woodwind & Reed in Cambridge, UK. It was here in this shop that Daniel Bangham, owner and innovative thinker about such matters, worked alongside visiting customers who had experienced problems ranging from minor occasional discomfort in their right hand thumbs to career-threatening pain that could have resulted in a forced cessation from all playing of the clarinet. Fortunately for these customers Daniel was able to create a device that really does make a clarinet feel virtually weightless allowing players to perform without complete comfort and at no sacrifice to their musical or physical experience.

I have performed with this device myself and IT REALLY WORKS.

When using this device the clarinet is suspended via a sprung wire triangulation attached to a hook slipped in-between the lower joint and the bell during assembly, a contact point on the abdomen (ever so comfortable) and a sling that, when properly adjusted, provides position and stabilisation to the device itself. The sling is not attached to the clarinet at all. No restrictions in holding position, no unwanted contact between a sling and the left hand thumb, no bulky or awkward tabs to get in the way of the right hand thumb and no fixed location contact points to chair or to the floor that so many stand based products require.

I have seen customers full of praise for this device and as a result of using the Claritie they have been able to return to regular pain-free playing for the first time in years. Not only is it a clever application of fundamental physics but it is so simple to use. It can be set-up in a matter of seconds, is lightweight as you would expect, and requires no alteration to the instrument itself. The experience of standing up playing an open G, with no contact of either hand at all required to hold the instrument, is so surprising and initially disorientating that it is hard to believe that it really is possible. With the clarinet support in use the amount of contact required in either hand is an absolute minimum to close the rings, cover the holes and depress keywork – nothing extra from the fingers to maintain the playing position.

I would recommend this device to any player suffering from pain as a result of holding their clarinet and for those who thought they would have to give up playing their beloved instrument I can quite honestly say – think again – help is truly at hand.

Thomas Dryer-Beers, staff member WWR (www.wwr.co.uk)

Woodwind Performer and Teacher

Consultant to Reeds Direct Cambridge (www.reedsdirect.co.uk)