A Guide to Current Vandoren Single Reed Products 2016
Vandoren make a truly remarkable range of top quality products for the clarinettist and saxophonist. So much so that perhaps a little additional background might be useful when considering which choices might be right for your set-up and style.
For the manufacturer's explanation I recommend a visit to the main Vandoren website where their many products and much additional specification information, artists, news and images may be found.
www.vandoren-en.com
For UK and European ordering of Vandoren reeds I am pleased to be able to recommend visiting:
www.reeds-direct.co.uk for their unrivaled stock and service.
For information and ordering any of the wide range of Vandoren accessories I would like to recommend visiting:
www.vanbleu.com
For my summary and opinions - stay right here!
For each of the reed products the Vandoren website offer their intentions and design details. I find that these are sometimes difficult to decipher and I have developed my own, deliberately short, and hopefully memorable, characteristic tone and performance descriptions. I hope they might help and I encourage all players to try the logical options for them - as I have - and see what these fine reeds can offer.
For clarinet reeds the range now extends to 5 products:
Traditional - Brilliant, with great attack
V12 - Flexible, woody and warm
56 Rue Lepic - Dark, centred and stable
V21 - Response with warmth
and the quality student reed by Vandoren, the Juno - Reliable, easy play
For saxophone reeds the range extends to 8 products:
Traditional - Brilliant, with great attack
Java - Flexible and round
Red Java - Responsive, flexible and bright
V12 - Flexible, woody and warm
V16 - Punchy with edge and projection
ZZ - Flexible, responsive and characterful
V21 - Response with warmth
and the quality student reed Juno, by Vandoren - Reliable, easy play
All the above reed designs are manufactured using the same top quality cane - their different performance is due to the variety of profile used in the cut, the thickness of the tube of the cane used, the thinness of the reed tip, the taper of the blank and the amount of cane left in the heart and spine.
All the above reeds are, of course, available in different strengths, and the effectiveness of the match to the mouthpiece being used and the playing approach of the player are critical factors in the performance and successful use of any reed. An incorrect reed cut or strength match will compromise the intended performance without any doubt. While it is true to say that a successful match is an individual choice there are some generalizations, based upon likely use and type of mouthpiece match that may help. I am attempting to place these on a spectrum of likely successful use - bearing in mind that narrower tip openings demand stronger strength reeds where as larger tip openings will generally require softer strength reeds - medium tip openings can match most strengths and cuts. The characteristic use (C) - Classical, (J) Jazz is shown at the far left of each line.
Use Narrow Tip Opening Medium Tip Opening Wide Tip Opening
(C)/(J) Traditional --------------------------------------------------------------------
(C) V12 --------------------------------------------
(C) V56 ------------------------------------------
(J) Java ---------------------------------------------------------
(J) Red Java----------------------------------------------------
(J) V16 ----------------------------------------------------------
(J) ZZ -------------------------------------------------------
(C) V21 --------------------------------------------------------
(C) Juno ----------------------------------------
I hope the short summaries above will prove useful. It certainly helps me to keep all these products clearer in my mind when I am advising pupils or customers.
---------------
The 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
Thursday, 5 May 2016
Thursday, 28 April 2016
Oiling a Wooden Clarinet or Oboe - A Discussion CASS Article
Oiling a Wooden Clarinet or Oboe - A Discussion
There are many opinions 'out and about' regarding the advantages or necessity of oiling the bore of wooden instruments, particularly clarinets and oboes. Some proponents are adamant that oiling must be done routinely or accept an increased risk of cracking in the wood. Others say never to oil as the wood will not absorb the oil applied. I have not noticed many contributors who try explain the contradictory advice. This is my brief summary attempt to address this. (for a more detailed discussion about care please see my blog entry Owning and Caring for a Wooden Clarinet, date of entry 27th Nov, 2015)
The coating of African Blackwood (Grenadilla), the material from which the bodies of most wooden clarinets and oboes are constructed, has been a practice of players for many years. When Grenadilla was first adopted for instrument construction oil was applied as a sealant to keep the wood from suffering the effects of moisture absorption through playing and to maintain, as much as possible, a stability in the wood to resist changes in both temperature and humidity levels. Since even this most dense wood is still a natural product it has a grain which is subject to opening up under stress.
- A light oiling, usually with almond or linseed oil was common practice on wooden instruments manufactured up until the late 1970's / early 1980's, and this was as effective a preventative treatment as was then available.
The use of a small quantity of oil, carefully applied with a pull through swab or pheasant feather, was observed to reduce moisture absorption and lessen the occurrence of 'cracks' - the opening up of the grain.
It is good to bear in mind the following caveat:
Do not oil apply in excess as the oil can run and will eat away at pad surfaces and attract lint which will affect the pad seating and keywork mechanism function.
Beginning around the early 1980's manufacturers began to use newly available technology to help stabilise their wood stocks. Pressure treatment and impregnation of the their 'billets' (the blocks of wood from which joints are cut) became common practice. Once wood has been treated in this way it has a much greater inherent stability and any oils that are applied are far less likely to be able to be absorbed and provide any useful additional protection to the wood of the instrument.
- It is not generally necessary to use bore oil on modern era instruments (post approx 1980), as their wood has usually been pressure treated prior to manufacture.
Indeed, if oil is used it may have a detrimental effect as a result of not being able to be absorbed by the wood - see the caveat above.
In extreme circumstances an instrument of any age could be completely stripped of keywork and subjected to an 'oil bath' for an extended period of time to attempt to complete rejuvenate a tired looking body and provide a new start. This is best done by an experienced repairer who will also remove all excess oil following the treatment, polish the body and return the keywork afterwards.
Everyone interested in this topic must judge for themselves whether it is oiling is likely to provide a beneficial additional 'belt and braces' protection.
- These days, for the purpose of most players, I believe that it is fair to say that oiling is unnecessary.
Rest assured that should a 'crack' occur in most cases it can be successful sealed and stabilised by an experienced repairer and your confidence in your beloved instrument will likely be regained in a very short time.
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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
Friday, 22 April 2016
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
-------------------------
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
Friday, 8 April 2016
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.
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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
Thursday, 7 April 2016
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
The Clarinet Intonation Learning Curve
The Clarinet Intonation Learning Curve
Perhaps you remember your first sounds on the clarinet? Mine remain fresh in my mind even after many years. They were frankly ugly, unpredictable and unrewarding - but I was determined to get better and of course, with practice, things did improve. Almost everyone who begins playing the clarinet will have some version of my experience and perhaps by sharing some of the usual stages of progression to playing well some benefit can be gained and some frustrations avoided.
Pre-Grade 1 to approximately Grade
2 standard -
When we begin the initial sounds,
when they are produced at all, are often very spread in tone and flat in pitch.
A combination of a yet to develop embouchure, often too great a quantity of air
in use and a thin reed make such results predictable. Manufactures know this is
likely to be the case and they design their student instruments to be able to
correct for this when assembled completely 'pushed in'.
A helpful tip is to not worry too
much (or not at all) about the higher (clarion) register and to concentrate
upon making a good and predictable tone in the lower (chalumeau) register. As
most beginners seem to be recommended to begin on a soft reed, strength 1.5
usually, this should work well for starting off but by the time one comes to
play in the upper register it is probably best to have moved on to a slightly
stronger strength. Strength 2 or 2.5 depending upon the brand would be my
recommendation.
Whilst still concentrating on the
low register it is possible to improve the tone quality by concentrating on
using a well-supported, fast moving air stream that is delivered to the
instrument in an appropriate quantity for the note(s) being played. It is worth
checking that a Concert C can be sounded on the clarinet mouthpiece alone. This
is the highest pitch sensibly available on the mouthpiece and the only correct
pitch when the embouchure and air are in balance.
A useful concept that I have often
shared is:
'The Two Q's': Quantity
and Quality.
Players should always be aware of
supplying the appropriate Quantity of air for whatever notes are being
played, varying with the register, the volume being attempted, the type of
attack and the timbre or expression sought.
They must 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.
Grade 3 to approximately Grade 6
standard -
So, after beginning to play and
everything seem to be pitched flat one is improving, blowing better air,
managing with a firmer reed and the embouchure is beginning to develop. The
upper register is being attempted and expectations are rising. So often is
pitch! It is time to consider pulling out the barrel from the top joint of the
student clarinet (up to 3mm is not unusual) and even consider additional
'distributive tuning' at the middle tenon and at the bell if necessary. Often a
willingness to play with too great an embouchure pressure has taken over the
best practice on the supply of air. If this is the case a symptom may be that
newly learned altissimo register notes (D3 above the staff and higher) will
likely be thin sounding, unstable and 'brittle' as well as sharp. Keep working
at The Two Q's and remember - high notes are not meant to be hard to
play - they are just more demanding of accuracy in blowing.
Grade 7 and beyond -
You will hopefully have upgraded to
a higher quality instrument and better mouthpiece by now. In addition your
altissimo notes (high F, F#, G and above) have become an important focus and
regular expectation for your playing, hopefully your overall tuning has begun
to stabilise and the characteristics of your instrument, as designed by the
manufacturer are beginning to be recognised. You should be aware that your
lowest 'bell notes' (low E through low F#) are usually low in pitch so that the
corresponding 12th above (middle B, through C#) are not uncomfortably sharp in
their tuning. Left hand first first finger and thumb E and thumb F are often intentionally
a bit low so that their overblown 12ths, the upper B and C, are not
incorrect-ably sharp. Throat A and Bb, notes that once seemed very flat and
ugly in tone now are much closer to true pitch and will actually benefit from
the addition of combinations of right and left hand fingers, referred to as
'resonance fingerings' that will help to lower pitch and enrich the tone.
------------------
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
Friday, 18 March 2016
Recommended First Upgrade Mouthpieces (Clarinet & Saxophone)
Recommended First Upgrade Mouthpieces (Clarinet & Saxophone)
When a player, often but not always a younger child, begins to play their clarinet or saxophone they (and often also their parents) are faced with an almost completely unknown new world. The shiny instrument and lovely case are inspiring and the entire experience quite mysterious and perhaps a bit daunting but, working largely on trust and perhaps with the help of a knowledgeable teacher, the journey begins.
The very first 'playing' involves trying to make a noise at all by learning to blowing upon the mouthpiece and reed, later the assembled instrument, and hopefully succeeding reasonably. With a soft reed and a bit of good coaching most players will eventually manage this and be inspired to keep going.
With a reasonable amount of practice progress usually follows and so does the level of expectation of the player - both on herself / himself and of the equipment being used. The point at which it occurs to a player, or even the teacher involved, that the level of equipment might be an obstacle to future progress varies widely - and often the realisation come too late as frustrations may have begun that end with a player giving up dissatisfied with their tone or ability to control their instrument.
At the risk of being overly prescriptive I would like to make a few suggestions aimed at avoiding this fate and in the process encouraging and inspiring players in their musical efforts.
After many years working as teacher, shop sales advisor and drawing on my personal experience as well there are some easy, 'immediate' recommendations that can be made which may dramatically improve ones playing over even the best of the 'student', usually plastic, mouthpieces that are supplied with most clarinets and saxophones. These recommendations are as close as I can come to be guaranteed to be successful. All the below made of ebonite hard rubber unless stated otherwise. My quick comments follow each listed item.
Try the following for Bb clarinet:
- Vandoren B45 - suited to softer and mid-strength reeds, bright and responsive
- Vandoren M30 - mid-strength reeds, dark and mellow sound
- Portnoy BP02 or BP03 - mid-strength reeds, great projection
- Vandoren B45 - the all around standard of comparison
- Selmer S80 C*, C** or D - the standard of comparison
- Vandoren Optimum AL3 or AL5 - mid-strength reeds, dark and mellow sound
- Rousseau New Classic 5 - great control with a lively sound
- Meyer 5, 6 or 7 - the absolute standard mouthpiece, warmth and projection
- Otto Link 5 or 6 - darker and rounder
- D'Addario Reserve Jazz - centred sound and warmth with projection
- Yanagisawa 6 or 7 - power with control
- Yanagisawa 6 or 7 - power with control
- Otto Link 6, 6* or 7 - a great 'traditional' jazz sound, favoured by players for decades
- Selmer S80 C*, C** or D - warm sound with great intonation characteristics
- Yanagisawa 6 or 7 - power with control
Any of the above, though different in sound quality (and that is the most important bit after all) are never-the-less considered reliable, tried and trusted and frequently recommended mouthpieces that will improve the tuning characteristics and control of almost any sax, from the cheapest and most cheerful to the finest professional models. I strongly feel that getting onto one of the above at the earliest sensible opportunity (Grade 3 is not too early and it is never too late to improve).
In my opinion the mouthpiece accounts for at least 80% of the perceived sound with the instrument behaving like a megaphone, amplifying and adding resonance to the tone generated by the mouthpiece.
I have often found myself saying to customers and pupils - if you stay with such deservedly popular mouthpiece choices you cannot make a mistake. You might change your mind years later and you might purchase other options as well to suit your changing tastes - that is called progress - but you won't regret the investment in a good mouthpiece.
Happy playing.
------------------
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
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