Fellow local guitarist and singer Mark Stanley was struck ill on May 2 with meningococcemia (bacterial Meningitis). There is a good weblog detailing his struggle with this. It nearly killed him.I found out today that he is going to lose the tips of his fingers. What that means for his playing…..who knows. I wish him a fast and full recovery.
John Nastos writes “Does anyone know what type of mouthpiece/ligature/reed setup that Eddie Daniels uses? “
Well, if you go to Eddie’s website he seems to maybe use a Rovner EDII ligature, Vandoren #4s or V12 #4s, and LeBlanc clarinets. Good question about the mouthpiece. You could maybe email Eddie Daniels (I’m not brave enough too 🙂 )
I have to rave about Jim Snidero‘s great series of books, Jazz Conception. He has them out for Alto Sax, Tenor Sax, Flute, Clarinet, Guitar, Trumpet and probably more. The book comes with a CD of the music being performed by a great artist on whatever instrument. On the Alto version it’s Jim Snidero himself (and he sounds GREAT), on the Tenor CD it’s Walt Weiskopf, on the Flute CD it’s Frank Weis, on the Clarinet CD it’s Ken Peplowski.
The books feature the same 21 etudes. They’ve been transposed for instruments other than Alto Saxophone. The Etudes are based on well known chord changes, like #12 IND Line is based on A-Train changes, and #13 Father Song is based on the changes to Song for my Father. The etudes introduce all the standard articulations and stylistic things one would need to know to play jazz. The first etude, Groove Blues, has scoopes and falls. The next etude introduces ghosting of notes.
My only gripe, and it’s a small one, is that there is not a separate CD for backgrounds. True, you can turn the pan over to right and you’d get just the rhythm section, by why not just include a separate CD with the backgrounds by themselves? Since I insist on students interested in jazz to get this book, I made a separate CD that has just the backgrounds so the kids can play without the soloist. You’d be surprised how many boomboxes have no left/right panning.
In all, Jim Snidero’s Jazz Conception series is great. I have 4th and 5th graders able to play Groove Blues, and A-Doll. Some can play some of the others as well. I hope Jim Snidero will add to this series of books.
II-V-I Patterns. Essential for any developing jazz musician. These are designed for the Jamey Aebersold Vol. 3 play-along.
I found this email off the Sneezy Clarinet List. It’s from clarinet master Clark Fobes and details his experiences with various pads on the clarinet.Subject: [kl] Pads, cork, skin, whatever
Date: Sat, 14 Apr 2001 09:46:01 -0700
From: “CLARK FOBES ”
Pad installation is the ultimate challenge to the craftsman’s skill and sensitivity. I have seen work from repair people that are excellent mechanics, but never developed the skill of installing a pad.
One of the fortunate aspects of my career as a repairman was that I learned to repair all woodwinds (and brass and strings and percussion!). Before I
turned to the clarinet as a specialty I spent many years repairing other
woodwinds, especially top end flutes. Flute pad installation may be the most
difficult skill to learn with piccolo repair at the apex. Because of so many
hours leveling flute pads I developed a heightened sensitivity to the fine
art of making a pad to seal properly.
Over the 23 years that I worked as a repairman I encountered just about
every pad available and even experimented with some pad making of my own.
Here are a few thoughts.
Cork pads are an excellent choice for the upper joint of clarinets. They
must be made from high quality, optical cut cork. Pre cut cork pads are
available from several of the repair supply houses. Select the best side and
gently sand it against a flat suface. I do this by placing a small square of
600 sandpaper on my jewelers anvil and then place the cork pad on the paper.
With index finger of my right hand I hold the pad down as I gently rotate
For proper installation on Buffet clarinets I buy 9.5mm pads and hand
cut a “ledge”and bevel away the excess so that the cicumference of the pad
lines up with the edge of the pad cup. This similar in shape to a standard
French style or “beveled” skin pad. This prevents the pad edges from
shrinking or retreating into the cup over time. I also use a glue similar to
hot gun glue. This remains some what resilient over time and has better
adhesion than shellac. Finally, I almost never see cork pads properly shaped
once they are installed. After leveling, the key must be removed and the pad
edges should be rounded with 400 sandpaper. This reduces turbulence around
the edge of the pad and consequently noise. I never use cork pads on any
keys that are sprung open.
Skin or “bladder” pads are made from the stomach lining or intestines of
cows or sheep. This material has been used for about 150 years and is still
the best agent for covering wool or wool-like substances in the use of small
woodwind pads. The best bladder pads I have ever seen are those made by Bill
Brannen of Chicago. His pads are very “round” and emulate the feel and sound
of a finger closing a tone hole. I think part of Brannens success with those
pads is the particular felt he uses. I have no idea where it comes from and
it is probably one of those close guarded secrets that he may never reveal.
In fact, it is highly possible that his felt is no longer available. This
happens a lot in the music manufacturing business.
As I said earlier, the bulk of my overhauls in the past years were done
with a mix of cork pads and Straubinger pads. Thge Straubeinger pads are
rather firm so I developed a special technique to allow a bit of “give” when
the “E?B” pad an “F/C” pad of the lower joint work together. Remove any cork
from the “crow’s foot” and put a small dot of felt on the key surfaces where
the “crow’s foot” meets the key. This adds a bit of give and reduces the
feel of the pads hitting the tone hole.
If I have a customer that wants skin pads in the upper joint I use a
very firm, flat pad. However, I prefer a softer pad in the lower joint. This
produces a better legato.
Leather pads are most often used in the larger clarinets because they
will retain their shape better than a large skin pad. I don’t use “tan” pads
any longer. I prefer the white kid leather used for bassoons. J.L Smitth
1-800-659-6073 carries an excellent called “Lucien”. My only complaint is
that the pad is a bit too thick and the leather on the back must be trimmed
for some areas of the bass clarinet or basset horn.
Leather pads are much more porous than skin pads and fro the best seal
the area inside the seat ring should be sealed. Melted bees wax or parafin
Tim Clark of Columbus has developed a hand made pad that uses fine
leather covered with skin. These pads hold up well and feel great.
Valentino Pads and synthetic pads
Curiously, I worked for Pete Valentino at the old “MV: Music store in
Fresno when I was a very young man. Pete owned the store, but had been an
excellent repariman in his day. He began experimenting with synthetics in
the 60s. The best pad he ever made was a black pad that has not been
available for many years. I repadded the upper joint of my bass clarinet
with those pads in 1985 and I have not replaced them! The upper joint seals
like a bottle. I tried them for awhile on soprano clarinets, but I found
that over a year the larger pads compressed and “popped”. I agree woth
Gordon Palmer that the adhesive that Pete uses does cause the synthetic cork
I use the valentino synthestic cork extensively for key corks, but i buy
it without the adhesive backing and just use contact cement.
For a short period Pete also sold his “black” material as a key cork
material. When it was available I made pads that were cork covered with a
layer of the material. These pads worked very well in some problem areas of
bass clarinets and basset horns.
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I don’t know. I know some people that soak their reeds in water, or water/hydrogenperoxide, or even Vodka to prolong their life. Wonder what doing this Cryogenic stuff then doing that would do…..
Fred writes “Is anyone familiar with Buffet’s very limited edition jazz clarinet? The 1974 model – Super Dynaction – obviously gets its’ name from their famous line of saxes. The clarinet I own has Super Dynaction beneath the Buffet logo. If anyone out there owns one, played one, or has heard of this model, please email your impressions or any other information.”
Ok, I finally tried a Zonda reed. I was just about out of Vandorens and my friend had an extra 3 1/2 Zonda. I tried it. My first impression was that it was really rough. The grain and stuff. It played good. Though at first it was a little too thick sounding, but it seems to be getting better as I get it broken in. Anyone else got comments on Zonda reeds?