Understanding Reeds: Part One by Phillip O. Paglialonga
The secret to a good performance rests in a good reed
Reeds are made from a specific type of cane known as Arundo donax. Traditionally this cane is grown in the Var region of France, although in recent years, fine-quality cane has been produced in other areas such as South America. Cane is harvested and then dried, usually for at least two years, before it is cut into finished reeds.
Because reeds are made from a natural material and each piece of cane is of a unique size and density, it should come as little surprise that reeds vary greatly from one to another. Part of the issue is the method by which reed strength is graded. As any player can tell you, there is quite a difference between a 3 and a 3 1/2 reed strength, for example. Individual reeds of your desired grading will actually fall within a strength range of considerable latitude, which is one of the reasons many players find only a few "desirable" reeds in a box. Therefore, musicians need to be the ultimate judge of reed quality and strength. Generally, a good reed has a golden color, straight grains running the length of the reed and a tip cut to match the curvature of the mouthpiece.
Breaking in the reed
If you look closely at a reed, you will notice that cane is made up of groups of hollow tubes that run parallel to the grain. When a reed gets wet from normal playing, water becomes trapped inside these hollow tubes. The immediate effect of this waterlogging is that the reed will feel harder and less responsive. In the long term, however, waterlogging causes the fibers of a reed to collapse. Once a reed collapses, it becomes unstable and lacks the resistance necessary to play with a projected and centered sound. It is because of these detrimental effects that every effort must be made to avoid waterlogging.
One of the best ways to prevent waterlogging is to "break in" reeds before normal use. This break-in process should begin well in advance of first using the reed. Soak multiple new reeds for 30 to 45 seconds in a small cup (old film canisters work well) of lukewarm water, making sure that from the tip of the reed to where the bark begins remains under water. Next, remove any excess water and place the reeds on their backs (with the bark facing down) in a safe place to dry overnight.
On the next day, begin by running your fingers from the butt end of the reed to the tip several times to close the pores. Then repeat the same procedure as on the first day. Repeat this process for six to eight days, bearing in mind that the more days spent, the better prepared the reed will be for playing.
After reeds have gone through this curing process they are ready to begin to be played. Reeds should be limited to five or six minutes of play in the first session, with an increasing amount of play in each subsequent session. Continually check the reed to make sure it is not becoming waterlogged. If you notice waterlogging, take the reed off the mouthpiece and allow it to dry.
Often students will spend many days curing reeds to get them acclimated, then get them waterlogged from too much use on the first day of playing. If prepared correctly, over the course of several days, the reeds will become more resistant to the water. When a reed can be played for an extended period of time without the threat of waterlogging, it is ready to be used on a regular basis.
You will find that constantly having reeds in each stage of the breaking-in process results in always having reeds ready to play. It also allows you to develop a habit of devoting a little bit of your practice time each day to reed work. Inevitably, if you practice a few days without doing any reed work, a week or so down the road you will experience a shortage of quality reeds.
Ranking your reeds
It's a good idea when breaking in reeds to begin tracking how the reeds perform. After the first day of playing several reeds, rank them by the way they perform. You can keep track by simply placing reeds in order from left to right. Many commercially available reed cases have a numbering system for this very purpose.
Undoubtedly each day the exact ranking of reeds will be a little differentthis is to be expected. Every time the reeds are played, the ranking should be updated. When working on the reeds each day, begin with the reeds ranked the most desirable from the previous day and end with the least desirable reed. By using this order, you ensure that the best reeds will be those ready for regular use first. While I try not to discard any reed, it is an inevitable part of the process. At the very least, those reeds with the most potential should get the most attention.
Now that the reeds are through the break-in process, it is important that careful steps be taken to prolong their useful life. In the second part of Understanding Reeds, we will look at ways to maximize a reed's life and simple ways to improve a reed's performance.
Phillip O. Paglialonga is based in Philadelphia, where he maintains an active career as a clarinetist and educator. He may be reached at ppaglialonga@hotmail.com.
