- oboeinsight (Patty Mitchell): Empty Stage & Pit
- bassoon blog (Betsy Sturdevant): Rhythmic fingering on bassoon—a K. David Van Hoesen concept, and Beeswax for Bassoon Reeds
- Bill Plake Music (saxophone): Clarifying A Common Misconception About “Tension” In Playing Music
- Hodge Products, Inc. Double Reed Supplies Blog: COVID-19 Reed Sanitizing
- Jenny Maclay (clarinet): Clarinet Method Books to Help Develop Diverse Musical Genres and Styles
- JazzBariSax.com (Andrew Hadro): Essential and Deeper Listening Lists
- Blog :: –– Jason Alder :: (Bass) Clarinetist: The Big List of Contrabass Clarinet Albums (with
- Practice Monster (David Pope, saxophone): Circular Breathing
- Sax ProShop: #WednesdayWisdom: Sanitizing Your Mouthpiece & Instrument
- Trent Jacobs, bassoonist: Bassoon fingering chart and On communicable diseases and buying reeds
- heather roche: “Ultra-Underblow Mutiphonics”: Part 2 of the recategorisation of Philip Rehfeldt’s chart
- Rachel Taylor Geier (flute): Imperfect Balance – Hand Position Correctors
- The Bassic Sax Blog » (Helen Kahlke): Is a vintage sax right for me?
- The Vintage Clarinet Doctor – Blog (Jeremy Soule): mouthpiece porn vs Mouthpiece Monogamy
- The Flute View (Lauren Monteiro): 4 Rules for Recording Your Practice
- International Clarinet Association (Wesley Ferreira): Master Class: Fantasiestücke (Fantasy Pieces), Op. 43 by Niels Gade
- Jenny Maclay (clarinet): 31 Clarinet Compositions Written by Female Composers
- Music Major – Majoring in Music: Music School Decisions When You Can’t Visit
- The Flute Examiner (Kelly Wilson): Why We Should Love Our Ribs
- Blog :: –– Jason Alder :: (Bass) Clarinetist: A Guide to Understanding Bass Clarinet Clef Notation
- JQ Flute (Jessica Quiñones): 5 things I no longer believe about flute playing.
- Sax ProShop: #WednesdayWisdom: Making Saxophone Low Notes that whisper and wail! It’s all in the set-up.
- Bill Plake Music: The Value Of Having (But Not Always Following) A Daily Practice Plan
- International Clarinet Association: How to rock your college music auditions
- ProneOboe (Jennet Ingle): Reed Mindset
- Nicole Riner, flutist: You Will Survive Your College Auditions
- Rachel Yoder, clarinet: Clarinet Playing During the Postpartum Period: My Story
- bassoon blog (Betsy Sturdevant): The devil’s in the details (Columbus Symphony Russian Winter Festival II)
- Joffe Woodwinds: How to Approach a Lesson
- Clarinet Divas (Diana Haskell): Short List of Favorite Works for Clarinet by Female Composers
- Peter da Silva Music: At the Repair Shop: A Playtest Checklist for the Saxophone
- The Flute View (Caitlin Rose): Tools to Help Combat Burnout
- Bill Plake Music: When Practicing Is More Than Just “Practicing”
- ProneOboe (Jennet Ingle): Shaq and the Oboe
- bassoon blog (Betsy Sturdevant): The art of bassoon maintenance
- Just Flutes Blog (Adam Clifford): CITES Regulations of Wooden Instruments – Update
- Steve Neff Music Blog: Buyer Beware! Counterfeit Vintage Saxophone Mouthpieces Galore
- oboeinsight (Patty Mitchell): A Very Good Reminder
How do you pick the clarinet or saxophone reed that is the right strength “for you?” You mostly don’t, really.
It’s important that the reed be a good match to the mouthpiece. In most cases the primary consideration is the mouthpiece’s facing curve and resultant tip opening. Generally, a shorter curve and/or wider opening require a softer reed, that can flex enough to meet the mouthpiece while vibrating. A longer curve and/or narrower opening need a stiffer reed, which will have enough guts to spring back after flexing to the mouthpiece.
This means that the “right” strength for a player using a particular mouthpiece will be pretty close to the “right” reed for anyone else using that mouthpiece.
Some players and teachers object to this, insisting that the “strength” of the embouchure needs to be accounted for. But the embouchure shouldn’t employ much “strength”—it should close just airtight (but not tight) around the mouthpiece and reed. If you are using your embouchure to muscle the reed around, then you might think you need a stiffer reed, but what you really need is a more open, relaxed embouchure. (If you feel like you will lose control by relaxing your embouchure, make up for it with powerful breath support.)
So, assuming a reed reasonably well-matched to the mouthpiece, and a correctly-formed embouchure, the only thing left to consider is personal preference for how much resistance is in the setup. A slightly more resistant setup is good for things like soft, gentle articulations and stable pitch and tone. A slightly less resistant setup favors crisp, immediate articulations and some pitch and tone flexibility. I find this acceptable range of reed stiffnesses to be small enough that I can usually find some softer and some stiffer specimens within a box of reeds that are nominally the same strength.
Some mouthpiece and reed makers publish information about which reeds match to which mouthpieces. If you find yourself straying far from these recommendations, take a closer look at your embouchure and your stability/flexibility priorities.
- How To Make Oboe Reeds (Courtney Miller): The Joy of Scraping
- Just Flutes Blog (Roderick Seed): Tonguing tips
- International Clarinet Association: James Gillespie Library Weekly Roundup – Diverse Repertoire, Part I
- Peter Spitzer Music Blog (clarinet/saxophone): A Tufts University Study of Cryogenic Treatment of Brass Instruments
- International Clarinet Association (Heather Mogielnicki): The Clarinet [Online]: Healthy Habits for Musicians
- The Flute Examiner (Jessica Dunnavant): “The Holly and the Ivy” for Flute and Piano
A few years ago I reviewed Gene Kaplan’s Duos for Doublers, a set of duets for woodwind doublers playing flute, clarinet, and saxophone. I was pleased to hear from Gene again recently about his new Duets for the ‘Double-Reed Doubler.’ It contains seven duets in a variety of styles, with one doubler playing oboe, clarinet, and alto saxophone, and the other playing clarinet, bassoon, and tenor saxophone. (No flute in either part.)
The books (a set of two, one for each player) are neat and easy to read, with well-placed page turns and spiral binding. Like the Duos for Doublers, this set currently costs $30.
I’m pleased to see more materials making their way into the world that address the growing pressure on woodwind doublers to be skilled double reed players. The idea of “doubling” meaning just flute, clarinet, and saxophone is increasingly a thing of the past. Working on doubling in a chamber music setting, like these duets, is a useful way to improve your skills as a soloist-level player of multiple instruments.
Here’s a demo of one of the duets, called “Machinations:”
I wouldn’t call these duets easy, exactly, but they aren’t overwhelming for doublers with a little background in each instrument. All the instruments stay mostly in their lower and middle registers. The oboe rarely ventures outside the staff, and the bassoon stays squarely in bass-clef range. There are some fast switches (catch me trying to play bassoon with the tenor in my lap in the demo video), some tricky navigation of the clarinet’s throat-to-clarion break, some articulated low notes in the saxophones, and other real but not unusual challenges.
These duets are a fun an interesting challenge if you have a doubler friend to practice with. Head over to Gene’s website to get your copy.
- Everything Saxophone (Ben Britton): Kenny Garrett & Jazz Articulation
- The Flute View (Rena Urso): Understanding the Connection Between Your Arms and Tongue Can Improve Your Articulation
- Clarinet Divas (Diana Haskell): Female Clarinetists In U.S. Part Two – College Professors/Teachers
- ProneOboe (Jennet Ingle): Discouraging Words
- Practice Room Revelations – Jolene Madewell (flute): How I Practice Vibrato: 6 Self-Awareness Questions [Video]
- Jess Voigt Page (saxophone): Making money as a private music lesson teacher on public holidays!
- Jennifer Cluff (flute): Presto Young Person’s fingerings
- MATTHEW EMANUELSON – Blog (bassoon): 10 Tips for Audition Day
- The Flute Examiner (Keith Hanlon): Modern Piccolo Mechanisms
- Recorder Jen (Jennifer Mackerras): Choosing a new recorder – wood or plastic?
Here are a few of the common problems woodwind doublers have with the clarinet:
Flabby/saggy/tubby/airy tone and flat pitch. This is a dead giveaway for a self-“taught” clarinet doubler. The clarinet’s voicing is quite high, higher than any of the other woodwinds, and beginning clarinetists sometimes struggle for years to make that proper voicing a consistent habit. Once it settles in, pitch problems mostly evaporate, tone becomes clear and ringing, and notes respond beautifully and easily in every register. If you’re thinking about buying a shorter barrel because your “clarinet” is so flat all the time, don’t. Work on your voicing instead. Voicing is the #1 crucial technique for successful clarinet doubling, and will solve most of your problems.
It may also be worth checking your mouthpiece angle—it should be quite steep compared to saxophone or double reed instruments. Keep your head up straight and eyes forward, and aim in the ballpark of keeping the clarinet around 30° from vertical. You can also use the paper trick to make sure you’re taking in the right amount of mouthpiece.
Reeds can be a contributing factor, too. Often (but not always) saxophonists lean toward a slightly more open mouthpiece and softer reed, while clarinetists lean toward a little more closed mouthpiece and stiffer reed. The strength you prefer on a typical saxophone mouthpiece may not be right strength for a typical clarinet mouthpiece.
Constricted tone. Bafflingly, there’s a common pedagogical idea that clarinetists should tighten their embouchures to fix various problems. This is nonsense. Keep your jaw open to make space for the reed to vibrate, and let your lips (not your jaw/teeth) close around the mouthpiece, not tight but just airtight. Notes will respond more readily, with a fuller, prettier tone, and you can throw away the tape or paper or dental appliance you have been using to cushion your lower lip from your teeth.
Squeaks. 95% of the time this is an issue of fingers failing to properly cover toneholes. (And 95% of the time, struggling clarinet doublers blame it on something having vaguely to do with embouchure, reeds, or the clarinet somehow just being a squeaky instrument.) Use the large, fleshy pads of your fingers (not the tippy-tips) to cover the holes. Sometimes a quick check in the mirror can reveal that your fingers aren’t where you think they are.
Fingering awkwardness. The clarinet’s fingering system and unique overtone series provide tremendous advantages: an expansive range, clean and precise technique, and lots of useful alternate fingerings. (It’s superior to the saxophone’s “easier” system with awkward palm keys and relatively few alternates. Fight me.)
But if you’re coming from another instrument, you might find the 12th between the lower and clarion registers confounding. That’s because you’re still thinking about the fingerings. Practice your scales, arpeggios, and études until your fingers move on autopilot, like they already do on your primary instrument. It can be done.
The clarinet’s dreaded “break” as a technique concern is mostly a myth. Keep your support, voicing, and embouchure well-formed and stable, and just move your fingers. Your left index finger should rock or tilt between its tonehole and the A key, not hop (losing contact with the instrument) or slide (dragging along the key). Work toward a tiny, efficient, relaxed movement.
The clarinet’s clever system of redundant pinky keys enables lightning-fast technique in virtually any key, but it takes real effort to learn to use them well. Remember that for those pinky-finger notes there aren’t really “standard” vs. “alternate” fingerings—you need to know them all well enough to use interchangeably. And if you have beginner habits like using both pinkies for third-line B, you will need to learn to use a single pinky in many cases for the most efficient and flexible approach.
Ledger line catastrophes. Because of the clarinet’s broad tessitura, clarinetists have to be fluent in ledger lines above the staff (maybe more than you’re used to if you’re an oboist) and below the staff (more than you’re used to on any treble-clef woodwind). Hit the Baermann or Kroepsh books for thorough workouts spanning the clarinet’s range.
Remember the best money you can spend on your clarinet playing isn’t another mouthpiece or barrel or book—it’s some lessons with an excellent teacher. Learn the instrument on its own terms, and, whatever you do, try not to sound like a doubler.