u/Music-and-Computers

I’ve always had tarnish below the strike plate and it’s obviously showing me where my air is going. That’s kinda good.

Without getting into discussions of my air and improvements I need to make with the control of the column to the strike plate…

Is there any negative effect to putting a flute lip plate patch beneath the srike plate to keep from having to keep removing tarnish. I do realize I’d need to cut to size. I use one on the blowing side as my skin gets oily and this keeps the headjoint from sliding.

I posted recently about an experience playing a Blayman mouthpiece that was an unexpectedly good mouthpiece.

I found a really good deal on one that had a fair bit of oxidation/tarnish but was otherwise remarkably clean. The tarnish has the usual ligature pattern.

I usually make a half dozen or so passes on mouthpieces to consider the tarnish cleanup “done”. You can see the tarnish level in the first two images and the final is where it’s at now. I’m hoping to get the engravings to pop when this all done. Any suggestions for getting that to really stand out?

Process? three ingredients…

1. Mr Clean Magic Erasers
2. Water
3. Elbow Grease

I’ve used this method before. The previous one was a Modern Chedeville made by Jody Jazz for soprano sax. It had been left out in the sunlight. Since I like matte finishes I’m not fretting at all that this dulls the appearance.

I’m unlikely to do any more cleanup until Sunday as I have practice yet today and a gig tomorrow.

Plays well and though the tip is a little closer than my other piece, another modern Chedeville Umbra F3 made by Jody Jazz, I need a slightly softer reed to get the response I’m looking for. Thankfully I have some Gonzalez HDs that play about 1/4 lower than I like for the Chedeville and Legere 3.75 French cut vs my normal 4.0 I should be in good shape reed wise quickly.

Caveat: This works well for me. But if you aren’t careful you could mess up rails and the table. Don’t use a mouthpiece you can’t afford to lose the first time you do this.

There’s a great, super funky, Bb- (concert) blues by Horace Silver called *The Jody Grind*

This is the last 4 bars of the head. Problem is the 9th bar just doesn’t wanna fit on clarinets without an Eb/Ab lever.

Octave displacement isnt the best strategy in my mind. Down is still awkward and up is not ideal unless it’s a shout chorus.

For those wondering about the changes bar 9 is a tri-tone sub for the IV chord and 10 is a chromatic sub for the V chord. Blues has many variations.