Take your instruments apart

I highly recommend taking your instruments apart.

Here’s why:

  • There’s no better way to understand the workings of a mechanical device like a woodwind instrument than to take it apart and put it back together again. They’re your tools. You should understand how they work.
  • Take ownership of your instrument’s maintenance. Discover problems that need a repair tech’s attention BEFORE they affect your playing at an inopportune time. Or, even better, use your newfound confidence with a screwdriver to fix minor problems yourself, and consider learning how to change a pad, or at least a cork.
  • Keep your instrument sparkling. With your horn in pieces, you can easily get into the nooks and crannies to remove dust and gunk. Your instrument will shine like new, your mechanisms will move smoothly and quietly, and you’ll feel good about treating your precious horn with such loving care.


Here are some tips:

  • Arrange your workspace. A large, clean workbench is ideal, but I’ve done this many times by spreading an old bedsheet on the floor. That way, when (not if, but when) I drop a tiny pivot screw or something, I know it can’t have gone far. Plus I have plenty of space to…
  • Lay out the parts in the order you remove them. Put them back on in reverse order.
  • Take your time. If you’re like me, you’ll find that sometimes you put a part back on, and then have to remove it again to get another part in place. Be patient. Don’t rush it.
  • Use the right tools. You need screwdrivers that are a good fit for the screws. Using the wrong size increases the chance of scratching something, damaging a screw, or even accidental stabbing. For a few dollars, you can get a little set of screwdrivers at most any hardware store. There are usually six of them in a little plastic case. You won’t need the Phillips head screwdrivers, but the flat-head screwdrivers will meet most of your instrument-disassembly needs. Note: I’ve seen similar screwdriver sets at dollar stores, and they aren’t as good. The metal is soft and the heads are sometimes misshapen. Go for the better set at the hardware store.
  • The trickiest thing to deal with are springs. They can stab you, catch on your clothes, or even break off if you get too violent. Be cautious and everything will be fine. A small crochet hook is handy for getting springs into (or out of) place. I used a Dremel rotary tool’s cutting wheel to put a notch in the other end of the crochet hook, so now I can either push or pull on springs with it.
  • While you’ve got the instrument taken apart, clean and lubricate everything. Use Q-Tips or pipe cleaners (but be careful of the inner wires) to get the crud out of the keys and instrument body. Use a soft, damp rag to wipe the stickiness off the toneholes. If you’re comfortable with it, you can also clean the pads. I like a slightly-moistened Q-Tip for this. Some people recommend lighter fluid or other solvents; I just use water, but that’s up to you.
  • Run a pipe cleaner carefully through the tubes of the keywork, and wipe off the inner rods. That black stuff is old lubricant mixed with very fine metal dust from the gradual wear on your mechanisms. Clean it off and apply fresh oil to keep your mechanism quiet and slow down the wear and tear. Use your favorite key oil—there are lots of conflicting recommendations out there for which product to use. Personally I like to use automotive gear oil, since it gives a nice smooth feel and you can buy a lifetime supply for a few bucks. Sometimes knowledgeable people warn about the dangers of various lubricants, but those doomsday scenarios all seem to involve leaving the lubricant alone for a very long time so that it can gum up or whatever. I clean and lube my instruments minimum once a year, so I figure I’m okay.
  • Saxophone and bassoon rollers tend to be noisy, and they fit loosely enough that key oil just drips out. Try cork grease instead to keep these quiet. I like the gooey red liquid stuff from Selmer (USA?) for this. Try not to get it on your hands, because it takes forever to wash off.
  • Don’t forget to do a quick playtest when you put the instrument back together. I often miss re-engaging a spring or two. Easily remedied.
  • If you’re nervous about doing it, start with your clarinet, especially the upper joint. It has few parts and they go back together easily. (If you’re REALLY nervous, buy a junker clarinet on eBay for a few bucks and experiment on it.) I think oboes are the most complicated.

Have fun!

Similar Posts

  • Creating fingering charts with diagrams from the Fingering Diagram Builder

    My Fingering Diagram Builder has been around for a little over five years now. I was careful to name it the Fingering Diagram Builder instead of the Fingering Chart Builder because it is a tool for creating individual diagrams, not for assembling them into comprehensive fingering charts. But the difference can be a little confusing, so I get frequent questions from users who complain that they can’t figure out how to create and download a “chart” with multiple fingerings on it.

    The reason I didn’t try to build a complete system for creating fingering charts is that I assumed users would have widely-varying needs, and would do better to assemble charts using some other kind of software. Here are a few examples of how that might be done, using music notation software, using a word processor, and using a text editor to create HTML code (such as for a website). All the software I’m using here is free to download on Windows, Mac OS, and Linux, but whatever free or commercial programs you are already using probably have similar features. You’re on your own to work out the details (and feel free to share them in the comments if you are feeling helpful).

    Creating a fingering chart in music notation software

    I am using MuseScore here, but commercial software like Finale and Sibelius and other free software like LilyPond could be used in similar ways.

    First I set up a musical “score” with the notes for the chart. I used whole notes, separated by double bar lines, but that’s up to you.

    MuseScore setup

    Next I created my fingering diagrams in the FDB. I sized the diagrams “tiny” with “thick” lines.

    Adding the diagrams to the score is very simple in MuseScore—I just dragged the downloaded diagrams from my file manager right onto the score. If I drag the diagram and hover it on top of a note, that note gets highlighted. Then I can release the diagram and it attaches to the note.

    musescore-drop

    Initially the diagrams are placed right on top of the note. I selected the diagrams and used the Inspector panel to give them a horizontal offset of -2.5sp and a vertical offset of -10.5 sp, which moved them above the staff, more or less centered above the noteheads. I adjusted the A and tenor B-flat fingerings’ horizontal offsets a bit more to make them look just right.

    Here is the finished product, a small chart with a few bassoon fingerings:

    bassoon-fingering-chart-sample

    Creating a fingering chart in word processing software

    I am using LibreOffice Writer, but something like Microsoft Word or Apple Pages would work just as well.

    First I opened a new document and inserted a table. My table has three rows and seven columns.
    writer-table

    Then I dragged the downloaded diagrams from my file manager into the bottom row of the table.

    writer-diagrams

    I merged some cells together, dragged in some images of notes on staves, and added some text.

    writer-complete

    A few more little tweaks and here is the finished chart:

    clarinet-fingering-chart-sample

    Creating an HTML fingering chart in text editing software

    This code be used in any text editor or HTML source editor, and of course similar results could be accomplished with a visual/WYSIWYG editor. I’m not showing complete code here, just the most relevant parts.

    I started with a framework for a table that I could use to show a note with two alternate fingerings. (This is a flute fingering chart with horizontally-oriented diagrams. For an instrument with vertically-oriented diagrams, you may want to rearrange things a bit.)

    <table>
      <tr>
        <th rowspan=2><!— note image here —></th>
        <td><!— first fingering image here —></td>
        <td><!— first fingering text here —></td>
      </tr>
      <tr>
        <td><!— second fingering image here —></td>
        <td><!— second fingering text here —></td>
      </tr>
    </table>
    

    Then I plugged in <img> tags and text:

    <table>
      <tr>
        <th rowspan=2><img src="images/f-sharp-note.png" /></th>
        <td><img src="images/f-sharp-standard.png"</td>
        <td>Standard</td>
      </tr>
      <tr>
        <td><img src="images/f-sharp-trill.png"</td>
        <td>Trill from E</td>
      </tr>
    </table>

    I duplicated that code for additional notes. Since this is a sample alternate/trill fingering chart, each note has at least two fingerings. For notes with more fingerings, I added <tr>s and changed the rowspan values accordingly.

    I also added a little CSS to spruce things up:

    <style>
      table {
        display: inline-block; /* make tables wrap gracefully depending on screen width */
        margin: 1em; /* put some space between tables for legibility/clarity */
      }
      th img {
        max-width: 8em; /* manage size of note images */
      }
    </style>

    Here is the result:

    flute-fingering-chart-sample

    I hope that sparks a few ideas for you if you are considering putting together a fingering chart. If you have other methods or tips, please share in the comments section!

  • Trevor Wye’s “Flexibility I” flute exercise

    One of my favorite flute warmups is “Flexibility–I (after Sousseman)” from Trevor Wye’s Tone book. (Just buy the whole omnibus edition and thank me later.) This exercise is value-packed and meticulously thought out, and leads inevitably to some fundamental truths about flute playing.

    The exercise is slurred arpeggiated figures, like this:

    wye-1

    As you might expect, the figure gradually expands to larger intervals and notes in the third octave. It’s challenging to make the intervals smooth and accurate, but especially so if your approach to flute tone production is based on unclear or faulty pedagogical concepts. Wye provides some very crucial advice that is key to getting the most out of the etude, and to developing a solid approach to tone production.

    Wye suggests first playing the etude omitting the highest notes, and dynamically shaping the figures as follows:

    wye-2

    The forte dynamic on the lowest notes demands a low, open voicing and strong breath support, feeding into an aperture that is “focused” (small). The dynamic shape, stretched mostly across a single note (B-flat here), also requires the aperture to be agile and flexible, opening slightly for the loudest notes and closing slightly as the volume decreases.

    The next step is to “work up” to the high note, “so that it sounds softly, but not flat:”

    wye-3

    There is a lot going on here. The aperture has to continue to move flexibly in order to produce the dynamic effect. Voicing has to be low and open to make the low notes full and responsive. Breath support has to remain powerful and steady to keep the pitch buoyed up. And something has to happen to produce the register change.

    Many flute teachers suggest making the aperture smaller to achieve the higher registers, but this ties register to dynamics—the larger aperture makes the low notes loud, and the small aperture makes the high notes soft. Others suggest something like increasing air pressure or using “faster” air. This can be accomplished by increasing breath support and/or by using a higher voicing; changing these has a destabilizing and register-bound effect on pitch and tone. It also creates the opposite dynamic problem from aperture-based register changes: the higher notes are always loud, and the low notes are always soft.

    The most effective approach is to allow the embouchure to push forward for notes in the upper registers, and to relax back for lower registers. This allows breath support, voicing, and aperture to function separately, and intonation, tone, and dynamics to be manipulated independently. The Wye exercise demands all of this from the flutist.

    This is a great exercise to incorporate into a daily warmup. I especially like it for its coverage of several flute tone production concepts, since doubling on several instruments means I don’t have as much time to devote to the flute as I would like. Work on it slowly and deliberately—as Mr. Wye points out, “this may take time.”

  • Bassoon as a double

    I’d like to say up front that I really love the bassoon. I do.

    The bassoon was the last of the major woodwinds that I added to my arsenal. Looking at it from a strictly pragmatic standpoint, I think that was the right choice for me, and would be for most doublers. Let’s face it: when it comes down to time and money, for woodwind doublers, the bassoon demands a lot of both and doesn’t always return a lot of either. Read More “Bassoon as a double”

  • “Tip of the tongue” mythology and the flute

    As woodwind players we are often taught that articulation requires the use of the tip of the tongue and no more—to use more than the tip would just be wrong!

    For reed instruments, I think this is essentially true, but I don’t think it works that way on the flute. Try this:

    1. Using a reed instrument mouthpiece, or substituting a (clean) finger, simulate “tip of the tongue” articulation. Find the very tip of the tongue and touch it lightly to the tip of the reed (real or imaginary). With the tongue frozen in this position, apply some air pressure. If you allow the lips to “unseal” from around the mouthpiece at this point, air escapes.
    2. Now try it with nothing inside your mouth, in the manner of a flutist. Touch just the very tip of the tongue to your favorite articulation spot (palate, teeth, or maybe lip, depending on your pedagogical pedigree) as though about to tongue a note, and apply air pressure. Notice all the air leaking out? Me neither.

    Are you really holding back  all that air with just the very tip of your tongue? While I think “tip of the tongue” is still a useful fiction for flute playing, it seems to me that I must actually use a surprising amount of tongue to seal off the air from escaping—the sides of my tongue contact my molars to help contain the air until I am ready to release it.

    Photo, drurydrama
    Photo, drurydrama

    (The tip of the tongue is effective for reed instruments because it is only necessary to prevent the reed from vibrating as the air pressure is applied—a very small amount of tongue is quite effective for this.)

    The “tip of the tongue” is a good concept for helping flutists to keep their articulation light, crisp, and relaxed, and I don’t particularly recommend teaching the sides-of-the-tongue thing to students as it can easily be misunderstood or taken too far. But I do think a clearer understanding of the invisible parts of woodwind playing can help advanced students and their teachers diagnose and solve subtler problems.

  • Working less hard

    As a 10-year-old brand-new saxophonist, I learned a bunch of tasks I needed to do to play the instrument: blow in a certain way, form my lips just so, put my fingers into such-and-such positions, and so on. Every time I thought I had learned all of the skills I needed, my teacher would add some more.

    In the 30 years since, playing saxophone and other woodwinds, I have mostly worked on doing less—letting my embouchure relax, keeping my jaw still, keeping my breath support consistent, moving my fingers more efficiently. The more I can strip away the excess effort, the more my playing is easy, pleasant, pain-free, fatigue-free, and expressive.

    On some level it feels more like teaching if I can tell a student a new thing to do. Assign them an additional task. But the most productive and valuable lessons (or personal practice sessions) are often the ones when I can convince a student (or myself) to do one fewer thing.

  • Does woodwind doubling ruin your embouchure?

    Nope.

    We use our embouchure muscles for all kinds of things: facial expressions, speech, eating, kissing. Do any of those things “ruin” your embouchure? Of course not. The embouchure is made up of very flexible, agile muscles that are very capable of carrying out multiple tasks.

    When people (almost always non-doublers) express concern about embouchure ruin, most of the time what they seem to be talking about is tension, or sensitivity loss, or buildup of callused tissue, or maybe strengthening the “wrong” muscles. If playing any woodwind instrument is giving you these kinds of problems, you are playing it wrong. Your embouchure for any and every woodwind instrument should be relaxed, balanced, and pain-free. Get some lessons with a qualified teacher, quickly.

    Woodwind doubling presents real challenges. No need to invent fictional ones!

6 Comments

  1. Hi Bret,

    I’m a retired NYC teacher and amateur jazz musician, studying with a New York pro who just told me to get Jean Jean’s “Vade Mecum.” I stumbled onto your great website and your piece. “Take Your Instrument Apart.” I’m scared to try that on my Buffet clarinet. However, the NYC school down the street threw out 2 Bundy saxes – 1 tenor and one bary- that I’d like to get in shape, the bary especially. Local sax technicians want $$$$ to overhaul it and I’ve been thinking of just buying a new one. Would it be worth tackling the bary as a starter project? I’ve got a workbench for the job.

    I’m eager to hear your opinion!

    Thanks,

    Brad Baker
    bakermusic2@yahoo.com

  2. Hi Brad,

    A discarded saxophone would be a great first instrument to take apart, clean and lube, and reassemble!

    However, if it’s in rough enough shape that a school actually threw it away, it likely needs more than just cleaning and oil. A professional overhaul would probably include all new pads, corks, felts, and a number of other repairs and adjustments.

    So, it may be worth it to you to get a little hands-on experience with this horn, but it may still need some professional attention before it plays well (or at all!).

    Good luck!

  3. Hi Bret !

    Following your wise advice I just took the upper joint of my clarinet apart.

    I used some white spirit for the extra grease. I think I could use some kind of silver special cleaner to make it shiny but I’ve got no time to go to the store as I need my clarinet for this evening…

    I guess that next time I’ll have all the tools ready before I start taking it apart.

    I’ll also have to buy new Q-tips. I just left two to clean my ears for this evening’s rehearsal ;)

    All the Best,

    Pierre

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