Single Reed Fundamentals Simplified (What I Learned from the Masters - Marcellus, Hite, & Campione)
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- Опубліковано 8 вер 2024
- My website: www.eugenemarquis.com
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I want to thank you for your video on breaking-in reeds. Any reed players that want to save hundreds of dollars on reeds, look for Eugene's video on breaking-in reeds. I saw that video last October. It's now May and I am still playing on the same reeds that I broke-in according to your method that you learned from Marcellus (with your own adjustments to the method). I made my own adjustments also. I realized I needed to soak the reeds after some sessions rather than just dipping reeds because the reeds weren't getting wet enough if I just dipped them in the water. My formula: for every 5 breaking-in sessions I will add two minutes of soaking. When I get to the 10th session, I will soak the reeds for four minutes before playing each reed. On the 13th session, I will soak the reeds for five minutes. When I get to the 15th session, I will soak the reeds for six minutes before playing each reed. I usually have 50% humidity in my house. So my soaking formula works good for that humidity. I had to soak reeds longer when I ran the heater in the winter. I will also adjust my reeds that are obviously too hard in the first few sessions and these reeds turn out great. On the third session, I will test my low notes and if those are not responding well, I will flatten the back of the reed with my reed geek. I play the soprano, alto, tenor, and bari saxes and I've been playing the same reeds since last October on all my saxes. Tonight I have a big band rehearsal and I will be playing two saxes at the rehearsal. I don't have to worry if I have good enough reeds for the rehearsal tonight because I know I do. I have started breaking in new boxes of reeds because I don't know how long my broken-in reeds will last. Thank you, Eugene for saving me hundreds of dollars on reeds. I have tried all of the synthetic reeds and none of those work for me. I have had good luck with the Plasticover reeds for practice purposes.
WOW! I'm happy that you've had such success with your reeds. What you describe is typical of how we all have to adjust to our weather and surroundings. The reeds you prepare in Miami will not play the same in Denver. You must be doing what works best for your area.
I had a box of nine reeds that were absolutely horrible, ready to be thrown away, but when I ran across this break in process.. I salvaged six of the nine. I'm starting on a new box today and I'll implement, soaking them every so often, in between the process. Thank you Mr. Marquis!
I find this video very calming. I am enjoying the examples you have given your students! The relationship between the reed and your breathing apparatus is fascinating. It is one thing to play an instrument and another to have the creativity to make practice PLAY. Everyone needs a cheerleader, coach and a critic to grow in their art. You are an ally for your students.
What a pleasure to hear you play.
Your observations are very illuminating. As a teacher I practice positive reinforcement with a calm approach. I've had a lifetime of trying to figure it all out. The video is just me explaining stuff as if there was a student present. Thanks.
the tone quality bit is what separates the scientists from the artists. Lovely advice!
I love your scientific approach. I keep asking questions of your sort, but get few answers. Finally I found a soul made in my clarinet journey :-) I have taken note of your various advice and implemented then into my daily routine.
I think my best take-away is, that I need to begin a deliberate training of my diafragma to sustain good tone throughout a playing session. Any drill suggestions?
I think that it will help if you precede anytime you play with a minute or two of just practicing breathing. Hands on the sides of your abdomen, relaxing and inhaling correctly, learning to push down with the diaphram. Getting that part right is the key to getting everything else to work right.
@@eugenemarquis4855 I will apply your advise. It's off-clarinet practice. Thank you.
@@eugenemarquis4855 Are you supposed to push down with the diaphram throughout your playing, or only for certain tone articulations? I realised it's what I actually do when I do air support vibrato. And the dia push also seems to control my mouth cavity air supply during circular breathing, funny as it seems.
This was so helpful! I loved how you explained the abdominal muscles and how they work. I've always thought a lot about the "how" and the "what", taking a rather scientific approach, and it is good to know that I have so far come to some good conclusions. I loved how you approach the clarinet from the perspective of relaxation, as that's how we get our best sound, not by forcing the sound or overtightening parts of our bodies. My teacher, Chris Pell (30:57, standing to the left of Dick Waller and Louis Langree), has always emphasized relaxation, opening my throat more and allowing the reed to vibrate with a comfortable backpressure and a collaborative resistance in the abdominal muscles. Not too much, not too little.
I have learned so much from this video, and I'll definitely keep revisiting it as my understanding grows. I'm only in my second year of my bachelor's degree, about to go into my third year come August, so I'm sure I'll understand more of this later on as I progress. Thank you so much, Gene!
Thank you for your kind words. You seem to be on the right path already. Learning to use the muscles cooperatively instead of using brute force is an important part of that path. I'm pleased that my video has been helpful. Tell your friends.
@@eugenemarquis4855 thank you! This is good to hear. I'll share this video with my other reed friends!