i

A STUDY OF THE CLARINET REED :

by Jerry L. McBride

n
Dr. Phillip Rehfeldt, advisor
\

University of Redlands
Redlands, California :

February, 19?6
!

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 li
TABLE OF CONTENTS

PREFACE 111
INTRODUCTION: REED CANE 1
CHAPTER ONE: GROWING, HARVESTING AND CURING CANE 2
CHAPTER TWO: CLIMATE EXPERIMENTS 6
CHAPTER THREE: REED-MAKING AND ADJUSTING 13
CHAPTER FOUR: SOME NOTES ON REED STABILITY, POROSITY,
AND LONGEVITY 24
SELECTIVE BIBLIOGRAPHY 2?

f
 ill
PREFACE

The purpose of this project has been to research

cane-growing practices, to gain skill in making and
adjusting clarinet reeds, and to study the effect
of climate on the performance of reeds. The latter
required several experiments relating humidity, temperature
and barometric pressure to reed behavior.
m

I would like to acknowledge the assistance provided

by: Dr. Robert Wright and Dr. Julian Roberts who
helped set-up the humidity experiments; William S.
Vance and Walter Morgan for their participation in
the "mountsin-barometric pressure" experiment; Frank
Pena who provided information with regard to manufactured
reeds; Charles Bolto who shared his reed-making techniques;
and Sandra Crisp who proof-read the preliminary paper.
Special, thanks are due to my clarinet teacher. Dr.
Phillip Rehfeldt, who served as general advisor for
this project.
This work is submitted as partial fulfillment
for an honors research project in clarinet reed performance
undertaken at the University of Redlands, Redlands,
California, February, 197^. through February, 1976.
 INTRODUCTION
REED CANE

Arundo donax is the plant which is the source

of reeds for the woodwind Instruments of Western music.
This plant is indigenous to the countries surrounding
the Mediterranean Sea but grows well in all subtropical
climates. The plant looks much like corn except that
it grows in colonies much like bamboo for which it is
often mistaken. The hollow stalks reach a height'
of two to eight meters with a diameter of one to four
centimeters. The nodes, from which the leaves grow,
occur every twelve to thirty centimeters and are marked
by a diaphragm on the Inside of the stalk. The leaves .
are a dark green color, in contrast to the stalk,
which is a light yellow-green color.- The soft inside
fibers are protected by a hard shiny bark consisting
of silica and wax. The male plants are topped by a
tassle much like corn.1

1 For additional information on the physical characteristics

of Arundo donax see: Robert E. Perdue, "Arundo donax,
Source of Musical Reeds and Industrial Cellulose,"
Economic Botany. XII, No. 4 (October, 1958), 369-372;
Kenneth S. Jaffrey, Reed Mastery, (New South Wales,
Australia: published by the author, 1956), 6-12;
Peter Hedrick, "Notes on Cane Growing from the South
of France," Woodwind World. XIII, No. 1 (1974), 15. .
 CHAPTER ONE
GROWING, HARVESTING, AND CURING CANE

Arundo donax can grow almost anywhere except for

areas with extremely cold or arid climates. However,
the cane which Is used for making musical reeds grows
2
best In a dry subtropical climate, The Departments
of Var and Alpes Marltlmes In France have traditionally
been the source of all cane for musical reeds with
the trade centering around the port of Frejus.^
In this part of France, the climate and soil conditions
are Ideal for Arundo donax. These conditions are:
a siliceous, micaceous soil that is dry on the surface
with water present two to three feet deep; constant
h.
sunshine; and a cold, but not freezing, winter season.
There exists a great deal of bias among many musicians
for French cane, which is Justified to a certain extent,
since it is certainly of excellent quality if harvested
properly. However, areas with similar climates and
soils, such as those in the Caucasus, Greece, Yugoslavia,
Italy, Algeria, Chile, Mexico, Jamaica, Australia,

2 Rico Corporation, Reed Cane: the facts and the

legends (Hollywood, California: Rico Corporation,
1967), 2*
3 Perdue, 380.
4 Rico, 8-11; Perdue, 380.
 3
New Zealand, Japan, California, and In the District
of Gerona in Spain, have been utilized with success.^
Frank Pena, the production manager for the Hoy
J. Maier Corp • • stated that his company has cultivated
reeds in California by using fertilizers and irrigation.^
For amateur reed-growers it is suggested that one apply
one-third of a pound of ammonium nitrate for every
ten square feet of soil.? New plants can be started
by planting the rhizomes, the roots of the cane plant,
in rows two to three meters apart and covering them
with a decimeter of soil; 8 others recommend planting
in a foot of soil. If a large cane stalk is cut in
June and then planted horizontally in a shady place
six inches deep, new plants will sprout from the nodes.
These plants will require thinning to produce a maximum
crop. All hew plants should be cut during their early
growth to encourage them to spread and require five
years to produce their first harvest.
Nature plants are continually sprouting new stalks
during the growing season which means that every stalk
must be carefully selected for harvest. During the
dormant period,between late December and mid-February
for countries north of the equator, the sap drains
from the cane. If the cane is cut during the growing

5 Rico, 8-11.
6 In an interview with the writer, October 9, 1975.
7 Rico, 13.
8 Perdue, 380.
9 Rico, 13.
 4
season or before the sap has drained, the sap remains
In the cane and damps the fibers, rendering the cane ■
useless. At the end of the first growing season,
the husks have become a light tan color. During the
second growing season, the plants branch from the nodes.
At the end of the second growing season, the leaves'
have turned to a brown-grey color, and are ready to
be harvested. Mature cane stalks which are more than
three years old and have not been harvested must be
discarded or used for purposes other than musical reeds.
since it will be too dense. Cane harvested before the
end of the second growing season will be too soft and
porous for reed-making purposes.10
Only a general description of the drying and
curing process follows since the different reed-growers
employ different methods. After the stalks have been
cut, they are tied in bundles with the leaves on and left
to dry in the shade for two to four months. It is
important that in the early stages of drying that the
poles are not dried in the sun since any sap that
may still be in the poles would not drain. The leaves
are then removed, the cane is cut to four-foot lengths.
and then dried in the sun. This process requires that
the cane be placed three feet above, and parallel
to the ground running north to south to receive equal
sunlight. The cane is turned about three times, while

10 Rico, 5-7.
 5
in this position, until the bark has changed to a
light golden color. This process usually takes six
to twelve months. Now the cane is stored in sheds for
as much as two years.**
Many cane-growers do not go through these rather
meticulous steps; this is the cause of "so-called"
green cane. Green cane can be attributed to premature
harvest or Improper drying and curing. Cane is sometimes
cured by kiln drying which leaves the pores open,
making the reed too porous.
An acre of Arundo donax will produce, at most,
one thousand pounds of cane which can be used for
making musical reeds. From each pound of cane, approximately
eighty reeds can be made.*3
Arundo donax has been found to be the best material
for musical reeds; however, throughout the history
of music, many substances have been substituted with
varying degrees of success. A list of these materials
would Include aluminum and other metals, ebonite,
elder, fiberglass, glass, ivory, lance-wood, leather,
paper, pine, plastic, plastic-coated cane, macerated
cane fibers mixed with plastic, and various roots.^
The plastic-coated reed is the most successful with
regard to duplicating the sound of cane; however,
it cannot be adjusted by the player and still cannot
compete with a fine cane reed.

11 Perdue, 382-383.
12 Jaffrey, Reed Mastery. 10.
13 Rico, 8.
14 Ibid.• t 13. Jaffrey, Reed Mastery. 35~36»
 CHAPTER TWO
CLIMATE EXPERIMENTS

It has been observed by many reed players that

atmospheric conditions have a great deal of bearing
upon reed performance. A reed which has been adjusted
to perfection on one day can play very differently on
another, a fact which many attribute partially to the
effect of the humidity of the atmosphere. Therefore,
an experiment was devised to determine the veracity
of the hypothesis that Arundo donax absorbs or loses
moisture with respect to the relative humidity.
The experiment proceeded as.follows. A set of
ten Vandoren reeds were placed in a desiccator
partially filled with a drying agent, and their weight
was determined by a vernier balance over a five day
period (Table I). In this environment, the backs
of the reeds warped convexly (Fig. la), and the playing
strength was somewhat weaker after drying for five
days. A beaker of water was then placed in another
desiccator to produce an atmosphere with one hundred
percent relative humidity, and measurements were recorded
(Table II). However, the air outside the desiccator
was reasonably dry (ca. ten percent relative humidity),
which caused the water absorbed by the reeds to evaporate.
 7
When the reeds were removed from the humid environment
for weighing after the fifth day, the evaporation was.
so rapid that no further accurate measurements could
be obtained. In this atmosphere, the reeds warped
concavely (Fig. lb), and the playing strength Increased
considerably. It should be noted that with respect -
to warpage and strength, not every reed changed the
same amount. Some reeds warped severely, while in
others the warpage was minimal, even though all' the
reeds were exposed to a constant humidity.

Reed Weight (g) after Reed Weight (g) after x days

No. x days of drying Mo; in 100% rel. hum.
1 5 5 I Z 5
X 7TH84 77792 7.777 T ' "8J448 87919
2 8.024 7.923 7.907 2 ,8.664 9.013 9.450
3 7.42? 7.338 7.332 3 8.028 8.354 8.825
4 8.685 8.593 8.573 4 9.299 9.726 10.426
5 6,950 6.858 6.847 5 7.541 7.746 8.300
6 7.114 7.023 7.011 6 7.736 8.023 8.800
7 7.885 7.775 7.776 7 8.518 8.724 9.277
8 8.483 8.369 8.355 8 9.039 9.342 9.887
9 . 7.157 7.071 7.061 9 7.709 8.039 8.930
10 8.400 8.301 8.285 10 9.002 9.444 10.171
Table I Table II

Figure la Figure lb
End view of convex warpage End view of concave warpage.

The next problem to be solved was, at which relative

humidity do reeds perform best and are the most stable
in their behavior. It is known that various concentrations
of sulfuric acid in aqueous solution, placed in a
closed system, will produce various humidities in
 8
proportion to the concentration of the acid.1'* Therefore,
sulfuric acid solutions were prepared, and the humidity
of the systems was adjusted in ten percent increments
from zero to one hundred.
The reeds appeared to retain their moisture when
stored In an atmosphere with a relative humidity between
seventy to eighty percent since they did not require
soaking before playing. At higher humidity levels
the reeds absorbed too much water, which made them too
strong and impaired the response. Below this level,
the reeds required wetting before playing, which meant
that their playing characteristics did not remain stable.
However, only about half of the reeds responded satisfactorily
?
in the seventy to eighty percent humidity range.
This experiment could also have been performed
16
by using various saturated salt solutions.1
The reaction of reeds to extreme temperatures
was also tested. Heeds placed in boiling water quickly
became entirely saturated and warped concavely, while
those placed in very cold water absorbed very slowly
and some of the tips split. Similarly, reeds subjected
to dry heat in a microwave oven for five minutes lost
a considerable amount of moisture and were severely
warped convexly. Those exposed to cold, dry air also
warped convexly.

15 Robert C. Weast, editor. Handbook of Chemistry

and Physics (56th editions Cranwood Parkway, Ohio:
CSC Press, 1975). E-46.
1° Ibid., E-46.
 9
The hypothesis, that climate does affect the reed's
performance, was applied to barometric pressure.
One reed was selected to be played a few minutes each
day under ordinary room temperature conditions’ over
two months to gain qualitative data on the playing
characteristics of the reed in relation to variation
in the barometric pressure. However, many times, a
decrease in the pressure would be accompanied by an
increase in humidity, thus invalidating the data.
Consequently, another experiment was devised,
which called for four players who each had selected
a "good” reed to be tested at various altitudes from
ca. 1200 to 7000 feet. The instruments utilized, to
measure the humidity and the barometric pressure during
the ascent of the mountain, were two rather crude
hygrometers and two aneroid barometers. One of the
barometers ceased to function as a result of the extreme
change of pressure) thus, the readings that were obtained
with the other equipment were regarded to be highly
suspect. Altitude readings were simply recorded from
road signs. It should be noted that sophisticated
equipment was not utilized since only qualitative
observations can be made with regard to the playing
characteristics of a reed (l.e • • tone quality, response.
strength, etc.). Therefore, the quantitative data that
was recorded serves only as a general guide to the
conditions that were present during the experiment.
 10
Each reed's performance was rated on a scale from
one to five with regard to response and flatness of the
back (one being the best rating). The strength was
estimated according to commercial reed manufacturer's
scale, that is, one to five (one being the weakest
strength), (Table III). The experiment proceeded , as

Test Conditions Player Response Strength Flatness

No. No. 1 2
T Altitude-1200 T T T 3 7
Bar. Press.-28.27 2 1 1 24 1
Rel. Hum. -48 3 1 1 3 24
Temperature-76 4 1 2 3 1
Time -12:50
7 Altitude -3 (Job T T 2
Bar. Press.-26.65 2 1 2 2* 1-
Rel. Hum. -30 3 1 1 3 24
Temperature-87 4 1 14 3 2
Time -1:20
3 Altitude -5000 1 2 1 3 14
Bar. Press.-24.80 2 2 2 3 1-
Rel. Hum. -27 3 2 2 34 24
Temperature-87 4 2 24 3 2
Time -1:45
4 Altitude-7000 1 2 1 3+ 1
Bar. Press.-23.55 2 1 2 3 1
Rel. Hum. -17 3 2 3 4 ' 1
Temperature-87 4 1 1 4 1
Time -2:25
5 Altitude -1200 1 1
Bar. Press.-28.10
Rel. Hum. -27 3
2 1
1
1
1
14
k3 2
1-
24
Temperature-80 4 1 2 3 1
Time -4:15
Table.Ill
The conditions were measured according to the following
scales: Alt. (ft.). Bar. Press, (in.), Rel. Hum. (%),
Temp. (°F.), Time (p.m.).

follows: after the reed was tested with respect to

response and subsequently removed for the flatness
test, it was soaked briefly, and tested again for
response and strength; the reed was then left on the
 11
mouthpiece which was covered by a cap, and the entire
Instrument was returned to Its case. These steps
were repeated -at each stop.
As shown In Table III, no extensive changes In
reed performance were noticed In the barometric pressure
experiment. However, there exists considerable contradictory
evidence to these findings.1? This evidence in conjunction
with the findings of this experiment may support another
• i

hypothesis, namely that, the reed requires a period

of acclimation to register these changes. 18 ;
Several conclusions can be drawn from these experiments.
?
Heat generally opens the fibers and allows for the
transmission of water (either In or out of the reed
• -l

depending on whether or not humidity accompanies the

• i • : • i
heat), while cold causes the fibers to shrink and thus
retards. ab3orbtlon. :
I \
The moisture content of reed cane fluctuates
with respect to the moisture present In the air.
’ i .**

Concave warpage occurs only in extremely humid atmospheres

(ca. 80-100#) or as a result of excessive soaking,
I

both of which rarely occur under normal playing conditions.

However, the strength of the reed can increase as a
result of increased natural humidity or soaking, which
■ *. ••

17 George Mellott, "Reed and Ligature: Humidity

Control of Single-Reeds," N-ACWPI Journal. XXIII, No. 2
(Winter, 1974-1975), 62.
18 This hypothesis is stated In Keith Stein, The
Art of Clarinet Playing (Evanston, Illinois: Summy-
Birchard Company, 195#)t 6-7.
 12
generally results In impaired response unless the reed
Is adjusted specifically for these conditions. Consequently,
convex warpage can be thwarted by placing the reed
in a more humid environment but with the adverse result
of increased, strength and impaired response, It should
be noted that even though reeds are exposed to exactly
the same conditions, each will respond to those conditions
to a different degree.
 CHAPTER THREE
REED-HAKING AND ADJUSTING

Each reed-maker will find a set of tools which

allow him to work efficiently and accurately. The
*
writer uses the following tools: coping saw; sliding
caliper; various grades of sandpaper; a large glass
15" X 5" X a finishing glass 3 3/4" X 3/4" X
a utility knife; a large, inch-wide, flat file; a
six inch, number two cut mill file; a small, flat,
finishing file; a file cleaner; both,a hollow-ground
and a beveled reed knife; an Arkansas Washita sharpening
stone; honing oil; and an adjustable reed clipper.
The. reed knife must maintain an extremely sharp
t
edge to be considered serviceable, for which one needs
a high quality stone at least five by two inches and
honing oil. To sharpen a hollow-ground knife, place
the stone on a flat surface and apply honing oil.
Hold the blade on the stone by the index finger, and
push the blade across the stone with the cutting edge
facing the direction of the sharpening motion while
keeping the blade flat and in contact with the stone.
Sharpen each side of the knife equally until it is
sharp. For a beveled knife, the process is the same,
for the flat side; however, the beveled side should
 14
contact the stone at the same angle as the bevel.
Now push the blade across the stone at this angle.
A good test for sharpness Is to lightly drop the knife
on the thumb-nail. If the knife sticks, that is,
if it cannot easily be slid across the nail, then
it is sharp. The knife blade should be protected when
not in use by a scabbard which can be fashioned from
paper or other soft materials.
Nature, straight tubes whose bark is a rich golden
color with or without spots are generally desireable.
Very light colored bark is usually symptomatic of immature
or inadequately cured cane. Spots or brovin markings on
the bark are caused by bacteria from the rotting of
the leaves during the curing process'; therefore, these
marks show that some care was taken, but are not an
absolute guide to good cane.^ Grey markings are generally
an indication of dense cane, but the color and markings
of the bark can only serve as a general guide to good
quality cane. Some tubes are worm infested, If a
fine dust falls out when the tube is bounced on its
end on a hard surface, this is an indication of the
presence of worms. If the cane has been purchased,
one should split the tube to determine the extent of
the damage and use the section which is untouched.
Although the entire tube might require disposal, the
cane worm Is an indication of good quality cane.

19 EXco, ?.
 15
Other tubes from the same source are likely to be excellent '
material.2® It Is best to select tubes whose lengths
are multiples of seventy millimeters, thus avoiding
the purchase of unusable cane. The thickness of the
wall should be no less than five millimeters, while
the total diameter of the tube should measure between
twenty-two and twenty-seven millimeters.21
The tube can now be cut into lengths of seventy ' .
millimeters and split. Some reed-makers do not saw
it until after the back of the split tube has been
22
planed, but the order of steps does not matter greatly
at this stage. A tube whose diameter is less than
twenty-five millimeters must be split in thirds; however,
)
if its diameter is between twenty-five and twenty-seven
millimeters, it should be split in fourths. The split
section should not be less than fifteen millimeters
wide.2^ If an oval piece of cane is selected, be sure
to split it so that the arch is in the middle of the
blank.2^ Mark the points where the tube is to be split,
and using a wedge knife or a utility knife, lightly
tap the knife until the cane splits.

Now flatten the back by holding the cane securely

20 Kalmen Opperman, Handbook for Making and Adjusting

Single Reeds (New Yorks Chappell, 1956),’ 6.
21 Ibid.
22 William H. Stubbins, The Art of Clarlnetlstrys
The Acoustical Mechanics of the Clarinet as a Basis
for the Art of Music Performance (3rd Ed.; Ann Arbor,
Michigan: Guillaume Press, 1974), 329.
23 Opperman, 12.
24 Stubbins, 103.
 16
by the index finger, and start.the scrape in the middle
of the cane with either a hollow-ground knife or a
utility knife.' The cane is then reversed and the process
continued until the depression has been removed.
During this process the edges may become very sharp,
and a small strip of cane may be removed from each '
edge. The rough cuts made by the knife must be smoothed
by sanding, for which one can use coarse sandpaper
placed on flat glass. A coarse flat file can also
be used; however, progress is somewhat slower with this
method. If the cane is thinner than three millimeters
at the half-way point of the blank at this stage, it
will probably be too thin for fine reed-making, Other
methods for removing the indentation are to use a
plane in a vise,2-* or an electric belt sander; both
methods still require some final sanding.
The reed must now be shaped so that the tip measures
thirteen and one-half millimeters and the heel measures
eleven millimeters. This can be accomplished by placing
the reed on its side on the file and drawing it across
the file with the fingers at one end of the reed,
or by planing as described previously. The cane can
now be considered a blank and can be stored for about
five years.26
This entire procedure can be avoided by purchasing
w*----- ------

25 Stubbins, 104.
26 Opperman, 17.
 17
commercial blanks. The same guidelines are employed
for selection of tubes with the additional benefit of.
being able to check the grain of the reed to see that
it is straight and not green. The commercial blank
must possess the same measurements outlined for the
hand-made blank.
Curing is a process Involving soaking the reed
for a period of time (the amount of time depends on
personal preference) and drying it. The purpose of
this . is to cause the fibers to shrink and swell until
they have reached a point of higher stability, thus
preventing extreme warpage of the back. Some prefer
soaking in saliva, while others simply prefer water.
When dry, place the reed, flat side down, on a flat
piece of glass. If the reed can be rocked from side
to side, this is a sure sign that it is warped, Sand
the reed until flat. Repeat this procedure daily until
satisfied that gross warpage will not occur. Then,
using very fine sandpaper (400-600) or preferably a
file, sand the back and hold the reed close to a light
source. Sight along the back of the reed to see if
it is shiny, All the dull spots are low places on the
back which must be removed.
There are many different procedures in making
reeds; therefore, the description which follows is that
of the writer. The length of the vamp of the reed
should correspond to the length of the window of the
mouthpiece. Consequently, the blank should be scored
 18
one or two millimeters longer than the length of the window
to allow for clipping the tip. Mark the point at which
the blank is to be scored, hold the blank in one hand..
and follow, the line with the.utility .knife. Use the
same hand position that was utilized for removing the
indentation from tube cane. Make a groove at this
line by rocking the knife back and forth so as to
completely penetrate the bark. Before one makes any
cuts it is useful to have soaked the cane so as to
facilitate the cutting process. Starting from this
groove, remove the bark in long thin strips from shoulder
to tip.
Now change to the hollow-ground knife, Start the
first primary cut about one fourth of an inch from
the score mark in the middle of the reed, and make a
shallow cut which becomes wider and thicker as the
knife approaches the tip. The second cut starts half
way between the first cut and the tip. All the primary
cuts start shallow and get thicker and wider as the
knife approaches the tip. A third cut is started half
way between the second cut and the tip. A fourth primary
cut may or may not be required depending on the depth
of the first three cuts. With each successive cut,
the starting angle of the knife should increase.
Some reed-makers prefer to reverse the order of cuts
by starting at the tip.
All these cuts can be blended by using the knife
%
to make long thin cuts or by using a mill file; the
 19
latter method, however, is much slower. When blending
the cuts, it is best to begin to shape the parabola .
that is observable when the reed is held up to a light
souroe (Fig, 2a),

tip
beginning of Resistance
Area -tip area
vamp heart
— "springboard" area

shoulder dr rail

stalk

■butt

Figure 2a Figure 2b
Parts of the reed. Side view of the reed.

When it becomes difficult to continue cutting

long thin strips, change to the beveled knife and
use a scraping motion,. Now that the profile is beginning
to take shape, it may be helpful to have a good reed
that serves as a model. The reed should now be supported
with a piece of glass so that this motion can be carried
all the way past the tip without damaging the reed.
To thin the tip, scrape past the end of the reed until
the knife clicks on the glass, This will help to
determine the thickness of the tip. It is important
to maintain a straight line profile from shoulder to
tip.
Clip the blank so that the vamp is the proper
 20
length and continue working until the reed Is playable.
It Is best to stop once the reed Is close to being
finished, that is, similar to a very strong commercial
reed, so as to save the final adjustments for another
day after the reed has dried. If adjusted immediately,
the reed will probably be too weak the next day.
Adjusting the reed is the most difficult and
sensitive operation of reed-making. The flatness of
the back should always be checked before any extensive
adjustments are made to the vamp. Warpage should
be removed as described in the curing process.
Balancing must be kept in mind from the very first
cuts. If the reed Is divided in half longitudinally,
. »
each set of points equidistant from the center must
be of the same strength, considering that the mouthpiece
is also balanced• The reed18 balance can be observed
by viewing the "shadow11 of the reed since the darker
areas generally possess more cane than the lighter
areas.. The balance of the tip can be determined by
touch; however, some prefer to play the reed while
turning the. mouthpiece so that more embouchure pressure
is first placed on one side and then on the other side*
if the side left free to vibrate does not blow easily,
then it is the side which must be scraped* It is also
very important to balance the rails of the reed so that
they can serve as a guide for the rest of the contour;
Any one spot on the reed which is out of proportion
will affect the entire reed's balance*. \ It is then up
 21
to the adjustor to diagnose the difficulty and correct
it.
An important relationship exists between the springboard
area (the area between the shoulder, up to and Including
where the lip is placed on the reed; Fig. 2b) and the
tip area. The thicker the springboard is, the thinner
the tip must be; conversely, a thinner springboard allows
for a thicker tip.
If the reed has too little resistance and intonation
is generally flat, the reed's tip area is too long or
the springboard area is too thin, It may be possible
to correct this by simply clipping the tip. If, on the
other hand, the reed has too much resistance resulting
in an "airy" tone quality and generally sharp intonation,
the tip of the reed may be too thick; however, it is
more likely that the springboard area is too thick.
In either case, thin the proper area, and keep the
contour of the profile in mind. This overly resistant
quality and faulty intonation can also be the product
of a warped reed.
Warpage will occur while playing due to drying
and embouchure pressure which forces the reed into
the window of the mouthpiece. Therefore^ It is always
necessary to check the back before making adjustments
to the vamp.
Once a reed has been made that plays well, most
adjustments will then consist mainly of preventing
warpage and maintaining the proper propprtions of
 22
the contour of the profile.
A reed adjustment research project was conducted
by Lawrence Intravaia and Robert Resnick, In which
the authors surveyed and compiled many reed adjustment
techniques of important single reed players and makers.*7
They also devised their own rather unorthodox technique
which requires the adjustor to score the vamp at the
fulcrum point (the point where the reed first comes
in contact with the curve of the mouthpiece), which
helps to free the vibrations of the reed. They also
have a number of adjustments which are made to this
groove to remedy the-various maladies which plague
reeds. There is little value in this method since the
fulcrum point constantly moves with respect to the amount
of embouchure pressure applied, and the amount of
time required to learn to make these adjustments could
Just as easily be spent learning more orthodox methods.
Scoring the vamp also causes the reed to lose its'
resilience and flexibility, thus shortening the life
of the reed.
One should never underestimate the value of trying

2? Lawrence J. Intravaia and Robert S. Resnick, "A

Research Study of a Technique for Adjusting Clarinet
Reeds, " Journal of Research in Music Education, LVI,
No. 1 (Spring, 19?U), 45-57. For further information
regarding reed adjustment see Thomas S. O'Connell,
What Your Reed Can Do," The Instrumentalist,. XXIII,
No. 3 (October, 1968), 83-85; and Phillip Rehfeldt,
"Adjusting Clarinet Reeds," (unpublished paper, 1976),
6 p.
 23
the reed at slightly different positions on the mouthpiece
or even on different mouthpieces If possible. Moving.
It slightly off-center to the left or right may be
Just the correct playing position. If the reed Is
slightly weak move It up on the mouthpiece. If It
Is too strong, move It down. This will raise or lower
the beginning of the resistance area.

•* •
 CHAPTER FOUR
SOME NOTES ON REED
STABILITY, POROSITY, AND LONGEVITY
■

In an attempt to minimize warpage, one group of

m
reeds was soaked in salad oil, and another group
was fried in oil. This experiment had been tried by
the bassoonist Almenrader, who wrote In 1829 that this
was similar to sap left in the cane. That is, the fibers
could not vibrate freely because of the oil. The
...»
results duplicated Almenrader's findings.
If a reed has been made from cane which is too
porous, burnishing may help seal some of the fibers.
To do this, first sand the vamp lightly with 400 or
i .

600 sandpaper, and then rub the vamp with a smooth, hard
but non-abrasive object. This will make the vamp shiny
like the back. Kenneth Jeffrey suggests the use of
silver,rush to seal the pores, 29 Many players: simply V

rub the reed with their fingers or other substances

. i

after each playing. Jack Spratt suggests placing the

reed overnight in buttermilk or cream, which deposits
casein in the pores.3°* However, no adjustments can
4# ' fi „ . L .# • : * .v. i 1 "
• f"

28 Lyndesay G. Langwill, The Bassoon and Contrabassoon.

(London:'.Ernest Benn Limited,’"l9<>5j7 157.
29 Jaffrey, Reed Mastery. 27.
3Q Jack Spratt. How to Hake Your Own Clarinet Reeds
(Stamford, Conn.: Jack Spratt Woodwind Shop, 1*956)18.

V.
 25
be made after this soaking, and the casein gradually
i • •« •/ .
wears-off.
How long-can a reed last? This, of course, depends
on the cane used to make the reed. Eventually, every
reed loses its flexibility, causing it to warp to the
curve of the mouthpiece. The fibers simply lose their
resilience.
Cane is essentially composed of hard fibers.
which give the reed its brilliance, and soft cells
surrounding the fibers which help to dampen the otherwise
excessive vibrations. The enzymes in the mouth gradually
wear away the soft cells, leaving the hard fibers. 31 •
This causes the reed to sound shrill and buzzy. Placing
it in boiling water does restore it temporarily, but
it is still not the same as new cane. An interesting
suggestion is to soak the reed in a eucalyptus oil solution
to .replace the soft! .fibers:artificially;^ For pure .
eucalyptus oil, mix a solution of one part water, one
part methyl alcohol, to three parts eucalyptus oil.
Soak the.reed for a day, then dry in the sun and remove
the excess.oil. This works remarkably well* However,
it still does not replace the spring and flexibility
of the.hard fibers which is characteristic of new cane.
Making, adjusting, and selecting reeds are processes
which require many years of experience to perfect.
However, it.is only through confronting the problem
4*

/• •1 . ! > r \i: v,.. i < ••

ia 1
*.

g
■ ...
31 Jaffrey, Reed Mastery, 29.
32 5 Ibid • • — ■ I S -
-1 *sv. “J ' :: : :'. •V*: v r

.*•— -r

t . .
 % 26
by dally practice that the experience can be gained.
Although some of the methods and experiments discussed
In this study are unorthodox, they have led to a greater
understanding of the reed and how It functions.

f-

*
 27
SELECTIVE BIBLIOGRAPHY

Barzenick, Walter. "Hints on Clarinet Mouthpieces.

Reeds, arid Maintenance." The Instrumentalist.
XXVI, No. 2 (September, 19717,"
Backus, John. "Input Impedance Curves for the Reed
Woodwind Instruments." Journal of the Acoustical
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1266-12777
—. "Small Vibration Theory of the Clarinet."
Journal of the Acoustical Society of America.
XXXV , No. 3“THareh. 1963). 305-313*
—. "Vibrations of the Reed and Air Column In the
Clarinet." Journal of the Acoustical Society of
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Benade, Arthur H. "On the Tone Color of Wind Instruments'."
Selmer Bandwagon, No. 59 (1970), 17-21.
Bonade, Daniel. The Clarinetists Compendium; The
Art of Adjusting Reads, Kenosha, Wisconsin:
Leblanc Pub. Inc • ’”“1962.
ft 13-16. ...... ;
Christmann, Arthur. "The Teacher Must Select the
Reedt" Woodwind World, II. No. 8 (November,
1958), 5”6T
Cinea, Lois. "Choosing the Clarinet Reed.", Music
Journal. XXVII, No. 2 (February, 1969 K 3^
Collis, James. "Hard or Soft Clarinet Reeds." The
Instrumental1st. XX, No. 5 (December, 1965),
69-70.
—. "On Fixing Clarinet Reeds." Woodwind World,
III, No. 12 (April, 1961), 6. " ;
Dawson, James. "Selection. Preparation and Adjustment
of.Single Reeds." The Instrumentalist. XXIV, No. 3
(October, 1969), 53-53.
Errante, F. Gerard, editor, A Selective Clarinet
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Publications Inc., 1973* 60-64.
Garfield, B. H. "An Approach to Greater Reed Longevity."
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Glazer, David. "The Clarinet Reed in Public Performance."
Woodwind World. X, No. 2 (1971). 8-9.
 28
Hedrick, Peter, "Note8 on Cane Growing from the South
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Helm, Norman M. "Clarinet Reed Adjustment." The
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Intravala, Lawrence J. and Resnlck, Robert S. "A
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---- ——. "To Scrape or to Scrap." NACWPI Bulletin.
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———. Reed Mastery. New South Wales, Australia:
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........ "What I Learned About Clarinet Reeds."
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I

Haler, Roy'j. "The Fine Art of Making Reeds by Machine."

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Il 4 ■J

Marks, Edward. "Breaking-In Clarinet Reeds." NACWPI

Journal: XXIV,. No. 1. (Fally, 1975). 17r21 •*?• *
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NACWPI Journal. XIX, No. 4 (Summer, 19?1). 17-19.
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(Winter. 1974-1975)V 62-65“
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2B, 30. ■ I

O’Connell, Thomas S. "The Short Scrape Concept-For

Clarinet Reeds." The Instrumentalist. XXVII,
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 29
O'Connell, Thomas S. "What Your Reed Can Do." The
Instrumentalist. XXIII, No. 3 (October, 196577 83-85.
V 4 ^ •

Opperman, Kalmen. Handbook for Making and Adjusting

Single Reeds. New York; Chappell, 19367 40 p.
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Simple Solution." The Instrumentalist. XXVI, No. 9
(April, 1972), 45-47.
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paper. University of Redlands, 1976. 6 p.
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«•
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 30
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•
------- —. "How to 'Raise Cane.'" The Instrumentalist.
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---------- . "Toward a Suitable Reed-Mouthpiece Combination." •
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Of 8»

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