Woodwind care and maintenance

Woodwind instruments are delicate pieces of machinery which need careful attention.

General guidelines

• Temperature - Avoid extremes of temperature. Wooden instruments may crack and all instruments are susceptible to pad damage. Don't leave instruments next to radiators or in bright sunlight. Never leave in a car if the weather is very hot or cold. Avoid leaving in school store cupboards if they are unheated in Winter or get very hot in Summer. In winter, avoid blowing an instrument that is very cold as the warm, moist air may cause it to crack. Allow the instrument to come up to room temperature before playing.
  
• Cleaning - Always clean instruments out when you have finished. Wash your pull-through or cleaning cloth regularly. If possible, avoid keeping your pull-through or cleaner directly in the case with the instrument. If you have a case with an external pocket for music, this is where the pull through should be kept. This avoids the moisture being trapped in the case with the instrument where it may trigger rust in the springs and screws. Pay particular attention to drying the tenons and sockets (the joints) where the water collects.
• Stands - Never stand an instrument up vertically unless it is on a proper stand. Stands are not recommended for flutes as they aggravate an already weak joint. For other instruments a stand may be useful as having the instrument out ready to play may encourage casual practice. The disadvantage is that wooden instruments may be damaged if left out for any length of time as the joints may swell and seize together or split the wood. Instruments dry out more easy if taken apart. In a rehearsal situation others may knock your instrument over. The safest place for your instrument is in a hard case .
• Keywork - Regular wiping with a soft cloth will remove the dirt and acid which cause the keywork to tarnish. Pay particular attention to the awkward grooves and corners where dirt may collect. Do not use an abrasive polish. Using a polish will remove a thin layer of the silver or nickel plate, and accelerate the wear on the keys. Keywork may also be "dusted" occasionally using a very soft, 1" bristle, artists paint brush.
  
• Wood - Wooden instruments require the bore and body of the instrument to be oiled occasionally. This helps preserve the wood, reducing the chance of cracking, and aiding the drainage of moisture from the bore. Opinions vary as to the frequency of any oiling (some say every 3 months) so confirm any action with your teacher or manufacturer, the following being the most usual guidelines.
  
  • The bore should be oiled once a year (more frequently for a new instrument)
    
  • Use linseed oil or a proprietary brand of bore oil (a recommendation we have received say: Linseed oil will go rancid with time - sweet almond oil with vitamin E is available from wholefood shops (used for massage not cooking), the vitamin E helps to prevent it going rancid.
    
  • It is essential not to over-oil the bore
  • Make a pull-through out of a piece of cotton sheet and a piece of string
    
  • Soak the cotton in the oil, then drain and squeeze out the cloth (you won't be able to use this pull-through again for cleaning out the instrument)
    
  • Try to remove as much surplus oil as possible, attempting to make it dry. When you pull the oiled cloth through the instrument it is important that surplus oil does not build up on the holes and contaminate the pads
    
  • It is wise to put a small piece of grease-proof paper under each pad for added protection
    
  • Pull the lightly oiled cloth through the bore several times
    
  • If you are giving your instrument a complete clean and have removed all the keys, you can rub the oiled cloth over the outside of the instrument, otherwise just rub the parts which are visible to give a glossy sheen
  • If you get oil on the pads, they will quickly rot and require replacement. Proceed with extreme caution!
  • "Can I have a go?" - Do not let others play your instrument. Germs are passed on this way. Even letting others hold your instrument may cause damage if they are not used to the instrument.
  • Padsavers - these are woolly mops which are kept in the bore of the instruments and are supposed to absorb moisture and stop the pads being damaged. Many teachers' opinion is that these should be avoided because: fluff from the mop comes out and clogs up the keywork moisture is still kept in the case where it can aid corrosion there may be a temptation for the player not the clean the instrument but to rely on the "padsaver" pads are resilient and don't need "saving"!
    
  • Regular use - The best way to keep an instrument in good working order is to play it every day. This has other useful benefits!
    

Cases

• Flautists and oboe players are usually content with the case their instrument comes in, although the addition of a soft outer cover may be useful in offering protection and individuality.
  
• Clarinettists who own a pair of clarinets will often need to purchase a double case. The most important consideration should be whether you can separate every joint. Many cases do not allow you to separate the bell from the lower joint. Other considerations may be size, weight, quality of padding, and space for reeds etc. An outer pocket is vital so that you can keep a damp pull-through out of the main case.
• Saxophones cases come in three types: hard boxes, shaped cases and gig bags.
  
  • HHard boxes as supplied by most manufacturers offer the best protection for your instrument, the penalty being that they are heavier to carry and have less street cred.
    
  • Shaped cases can give good protection and make their owner look cool! Many makes of shaped cases are available and quality varies enormously. Aim for the strongest you can afford. You will need to take your saxophone for a fitting as not all cases fit all saxophones. The shaped cases with flat sides (rather than rounded) are easier to stack in cars, and are less likely to slide around and get damaged.
    
  • Gig-bags - Yes a gig-bag looks cool but can you afford the repair bill? Gig-bags are light and convenient but offer little protection. If you have to leave your instrument at school or dump it in the boot of a car, it will almost certainly be damaged and saxophones are very expensive to repair. Professionals who are always on the move in a city often use them but they will also have a hard case for more arduous journeys. Bassoonists have a wide choice from hard to soft, but I assume that anyone who has spent a considerable sum of money on a bassoon will have a very high regard for its afety and will choose a case offering ultimate protection!
    

Reeds

Reeds are an huge topic and many books are available. Oboe and bassoon players will need to learn how to make their own while clarinettists and saxophonists will need to understand how to alter their reeds to best advantage. Nevertheless here are some:

Golden Rules:

• Buy the best quality reeds. Playing a musical instrument is about making a beautiful sound, and you need all the help you can get from the best quality reed
  
• Don't get stuck on a reed for too long. If you find a good reed it is easy to keep using it without noticing it deteriorating
  
• Learn how to adjust reeds. Even a brand new clarinet reed will benefit from making sure the back is perfectly flat, simply achieved with a straight reed knife
  
• Don't wear lipstick and play. It clogs up the pores of the reed
  
• Always have a supply of spare reeds
  
• Keep your reeds in your case - they are no use left at home
  
• Accurate positioning of the reed on the mouthpiece (cl. & sax.) is vital . A good reed will seem useless if inaccurately placed by even a tiny amount.
  

Instrument specifics

• FLUTE
  • The joint between the headpiece and body will become stiff if not kept clean. Use a cloth or duster but do not use polish.
    
  • Never, ever "grease" joints with vaseline. In cases of stiff-joints, consult your teacher or instrument repairer.
    
  • Clean the inside of the flute using the cleaning rod with a soft cotton cloth, about the size of a large handkerchief.
    
  • Occasionally check the headpiece tuning cork for correct position. Your cleaning rod should have a mark which should align with the centre of the embouchure hole
    
  • Keep the keywork clean
  • Be very careful not to damage to foot-joint by using sideways force
  • Clean the inside of the embouchure hole occasionally as dirt can build up, causing disrupted air-flow and a resultant poor tone.
    
  • If you need to use an elastic band as a temporary repair for a broken spring, replace the spring promptly as the rubber will tarnish the flute
    
• OBOE, CLARINET, BASSOON
  • Joints - the tenons (the corked ends) need to be a good fit. Too tight and they may jam together require excessive force (bent keywork may result). Too loose and the joints may fall apart. If they are stiff, use cork grease (Vaseline is not a good substitute). If too loose, temporary stiffening may be achieved by heating the cork very briefly with a match, or wrapping with cigarette paper. Better results may be achieved by moistening the cork before heating it. This is only an emergency measure! Get the cork replaced as soon as possible.
    
  • Joints on new wooden instruments - on a brand new instrument (especially certain clarinets) you may find that the joints have been made to such fine tolerance that if the wood expands the joint will stick. If this is the case, give the instrument some time to settle and then get the manufacturer (or expert repairer) to adjust the joint.
    
• SAXOPHONE
  • G# Key - a constant irritation for saxophonist is that the G# key, which spends most of its life shut, often sticks when it is needed. It helps to ensure that the pad is not sticking to the rim of the hole by slipping a piece of paper between pad and rim and, while putting a little pressure on the key, gently dragging the paper out. This usually removes a little grease that may be encouraging the key to stick. This method will also help quieten other sticking pads that are developing a clicking sound.
    
  • Octave mechanism . If you are having problems changing octaves, the first thing to check is that a spring has not jumped out of place. If the springs are OK it may be that the student has inadvertently damaged the mechanism. The damage may be because the link that sticks up at the top of the main body has been bent or has lost a sleeve, or the neck may have been bent. These are jobs for your
    teacher or a repairer as bending is often involved!
    
  • Joints . The joint between the neck and body will become stiff if not kept clean. Use a cloth or duster but do not use polish.