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Author: karyn
Date: 2004-03-22 05:50
What strength reeds should students be on? I have my 5th graders on 2 I know kids are different but when would you put them on a 2 1/2? What stength for 7th or 8th graders? Thanks.
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Author: Mark Pinner
Date: 2004-03-22 06:23
This issue should be apparent to anybody qualified and/or experienced enough to be teaching the clarinet. Reed strength is not grade specific!
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Author: Alyra
Date: 2004-03-22 11:26
Whatever suits the player - everyone is different.
Personally, having returned to clarinet as an adult (after 5 years break), I am using Van doren 2s and 2.5s (I am not a very advanced player that's for sure)
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Author: Laurie C.
Date: 2004-03-22 13:29
This is one of those subjects that can get me up on a soapbox. My students come to their lessons and tell me that their band director has dictated that they play on a particular strength reed. The director has never looked at their mouthpiece or embouchure. Dictating particular reed strengths for a particular grade is not effective. This must be determined on a case by case basis.
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Author: hans
Date: 2004-03-22 13:33
karyn,
Beginners have undeveloped embouchures and you are wise to consider this in your teaching.
IMO they should start with the reed that lets them play most easily, which is probably a soft reed. This is particularly important when they are first learning to play, when they can be easily frustrated by the lack of quick results.
After a few months, reeds should be chosen to suit the individual mouthpieces and players.
Hans
Post Edited (2004-03-22 14:28)
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Author: sfalexi
Date: 2004-03-22 15:15
I would think that something to watch out for (not the only thing, but one indicator of too soft a reed) is if the youngster continues to accidentally overblow a twelfth (squeeks into the next register). It can happen on many notes, and isn't the only indicator, but if a a few months before this the child was playing fine, maybe they have just developed too strong an embouchure to play that reed. Then a test can be done with a reed a half strength up to see if the kid still overblows. Also listen to see if the sound is very airy and soft in the lower notes and if the child can still articulate as quickly/cleanly as before. If so, then it's their NEW strength.
But make sure the kids don't think it's a "race" to see who can get highest quickest. I used to think that but now don't even know what size reed I play on. I buy 4.5's and continually scrape them down/thin them until I feel comfortable. And each reed is different. For some reason I've had to scrape most, but I found one reed to be perfectly adjusted and (while still noticeable thicker) plays perfectly for me. So that one won't need to be adjusted.
Alexi
Maybe others can give some more ways to know if someone might need a harder reed. This is the only one I remember.
US Army Japan Band
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Author: sfalexi
Date: 2004-03-22 15:30
Quote:
This issue should be apparent to anybody qualified and/or experienced enough to be teaching the clarinet. Reed strength is not grade specific! Nothing against you personally, but this type of thinking really irks me. Specifically because I was thinking about taking on one or two beginner students of my own and know that I will have some questions too.
While I understand the person in question SHOULD know this, understand that you ALWAYS learn something. You don't know everything once you get a degree or job in a field. Or would I need to point back to this thread to show that sometimes even some of the most knowledgable people still have things they can learn . . .
While this poster doesn't know, and maybe he/she should, at least they've recognized that and are seeking help in the matter.
To paraphrase a 7th Dan Black Belt of Tae Kwon Do that I once knew (an olympic alternate by the way), "It doesn't matter what belt you wear. Anyone can teach you a lesson. I could be sparring with a white belt, and get punched in the face. And it's because I did something wrong and now need to learn what to do to fix it."
I just hope you (and the others who have read your statement and chosen to agree with it) re-evaluate your thoughts on the matter and try to see what I see before making up your mind as to whether the person in question is unfit to teach.
Alexi
US Army Japan Band
Post Edited (2004-03-22 15:39)
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Author: Bob Schwab
Date: 2004-03-22 17:22
sfalexi,
Thanks for your last comment. I was taken back by Mr. Pinner's comment as well.
Responses like that perpetuate ignorance by making people afraid to seek out information. Hey, the lady was admitting she didn't know something. She should be commended for recognizing that and seeking out wise counsel and not shamed for it. There's too much of that in this world as it is.
The following quote comes to mind: "The great challenge of our time, both individually and collectively, is to avoid Achille's mistake. Rather than trying to become invincible and thereby destroying ourselves, it is far more courageous to appreciate that we are vulnerable and in need of one another's love." Dr. Harold H. Bloomfield, psychiatrist
Bob Schwab
"Men are God's methods. While men look for better methods, God looks for better men." E.M. Bounds
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Author: JMcAulay
Date: 2004-03-23 20:11
Perhaps in other nations, the musical enlightenment of school district Human Resources personnel and School Principals is greater than it is in the United States. Surely, under ideal circumstances, public school music instructors would be totally conversant in instructional details relative to every instrument from the Glockenspiel to the Sarrusophone (Clarinet, of course, included). Thus, any student could be be certain of receiving superb professional-grade instruction at any level.
Well, here's a confession: Tht US is not overrun by such instructors. And if it were, they would be worth a lot more money than any School Board would be willing to pay. We are stuck, instead, with a great number of dedicated teachers who know music,well but may not know everything there is to know about every instrument they have a need to teach. However, at least they are willing to take whatever steps may be necessary to find out the information they need. Their goal is helping students, not looking smug. I thought perhaps that should be clarified for those no familiar with how things are in this country. Tes, there are some things we don't like, but we struggle along and live with them.
It has never before come to my attention that Australia could be so much more blessed than we, flush with such remarkable teachers -- people who can start at the top, never having to ask anything. My congratulations.
As for me, my first Clarinet teacher (in public school) was a professional Tuba player. So what. She was careful enough to listen to students play and make suggestions for improvement. Many of them worked. At least in later studies under a fine teacher, I didn't have to re-learn anything.
My life as a Clarinetist began with mostly number two reeds. Over the last fifty-five years, I have "progressed" all the way to number two. They still work best for me.
In this area, searching for a rule of thumb is a fruitless effort; becuse regarding reed hardness, there is no thumb.
Karyn, do come back and visit us again. Most people here will share knowledge and opinions whether you need them or not. 
Regards,
John
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Author: john gibson
Date: 2004-03-23 21:06
I'm thinking "poster board". Cut into size and.....Okay not really. But you know.....it depends on the student.....I can remember using 2's...then going up from there....and still....depends on the MPC as to what you use. I have MPCs that "require" softer reeds...and others that depend on stronger cane...it just depends on who's blowing what.
JG
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Author: davor
Date: 2004-03-25 09:24
Hi.
Experimenting too much with different kinds of mouthpieces and reeds might be interesting and usefull for you, but will probably do no good to your students.
You need time to establish which mouthpiece sounds the best to you,and is not very demanding (physically) for your students.
That way you can be certain which reeds to recommend to which student.
You should try to establish a correct embouchure to each student asap.,
this will make your life easier, and you will have lesser possibility of a mistake.
I live in Europe, and is not very easy for me to find american mouthpieces, allthough some of them sound terrific. Some of them are not cheap, and I can not recommend them to my students because of the price.
I teach children 8-15 years old for 15 years allready, recommend a Vandoren B45dot mouthpiece, and reeds strength 2,5 and higher.
Sometimes I begin with a number 2, but switch very quickly to harder.
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Author: Synonymous Botch
Date: 2004-03-25 13:52
Just a SWAG but I don't suppose karyn was a reed major...
karyn -
Go to your local music store.
Ask what the last instructor used.
Go with the simplest solution that works.
For example - get all the kids on the same starter mouthpiece to eliminate some variables. Encourage practice on a daily basis - 20 minutes every day is better than 2 hours on Saturday.
Wind instruments are notorious for derailing music development, if they're in poor repair - if they leak, they squeak.
And karyn, don't take crankiness from professional clarinet players personally... it's a result from playing Viola transcriptions.
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