I was searching the internet for some help on glass mouthpieces and found
an old message (May 2004) where you mention leaving your reed on
mouthpiece. I’m hoping you can help me with a problem I’m having with mine.
My friend and I were both given glass mouthpieces. She has even more
problems than I have (but I tend to produce more spit so I’m guessing it
might be related). What we have found is that if we leave the reed on and
don’t play for even a short (5-10 minutes) period of time, then we can’t
get the instrument to play at all. I finally switched to a different reed
and that one worked, until I let it sit for a while and then it didn’t
work. I went back to the first reed, which then worked again. Now I must
confess that I am not an advanced student so maybe I’m missing something
that should be obvious. Any tips or suggestions about what we can do would be appreciated. Both of us like the tone we are getting with the glass mouthpiece but if we continue to have these problems we’re not going to have much choice but to go back to our old mouthpieces.
As far as leaving reeds on mouthpieces is concerned, there are many if not
most players who advise against it. In many circumstances, I do advise against it myself. However the fisat thing you must do is to find a reed that plays. On any mouthpiece.
In other words, do not do it until the reed you have chosen is “broken in” and you are quite used to it, familiar with it and find that it plays well on your mouthpiece, regardless of material.
Remember the reed has got to play well, meaning that it sits on the
mouthpiece well, that it doesn’t leak at some point in the closure and that you feel very satisfied with it.
There are some glass mouthpieces upon which you cannot leave a reed, and there are some that you can.
In my memory, my reason for this practise was simply that in the orchestra where I was employed we played 8 services a week, including reharsals and
I got the idea of playing one reed all week and it seemed to work , at least for a while, and my feeling was that the pitch would be consistant with the other winds in the section.
It seemed to work, but all you need is some really cold weather which will disturb ideas immensely.
So better put, this is a practise for those with much experience and who have a truly wonderful crystal.
The reed must really have a good placement on the mouthpiece for it to work really well.good luck.