So, you read the Top 10 list from a few days ago, and you’re probably thinking “Geez, poor guy must have had a really bad reed day!” Well, there’s some truth to that, but that’s not the whole story.
I’ve been trying to get my thoughts organized for a full reed article, and the list captures a few of the things I’ve been thinking about including – buried, of course, in a bit of sarcasm. My plan for the next few posts is to talk about some of the things I listed. Plans, though, are always subject to change – at the whim of things like septic tanks and a certain three-year old’s antics!
So, Number 10 — ”The more reeds you have in use, the more reeds won’t play.” Sounds like pretty simple math — if a percentage of reeds in every box are bad, then the more you have in use, the more won’t work, right? Well, yes and no…
I have always been taught and taught that it is essential to have multiple playable reeds in use at all times. For beginning performers, the logic is quite simple - if a reed breaks, another one needs to be available. For the average middle-school saxophonist, it is quite reasonable to have a limited number of reeds in rotation. At this level, having 2 or 3 reeds (that actually come off of the mouthpiece after band rehearsal!) is reasonable.
As your performance level advances, the rationale changes, and the number of reeds that really ought to be in use should increase. There are several reasons for this:
1. As things such as temperature and humidity change, so does reed response. That reed that doesn’t work all that well today may be a great reed next week, and the reed that is great today may be one of the worst in your reed box.
2. Although advanced performers tend to accidentally break reeds pretty infrequently, reeds don’t last forever. As reeds are played, a combination of use and the digestive characteristics of saliva gradually break down the fibers and cause the reed to become progressivelly softer. By rotating through a supply of multiple reeds, there should always be a few fairly new reeds, some stable reeds, and some that are near the end of their lifespan available. Having multiple reeds available also allows the freedom to adjust reeds without having to worry about an unintended slip of the reed knife or taking just a little too much off the tip with that piece of sandpaper.
3. I find that reeds tend to last longer if they are used for a series of short durations rather than a few marathon practice sessions. Reeds aren’t free!
4. Most importantly — when you play on a single or very limited number of reeds, you train your embouchure to play on that single reed. While I will admit that, when I don’t follow my own advice and do this, my tone sounds a little bit better for as long as that reed lasts, I struggle once that reed is worn out. By playing on a lot of different reeds — rotating to a different reed every 10 to 15 minutes of practice — you train your embouchure to play the SAXOPHONE, not a single reed. You learn quickly to adjust to slight variations in reed strength, balance and response, and you end up sounding good on a lot of different reeds.
So with all that said, I think I’ll change number 10 to Dr. Burke’s Rule Number One — have a reasonable number of reeds in use at all times based on your budget and level of experience. More to come!
