- Jennifer Stucki, oboist: Why is my Reed Playing Sharp and Flat?
- Rachel Yoder, clarinet: Objective Language in Applied Music Instruction
- Just Flutes Blog (Roderick Seed): Tips on Andersen Etudes: Op15, No. 3
- Sam Newsome’s Blogsite: Soprano Sax Talk: Acute and Chronic Practicing
- Bassoon Blog (Betsy Sturdevant): Contrabassoon for Dummies
- The Flute Examiner (Kelly Wilson): 11 Cool Things About the Tongue
- Peter da Silva Music: Woodwind Tips – Venting
- Recorder Jen (Jennifer Mackerras): Why we should all start practising long notes
- The Flute View (Jolene Madewell): 7 Tips for Sparking Joy in Your Practice Room
- oboeinsight (Patty Mitchell): Conductors and Kindness, Part 3
- bassoon blog (Betsy Sturdevant): Characteristics of a top-notch wind quintet
- Bill Plake Music: Be Mindful of This Very Important Connection When Playing Your Instrument
- Sam Newsome’s Blogspot: Soprano Sax Talk: Teacher and Student: Then What?
- Practice Room Revelations – Jolene Harju: How I Regained Confidence In My Playing (After Becoming Too Afraid To Play)
If you are an alto saxophone player and pick up a tenor or baritone for the first time, it’s pretty common to have a thin, weak tone, to be on the sharp side, to struggle with low note response, and to have issues like the top-of-the-staff G and G-sharp squeaking.
If you are a tenor player having your first alto experience, or an alto or tenor player newly picking up soprano, you might find that your tone is tubby, your pitch unstable and tending toward flatness, and your palm key notes unreliable.
There are a couple of key things to check as you make the switch from one saxophone to another:
- How much mouthpiece you are taking in. I like this trick as a starting point for finding the correct position: gently insert a piece of paper between the mouthpiece and reed. The point where the paper stops is approximately the place where your lip should contact the reed.
- Voicing. The best way to check this on saxophones is by playing a note on the mouthpiece alone. These are the concert pitches you should produce: If you aren’t producing these pitches, adjust by blowing warmer air to lower the pitch, or cooler air to raise it. Don’t adjust by biting or by shifting the mouthpiece in your embouchure. (It takes some practice.)
Getting mouthpiece position and voicing right for each saxophone helps you achieve good tone, pitch, and response no matter which you are playing. If you are actively playing multiple saxophones, check both of these things on each instrument as part of your daily warmup, and then follow up with overtone exercises and full-range scales and arpeggios. On a gig, I find it helpful to be conscious of mouthpiece position and voicing as I put one saxophone down and pick up another.
These are questions I am often asked about clarinet or saxophone ligatures, by blog readers or by my students.
- Is there a ligature that can accomplish _____ for me? If you are looking for something to hold the reed onto the mouthpiece, then yes. If you are hoping to achieve something loftier, then probably not.
- Should I get one of the rigid (usually metal) kinds, or one of the soft (usually some leather-ish synthetic) kinds? The very cheapest options are usually metal, and they generally work fine. If they are of especially low quality, they might break quickly, or scratch your mouthpiece or dig into your reed. The soft ones are a little more expensive, but have the advantages of (a) better gripping an oddly-shaped mouthpiece or reed and (b) surviving being stepped on.
- What about a fancy one, with jewelry metals or cryogenic treatment or inset “tone jewels” or some other expensive gimmick? Won’t those make me sound better? This is extremely doubtful. There’s a possibility that you will sound a little different inside your own head, and that might make you play a little differently. Or that platinum plating (or just having spent a lot of money) will increase your confidence. But it’s very questionable that the ligature has some inherent sound quality that your audience can hear, unless you plan to hit it with a drumstick. Remember that in some parts of the world, top orchestral clarinetists use shoelaces. (I heard a story of one of these clarinetists being asked what kind of shoelace he used. His response: “Black.”) If you are deeply invested in the idea that a ligature needs to be fancy or expensive, Michael Lowenstern has a video you might find enlightening.
- But doesn’t a ligature affect the reed’s vibrations? The vibrate-y part of the reed is the thinner part, away from the ligature.
- Should I use the kind with one or two screws? What about those ones with no screws? Any number of screws is fine, as long as it holds the reed on the mouthpiece.
- Should I get the kind where the screws go on top of the mouthpiece or underneath? I really cannot emphasize enough the unimportance of the screw situation.
- How tight should my ligature be? Tight enough to hold the reed securely in place.
- How far back or forward should I put the ligature? You could try some different positions and see if one feels better to you. Some mouthpieces have a line on them to suggest where the ligature should go. You are not obligated to follow this guideline, but if you are having difficulty deciding where your ligature should go then I suggest using this as a starting point.
If you would like to purchase something that will improve your tone quality or your articulation or whatever, I recommend getting some recordings of very fine clarinetists and some lessons with an excellent teacher. Enjoy!
- If you are getting less than 80% playable clarinet or saxophone reeds from the boxes you are currently buying, buy different ones.
- Be realistic about strengths. If you are only getting 2-3 good reeds out of a box, you aren’t just being “choosy.” You are probably playing on reeds that are too resistant, and those 2-3 are the softer ones. Let go of the nonsensical old myth that better players play stiffer reeds. If you are getting less than 80% “good” reeds from a box, try moving down (or, in rarer cases, up) a half strength.
- Update your shopping list. There are many, many available reed options! Clarinet and saxophone players used to be stuck with the few brands available at nearby music stores. Now there are more brands, shipped anywhere in the world, probably for cheaper than buying at your local store. Don’t let a misplaced sense of brand loyalty or tradition keep you putting good money into bad reeds.
- Skip the sandpaper, mostly. If you are buying reeds that actually work for you, you won’t have to do more than a few minutes’ worth of adjustment over the reed’s useful lifetime. The available variety of cuts and profiles is staggering. And modern reed companies can shape reed vamps with very good consistency and accuracy.
A brand that genuinely makes clarinet or saxophone reeds with less than 80% success doesn’t deserve your repeat business. But there’s a strong chance you have simply mismatched the reeds to your mouthpiece and playing requirements. Keep searching!
- Heather Roche shares a list of easy/reliable clarinet multiphonics. Useful information here for composers and performers.
- Eric Schultz examines the history of multiple tonguing on single reed instruments.
- Jenny Maclay explores clarinet orchestral excerpts. (Also consider enlisting for the October Uhl Boot Camp.)
- Flutist Kelly Wilson explains the anatomy and function of the arms.
- Jennet Ingle discusses producing a resonant sound on the oboe.
- Oboist Nuria Cabezas demonstrates some stretches for musicians.
- Flutist Jessica Dunnavant deals with performance nerves.
- Ariel Detwiler shares thoughts on fitting into a band or orchestra bassoon section.
- Patty Mitchell spends some time away from her oboe.
- Hannah Haefele offers some suggestions for warming up on the flute on a tight schedule.
Here are some videos from my recent Delta State University faculty recital. I enjoyed tackling Brett Wery‘s challenging Sonata for multiple woodwinds (flute, clarinet, alto saxophone) and piano, plus some little oboe pieces and the André Previn bassoon sonata. As always, the goal was to challenge myself, so, as always, the performance had some hiccups. But it was a valuable growth experience for me and a chance to perform some new repertoire.
A few months ago I got to perform Claude T. Smith’s Suite for Solo Flute, Clarinet, and Alto Saxophone with the Delta State University Wind Ensemble, conducted by Dr. Erik Richards. It’s a fun showpiece for a woodwind doubler with band, which I’ve had a few opportunities to perform over the last 10 years.
The Suite requires more-than-casual doubling on flute, clarinet, and saxophone. (Some of the altissimo in my performance isn’t in the original part.) Like most of Smith’s music, the Suite is light and appealing, with some rhythm/meter hijinks and a hint of jazz influence. Worth tackling if you’re a serious flute-clarinet-saxophone doubler and get a chance to work with a good wind ensemble.
Here’s a YouTube video (audio only) of the April 11 performance:
- Saxophonist Ben Britton explores the connection between tone and intonation. He also gives a nice introduction to the desperately under-taught art of swing articulation.
- Woodwind doubler Ed Joffe compares “part” players and true musical artists.
- John Reeks examines the history surrounding the use of clarinets in the Beatles song “When I’m Sixty-Four.”
- Oboist Stephen Caplan discusses staying comfortable and healthy while sitting for extended periods of playing music.
- Tammy Evans Yonce and Misty Theisen provide suggestions on planning a small flute festival or “flute day.”
- Jenny Maclay gives thorough advice on the clarinet’s altissimo register.