Understanding Reeds: Part Two by Phillip O. Paglialonga
Improving performance of your reeds will improve performance of your music
In the first part of Understanding Reeds, we focused on what to do with reeds right out of the box. We began with a brief look at some of the basic aspects of reeds, including the general characteristics of a good reed. Then we took an in-depth look at how to break in reeds in order to prolong their useful life and avoid waterlogging. (Read part one.)
In the second part of this discussion, we explore ways to improve the performance of reeds once they are ready for regular use.
Rotating reeds
Rotating reeds can dramatically extend their life. Keep three or four good reeds handy, and regularly rotate them. Although a well-broken-in reed will not likely waterlog, it is usually best to limit playing on a reed to no more than 30 minutes when practicing or two hours when playing in a rehearsal. When you use a reed while practicing, you are playing almost every moment, and the reed is constantly being taxed. On the other hand, in a rehearsal situation the actual minutes of play a reed gets will be significantly less. All of these variables should be kept in mind in order to maximize the life of a reed.
Reeds should be taken off the mouthpiece and stored in a reed case after each use. They should never be kept on the mouthpiece for an extended period of time. Every care must be taken to keep reeds free of chips or splits.
Don't allow students to wear lipstick or apply lip balm right before playing, as it will end up on the reed. Try to keep excess dirt and grime off the reed. If a reed does appear grimy, it can be carefully cleaned in lukewarm water or soaked in an equal mixture of hydrogen peroxide and tap water for 20 to 30 seconds.
Tip warpage
One of the most common reed problems is tip warpage. Any warpage will make a reed extremely unstable and prone to squeaking. To eliminate tip warpage, first soak the reed in water as you normally would for about 45 seconds. Then firmly press the reed tip against a flat surface for 15 to 20 seconds. Visually inspect the tip of the reed to see if you were successful in correcting the warpage; if not, repeat the same sequence.Tip warpage is usually caused by a dramatic change in the moisture content of the reed. It is particularly problematic for saxophone and bass clarinet reeds because of their larger size. Whenever a reed does not seem to be playing to its usual level, I first try to eliminate any tip warpage. Often this simple procedure can rejuvenate a poor-performing reed.
Reed placement on the mouthpiece
The way a reed is aligned on the mouthpiece can have a profound effect on the way it plays. Generally it is best to align a reed horizontally so that it is centered on the mouthpiece and then check to see that the tip of the reed extends a tiny bit past the vertical end of the mouthpiece. To check the vertical position of a wet reed, use your thumb to press the reed into the mouthpiece to reveal a dark line that should appear just below the tip of the reed.
The more the reed extends beyond the mouthpiece tip, the harder the reed will feel. Conversely, the farther down the mouthpiece the reed is placed, the softer it will feel. It is important to note that this can be taken only so far before the reed will simply not respond properly. Professionals often take a few moments to find the optimal position of the reed on a mouthpiece using a simple trial-and-error approach. This is a good habit students can develop to improve the response of their reeds.
Lifespan
Reeds do not last forever. Over time, the fibers in the reed begin to break down and no longer offer the necessary resilience. As the fibers of the reed begin to break down, the strength of the reed begins to diminish. Often students will "fall in love" with an older reed and continue to play on it well past its usefulness – and then wonder why newer reeds are so difficult to play.
The embouchure is quick to adapt to the weakening strength of the older reed, but the embouchure is left unprepared for the resistance a new reed offers. The best way to avoid this is to be always rotating reeds of different ages so that it is easy to recognize aging reeds. Students should constantly be comparing their older reeds to the newer ones. When an older reed can no longer perform at the level of the newer ones, discard it. Baseball great Branch Rickey was definitely on the right track when he pointed out that it is better to get rid of them too early than too late. Though he was speaking of trading players, not switching reads, the principle is sound.
Final thoughts
In the end, audiences don't care what a reed feels like; audiences are only concerned with the music they hear. Every effort should always be made to use the best reed available, but when it comes time to perform, reed players must find ways to make the reed they have chosen work. The only excuse for a bad reed is inadequate time spent preparing reeds for regular use – and that's no excuse.
Phillip O. Paglialonga is based in Michigan, where he maintains an active career as a clarinetist and educator. He may be reached at ppaglialonga@hotmail.com.
