What kind of ligature should I get?

ByBret Pimentel

Disclosure: As an Amazon Associate I earn from qualifying purchases, at no cost to you.

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:

Fabric-type clarinet and saxophone ligatures

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!

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  • Woodwind Doubler Census 2021 results, part 3: training/education

    ByBret Pimentel

    Thanks to all who participated in my 2021 woodwind doubling survey, and to those who helped spread the word. I’m releasing the results in installments, so be sure to use my social media links, RSS feeds, etc. to keep up.

    I got 284 responses, an improvement over 2011’s 187. The numbers for each of these questions don’t necessarily add up to exactly that number, since not everybody responded to every question.

    Which was your first instrument, among the major woodwinds?

    2021 Data
    flute3713%
    oboe135%
    clarinet10638%
    bassoon62%
    saxophone11942%
    none of these apply1~0%
    2011 Data
    flute2212%
    oboe105%
    clarinet7741%
    bassoon53%
    saxophone7339%

    Which of these have been part of your education on woodwind instruments?

    2021 Data
    school band/orchestra program (high school or younger)26293%
    private lessons outside of school24888%
    summer camps18867%
    university band/orchestra program24185%
    university/conservatory bachelors degree with formal concentration(s) in multiple woodwinds2710%
    university/conservatory bachelors degree with single-instrument or other music concentration18265%
    bachelors-level study on secondary instrument(s), but not as part of a formal multiple-woodwinds program11139%
    university/conservatory masters degree with formal concentration(s) in multiple woodwinds3512%
    university/conservatory masters degree with single-instrument or other music concentration7527%
    masters-level study on secondary instrument(s), but not as part of a formal multiple-woodwinds program3111%
    university/conservatory doctoral degree with formal concentration(s) in multiple woodwinds104%
    university/conservatory doctoral degree with single-instrument or other music concentration249%
    doctoral-level study on secondary instrument(s), but not as part of a formal multiple-woodwinds program62%
    other university/conservatory music degree or certification145%
    self-taught on one or more instruments16759%
    2011 Data
    school band/orchestra program (high school or younger)17594%
    private lessons outside of school17091%
    summer camps13170%
    university band/orchestra program14376%
    university/conservatory bachelors degree with formal concentration(s) in multiple woodwinds2714%
    university/conservatory bachelors degree with single-instrument or other music concentration9752%
    university/conservatory masters degree with formal concentration(s) in multiple woodwinds137%
    university/conservatory masters degree with single-instrument or other music concentration3720%
    university/conservatory doctoral degree with formal concentration(s) in multiple woodwinds42%
    university/conservatory doctoral degree with single-instrument or other music concentration53%
    other university/conservatory music degree or certification126%
    self-taught on one or more instruments11863%

    What factors influenced you first to get involved in woodwind doubling?

    Besides the provided answers, several of you included personal anecdotes of influences including boredom, norms of the early music scene, orthodontia and injuries, career aspirations like instrument repair and studio work, and the Lawrence Welk Show.

    2021 data
    just interested in more than one instrument20272%
    required/helpful for a jazz (or other improvisatory music) group you played in or wanted to play in13949%
    had or wanted opportunities to play for musical theater19670%
    influenced by a teacher or role model13648%
    wanted to improve employability13849%
    an ensemble you were in (or wanted to be in) needed someone to play a specific instrument, and you were willing to learn it11842%
    an ensemble you were in (or wanted to be in) didn’t include the instrument you already played and you needed to learn another4616%
    your training/experience as a teacher required you to branch out5620%
    2011 Data
    just interested in more than one instrument40
    required/helpful for a jazz (or other improvisatory music) group you played in or wanted to play in37
    had or wanted opportunities to play for musical theater35
    influenced by a teacher or role model23
    wanted to improve employability19
    an ensemble you were in (or wanted to be in) needed someone to play a specific instrument, and you were willing to learn it19
    your training/experience as a teacher required you to branch out9

    What sources have you used to learn about or otherwise engage with woodwind doubling?

    Besides the provided answers, nine of you wrote in something to the effect of “lessons” or “teachers,” which I didn’t include as an option because I covered formal training in other questions. A few of you also wrote in “YouTube,” which I have lumped in with “social media sites.”

    Thanks again for your participation and stay tuned for more survey results.

  • Pedagogy appropriate to students’ level

    ByBret Pimentel

    I remember as a young college student attending a masterclass by a world-class musician. He was scornful of students spending a lot of time in practice rooms playing scales. He urged us instead to get outside and watch a sunset, and then “play the sunset.”

    Advice like that has its place. But I was doing exactly as my teacher assigned: spending a lot of time in practice rooms playing scales. My teacher assigned that because it was what I needed at that stage in my development. I wouldn’t have had much success trying to “play the sunset” because I hadn’t yet learned the technique I needed.

    I have my university woodwind methods students do an assignment evaluating pedagogical articles. They use a few criteria, including appropriateness for teaching beginners. The articles’ authors don’t always make that clear. In fact, I suspect many of the authors would resist the idea that their advice is level-specific. “Oh, no, my ideas apply to all students.”

    I understand the appeal of that viewpoint, that good woodwind pedagogy is made of unassailable truths. But here’s a counterexample. With beginner and intermediate students, I teach that voicing is stable; you learn the “correct” voicing and then stick with it. But with more advanced students I teach that voicing is a tool to adjust tuning, response, and tone. Their technique, ear for pitch, and expressive requirements have reached a higher level, and they are ready. (I’ve addressed this two-phase approach to voicing previously.)

    Masterclasses like the one I attended are often taught by very high-level performers. Their own teaching studios are filled with advanced, high-achieving graduate students. With those students, it may be productive to discuss heady philosophical or creative ideas. But the less-elite students really do need to hit a practice room and learn their scales. For them, high-level advice is pointless, frustrating, and condescending.

    Consider carefully the needs of those you teach. When necessary, be clear that your teaching may be geared toward students at a particular level.

  • When there’s no place to breathe

    ByBret Pimentel

    When you’re working on a new piece and there’s no place to breathe:

    • Re-examine. Are you sure there’s no place? Tonal wind-instrument music usually has phrases. To find them might take some careful analysis, or maybe listening to a recording to check out someone else’s solutions. Once you know where the phrases end, you may be able to take a little extra time to breathe in those spots without it sounding disruptive.
    • Practice. With some effort and repetition, you may be able to play longer phrases than you thought. Make sure you’re really taking a full breath—the inhalation should feel pretty physical, much more so than “normal” (tidal) breathing.
    • Edit thoughtfully. If the music was written originally for, say, piano or a string instrument (or if it’s just written by a less-experienced wind composer), it may not have good built-in breaths. Where absolutely necessary, consider breaking a slur, reducing the dynamic level, boosting the tempo, or making some other minor adaptation. Mark it in, so you’re in the habit of breaking with the composer’s intent only after serious deliberation.
    • Be quick. Sometimes a very small, very short breath is all you need to finish out a phrase strong. Find a reasonable musical place to insert one, and mark it in such a way that you will remember not to take too much time for it.
    • Consider circular breathing. It’s a challenge but not impossible for someone playing at a reasonably advanced level. But be careful: don’t use it an excuse to avoid the issue of phrasing. Plus, it’s not very comfortable to circular-breathe for extended periods, for you or your audience. (Audiences often breathe with you!) Use this as a last resort or when specifically requested by the composer.
  • |

    Woodwind Doubler Census results, part 7: doubling tips

    ByBret Pimentel

    We’re close to the end of the results from the Great Woodwind Doubler Census of 2011. I’m particularly excited to share your answers from one of the final questions:

    Q. What is/are your best woodwind doubling tip(s)?

    Your answers covered a lot of ground, but a few main themes showed up in many of your responses:

    A little explanation:

    • Practice (quantity, quality): No surprise here—a large number of you mentioned the need for consistent, organized, focused, and/or extensive practicing.
    • Each instrument is different: A number of respondents pointed out that each instrument must be studied and played on its own terms, without depending on skills to transfer from one to the other. (It’s worth noting that a few of you saw the other side of this issue: that similarities between the instruments can perhaps be leveraged for more efficient improvement.)
    • Get good instruction
    • Work on fundamentals
    • Practice switching: Several of you suggested practicing the actual act of switching quickly between instruments.
    • Get quality gear
    • Flute-specific advice: Some of you offered advice about the flute, mostly about the particular challenges of maintaining a good flute embouchure on limited practice time.
    • Get experience: A few of you mentioned university or community groups as good ways to log some hours of experience on secondary instruments.

    Here’s the full list of woodwind doubling tips. If you missed out on the survey, you’re welcome to add your own tips in the comments section.
    Read More “Woodwind Doubler Census results, part 7: doubling tips”

  • Woodwinds and “altissimo” registers

    ByBret Pimentel

    Disclosure: As an Amazon Associate I earn from qualifying purchases, at no cost to you.

    I recently had a saxophone student perform a repertoire piece with some altissimo technique in it, and a non-woodwind-playing musician asked me afterward about the instrument’s extended range. This led to further questions about “altissimo” on other instruments. The answers are a little complicated, but here is some information:

    The term “altissimo” suggests an extreme high register. The term is widely used by clarinetists and saxophonists, with essentially the same definition: pitches in the instrument’s third register or higher. Basically, this is notes above (written) F-sharp-6 for saxophones or (written) C6 for clarinets. (It’s not really that simple if you factor in alternate fingerings: a clarinetist, for example, might use a trill fingering to produce a D6 in the second register, or a saxophonist might use a “front” fingering to produce E6 or F6 in the third register.) For clarinetists, using some of the altissimo register is a pretty basic technique, part of the instrument’s “standard” range (which extends maybe to G6, depending on who you ask), and accessible to, say, an intermediate-level high school student. For saxophonists, altissimo is viewed as a more advanced technique, outside the “standard” range, perhaps accessible to college-level musicians or motivated high schoolers.

    The word “altissimo” isn’t used much in the flute and double reed worlds, though those instruments’ third registers are widely used even by intermediate-level players. (Christopher Redgate does use the term in his writings about oboe extended techniques, but arbitrarily defines it as beginning at G6, well into the instrument’s third register.) The flute’s third register begins (basically) at D6, the oboe’s at C-sharp-6, and the bassoon’s at E-flat-4.

    the lowest pitch (written) of each woodwind's third register
    the lowest pitch (written) of each woodwind’s third register

    In short, all of the woodwinds do have an “altissimo” range in the sense that they have a third register and higher. But not all of them use that terminology, and those that do differ on whether the altissimo range is “standard” or an extended technique.

  • Eight live microphone tips for woodwind players

    ByBret Pimentel

    If you are a classically-trained woodwind player, playing into a microphone might be a new experience for you.

    A rock band that I play in (flute and saxophone) does a lot of shows in small clubs and bars, and the sound guy (or girl—I’m using “sound guy” from here on out, with gender-neutral intent) is usually used to miking vocals, guitar amps, and drum sets, and may or may not know what to do with a woodwind instrument. I can often help things along, and make sure the band and I sound our best, by coming armed with a small amount of knowledge.

    Here are some basic tips for looking and sounding like you know what you’re doing. I’m assuming here that you’re not doing anything fancy gear-wise (there are plenty of options if you want to buy a clip-on mic), just showing up with your instrument and using the venue’s basic sound equipment. Read More “Eight live microphone tips for woodwind players”

One Comment

  1. No question that ligs make a difference for the performer. Find something that you like. If it sounds good to you then you’ll enjoy playing it.

    Reply

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