If you buy into the myth that there are only two or three “good” reeds in a box of ten, you are buying the wrong reeds. There are many, many options available to you. When I’ve got the right brand, cut, and size of reed for my mouthpiece and embouchure, easily eight play respectably well right out of the box. Within 15-20 minutes, I can adjust nine or ten to play quite well, and maybe three or four of those at recital quality. I use the steps below and nothing else.
Um, no.Don’t waste time and cane messing with the topography of the reed’s cut. With all the variation in reeds, the cut is the one thing that is really quite consistent. If you don’t like the cut, shop around some more. If you own a diagram like the one shown here, with elaborate instructions on which tiny sectors of reed you should sand, I recommend that you throw it away.
Make sure the reed is flat. Many aren’t, and one that was flat yesterday may not be flat today. A piece of 600-grit wet-dry sandpaper held against a piece of glass is the perfect tool for this. Concentrate on the part of the reed that contacts the mouthpiece’s table. For $2, I had a local glass shop cut me a 3″×4″ piece of ¼” glass, with the edges ground smooth. You can also use a mirror or window pane. A flattened reed will respond better and squeak less.
Balance the corners. This is the one exception I make for changing the reed’s cut. Well-balanced reeds have a nice clear tone and respond reliably throughout the instrument’s range and at any dynamic level. I find that balancing the corners can correct for much of the asymmetry of a typical reed. Even a reed that already seems pretty good can often be improved. Tom Ridenour’s method is dead simple and strikingly effective—required reading.
If absolutely necessary, clip the tip using a high-quality reed trimmer. I do this to maybe one in twenty reeds. I do it to make a reed feel a little stronger. Clip off the tiniest possible amount at first—a little clip goes a long way. It’s very rare that I clip off more than a tiny bit, and if I do, it rarely works out well.
During a rare visit to a music store this week, I overheard a very young clarinetist asking a salesperson to help him locate some unusually stiff reeds. The salesperson was as surprised as was I that the young man was interested in such an extreme equipment choice—but apparently for different reasons.
“You must be very talented to have moved up to such stiff reeds already,” the salesperson told the beaming prodigy. “How impressive!”
To me, this is a little like congratulating someone on moving up to a larger hat size. “Oh, it’s nothing, really. I started out in a 7¼, but I worked really hard and now I’m ready for the 7½. But the real greats all wear at least an 8, so that’s where I want to end up.” Bigger isn’t better—you should wear whatever fits your head.
A clarinet or saxophone reed should be an appropriate fit to the mouthpiece. There are a number of factors that determine what strength of reed is right for a mouthpiece, but, in general terms, most mouthpieces with wider tip openings require softer reeds to get good response, and most mouthpieces with narrower openings need a stiffer reed for stability and dynamic range.
While each player is of course different, I think sometimes the factor of the individual embouchure is actually over-emphasized. The embouchure doesn’t and shouldn’t need unusual muscular strength to do its job—it requires delicacy and control. If you’re biting and straining against a too-stiff reed, you’re sacrificing both, and both you and your audience are suffering for it. For most mouthpieces, there is a narrow range of reed strengths that is about right, no matter how “strong” you are (or think you are).
There’s no such thing as “moving up” to a stiffer reed, just “moving” to a different strength to suit a new mouthpiece or to correct an error in your previous reed choice.
I went saxophone shopping with a student yesterday. We picked out a nice instrument that suits his playing style and personal tastes, meets my requirements, and ought to serve him well for years to come. Here are a few thoughts on picking out a new horn.
Do your research ahead of time. We made phone calls to several music stores in the region, and found out what instruments were available to try. We both familiarized ourselves with the various bells and whistles (so to speak) of the different models, and had some idea of the differences between the instruments the stores had in stock. This became important as we were evaluating a saxophone that seemed to be almost the right fit for the student—luckily we knew that model came from the factory with two different necks. We asked for the other neck, and sure enough, the horn turned out to be a winner.
Bring a trusted set of ears. If you are a student, try begging or bribing your teacher to go shopping with you (they want you to have the best instrument you can afford!). Remember that what you hear when you play the horn is different from what a listener hears. When I picked out an oboe a few years ago, I found two specimens of the same model that seemed equally good to me. My oboe teacher listened to me play both, and immediately picked out “the one.” He could hear something out front that was escaping me back behind the reed.
Put the instrument through its paces. How does it respond, feel, sound, and tune at fortissimo? At pianissimo? High notes? Low notes? Articulated notes? Check the pitch, stability, response, and tone of every single note, including alternate fingerings. Use your own familiar mouthpiece(s) and reeds. Spend a significant amount of time playing a new horn before you even think about buying it. My student and I each played some of our current classical repertoire and some jazz stuff before making a judgment on the instruments.
Prioritize realistically. Remember that your tone will be a little different on an unfamiliar instrument, but that your individual sound will come through more as you gain comfort with the instrument. Intonation, however, is built into the horn for good. Get an instrument that will let you play in tune without unnecessary gymnastics.
Don’t forget the old reliable. Bring your old instrument along for periodic reality checks, even if you know it has significant shortcomings. I was impressed enough with one of the instruments I tried yesterday that I briefly considered what would have been a rash and probably unwise purchase. I put the mouthpiece back on my own alto and realized that I am better off with what I’ve got.
I think for many doublers the clarinet’s left-hand “sliver” key seems useless or problematic. For example, the sliver key is easy to press by mistake when intending to cover the middle and/or ring finger holes. And even when reaching for the sliver on purpose, it’s easy to accidentally cover part of the ring finger hole, producing an E-flat or B-flat that is flat and stuffy.
The left-hand sliver also lacks any real analogue on any of the other common woodwinds, so its use is a technique that doesn’t transfer easily from another instrument. Flutes, saxophones, and standard bassoons don’t have any key in that spot. The oboe has a trill key there, but its usage isn’t similar. Among the standard band/orchestral woodwinds, only the contrabassoon has a key positioned here that is used in a similar way to the clarinet family. Especially for saxophonists, the right-side fingering is much more familiar.
The Woodwind Fingering Guide (still the best fingering source on the web) lists three E-flat/B-flat fingerings in its standard clarinet fingering chart, with only the right-side-key fingering marked as “basic.” The left-hand-sliver fingering is described as a “Chromatic and trill fingering,” to “use in combination with D4 [D below the staff] and A5 [A above the staff].” (The “one and one” fingering using both index fingers is also listed, though it might perhaps be better relegated to the “alternate” fingering chart.)
Occasionally I’ve run across the attitude that the sliver key could perhaps be removed or wedged shut to prevent accidental venting. I think this would be a waste, and all clarinetists of an intermediate level or higher should get used to using this key as an equal partner with the right hand key—not merely as an alternative for rare occasions.
When I use the term “breath support,” students and colleagues often echo back something like “oh, right, more air.” But is breath support the same thing as “more air?”
Measuring quantities of air isn’t completely straightforward—when we say “more air,” we might rightfully wonder whether that means a greater volume filled with air, or a greater number of air molecules, or whether we’re really thinking of something like airflow or air velocity.
For my purposes in teaching, I find a few different measures to be relevant:
First, you must set up breath support with a good inhalation, and I think it’s generally helpful to inhale a large volume of air into the lungs.
Then, you must pressurize the air by engaging the torso muscles, constricting the space in which the air is contained. (The diaphragm’s relaxation alone does create pressure, but not enough for good woodwind playing.)
The increased pressure makes the air escape your embouchure at a higher velocity. You can adjust the size of your embouchure, allowing more or less air to pass through, which is the basic mechanism woodwind players use to change (sound) volume (or “dynamics”).
I’m most directly concerned with air pressure when I talk about breath support, and in some ways in which that does translate to “more” air. But since “more” can be measured in multiple ways, I like to use a more exact term like “breath support.” That also has the concreteness of referring to something that the player actively does, rather than focusing the imagery on air, which is invisible.
Be precise in your pedagogical vocabulary, and consistent in your breath support.
Should you have your old (woodwind) instrument repaired, or put the money toward a new one? Here are a few things to consider.
First, you should understand the difference between having “playing condition” repairs done and having a full overhaul done. The overhaul is an expensive service, often costing a significant percentage of what you would spend on a new professional instrument. A good overhaul will make your instrument play like brand new, or better. It generally includes any necessary repairs to the instrument’s body, straightening/realigning/refitting of keywork and tenons, replacement of all or most pads/corks/felts/springs, and thorough cleaning and lubrication. The overhaul makes sense about every 5-10 years for a well-made, professional quality instrument that you love and intend to play long-term. It’s generally not worth the money for a student-quality or so-called “intermediate” instrument.
Playing condition repairs are cheaper, à la carte services to get the instrument back into a baseline playable state, maybe replacing a few pads or corks as needed, or fixing anything that is broken enough to make the instrument unplayable. If you are low on cash, a good repair shop can help you prioritize what needs to be done within your budget. Even if you are playing your dream instrument and getting it overhauled on a regular schedule, playing condition maintenance is usually needed on at least an annual basis to keep things working well.
If your instrument is of less-than-professional caliber, or if you want qualities that your current instrument does not possess, you may be better served by having playing-condition work done for now, and saving toward a new instrument. Bear in mind that “professional” is a term applied by makers and retailers to sell instruments; if you’re not sure, it wouldn’t hurt to check in with a real professional (such as your private teacher) to see if what you are playing on is really suited to professional use.
If you are playing on an older professional model, you might want to explore the improvements made to more recent instruments, especially with regard to ergonomics, intonation, and evenness of tone. (Some musicians make these comparisons and decide to stick with what they’ve got, and that’s okay, too.)
A high-quality, well-maintained instrument makes playing easy and a pleasure, and the instrument’s career might even outlast yours.
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I’m on record as believing that clarinet and saxophone ligatures make little if any actual difference in how you sound. You’re welcome to disagree, but you might want to watch Michael Lowenstern’s video about it first.
So, assuming the ligature has little direct influence on sound, what is the best kind to buy?
Consider the humble fabric-type ligature:
They can be made of fabric or various other flexible materials. Fake-leather materials are popular.
Here are their advantages over most other ligatures:
Generally inexpensive, although there are pricier versions available if paying more makes you feel better
Relatively easy to fit to even unusual mouthpieces and reeds, since they are flexible
Durable: I still have and use one I bought in high school
Not easily damaged: can be dropped, stepped on, or otherwise battered with little if any ill effect
Won’t dig into or otherwise damage reeds or mouthpieces
More expensive than an actual shoelace, but quicker and easier to install
Ambidextrous: many of the popular inexpensive ones can be switched for left- or right-handed screw tightening
Usually just one screw to tighten, so 50% less tightening/loosening time than the many other kinds of ligatures that have two screws
Available: no waiting lists or custom-building, easily purchaseable from just about any brick-and-mortar or online band-instrument retailer
I have a number of fancy and expensive ligatures that various teachers required I buy over the years of my education, including some plated in actual gold. They don’t outperform my fabric-type ones in any meaningful way. You may still see them in my performance videos, etc., as I am still trying to get my money’s worth out of them. When they break or wear out, I’ll replace them cheaply and easily with good reliable fabric ones.
Get a good, reliable, no-nonsense ligature to hold your reed in place, and happy practicing!
I personally use, and have had great success, with the Perfecta-Reed micrometer. I’m able to balance not just the tip, but the entire reed. It takes me a little more time, but I am able to get most of the reeds in my box to play substantially better using it.
I completely agree with everything else you’ve mentioned other than the ‘topography doesn’t matter’ comment.
Hi Michael – thanks for stopping by and sharing what works for you. (Note: the PerfectaReed can be found here—scroll down).
To clarify: my point is not at all that topography “doesn’t matter;” my point is that what comes out of the box is essentially what the manufacturer intended, topography-wise. And if the design of the reed doesn’t suit me, then I should probably just buy different reeds.
I was recently looking through The Instrumentalist for pedagogical articles to give out to my Woodwind Methods course and came across a wonderful one called “Selecting Clarinet Reeds” by Robert Miller. It was published in the August 1991 edition.
Very concise, insightful, and thorough, and it goes along with everything you’ve mentioned here. E-mail me if you’d like a copy of it. I scanned it for my course’s Blackboard site.
For what it is worth, balancing my clarinet reeds (and to a lesser extent saxophone) has made my ensemble playing so much better! I used to struggle in orchestra with having a comfortable reed for a passage, resting for 40 measures, and then really struggling through a solo/soli and feeling quite embarassed! (and dont even mention something like Bolero where its such a long waiting game before you even play!). Learning to properly balance a reed has really helped with the necessity to re-position and hydrate my reeds 10 times in one concert. I typically use a combination of a bevel edge reed knife and 600grit sandpaper when i work on the backs of a reed. I do notice for alto saxophone reeds I almost always take some cane out of the “F” section in your little reed diagram. I don’t know that I really follow those charts word for word, but taking some cane out of that gives me a less resistant reed in the lower register. I tend to like thinner reeds than most so it could just be a personal thing (or maybe i just need to learn to play with more air to support a thicker reed but at 26 i think i have all the air i’m going to get).
I personally use, and have had great success, with the Perfecta-Reed micrometer. I’m able to balance not just the tip, but the entire reed. It takes me a little more time, but I am able to get most of the reeds in my box to play substantially better using it.
I completely agree with everything else you’ve mentioned other than the ‘topography doesn’t matter’ comment.
MP
Hi Michael – thanks for stopping by and sharing what works for you. (Note: the PerfectaReed can be found here—scroll down).
To clarify: my point is not at all that topography “doesn’t matter;” my point is that what comes out of the box is essentially what the manufacturer intended, topography-wise. And if the design of the reed doesn’t suit me, then I should probably just buy different reeds.
I was recently looking through The Instrumentalist for pedagogical articles to give out to my Woodwind Methods course and came across a wonderful one called “Selecting Clarinet Reeds” by Robert Miller. It was published in the August 1991 edition.
Very concise, insightful, and thorough, and it goes along with everything you’ve mentioned here. E-mail me if you’d like a copy of it. I scanned it for my course’s Blackboard site.
For what it is worth, balancing my clarinet reeds (and to a lesser extent saxophone) has made my ensemble playing so much better! I used to struggle in orchestra with having a comfortable reed for a passage, resting for 40 measures, and then really struggling through a solo/soli and feeling quite embarassed! (and dont even mention something like Bolero where its such a long waiting game before you even play!). Learning to properly balance a reed has really helped with the necessity to re-position and hydrate my reeds 10 times in one concert. I typically use a combination of a bevel edge reed knife and 600grit sandpaper when i work on the backs of a reed. I do notice for alto saxophone reeds I almost always take some cane out of the “F” section in your little reed diagram. I don’t know that I really follow those charts word for word, but taking some cane out of that gives me a less resistant reed in the lower register. I tend to like thinner reeds than most so it could just be a personal thing (or maybe i just need to learn to play with more air to support a thicker reed but at 26 i think i have all the air i’m going to get).