Here is a thread from another forum that I think is well worth reading
the author is giving his thoughts on reeding problems for the novice player.
D the thumb hole is always in the first octave pressure of wind and
should never get more pressure no matter what the fingering or passage.
going from, say (octave E) to back D learners are much inclined to give too much pressure.
Gee, 2nd octave E should be very easy to hit. If the pressure of 2nd
octave E upsets a D then there’s a design or setup problem, in my experience.
Nevertheless I found it an interesting advice and I believe there is
no written tutor at the moment where this aspect is mentioned and it should be.
And although it’s all very indirect -after all there is no physical
contact with the reed- the use of ‘embousure’ still applies. Especially
novice players often think the pipes should behave as a synthesiser, lift a
finger and you get the note you want in tune, every time, in rain or
sunshine.
Several times I’ve got requests to re-reed a brand new chanter that was in the view of the novice player unplayable. And most of the times there was basically nothing wrong with it. But if you expect that you can play and sound like Paddy Keenan in 4 month time you’re bound to be disappointed big time.
The bad thing is that more than once the pipemaker get the blame. And
don’t get me wrong I think there are maybe only five or six good concert
pipemakers at the moment but for a novice player it’s impossible to make the judgement if a instrument or the reed is faulty. So if he or she knows
there’s more to piping in tune then lifting fingers that’s good I think.
I think the usual problem with novices is that they blow the 2nd octave
extra hard to avoid dropping during unsteady bag-bellows work. So we
have an opportunity here in the training of new pipers.
Also true David, but I think as long as their bag-bellows work is unsteady
they should maybe keep away from the second octave and practise tunes like Jim Ward’s Jig…
If we all accept that part of learning to play early U.P. tunes must
include a thorough control of the pressure, so that learners practice
this as part of learning their first exercises and tunes, they can get
past this stage sooner.
I think we should be aware that pressure control or ‘embousure’ is equally
important as with other reed instruments. Sax or oboe players are devoting a lifetime in getting ‘their own sound’ and the pipes as instrument offer the
same or maybe more possibilities. With the right reed (not to strong..) and
control all the colours and nuances are available.
Nice message,
I definitely agree with the fact that it is easier to blame the reed and the pipemaker instead of the the piper is playing his instrument… During my learning (never finished…) I blamed many things but not enough myself … To learn to masterise the pressure to be used and the behaviour is the most important thing …
Question : let’s say I’ve played the same set for years and I’m switching to another maker … should I begin again the learning of pressure handling etc …
That was comforting to hear as a beginner…I definetly have the back D blues…after ten months I am focusing on the relaxed method of the second octave…I can now apply pressure to get the notes where they should be some of the time. Now I know this is called “embousure”. I will now write to my pipemaker and apologize profusely. :roll:
Question : let’s say I’ve played the same set for years and I’m switching to another maker … should I begin again the learning of pressure handling etc …
I would say probably not if you were staying with the same pitched stick, and yes a certain amount if moving down to a flat pitch C or B etc, because of the wider finger layout and the reduced ait flow.
If you are buying a different makers stick then send one of your reeds to them which you are happy with the pressure o f, so that the new reed/s pressure can be duplicated.
Flat chanters have a very delicat reed compared with the concert or banjo blaster and its so easy to overblow the smaller reed so that it becomes harder to play, even looking like its too hard when in reality it isn’t.
The rest of it, IE the patting of the head whilst rubbing your belly bit has already be learned.
Joe McKenna had a lot to say about this idea of “embouchure”, creating the correct pitch and tone and not using the reed as a scapegoat when I took his class in Boston last year. He recommended filling the bag and emptying the full amount of air into a first octave “a” at the beginning of any playing session to establish where the reed was playing in terms of pressure needed for best tone. He also recommended a choosing a very deliberate posture when playing, with the left knee well forward and the left shoulder, arm and knee providing a sort of pivotal reference point for playing posture. His estimation was that when experiencing playing problems, the reed might be to blame 10-20% of the time–the rest is the piper. This would be presupposing a decent set and reed to begin with, of course, so adjust accordingly for players stuck with shite setups. Nevertheless, I found his advice very useful, particularly his constant reminders that you are always responsible for creating the tone of your pipes, it can never be taken for granted.
The sitting position is very important, if you look at Davy Spillane playing on the first Riverdance show, you will see a perfect posture, his stool is slightly higher than the run of the mill dining room chair.
His bag arm position is also spot on, with his arms out in front and not hunched up like it would be if he was lower down, its all there to see.
I performed a test with my chanter
(bore clear all the way), I have 6 different
reeds from some of the top reed makers.
With some of the reeds, the back D is steady,
yet the upper E is resistant, a little flat…
unless I use more pressure to keep them up there.
They simply have a built-in inclination to break.
Also, these same reeds have a built-in tendancy
to want to flutter on the low D, or bell note.
All of these problems can be cured, individually,
but there happens to be one fine, fine reed
that needs nothing. The chanter needs nothing,
no rushing the bore, just clear all the way.
This particular reed is in perfect tune,
upper and lower (it cured itself over 3-4 weeks)
has a rock solid low D, steady back D, and an easy
upper E that is always clear, with easy pressure.
I tested all of these good reeds with the same bore conditions.
Well okay, not to leave you guessing…it’s the AB reed.
I’m still shaking my head not only at the reed,
but at the difference. It will be my reed of choice
at the St. Patick’s Day concert.
banjo blaster and its so easy to overblow the smaller reed so that it becomes harder to play, even looking like its too hard when in reality it isn’t.