Developing Better Hand Position for Efficient Playing

Developing Better Hand Position for Efficient Playing

A recent enquiry set my mind off thinking of the many times I have tried to either help myself, my pupils or colleagues to improve one aspect or other of their hand position and finger motion - the goal usually being to reduce strain on the hand, thumb, wrist or fingers or to increase playing speed in a technically challenging passage. Over many years of observation, and benefiting from welcome guidance of numerous fine teachers, several strategies have 'won out' and remain part of my repertoire to this day. I would like to share some thoughts and suggestions.

• Relaxation is vital

We all have different hand and finger shapes and finding the most relaxed, comfortable position for operation of the keys or valves is vital. Every instrument has its own requirements that need to be studied and acknowledged. If you take time to observe fine performers whom you respect you are likely to see good habits manifested. Look at yourself and your posture / fingering in the mirror while playing. How do you compare with those whose technique you admire?

Bad habits often start by not paying attention to what for each of us is most natural and relaxed. Even with the best of intentions forcing a finger to stretch or move a certain way that is not comfortable rarely leads to efficient or sustainable technique. Remember, though it may seem obvious, it is a good idea to try to adapt to the requirements of your instrument and not expect it to adapt to you.

• Repetition with a purpose

Practising a passage over and over again without examining what your fingers are actually doing can become very frustrating and even cause damage to the delicate tissues, muscles and tendons of the hand or arm. Practice slowly in a controlled manner in order to learn new habits or reinforce better finger function. Better finger coordination, relaxation and accuracy should be the goal.

Allow speed to be the end result of a careful and considered, slow study of exactly how your fingers are required to move in order to perform the passage. Speed should never be the first consideration. 

Remember: 'Do not run before you can walk.'

• Understanding the issue

If one considers the requirements of the many and varied actions required to change notes, perform trills and execute leaps on wind instruments over a sustained period of time there is a huge range of motions and co-ordinations to be executed, with micro-second precision and often involving quite complex and 'unnatural' (in most any other context) motions. 

Think about the following for example:

Am I attempting to close a key or depress a valve? In which case the note that I wish to create has a tube length which will only be fully realised at the finish of the action. 

Am I opening a key or releasing a valve? In this case the note I have been on will begin to be 'lost' the instant I move from its closed position and the new tube length / note will begin as soon as the motion starts but not fully achieved until the action of the release is completed.

Am I opening some keys / valves while closing others (or visa versa)? Which tube lengths will begin to sound or stop sounding first? How must the action of my fingers therefore compensate for the requirements of this action on my instrument?

Are some of my fingers 'weaker' than others? Do I have to be more aware of these fingers in order to perform a passage smoothly? Do some fingers seem to 'charge ahead' and would they perhaps benefit from being 'held back' in order to balance with the rest? Learning how to 'weight' a note or set of notes is a very valuable skill and one frequently called upon to even out playing both physically and musically.

• Tension, present but never in excess

Whilst some degree of  'tension' is required to hold the hand and fingers in the most appropriate 'ready' position in order to operate keys or valves but such tension should be kept to a minimum. When operating keys or valves it is a good idea to distribute the muscle actions required up your forearms engaging these longer muscles rather than relying solely on the fingers or wrist to create movement. This use of the forearm muscles is very natural and this is how our bodies are meant to work but the familiar introduction of excess and unnecessary tension continually circumvents these very natural motions resulting in a 'locked' hand and 'seized-up' or 'tight' fingers. 

Try always to allow the fingers to find their own gently curved positions, ready to engage with key work or valves with a minimum of effort and travel distance and look to the muscles of the forearms to be the source of the action for lifting and closing.

• Acceptance of limits

 If you have observed, considered, practised and as a result, managed to improve your finger technique, you will begin over time to approach your own personal maximum for speed and accuracy. As long as you are able to remain relaxed while you work to develop your most efficient finger technique you can expect that increased speed and accuracy will result. However, not everyone can achieve the same finger speeds or degree of smoothness. We all have our strengths and weaknesses.  

In summary:

Some techniques or passages may take a great deal to time to master but if you are able to acknowledge and accept your limitations while learning (or relearning) the best possible approaches to all aspects of your instrumental finger technique then you are not only more likely to enjoy the physical act of playing but also find it easier to produce more rewarding and satisfying performances.

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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

High Energy / High Baffle Sax Mouthpieces

High Energy / High Baffle Sax Mouthpieces

A recent question from a pupil revived this subject for me and inspired some further thoughts that I would like to share.

The subject of how a sax player creates a distinctive sound and musical personality is complicated and one of the biggest factors is the mouthpiece and reed 'set-up' they choose. For many players their choice of equipment is an evolution, from whatever was supplied with their starter instrument, to perhaps a mouthpiece recommended by a tutor or colleague, to mouthpieces that they have selected themselves following many comparisons and perhaps finally to one inspired by an influential player whose sound and musical approach seem to represent exactly what one wishes to achieve. It was whilst considering this final stage that my thoughts have recently been engaged.

One of the most attractive qualities associated with contemporary popular sax styles is an 'edgy', vibrant tone, one that is soulful and expressive and that competes, when amplified, with the sounds guitars, keyboards and synthesizers. For example, alto saxophonist David Sanborn established a personal style that was highly influential throughout the 1970's through to the present day and is now widely imitated and admired to this day. He learned how to get the most out of his Dukoff Silverite metal mouthpiece and for many players this set-up became their choice as well. Other brands including Berg Larsen (ebonite and metal), Brilhart 'Level Air' (metal), Beechler (plastic and metal), Claude Lakey (plastic) and Lawton (ebonite and metal) have also been popular (and no doubt other makes as well). The late and greatly missed Michael Brecker had huge influence on tenor saxophone sounds using his Dukoff and later Dave Guardala mouthpieces. Since the late 1980's many other manufactures have also entered the market place manufacturing 'high energy' mouthpieces.

The common factor amongst all of these mouthpieces is the presence of a 'high baffle' the terminology for which can itself cause some confusion. This feature is a reduction of the distance of the gap inside the chamber of a mouthpiece between the flat underside surface of the reed and the mouthpiece baffle itself. The result is a 'squeeze' of the vibrating air column as air passes through the gap. One could almost say that the 'ceiling' of the mouthpiece inside chamber shape has been 'lowered' to achieve this - hence the confusion. The exaggerated 'high' position of the baffle accentuates the higher overtones present in the vibrating column of air, allows for an easier response of the upper altissimo register, can make lower register tones more difficult to attack with subtlety (without playing with a subtone), may alter or accentuate intonation patterns, creates the impression of greater projection and, of course, adds 'edge'.

When many saxophonists first try such mouthpieces they can be shocked by the sounds they make. These may vary from surprisingly attractive, to promising but challenging to control, to positively ugly or sqeaky. What I believe lies behind these reactions and helps to explain the range of responses by players is something that frequently goes unstated and under appreciated:

How one uses and focuses the air stream is critical to success.

• A 'high baffle' mouthpiece must be allowed to 'do its thing' and the musician must learn how not to interfere and allow the set-up to work freely.

A frequent further contributing factor to potential disappointment is the use of too much lip pressure on the reed. High baffle mouthpieces are highly efficient. They will create their sound with a minimum of embouchure effort as long as sufficient, energised and well-focussed air is present. In fact they will often play best when matched with a slightly stronger reed as a too-soft reed will not provide sufficient resistance to the powerful air stream in use and is likely to lead to a kazoo like sound and an overall loss of control.

When I watch wonderful players deeply involved in blowing their saxes I often note the impression they can give of 'working hard' as they blow, especially as they strive for upper register notes. In fact I am convinced what is actually happening is an intense concentration on proper focus of their air stream and the removal of lip pressure.

The players are seeking the 'sweet spot':

• Where minimal lip pressure, an ideal positioning of the lower lip on reed for best vibration for the register involved and the employment of a perfectly regulated quantity of air combine to achieve the desired results.

Fine players achieve this complex balancing act so effectively that their listeners do not imagine the effort involved and, those who are themselves sax players, tend to credit their musical heroes and heroines wonderful tones and exciting musicianship to the magic of their mouthpiece - overlooking the skills they have gained through learning how to best use their equipment.

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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

Tips on Switching Between Clarinet and Saxophone

Tips on Switching Between Clarinet and Saxophone

from The Single Reed Doctor Column, CASS Article December 2016

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

Question:

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

My 'Single Reed Doctory' reply:

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

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

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

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

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

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

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

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

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

Thomas Dryer-Beers

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

Why Play An Acoustic Instrument in the Digital Age - Some Thoughts

Why Play An Acoustic Instrument in the Digital Age? Some Thoughts

The digital age in which we live is bringing about changes at such a pace that fundamental questions are being raised about the relative values of different human activities. After all why would someone wish to expend the effort required to learn to play the piano when one can push a button and pre-recorded piano tracks are produced? What compels a person to learn the violin when performances can be downloaded to electronic devices? Why would someone wish to devote years of learning and sometimes great expense to learn the oboe, the harp, the drums or trumpet? By way of an answer most musicians would be inclined to reply: Because it is fun! But much more lies behind this reply and a bit of consideration of the additional benefits that come from instrumental study is, I believe, well worth taking the time to ponder.

Personal Responsibility

The study of instrumental music, whether from an early age or as a late starter, is an exciting and, for some, a daunting challenge. Improvement requires much practice, learning foreign terminology, a acceptance of large doses of humility in facing up to ones limitations and a great deal of patience in overcoming them. As a metaphor for life it is hard to beat. The personal satisfaction to be gained through such a step by step progression leading to a feeling of achievement and reward for the efforts made is arguably unequalled by other activities and rivalled by very few. Someone who can confidently 'hold their own' in a group, can inspire others through their performance and even attract and receive recognition for their excellence, is one who has taken personal responsibility for their study. This is a person who will then realise that their efforts have been not only worthwhile but valued by their peers and colleagues.

Socialisation

The opportunity to perform with others, whether in a small ensemble or a larger band, is so rewarding that few other activities in life can compare. Think of the bonding that takes place between athletes competing as a team or how close actors become over the course of rehearsing and presenting a play. A great deal of empathy and understanding is required to make the most of every situation. Trained musicians will experience these same feelings over and over throughout a lifetime of performances, at all levels, with a diverse number of groups and people whom they might never encounter in any other situation. This confidence gained from such opportunities leads to the development of life-long relationships based upon mutual respect and appreciation.

Time Management

The adage 'If you want to get something done ask a busy person' certainly applies to most musicians. The management of time is a learned skill and in order to accomplish effective practice and progress each practice session must be organised, targets established and once achieved, new targets must be set. One also learns valuable lessons about time management from ensemble rehearsals and organisational demands. Managing to arrive on time at rehearsal and performance venues, getting to lesson locations and supplying the required materials, sheet music, instruments, concert dress, etc are all valuable lessons from which everyone benefits.

Developing Patience

It takes time and discipline to learn a musical instrument - no matter which one is chosen. In a world that seems to move ever faster and with less time to cultivate 'non essential' skills taking on the process of learning to read music and play an instrument is quite an investment. The patience required and the discipline of critical observation that one employs in order to progress in music will benefit a huge range of other life activities and result in a well rounded and better balanced individual more capable of dealing constructive with the unpredictability of life in general.

Physical Activity

Most all instruments require a degree of muscular refinement and training, whether it be the bow arm of a string player, the finger dexterity of a pianist, the breathing capacity of a tuba player or the embouchure strength of a oboist they all require development over many years and bring enormous and well documented health benefits to the musician. The improvements to overall cardiovascular function, blood pressure, muscle development, awareness of good posture and general flexibility more than offset the sedentary nature of many rehearsals and the unavoidable occasional physical 'niggles' one must endure along the way.

Mental Stimulation

It takes imagination and concentration to create or re-create music. The musician is continually anticipating, evaluating and imagining how to produce their best sound, shape the finest phrase and convey the intention of a third party, the composer, in a performance. The mind is fully engaged and rewarded by the instantaneous nature of result - even when the lingering feeling maybe that one 'could have done that better' there is always the next opportunity!

Cultural Appreciation

Music brings all of humanity together in an appreciation of what it means to be human. Peoples and races can all appreciate the traditions that each other have developed and the amazing music that has originated in every culture. Musical performers are continually challenged to take on elements of new traditions, perhaps initially foreign to their personal experience, and through understanding them and the cultures that produced them, incorporate such styles and inflections into their own performances.

Understanding World History

The music we hear around us from birth is a product of many centuries of practice by diverse peoples from all around the world. The study of music does not happen in a vacuum. Folk music, dance tunes, spiritual sounds, Church music, drum beats, vocal tones and lyrics all emanate from countries that must be acknowledged and investigated as part of the greater understanding of any music. Centuries of development underlay almost any works of art and the threads that connect them and the influences that come together to bring about what we experience as a final 'product' must be placed in context.

Additional Identity and Association

Musical instruments and their mastery open up associations that reach far wider than one's own geographical region. One might tend to say 'I am a sax player' or 'I play piano' even before thinking of one's nationality. I.e. if one plays flute there are flautists around the world with whom one is an immediate associate. Trumpet players, trombonists, clarinettists, violinists, cellists, oboists, guitarists, drummers etc. are all part of the larger societies of their chosen instruments as well as of the type of music to which they are drawn and that they perform. The instant affinity from such association breaks down barriers and opens up interesting lines of communication that those outside cannot easily access or sometimes even begin to understand. The shared experiences of learning and mastering an instrument sufficiently to give pleasure to oneself and to others binds musicians together as well as the pursuit of excellence and the appreciation of performance at the highest levels.

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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

Brass Instrument Oiling, Cleaning & Greasing

Brass Instrument Oiling, Cleaning & Greasing

Regular lubrication of slides, tuning slides and valves is an absolute requirement for brass players who desire the proper functioning of their instruments. Without such regular care the likelihood of problems both in both the short and long term are dramatically increased. However, because it takes a bit of time to do and the consequences of not caring for the instrument are not fully appreciated, it is constantly overlooked.

Tuning slides should be regularly moved and never allowed to set in one position for too long as this will lead to them ‘sticking’. What happens is that the tubing exposed to air begins to degrade / oxidise and the inner stocking of tubing which is exposed to moisture is continually collecting food particles, saliva and a coating from condensation on the tubing as well which degrades the exposed brass. By lubricating all contact surfaces with slide grease and frequently resetting the tuning/slide positions both problems are reduced. If the slides becomes difficult to move then the accumulated residue can be removed by coating the tubing with valve oil or a degreasing agent, the tuning slide given a thorough rubbing to remove the build up, followed by a rinse with water, a wiping over and re-lubrication. 

The rubbing can be done with a textured scrubbing sponge such as might be used for cleaning of dishes or a fabric cloth of an open weave. Be careful to not leave scouring marks on the tubing as this contributes to an increase of problems in the future. The inside of the tuning slides can be cleaned using a lighter or thinner cloth threaded through a cleaning rod - a flute rod can be very useful for this. Coat the cloth with valve oil or a degreasing agent and insert and remove repeatedly followed by re-lubricating as necessary. Every now and then (some players choose to do this every 6 months or so) the valves may be removed and the entire inside of the instrument washed out - i.e. 'given a bath' - in warm, NEVER HOT, water and then the above cleaning process undertaken, followed by lubrication and reassembly.

Trombone slides are best lubricated with a proprietary slide cream and then sprayed with water afterwards. Remember to lubricate the ‘stockings’ as well – they are located at the very bottom of the inner slide and they receive the greatest friction contact with the outer slide. A properly lubricated trombone slide should feel practically weightless in use. Any grinding or hesitation in movement at all is undesirable. It is considered good practice to wipe off the cream occasionally and reapply so that an excess does not build up.

Trumpets / Cornets and all standard valved instruments require oiling to their valves almost every time they are played. Waiting until a valve begins to stick is asking for trouble. It is usually not necessary to fully remove the valve entirely from the casing - simply unscrew the top cap and lift the valve assembly up about half way out of the casing then squirt a few drops of valve oil on the valve surface and spin the valve around inside the casing while lifting up and down to distribute the oil on all surfaces. Locate the ‘click’ position of the valve guide and gently spin into place. Before the reassembly of the valve top cap put a drop of oil on the screw threads as well (good to do the same to the bottom caps at the same time) and they will function better. This is because valve oil, a petroleum based product, helps to stop the ingress of moisture and acts as a cleaning agent as well as a lubricant. In other words it functions both as a preventative and restorative treatment. Every now and then the inside of the casings will benefit from a thorough cleaning. Use a soft, lint free cloth over a dowel rod to run through the valve casing to remove any build up within. Wipe over the surface of the valve itself and re-lubricate.

Once all three valves are returned to their positions a test to see that they are in the correct place is to blow through the leadpipe while ‘twiddling’ all the valves rapidly up and down. At all times it should feel that air is flowing freely through the instrument. If you sense resistance at any point then one or more of the valves is probably out of ‘click’ position, possibly reversed, and you will need to check them all carefully and replace as necessary in the correct position.

French horn valves are a little different as they are ‘rotary’ valves and revolve on a bearing. It is best to use proprietary French horn valve, bearing and rotor oil when lubricating the valves and valve mechanisms. Valve oil is usually applied without disturbing the valve in the casing by adding a few drops through the port of a removed tuning slide. Do not over oil or you are sure to hear the ‘gurgling’ of trapped oil in the tubing when blowing. As horn players very frequently remove their tubing for the clearance of built up saliva / water they often have the cleanest and smoothest functioning valves and slides of any of the brass family. Their valves need to move especially easily as they are operated via a string or connection arm and not receive direct pressure from fingers.

 If through neglect or abuse valves or slides become very stuck it is best they be seen to by an experienced repairer who may have to soak the instrument in a cleaning agent or use force and or heat to get the troublesome slide or valve to release and then have to spend costly time cleaning and returning the instrument to good condition. Obviously this is best avoided.

It is worth keeping an eye on the condition of any 'spit valve' corks or synthetic pads as over time these can degrade and begin to leak. I recommend replacing these as soon as any sign of a problem is evident. This is far better than being let down during a performance!

Keep the outside of a lacquer finish instrument looking good by regularly wiping off fingerprints, grease and dust with a lacquer polish cloth. Keep silverplated instruments looking good by regularly using a silver polish cloth to remove tarnish and restore the finish to good appearance. I do not recommend using liquid polishes as they can leach into the slides and valves and could cause problems.

A final comment – When assembling the mouthpiece simply place gently in the receiver of the leadpipe and give a gentle twist to secure it. NEVER TAP ON THE MOUTHPIECE. There is no need for this and it will likely result in the mouthpiece becoming stuck requiring removal with a special mouthpiece removal tool.

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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

Instrumental Tuning and Design - Proper Tuning Approaches

Instrumental Tuning and Design - Proper Tuning Approaches

Modern musical instruments, manufactured by responsible firms, have benefited enormously from investments in acoustical research and design consultation with artists. The overall standard of wind instrument manufacture has never been higher and the area of greatest improvement is to be found at the student level. While superior materials and expert craftsmanship contribute to making some older models highly desirable in the eyes of knowledgeable players the advent of computer aided design and assembly has brought about vast improvements in performance and pitch consistency for quality modern instruments across the board.

Tuning

Most markets around the world aim for A = 440 (UK, USA, Australia) or at most A = 442 (Europe). Austria is an exception where A = 444 or 445 is still a preference. Instrument manufacturers design their products to perform at these pitches under ideal conditions of approximately 72 degree Fahrenheit / 22 degrees Celsius, (i.e. room temperature). In practice there remains quite a lot for the player to understand and to learn to utilise to help her or himself to accomplish truly playing in tune.

Comfortable, room temperature conditions are rarely found in performance situations but since these are what are utilised at the design stage an instrument must be able to be played both above and below the intended ‘ideal’ pitch in order to accommodate adverse conditions.

Flute – the head cork must be in the correct position – check this with cleaning rod line - it must show up in the middle of the embouchure hole. The headjoint itself is usually pulled out from the fully ‘pushed-in’ position approximately 3-5mm (sometimes more) depending upon blowing style, angle of air stream and embouchure. Too far out and the player is must compensate for flat low notes, splitting tones and a dull high register – too far in and the compensation is all downwards with the lip and blowing angle. Overblown octaves, harmonics of 12ths and double octaves should all nominally ‘line-up’ when tested. The player must then handle smaller adjustments for pitch accuracy and tonal colour. The general tendency of the flute is towards sharpness especially in the upper register and when playing loudly. Pitch will sag when playing soft without great care and good air support from the player.

NB – on all other instruments the tendency is for pitch to sharpen when playing more softly.

Clarinet – Instrument manufacturers intend that a clarinet, when pushed all the way in, should play sharp. Student instruments are frequently supplied with shorter barrels to allow for tuning to fixed pitch instruments (i.e. a piano or keyboard) when played by inexperienced beginners. Therefore, when played by better players and especially once warmed up, the barrel should be ‘pulled’ usually 1.5- 2.5mm. This will bring most pitches into line but some additional ‘distributive’ tuning may be necessary. This is accomplished by pulling out at the middle joint and or bell in more extreme cases. Sometimes a particular mouthpiece will have a tendency to play sharp or flat and by changing this an otherwise ‘difficult’ instrument will come into line. The Vandoren series 13 range was created with the desire to help players ‘bring down’ pitch to A = 440 where necessary. Professional players with well-developed embouchures and settled playing concepts often use longer barrels in order to create the most stable possible pitch platform throughout the full range of the instrument. Key/pad venting height is a factor in the evenness of both pitch and tone colour and must be sensitively examined for optimal playing. The clarinet’s general tendency, unique among the woodwind family as it over blows at the 12^th rather than the octave, is towards flatness, with the exception of the throat tones which are often sharp and thin and the upper register that is often played with too much lip pressure and can tend towards sharpness. Middle Bb2 and upper C3 are particular concerns for many players. The addition of fingers of the right/left hand (sometimes referred to as resonance fingering) is often done to help the tuning of and enrich the sound of throat register A2 and Bb2.

Oboe – Most oboists count on their oboe to be as stable as possible so that their tuning is done with the reed, often choosing the staple length and the overall tied length of the reed blades specifically to match their instrument. The oboe is highly flexible and playing fatigue and the condition of the reed will continually affect pitch. In the correctly assembled position the reed should be pushed completely into the receiver socket. This is the optimal playing position. It is best practice to avoid pulling out the reed to try to adjust pitch downwards as this creates other problems by introducing a ‘bulge’ to the bore where the staple has been pulled back out of the socket. The player handles small adjustments for pitch and tonal consistency with the position of the reed on the lip and air support. The natural tendency of the oboe is toward sharpness especially as tiredness sets in. Reeds tend to drop in pitch as they tire or close up. The upper register, due to the difficulties of production, is often quite sharp and care must be taken. Too heavy a reed will lead to sharpness due to the effort of involved in producing a tone – too soft and the sound will be thin and pitch will drift downwards.

Bassoon – The bassoon is such a long instrument that corrections made by pulling the crook out from the receiver socket, affecting as they do only the shorter wing joint notes, are virtually pointless. The player usually has a choice of crook lengths provided to them with their instrument and most will use a number 2 (crooks are available from a nominal 0 to 3, the higher number being longer and therefore providing a lower pitch level). Distributive pulling at the joints can help in a severe tuning situation (being sharp but needing to play at a lower pitch) but keywork linking across the joints is a limitation as is the undesirable introduction of a gap in the bore. Like the oboe pitch adjustments are often made at the reed and this can be successful for the shorter tube notes, principally E and F, but notes with a longer sounding tube length will not benefit nearly as much from reed adjustment alone. The tendency of the bassoon is towards sharpness, especially in the low register. This is an acoustic choice for if the instrument were absolutely to pitch in ideal conditions it would be impossible to bring up the pitch of the long tube low notes when cold. Players become used to keeping pitch down by playing with a relaxed embouchure, internal tongue position in the oral cavity and solid air support.

Saxophone – The saxophone has very flexible mouthpiece positioning on the crook and the resulting pitch is highly dependent upon good embouchure and air control from the player. There are known acoustical compromises in the tuning of the sax but as the general tendency is towards sharpness the player must be very careful not to start with the mouthpiece position too far on the crook cork as all notes will then be sharp, especially the high register. One should not pull off too far either (a decision often prompted by an attempt to compensate for a poor embouchure understanding and improper air support), as this will distort the shortest notes disproportionately and throw off the balance of the response throughout especially the low register. Players must work to learn to support well and relax the embouchure as much as possible and when this is well understood the instrument settles into a manageable and predictable pattern. Tuning is highly influenced by mouthpiece selection and high baffle jazz mouthpieces in particular often require great skill from a player to be able play well in tune, as they will tend to tune more sharply.

Valved Brass – If an higher range brass instrument (trumpet or cornet) has been properly manufactured it will play it’s intended ‘ideal’ tuning pattern with little mechanical adjustment beyond a pull of the main tuning slide and secondary pulls for specific notes at the moveable 1^st and 3^rd slides. The player must work within the acoustical limitations of the instrument to compensate with the lips for small idiosyncrasies. The larger the instrument the greater will be some of the known acoustical distortions and for euphonium and tuba especially additional valves, compensating mechanisms and tubing lengths are often added or manipulated to assist in obtaining better tuning in all registers, especially the low register. The french horn, being a very long tubing instrument, is played almost exclusively in the mid to upper range of the available tones and as a result produces quite a stable pitch platform. Never the less it does have some very distinctive tuning requirements. It is fair to say that well made instruments are intended to be able to play in tune with a consistent, minimal distributive pull of the valve tuning slides as long as the player plays with a good embouchure and airstream and is prepared to make further subtle adjustments with the bell hand.

Trombone – Aside from a standard pull of between 1–2cm at the main tuning slide all the rest of the tuning for a well-made trombone is accomplished between the slide positions, the player’s embouchure and solid airstream. Some instruments have their own individual acoustical ‘quirks’; but of all the brass and woodwind instruments the trombone has the greatest ability to be played ‘in tune’ with few mechanical limitations. The trombone relies more than anything on a player’s hearing and relative tuning recognition for correct pitch placement as well as the ability to consistently supply the instrument with the correct air and embouchure balance.

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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