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Should I buy something new?

ByBret Pimentel

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.)
  • Does this really change how I sound? Does it change how it feels to play, physically? Does it change how it feels to play, emotionally? (All of these can be valid reasons to change, but it’s worth sorting out what’s really changing.)
  • Is this new equipment appealing in some way that is more about appearance or cachet than playability? Is that worth the investment to me? Would I be sacrificing some playability for bling factor?
  • 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!

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  • Thoughts on plastic reeds

    ByBret Pimentel

    I have been following with interest the discussion on the web of the new synthetic clarinet reeds by Forestone. A few days ago, the distinguished Sherman Friedland posted an absolutely glowing review:

    The Forestone reeds marks the beginning of a totally new era in the development of reeds, all reeds. It is a new beginning because these reeds are reeds which totally duplicate the feeling and response of cane. It  surpasses any reed currently being sold which is not made from cane which has been grown, harvested and then cut. It does have a tremendous advantage in consistency in that it does not have to  be warmed up and soaked. . . .

    What this means is that it is just a matter of time before cane reeds as such, become obsolete.

    In the same post, Mr. Friedland discusses the new Légère “Signature” reeds, which he finds to be an improvement over the standard Légère, but still not as good as the Forestone. [Update: see my review of the Légère Signature Series clarinet reeds.]

    I have not yet tried the Forestones myself, but have used the standard Légères at times, especially for contrabass clarinets. For the very large clarinets, I had a great deal of trouble keeping cane reeds from warping, even during the course of a two-hour rehearsal; the plastic reeds have a clear advantage in this department.

    Forestone, Legere, and a bad-news cheapie
    Forestone, Légère, and a bad-news cheapie

    In my high school marching band days, I was required to use an inexpensive, brittle plastic saxophone reed. In my opinion, these are not suitable for professional playing. Neither are the plastic oboe or bassoon reeds currently on the market.

    I do think it likely that, within my lifetime, I will see plastic single reeds take over in a big way. I expect there will be a few purists who will insist on cane, despite its obvious shortcomings, claiming that nothing sounds like good, old-fashioned cane. I think this blindfold test from Légère shows that plastic definitely can sound very much like cane, and will likely be indistinguishable very soon. Read More “Thoughts on plastic reeds”

  • FAQ: Practicing schedule

    ByBret Pimentel

    Some of the questions I am asked most frequently about woodwind doubling are about how I practice. Specifically, how often do I get to each instrument, and how do I divide up my time?

    The truth is that there isn’t an ideal solution, and maybe not even a good one. There are only so many hours in the day. The best, say, clarinet players are spending a good number of those practicing the clarinet. If I practice the same number of hours, but I’m dividing that time among multiple instruments, then I’m likely to feel a bit behind. This is the big obstacle to fine woodwind doubling: practice hours are hopelessly divided.

    photo, Jon Delorey
    photo, Jon Delorey

    Sure, there are ways of improving your practicing efficiency, but the best single-instrumentalists are using those same approaches. And any cross-training effect is minimal at best for players who are beyond the beginner level. If you want to sound like a serious player on your secondary instruments, you have to put in the hours on those instruments.

    Realistically, an embarrassing amount of my practicing is triage: which instrument needs to sound passable to get through the next performance? But when I have the luxury, I like to organize a little better.

    For me it generally isn’t useful to squeeze too many instruments into one day, since the time allotted to each instrument gets too short to be productive. So, if I am trying to practice five instruments about equally and can find about three hours per day to practice, I might decide to practice three instruments per day, for an hour each. But if I rotate through the instruments too fast, different ones each day, I’m not able to reinforce my improvements enough to make them permanent. So I usually settle into something like this:

    Day 1 Day 2 Day 3 Day 4 Day 5 Day 6
    flute
    oboe
    clarinet    		 oboe
    clarinet
    bassoon    		 clarinet
    bassoon
    saxophone    		 bassoon
    saxophone
    flute    		 saxophone
    flute
    oboe    		 start again…

    In that example, I practice each instrument three days in a row, then neglect it for two. That balance, for me, seems to be a reasonable compromise. If I want to rotate but I feel like a certain instrument needs extra attention, I might assign it two blocks of time on the days it appears in the rotation, and adjust the other instruments around it.

    When organizing your own practice time, you should be asking yourself some questions about your own priorities: How many instruments are you practicing? Are you trying to bring them to a uniform level of proficiency, or do you have primary and secondary instruments? Do have instruments that are “behind” and need extra time for catching up? Does it make sense for you to devote separate blocks of time to (for example) flute and piccolo, or will you fit them within a single block?

    Practice smart, and keep at it.

  • Dubious pedagogy alert: woodwind vibrato

    ByBret Pimentel

    I think there is a lot of garbage in the way woodwind vibrato—specifically flute and double reed vibrato—is taught.

    Flutists, oboists, and bassoonists use the same basic physiological mechanism to produce vibrato. I often read or hear debates over what, exactly, this mechanism is, with some arguing fervently that it is the “diaphragm,” and others insisting that it is the “throat.”

    It’s worth pointing out here that a major issue in wind-instrument pedagogy is the fact that so many of the important techniques happen somewhere inside the body where they cannot be easily observed. (Violinists don’t seem to have much disagreement about what part of the body to use for vibrato.)

    My belief is that neither the “diaphragm” nor the “throat” can be correctly identified as the organ of vibrato. Read More “Dubious pedagogy alert: woodwind vibrato”

  • Sidney Bechet’s “Summertime”

    ByBret Pimentel

    View the transcription

    Sidney Bechet may be jazz’s most unfairly forgotten genius.

    Once the favorite son of his native New Orleans, as well as his many adopted European hometowns, Bechet’s recordings are now too often overlooked. Bechet, born in 1897, was a true virtuoso of the clarinet, and played a major part in establishing the instrument’s role in Dixieland and early jazz. His pioneering use of the soprano saxophone set a precedent that would come to fruition in a later generation of saxophonists. Bechet’s penchant for unusual instruments is documented in a few surviving recordings on the bass saxophone and the sarrusophone, instruments as nearly obsolete in Bechet’s day as in our own.

    But Bechet’s genius transcended his choice of instrument. His abilities may even have rivaled his contemporary, and sometime bandmate, Louis Armstrong. The eminent Swiss conductor Ernest Ansermet upheld Bechet as “the highway the whole world will swing along tomorrow.” Ansermet would no doubt be disappointed to find his prediction has been disproved. Read More “Sidney Bechet’s “Summertime””

  • Advice on writing for doublers

    ByBret Pimentel
    Manuscript score
    Photo, liza31337

    I got an interesting question by email last week. I’m reprinting the message here, followed by the suggestions I sent in return (I’ve edited a bit).

    Hi Bret,

    I’m doing my first arrangement for a musical, which will be an amateur production.

    I’m going to be hiring players from amateur/student orchestras (university), or simply people who play well enough to take on the parts. I don’t think at this time I will be able to have more than 3 wind players.

    One wind player has advised (from their experience as a musician) not to expect a player at this level to be able to play both a single and double reed instrument. Is it common for this to be the case, in your own experience? Is there any doubling of a mix of certain double and single-reeds instruments that’s even commonplace amongst ‘amateur’ players?

    Do you have any recommendations of how to group the players, in terms of if I only have 3 available, and they are ‘amateur’ (but still ‘good’) level?

    I had a look at the reed books on this site, but had to bear in mind that when putting on professional productions, you’re more likely to find players who can switch between a wider range of instruments. Any tips you can provide would be greatly appreciated.

    Hello,

    Thanks for stopping by my website and for taking the time to write. This is a great question with, I’m afraid, no great answers.

    Woodwind doublers, like most commodities, are most easily found in larger cities, but can also pop up in odd places. Depending on where you are located, you may have more or fewer (or none) at your disposal. The best solution, when possible, is to line up your musicians in advance, and write for their strengths. Shows on Broadway are sometimes written this way.

    Assuming that you can’t do that, you may have to hedge your bets somewhat. You might, for example, do something like this:

    Reed 1: Piccolo, flute, clarinet [optional]

    Reed 2: Flute [optional], clarinet, soprano saxophone [optional]

    Reed 3: Bassoon, clarinet [optional]

    In this case, the parts could be played by a flutist, a clarinetist, and a bassoonist. The optional parts could be notated on ossia lines for the “primary” instruments, or omitted according to your instructions. All of these books include clarinet writing, but you would want to put the important solos and the lead clarinet parts in book 2; likewise the Reed 2 flute parts would be harmony parts to Reed 1’s lead. Read More “Advice on writing for doublers”

  • Buying woodwind instruments

    ByBret Pimentel

    General advice

    The information on this page is intended for beginning and intermediate players, including woodwind doublers who already play another instrument. Here are some rules of thumb:

    • Get the advice of a good teacher, preferably one that doesn’t get a sales commission from a music store. It’s okay to ask advice before starting lessons. A good teacher wants you to have a good, working instrument.
    • In fact, be very skeptical of anything you are told by music store salespeople. My students frequently begin lessons with poor, non-working woodwind instruments that were highly recommended by the guitar player working behind the counter. Ask the salesperson to demonstrate the instrument. If they can’t do it, there’s little reason to take their recommendations.
    • The most important consideration for a beginner’s instrument is its condition. Woodwind instruments use pads made of leather, skin, or cork that MUST seal properly. Poorly adjusted instruments are one of the top causes of frustration in beginning players. Don’t waste your time fighting with a leaking instrument. Cosmetic flaws like worn or scratched finish or small dents (except in vital spots such as a flute’s headjoint or saxophone’s neck) do not necessarily affect an instrument’s playability, but may be warning signs of larger problems. It is possible to buy a non-working instrument and have a good technician restore it to playable condition, but it would be a good idea to get their appraisal of the instrument before you buy it.
    • Don’t buy musical instruments from department stores, megastores, or warehouse stores. These temptingly cheap instruments are made from inferior materials and are almost always in poor adjustment. Good repair shops won’t even work on them because they tend to break under the normal strains of routine maintenance.

    Read More “Buying woodwind instruments”

One Comment

  1. I prefer to think of it this way – if better equipment removes a limitation or impediment, and is immediately obvious… then it’s worth it to me.

    That impediment can be technical, convenience, physical, even emotionally, and it’s all valid.

    I would say a high quality case that’s convenient, protects your horn well, and is easy to lug around compared to a heavy coffin or garbage bag, will do more for your musical life that a $900 mouthpiece will vs. a C*.

    But slogging through equipment because your favorite player also uses it, hoping it might make you better, but it doesn’t really do anything YET, well, maybe if you stick with it for a year or two, or maybe try again get the next best thing… that’s chasing a rainbow.

    Reply

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