Texas Bandmasters Association
Bandmasters Review • April 2016
24
any students and professionals ask me, “How do I make my
reeds better?” This question comes with the expectation that I will
be passing on advice or a method of adjusting a reed with a knife or
sandpaper. All are surprised when I say that I NEVER work on my
reeds and that I confiscate my students’ reed knives and adjusting
tools on their first day of lessons with me at the Shepherd School of
Music at Rice University. Instead of giving them a claim check for their
confiscated knives, I give them a Tupperware box with a humidity pack
inside of it, or a reed storage case (also with a humidity pack inside).
One week after this exchange of reed knife for humidity control, my
students all remark about how stable and consistent their reeds have
become. This is because their reeds are no longer going from 100%
humidity (a wet reed after playing) to the 20-30% humidity of their
daily surroundings, which happens when they are left out in the open
to dry. This rapid and damaging drying of a reed occurs when the reed
is just placed into a clarinet case, case pocket, or even left out on a
stand or table. These are the main causes for reed warpage and also the
dreaded “potato chip tip.” I call it that because a reed that dries rapidly
to below 50% humidity can get a tip that looks like a Ruffles potato
chip! This is extreme warpage! Once a reed gets to this point, it will
have lost its clarity, response and depth of sound.
Some will argue with me, saying “I live in Houston and its 90%
humidity outside… I don’t need one of those humidity packs…,” etc.
What those skeptics fail to realize is that in the most humid cities, the
air conditioning is cranked up full blast all of the time, thus making the
indoor humidity below 30%.
The other advantage of putting your reeds in a humidity controlled
environment is that they have a chance to start to acclimate to a consistent
environment right away upon opening the box. This is especially true if
you ordered your reeds and they traveled to you via plane, train, or truck
through many different temperatures and environments. A humidity-
acclimated box of reeds will yield a higher number of great reeds than
one that has not stabilized in this manner. I recommend unwrapping
the cellophane from a new box of reeds and placing it in a humidity-
controlled box or bag for one to three weeks before trying them. I
guarantee that you will find more terrific reeds than ever before.
Give your reeds a little bit of humidity and TLC, and they will be
there for you when you need them to be at their best.
Appointed principal clarinet of the Cincinnati Symphony Orchestra in 1994,
Richie Hawley left that position in 2011 to become the Professor of Clarinet at
Rice University’s Shepherd School of Music. Mr. Hawley appears regularly as a
chamber musician and recitalist, including performances with his new group,
the Rogue Ensemble. He made his debut at the Marlboro Music Festival in 1999
and toured with the legendary Musicians from Marlboro for the 50th anniversary
performance at Carnegie Hall. During the summer season, he serves as the teaching
and performing clarinet artist at the Music Academy of the West in Santa Barbara.
W o o d w i n d s - R i c h i e H aw l e y
If you love your reeds,
they will love you back.
P E R C U S S I O N - R a y U l i b a r r i
n this Blog, I would like to share my experience and insight into
preparing your middle school percussion section for Concert Band
contest. Developing good habits and preparation can make a huge
difference in easing both your students and your own pre-contest
anxiety. Often times, I think we tend to forget that our middle school
students are really still beginners. Regardless of what band they are in,
most students have only been playing from one to two years. In fact,
most seventh graders have never had to pack and load or perform on
another campus or venue. It is crucial that all necessary equipment
makes it to the contest. First, have the students make a list of all
equipment required to play your program. This list should include all
instruments being used, mallets and hardware such as concert snare
stand and suspended cymbal stand. It is important to be absolutely
specific as they will load only what is on the list. The number of music
stands needed, make-shift trap-stands and black towels are important
as well. Don’t forget to bring extra copies of music or the originals just
in case. Next, let’s tackle packing. My philosophy has always been to
give the students the best information and equipment possible. Cases
for drums, hardware, cymbal bags and mallets are necessary to protect
your investment. I have seen great equipment ruined or damaged
because they lack proper protection and cases. Delegate the section
leader to check off the list as every instrument is packed and loaded.
Next is setup. Having a routine is security and promotes consistency.
Decide on the setup for all percussion equipment. I like the bass drum
to be as close to the center of the back of the ensemble as possible.
Hand cymbals should be close by. I consider these two instruments the
impact and precision machines of the band. It is no coincidence that
the bass drum and crash cymbal were played by the same person in old
traditional marches. They also will often have the same part. For snare
drums, I often use a blanket below them to help prevent them from
being too live on stage. I also try to place the bells and xylophone close
to the back of the ensemble to help their very articulate timbre to blend
with the winds. Instruments like marimba and vibe I tend to keep
towards the front of the stage as they don’t speak very well. I always
place timpani behind the tubas. All other instruments should be located
as close as possible to parts that they compliment or resemble keeping
in mind line of site to the conductor and balance at all times. Taking
time to help them draw a diagram will build your relationship with
your percussionists and help them take pride in providing the pulse for
your band. From here it’s easy. Follow through with the diagram and
make adjustments as needed. Don’t be afraid to experiment, but once
you decide what works, make it routine. When you arrive at contest,
let them know to setup like they setup everyday, and take the time
to check the latest diagram. Make adjustments and rest assured your
percussionist will feel a sense of similarity and security knowing they
haven’t forgot anything.
I
Developing good habits and preparation
can make a huge difference
Ray Ulibarri is currently in his sixth year as Percussion Director at Ronald Reagan
High School in San Antonio. Mr. Ulibarri is the former Percussion Arranger for the
Crossmen Drum and Bugle Corps and the former caption Head of the Bluecoats
Drum and Bugle Corps. He is also the former front ensemble arranger and caption
head of the Blue Knights World Percussion Ensemble. In addition, Mr. Ulibarri
serves as an active adjudicator for WGI and clinician for Yamaha. Ray also endorses
Evans Drumheads, Zildjian Cymbals, Innovative Percussion sticks and Mallets and
Planet Waves Cables.
An Instrumental Blog presented by DAddario
Texas Bandmasters Association Bandmasters Review • April 2016 • page 24
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