Everyone talks about the different types of reed – classical reeds, jazz reeds etc. and how their sounds vary, but not about the differences in how they are made. It can seem like the different variations are just there to make you spend more money trying all the options a particular supplier provides. I decided to look into this in more detail and discovered a lot about reed-making and how the construction of a reed can influence its sound.
There are lots of factors that influence whether the sound of a reed is typically classical or jazzy. The most notable are the vamp length (length of the active area of the reed), the vamp and blank thickness, the filing and the reed strength.
Firstly, what are the different sections of a reed called? Considering any standard single reed, you have the blank, the shoulder and the vamp. The vamp is the part of the reed that goes in your mouth – the active part. The blank is the part that the ligature sits on to hold the reed in place on the mouthpiece and the shoulder is the interface between the two (see the picture below).
How does the vamp length vary between classical and jazz players?
The vamp is the part of the reed that actually does the playing, so naturally this is the part that can be manipulated during the design process to give a different sound quality dependent on the playing style.
The length of the vamp is very important when considering the style of playing the reed will be used for. For a given instrument, the total length of the reed will always be the same, however, the length of the vamp can vary.
The vamp is thinner than the blank, so the longer the vamp, the more flexible the reed. A more flexible reed is generally more appealing to a jazz musician, who may want the ability to bend notes easily, whereas a shorter vamp would normally be preferred by a classical player, who will likely need a more focused sound.
How does the vamp thickness vary between classical and jazz players?
There are two parts of the vamp area that people talk about – the tip (the end of the reed), and the heart – the middle section of the reed up to the shoulder. The reed will be tapered from the shoulder to the tip, but the shape of the tapering has a big impact on the type of sound the reed produces.
A reed with a very thin tip allows the player to get a very quick response and this means a very crisp articulation. This is usually favoured by classical players so if you buy a classical reed, it is likely to be thin-tipped. A classical reed will usually have a thick heart – this gives the sound a warmth and darkness typically found in classical playing.
In contrast, a thick-tipped reed with a thin heart will usually be the type to be found in jazz music. Designing a reed like this means that higher overtones are more prominent, giving the customary bright and edgy sound quality of a jazz player. The articulation from a thick-tipped reed will be less crisp, giving a more laid-back feel.
How does the blank thickness vary between classical and jazz players?
The blank thickness is important because it affects the hardness of the reed. Counter-intuitively, a reed with a thicker blank will actually be less hard. This is because the cane used in reed-making is dried in the sun and therefore gets softer towards its centre. As all reeds start from the outer edge of the cane, those that are thicker contain more of the softer part of the cane.
A classical player will likely prefer a thinner blank, as this provides more resistance and a more focused sound. In contrast, a jazz player will usually choose a thicker blank to get a more flexible sound and edgier tone.
How does the filing vary between classical and jazz players?
Another thing to look out for is whether the reed is filed or not. A filed reed means literally that – it has been filed. The filing is over the edges of the shoulder section as shown in the picture.
Typically, a filed reed will be used by a classical player, as this is used to make a more resistant, fine-tuned reed blow a bit more freely while still maintaining the warm, dark, classical tone. An unfiled reed is used to give a bit more resistance to a bright, edgy jazz tone. Some jazz players will use a filed reed to get an even brighter sound but this can be difficult to control.
How does the reed strength vary between classical and jazz players?
The strength of a reed is a measure of the amount of resistance it produces. This is controlled by the thickness and hardness of the reed. It is often the case that a classical player will use a higher strength reed than a jazz player, as they will usually prefer a darker tone with more resistance. Jazz players tend to favour a lower strength reed because this gives a brighter sound, as it vibrates more easily.
It’s important when thinking about reed strength not to assume that you will gradually work up to a higher strength reed as you get better. While it’s true that beginners will need to start on a low strength reed because there is less resistance, a higher strength reed isn’t necessarily the sign of a better player – it could just be the style of playing that person is going for.
As a general rule, if your sound is very airy, it’s likely you’re using a reed that is too high a strength for you – try moving down half a size and see if it helps. If your intonation is suffering compared to the rest of your playing, your reed strength may be too low, and you should try going up half a size.
Is my mouthpiece important when choosing a reed?
It’s really important to pair your reeds with your mouthpiece. Someone might tell you they love a particular reed and that it sounds perfect for a particular style of music, but you might try it and not like it at all. This could be to do with the mouthpiece you’re using. Like reeds, mouthpieces come in different shapes and sizes and some may be more compatible than other with the shape of your reed.
If possible it’s good to try a range of different reeds with your mouthpiece and try to listen out for differences in the sound. Pick a reed that you think best creates the type of sound you’re looking for. If you can’t get the sound you want out of any of the reeds you try, it might be your mouthpiece that’s the problem and you might want to consider investing in a new one.
Some general things to be aware of when buying reeds
It is important to note that the quality of the cane used is one of the most important factors in reed-making. Assuming you have bought a reed from a trusted supplier (you can ask in your local music shop for help with this), you shouldn’t need to worry about whether the cane itself is up to standard, but buying cheap reeds online can be risky.
There is, however, a lot of variation in reed quality, even between reeds in the same box. You might buy a box of reeds, try the first one and hate it, but then try another and think it’s the best reed you’ve ever played. This can make things difficult as you can’t get a reliable answer on what your favourite type of reed is from trying just one of each type.
You should also be aware that reeds are often not labelled as “classical” or “jazz” reeds, but will be given a specific name. A reed supplier will have a range of reeds, some more suited for jazz than others. I talk more about which reeds are designed for jazz and which are designed for classical here.
Most importantly, you should pick the reed that gives you the sound you want. The reed needs to be a comfortable strength for you and be compatible with your mouthpiece. If you’re a jazz player but the reed you prefer is a typically classical one, that’s fine – you’ll play better on the reed you’re most happy with.