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Factors in woodwind instrument response

Response is how readily the equipment/player combination produces sound. “Good” response generally means that the player-plus-instrument are able to produce a sound that starts precisely when intended, with clarity and with no unwanted additional noise. Many factors affect the quality and reliability of the response:

  • Instrument condition. An instrument with leaks, cracks, problematic dents, etc. will often respond in a delayed or unpredictable way.
  • Instrument quality. The instrument’s design and manufacture also play a role—an instrument of inferior design/build may respond inconsistently.
  • Setup. Mouthpieces and reeds are similarly subject to design and manufacturing flaws, and must also be well-matched to each other and the instrument. A common issue with single-reed instruments, for example, is using a “strength” of reed that isn’t a good fit for the mouthpiece.
  • Breath support. One of the most immediate and effective ways to improve response, even when other factors are less than ideal, is to use powerful, consistent breath support.
  • Embouchure. Any embouchure problem can affect response, but by far the most common is embouchure tightness or tension. Remember that all woodwind embouchures should be relaxed.
  • Voicing. This is one of the least-taught and least-understood, but one of the most crucial aspects of good woodwind playing. Properly-calibrated, steady voicing improves response (and just about everything else).
  • Finger accuracy and timing. Fingers that arrive on their keys or toneholes out of sync, or that fail to form proper seals, impede response like the leaks that they are.
  • Inherent acoustical problems. Even the best-made instruments have some built-in compromises that might make certain notes less responsive even under the best circumstances. A common example is the lowest notes on the flute, the oboe, and the saxophone, which may tend toward slight sluggishness even for the best players and equipment. Players may need to compensate in various ways.
  • Musical context. Related to the acoustical problems of the various woodwinds, certain musical contexts may exacerbate issues. For example, the bassoon has some specific intervals that are hard to slur smoothly, and skilled bassoonists might use special fingerings to improve these.

For your best response on every note, be sure to address each of the many factors involved.

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    Changing your instrument, mouthpiece, headjoint, reeds, etc. on a frequent basis isn’t productive, but sticking with the same equipment forever isn’t a virtue either. Here are some questions to ask yourself (or a trusted teacher or colleague) when you start feeling the itch to spend money on shiny new things:

    • Does this new equipment make it easier or more comfortable to do what I do? Or am I hoping it will magically endow me with abilities I didn’t have before?
    • Does this materially improve some concrete aspect of my playing, like intonation, response, dynamic range or finger movement? Is it an improvement that is more subjective, fleeting, or malleable, like tone quality? (Tone quality isn’t nothing when purchasing woodwind gear, but it’s not everything, either.)
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    • How did I come to desire this particular item? Was I influenced by advertising, celebrity endorsements, a commissioned salesperson, an internet stranger, or someone/something else that might have motivations separate from my success? Was I happy with my current setup before I learned of this product’s existence?

    If you’re currently a student, be sure to check in with your teacher before any new gear purchase!

  • Taking your doubles to the next level

    I think that as a doubler it’s easy to consider your ability level “good enough” on a secondary instrument. Check your doubles below, and ask yourself what you can do to raise the level of your playing. I’ve given just a few examples of “next level” techniques on each instrument.

    • Flute
      • Can I play up to the highest notes (4th octave C, C-sharp, and D, for example) with delicacy?
      • Can I play the lowest notes with power and confidence?
      • Can I double and triple tongue fluently and without having to think about it?
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      • Has my tone progressed past the “duck” phase? Is it rich, dark, and flexible? Even in the high register?
      • Am I thoroughly comfortable with the various F fingerings—right, left, and forked—and prepared to choose the right ones even while sightreading? How about E-flat fingerings?
      • Do I depend on others for reeds, or am I capable of making (or at least adjusting) my own? Read More “Taking your doubles to the next level”
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    The Akai EWI series’ “EWI” fingering mode is powerful and flexible. It bears a resemblance to basic saxophone fingerings (while wisely eschewing saxophoney compromises like rollers and palm keys). But with a little imagination EWI players can “borrow” a number of useful fingerings from other woodwinds, too.

    For clarity, I’m considering any fingering that appears in the EWI 4000s’s Reference Manual under “EWI Fingerings” as a basic, non-borrowed fingering. Some of the fingerings I’m listing do appear in the manual for other fingering modes (saxophone, flute, and oboe). Some of the fingerings aren’t great-sounding fingerings on the “real” (non-electric) woodwind instruments, but work beautifully on the EWI, which of course isn’t subject to the acoustical problems of air-filled tubes.

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    Borrowed from: oboe, clarinet
    Provides a useful alternative in left-hand-pinky-heavy passages.

    Left E-flat
    Borrowed from: oboe, some clarinets
    In the example, prevents having to “jump” the right pinky from one key, over another, to another.

    Side F-sharp
    Borrowed from: saxophone, clarinet
    Similar to using the saxophone’s side F-sharp key or clarinet’s side F-sharp(/B-natural) key (shown here in the wrong octave for clarinet), except using the right pinky rather than the ring finger. Useful for avoiding the right index-middle flip-flop.

    Right G-sharp
    Borrowed from: oboe
    Provides a useful alternative in left-hand-pinky-heavy passages.

    1+1 B-flat
    Borrowed from: flute, saxophone, clarinet
    Similar to a standard flute fingering, or to a problematic saxophone or clarinet alternate fingering (shown here in the wrong octave for clarinet). Of course on the EWI there are no pitch, timbre, or response issues with this (or any) fingering.

    1+2 B-flat
    Borrowed from: saxophone
    A slightly lesser-known alternate fingering for saxophone (which, on saxophones, often sounds better than 1+1). Useful for transitions such as F-sharp to B-flat.

    Right B
    Borrowed from: clarinet
    Similar to the sensation of using the clarinet’s right B(/E) key, but in this case you must use the right pinky to press two keys at once. In the example, this allows you to keep the movement in one hand, rather than having to coordinate both pinkies.

    Side C
    Borrowed from: saxophone
    Useful in chromatic passages and trills for avoiding the left index-middle flip-flop.

    These fingerings of course only scratch the surface of what’s possible with the EWI-mode fingering system. But because of their familiarity and time-tested usefulness to players of “real” woodwinds, they can be adapted easily and fruitfully to EWI playing.

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    I’m back from the the excellent Region VI conference of the North American Saxophone Alliance. I went to soak up some good saxophone playing and to deliver what is becoming more or less my standard spiel on woodwind doubling.

    This time I gave away half of the handouts I brought with me. That’s a dramatic improvement over some of my earlier presentations. Unfortunately, it’s not because attendance has gone up, but because I no longer find it realistically necessary to bring extras “just in case.”

    photo, Benson Kua
    photo, Benson Kua

    As usual, my presentation was scheduled first thing in the morning, in a distant corner of the conference venue, and conflicting with a masterclass by one of the conference’s most admired performers. But, also as usual, the stalwart few who came were there early and already bubbling over with questions. Some were people I had previously been in touch with through this blog. And, as usual, they were all extremely attentive, and many of them went out of their way throughout the day to offer gratitude and compliments.

    I really don’t blame the conference hosts or attendees (of this conference or any of the various others) for giving a woodwind doubling presentation relatively low billing. Woodwind doubling is a niche topic. Most of the conference-goers are probably better served by attending a good masterclass on their instrument. Plus, it works out well to give these presentations to small but enthusiastic groups, with lots of opportunity for questions and discussion. I preach to the (woodwind) choir.

     

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    Steve Gorn on his beginnings as a woodwind player:

    I advanced relatively quickly with the clarinet. When I got into eighth or ninth grade I got into a lot of jazz, and I started playing saxophone at that point. Jazz became much more of a focus. I played clarinet in the school orchestra.

    Read More “New York Times blog: Steve Gorn”

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    One of the first “technical” things I wrote on this blog was about playing in tune. I ran across that now-embarrassing post recently and decided it is time to revisit that topic since my thinking about it has crystallized a bit more.

    To play a woodwind instrument in tune, there are five factors to address:

    Photo, Shaylor
    Photo, Shaylor
    1. Ears. If you don’t know what “in tune” sounds like, you probably won’t do it by accident. I still like the Tuning CD (now available as a download) for this. Follow the instructions for your instrument and do a few minutes every day over the long term. Sing, too. Electronic tuners have some uses but ear training doesn’t happen to be one of them.
    2. Equipment. Play the best instruments, mouthpieces, etc. you are able to get. If you are picking out new equipment, intonation should probably be your top priority over sexier things like “tone,” which is both more subjective and more malleable. (Incidentally, this is one of the best arguments for playing new woodwind instruments rather than “vintage,” since, generally speaking, incremental improvements mean that each generation of instruments plays better in tune than the one before.) Sure, you can “play” a lesser instrument in tune, but let your equipment do as much of the work for you as possible.
    3. Playing technique. This includes, for starters, consistent and powerful breath support, accurate and stable voicing, and a well-formed embouchure. Even small weaknesses in any of these areas makes your pitch less steady and predictable, and more significant weaknesses can make good intonation virtually impossible.
    4. Adjustment of the tuning mechanism(s). This means pulling something in or out to slightly adjust the instrument’s length, but it could also include, say, selecting a clarinet barrel or a bassoon bocal. Assuming good equipment and solid playing technique, there will be a “spot” where the mouthpiece/barrel/headjoint/etc. should go for the instrument to play optimally in tune at its intended pitch level (A=440? A=442? etc.). Any deviation from this should be a carefully-considered compromise. For example, if you are playing with an ensemble that tunes a little sharper than you’re used to, you can “push in” to make it a little easier to get up to pitch, but you will find that the instrument’s intonation characteristics change: some notes will get a little sharper, some a lot sharper.
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    Development of good intonation is a cycle of revisiting each of these elements again and again: each improvement to your ears, each equipment change, each change in your technique, each adjustment of a tuning mechanism, and the needs of each individual playing situation may require further refinements of all the other areas. If intonation isn’t something you have tackled seriously before, then start by working on your ears, and be patient.

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