Here's a scenario for you: it's the middle of April, the weather has finally taken a turn for the warm, and it has wiped out every one of your decent performing reeds in the process. Oh, and just as an afterthought, it's the beginning of the week and you have a performance at the end of the week.
*Angryscrunchyface*
During this period, reed playing time is precious. It's treacherous to spend lots of time practicing on the reeds that you plan on using for your actual performance, because every minute spent out of the case is a potential alteration from the weather.
*End Scenario*
*End Scenario*
When I begin to break in my reeds, I always date them like this. These reeds are called F27-1&2 because I started them on February 27th, and they were the 1st and 2nd reeds that I played on. (I absolutely recommend that you date your reeds; you can label them using any symbols you like as long it's clear to YOU)
I stopped playing these about 2 weeks ago; I used them exclusively on the ROK Tour and they decided to check out early. OR SO I THOUGHT.
Turns out, with a few different rules to follow than reeds in their prime, old reeds (that you thought were spent) can give you a few decent practice sessions, meaning you don't have to wear out your performance reeds before a concert. So hang onto those oldies just a little longer and put them to work!
I stopped playing these about 2 weeks ago; I used them exclusively on the ROK Tour and they decided to check out early. OR SO I THOUGHT.
Turns out, with a few different rules to follow than reeds in their prime, old reeds (that you thought were spent) can give you a few decent practice sessions, meaning you don't have to wear out your performance reeds before a concert. So hang onto those oldies just a little longer and put them to work!
1. Make sure you've got a reed that is TRULY old.
That reed you started two weeks ago is not old. It is a teenage-reed at most. Here are my requirements for what counts as an 'old' reed.
- You started breaking it in at least 6 weeks ago. (For this revival experiment, I also worked on an old reed dated February 1st.)
- It has seen some serious battle, as in extensive practice sessions and multiple performances. In other words, it has vibrated a LOT.
- You have sensed the crotchetiness in the sound (it's my blog, I can invent words if i want to) and stopped playing on it for at least 1 week (but you haven't thrown it into your reed bucket yet! Good for you!).
2. Once you've decided to play on an old reed, soak it for a REALLY long time.
| I am a strong advocate for soaking my reed in tap water instead of in my mouth, a topic upon which I will elaborate in the upcoming weeks. |  |
Even if you're an avid mouth-soaker, I would encourage you to use water to reawaken your old reeds. Not only that, but put your chosen reed in your container of choice (empty prescription pill bottles work great), get up, and go take out your recycling. Or go to the kitchen and wash a dish. Watch this funny video. Your thirsty reed has a lot of moisture to catch up on! Unlike a new reed, which is easily water-logged and should be soaked only for about 30 seconds at a time, old reeds are sealed up from lack of use, dry, and benefit from a full 3-5 minutes in water.
3. Re-break it in gently.
It doesn't need a full week of breaking-in like a new reed, but like an athlete fresh from a coma, it won't like it if you make it run sprints on its first time back in action.
This is a great time to play some long tones! Start in the easy low register on an unresistant note like E-natural. Set a metronome at 60 beats-per-minute (or just watch the second-hand on a wall clock) and hold the note for 8 beats. The sound may take some coaxing; don't lose hope if it doesn't speak right away! Continue descending chromatically with your long tones, so play Eb next, then D, etc. If the tone is a bit fuzzy at first, it should start to clear up and find its center by the time you get all the way down to low E, and as an added bonus you've also just played a great warm up!
Don't be afraid to experiment with a little more air than you're used to, I've found that old reeds can be much more sturdy and stand up to a bit more blowing than more sensitive newer reeds.
Close the pores again if you need to by rubbing gently with a spoon or a pen (or even just your finger for a quick fix), and ease into the upper register by playing the same long tone exercise described above, this time starting on B-natural and ascending chromatically up to C above the staff.
This is a great time to play some long tones! Start in the easy low register on an unresistant note like E-natural. Set a metronome at 60 beats-per-minute (or just watch the second-hand on a wall clock) and hold the note for 8 beats. The sound may take some coaxing; don't lose hope if it doesn't speak right away! Continue descending chromatically with your long tones, so play Eb next, then D, etc. If the tone is a bit fuzzy at first, it should start to clear up and find its center by the time you get all the way down to low E, and as an added bonus you've also just played a great warm up!
Don't be afraid to experiment with a little more air than you're used to, I've found that old reeds can be much more sturdy and stand up to a bit more blowing than more sensitive newer reeds.
Close the pores again if you need to by rubbing gently with a spoon or a pen (or even just your finger for a quick fix), and ease into the upper register by playing the same long tone exercise described above, this time starting on B-natural and ascending chromatically up to C above the staff.
Carry on, clarinetistas.
It only takes about 15 minutes to revive an old reed and consequently have a pretty lengthy practice session. Compared to my usual several hours of panicked despair, I think I'll take it. Old is the new NEW!...well...for a few days and then it truly will die a final yet honorable death.
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