(The book music stores don't want you to see) The Band Director's Guide to Emergency Instrument Repair ROBIN AMEND ILLUSTRATIONS BY : PAUL AMEND $19.95SUGGESTIONS FOR THE USE OF THIS MANUAL GENERAL: Read the first twenty two pages completely. As it says in other places in this manual, there are many terms unique to this book and you will find it more than helpful to read this introductory section. You will also find, as you are using the manual, that you will be referred back to this section for further instruction. STEP 1: Holding the broken horn in front of you, ask the student where the intrument is not playing correctly. STEP 2: Using the Table of Contents, find the Diagram of the broken intrument on the first page of that instrument's Chapter and locate the key or keys you suspect to be out of adjustment. STEP 3: Check the index on the lower portion of the page and tum to the page and paragraph indicated by the index. STEP 4: Ifyou don't find the answer in your chosen paragraph, check the keys that are closest to the ones you have previously selected. STEP 5: If you have exhausted your possibilities in the book, or the book advises it, take the instrument to a qualified repair person as soon as possible.THE BAND DIRECTOR'S GUIDE IO EMERGENCY, INSTRUMENT REPAIR, Robin Amend Illustrations by Paul Amend © 2005 Amend Music CenterOC oOOesebOOOU To 70 7 Doo OODOomooDODoOGCaICA Foreword by the Author The training and time involved in becoming a qualified band instrument repair person is considerable and there is no way a book such as this, or any other, for that matter, can replace that. This book is designed to be short and to the point so that you won't waste time trying to figure things out that you shouldn't be messing with. My motto to you is a simple one. If it is not in this book, don't try it. There is a reason you get paid for being a band director just as there is a reason your band instrument repair technician gets paid to do their job. It all comes down to training, skill and experience. T hope this book will become a useful tool to help you in emergency situations, It has been designed in such a way as to be readily available in times of crisis. It would be helpful for you to read the first few chapters as there is some terminology used throughout the book which will be otherwise unfamiliar to you. At the beginning of each chapter in the repair section of the book you will find a diagram of the instrument to be discussed in the chapter. Along with the diagram is a short index specific to the instrument. There is also a complete index at the back of the book. This book was sent to several music publishers who agreed that it was an extremely useful and entertaining book. Many said that they could not publish it because their contacts in music stores thought it would cut into the store's repair shop revenue. That is not the point of this book. I have found in thirty years in the repair business that there are many simple jobs I do over and over again. I usually do them for free. The point of this book is that you can do these repairs yourself and occasionally you might even save yourself a rushed trip to the shop the day of a concert. And so, as I'm sure you have noticed, this book is self-published. | feel about as confident in self-publishing as you must feel doing emergency repair. Butdon't despair. If | can do this, you can certainly put a trumpet valve back together correctly. But we are in this together. If you have any suggestions or additions, or even find a spelling error, please contact us. We are able to make even small changes very quickly on our next printing. If you have enjoyed the book or have found it useful in certain stressful or humorous situations, please contact us. You can e-mail me at robin@amendmusiccenter.com and I would appreciate anything you might have to say. Thank you for purchasing our book. I hope you find it as useful and entertaining as my non-publishers have. Sincerely, Robin AmendTABLE OF CONTENTS The Long and the Short of It Teeter-Totters and Toilet Seats.. Springs... Clarinets... Saxophones Brass Wind Instruments Piston Valved Instruments Rotary Valves. Trombones Recommended Tools and Contact Information‘ SO O@OO000C 20D Ol Oo oO oO O <2 O Le} Oo O|THE LONG AND THE SHORT OF IT (A)We are going to discuss the physics of music. Before you move to the next chapter without reading this, you must understand two things. If you read and study this section, you will probably never learn anything about either physics or music. There will be no attempt to prove anything that is said in this chapter. It is meant only to help you understand and diagnose problems which may arise when a sixth grade girl brings her clarinet to you fifteen minutes before a concert and says, "I don't know what happened. It was fine when I put it away after band; but when I took it out of my case it wouldn't play below 'G'." (B)One of the things that people who study physics do is attempt to learn how energy travels and how it can be controlled. 'Acoustics' is the branch of physics which studies sound production and will not be mentioned again in this book. The form of energy we will be discussing is the sound wave. (1)(A)Leonardo da Vinci is said to be the first person to come up with the idea that sound travels in waves. There are two things needed to produce sound waves. We will refer to them as the 'generator' and the 'medium'. The nature of the ‘generator’ and the 'medium' will determine the size and intensity of the wave they produce. If you throw an oboe into a pool of water, you will see a series of waves spreading out from the point it first entered the pool. The oboe hitting the water is the 'generator’ and the water itself is the 'medium’. If you were to take the same oboe and give it to a junior high student to play, (preferably before you throw it in the pool) the reed on the oboe would be the ‘generator’ and the air would be the 'medium'. The waves in the air, though invisible, would be similar to those in the pool of water, though much more painful to the listener. (B)Sound waves can travel through many 'mediums', including solids, as anyone sitting outside a studio at a beginning saxophone lesson can tell you; but you must (2)have some type of 'medium', however. If you were planning to become the first trombone player in space, forget about it. Space is a vaccuum; so no matter how loud ty >, you played, no one would ever hear /”/ you because there is no 'medium'. Enough about 'mediums' and trombone players and outer space...although we might consider sending some...Oh never mind, (A)Musicians are people, most of them, who study mathematical physics. Mathematical physics is the study of mathematical systems that stand for physical phenomena. (Look it up!) The mathematical system we study is known as 'musical “> notation’ or 'staff notation’, consisting of a staff and signs called, amazingly enough, notes. The notes on the staff indicate pitch, time value, and expression. For our purposes, we will be discussing only pitch. (3)(A)The system of musical notation we use is said to have started with Pythagoras who lived about 2500 years ago. Pythagoras was a Greek mathematician who associated numbers with many things including colors and virtues. Apparently he lived near a blacksmith shop and spent a lot of time listening to the smithies pound on anvils with their hammers. _ From them he derived the tonal 7 ~~ proportions for the octave, ~~ perfect fifth, perfect fourth, and the whole tone. He believed that music was derived from its relationship to the pure world of the beauty found in mathematics. (B)For hundreds of years singers learned and used these proportions through rote memory. Much of the music that we have from the earliest times has been passed down through the church and was originally very simple. The early church fathers felt that most musical instruments were of the devil. After hearing many of them played, we all know this to be true. Nevertheless, as the instruments (4)became more complex, and the vocal harmonies became more complex, a need arose for a common system of musical notation. Over the years musicians developed the staff and eventually the notation we are familiar with today. (A)Pitch is a relative thing. Perhaps the fact that physicists define pitch as merely the psychological judgement of frequency explains why out-of-tune bands drive band directors crazy. The point is that the reason we refer to pitches as higher or lower is at least partly due to our musical training. We are used to thinking of pitches as symbols placed in relation to a staff. The higher a note is placed on the staff, the 'higher' the pitch. (5)(A)And now you may be asking yourself, "What does all this have to do with fixing the octave key on my saxophone?" The answer is that it is important to know the correlation between the length of the instrument producing the sound wave and the relative pitch of a note, if you are going to be able to amaze your friends, relatives and students with the quickness with which you are able to repair their broken instrument. It will come as no surprise to you that the larger an instrument is, the lower the pitches it is able to play. (B)Rather than thinking of a particular instrument and how it compares to other instruments, I want you to think of each instrument as a series of smaller instruments. Instead of thinking & > of your instrument as a complex mi rT i F 4 { |) | mechanism like a contra-bass u | | : : 7 Lf | clarinet, think of each note as a 1 completely separate instrument (6)like a panpipe. If you want to play a lower pitch ona panpipe, you merely play a longer tube. In the same way, if you want to play a lower pitch on a woodwind instrument, you make it longer by pressing more keys. With a brass instrument you lower the pitch by pushimg down a valve. When all valves are in the 'up' position the air flows straight through the valve cluster into the bell. When you depress a valve it diverts the air flow through a tuning slide which lengthens the instrument. Depress two valves and it lengthens it more. With each lengthening comes a lowering of the pitch. (A)This may seem quite simple to some of you. That's because it is. The whole idea of this book is to make basic and emergency repairs as simple and fast as possible. We are going to be talking about the mechanisms that make each instrument work in more detail as well as the many and various common problems that occur and what you can do about them. Understanding some basic facts common to all instruments is only going to help you figure out what we're talking about later. Most of the principles (7)discussed in this book will necessarily be generalisations. They are not meant to solve every problem. Many times you will have to take the instrument to a repair shop; but it has been my experience that if you use these generalised principles, you may be able to identify and perhaps solve the problem on your own. The solutions mentioned in this book are meant to be stop-gap repairs to get you through emergency situations. We always suggest that you take the instrument to a qualified repair person to have it checked out.TEETER-TOTTERS AND TOLET SEATS (A)Woodwind instruments are all alike. They are basically long tubes with a lot of holes in them. The pitch is lowered by lengthening the instrument. The instrument is lengthened by covering more holes with your fingers. When woodwind instruments were first made, all they had were holes. As all music educators know, one of the most important jobs of junior high band directors is to improve the instrumentation of their bands. It is absolutely imperative that they add more bass to their groups. The distances between the finger holes on primitive bass woodwind intruments made it impossible to find junior high students with long enough fingers to cover the (9)baritone sax parts in the primitive jazz bands. Luckily for musicians everywhere, keys were discovered. (A)The first keys were designed very much like teeter-totters. Originally, there were two types of key mechanisms. Single teeter i j i totters were used mostly to add sharps and flats. They were shaped much like a flat spoon. The large, flat end was covered with leather and bent to cover the tone hole as best it could. A spring on the opposite side of the fulcrum (the raised part that the teeter-totter pivots on) forced the flat end down to cover the hole. The key was raised from the hole by pushing down the thin end of the spoon, raisng the pitch. Single teeter-totters are almost always in the closed position until depressed. Primitive instruments also had double teeter-totters. The keys were in line with each other. The upper key had springs that held the end that was to be depressed up while the lower key's spring held up the end (10)that would close the tone hole. When you depressed the upper key it lifted the upper end of the lower key covering the tone hole. These mechanisms were used mostly on the bottom half of the instruments to reach the lower notes which could not be reached by fingers. You see them very rarely these days. I guess they don't make them like they used to. (A)The bodies of primitive woodwind instruments were manufactured with a lathe. In order to mount the teeter-totter keys to the bodies the builders left cut rings on the bodies which were about 1/4 of an inch wide and 1/4 of an inch tall. They cut a notch into the raised ring in line with a tone hole and parallel to the body. They cut off most of the ring, leaving only small sections on either side of the notch. A hole was drilled through these raised sections and through the key. A rod was inserted to form the fulcrum of the teeter-totter. If you think it is difficult and time consuming to explain this process, building it was far worse. But it was the best they could do until the discovery of key posts. Posts could be installed anywhere qd)on the body of the instrument and allowed for a much greater variety of tone hole placement as well as types of keys. This discovery brought with it a fierce competition to build instruments with fingering mechanisms that would allow musicians to play the complete chromatic scale more easily, more in tune, and with many alternate fingerings. (A)The toilet seat key would have never existed had posts not come along. I call them toilet seat keys because they are hinged at the back like toilet seats and they come down to either encircle = a tone hole with a ring or totally . i cover a tone hole with a pad cup. They have a hinge tube running between the two posts and are connected to the posts either by two tiny pivot screws with nubs protruding from the posts or a hinge rod. A hinge rod is a long steel rod running between the two posts. One end is slotted to be turned with a screw driver while the other end has threads which will hopefully match the threads in (12)in the opposite post. Toilet seat keys have a leg coming off the hinge tube in the direction away from the tone hole which, when it has the proper cork, is supposed to hold the ring or pad cup the correct distance above the tone hole. (A)Toilet seat keys almost always have springs to hold them off the tone hole so they don't have to be lifted to be used. Teeter-totter keys have flat springs that are screwed directly into the keys. Teeter-totter Key Toilet seat key springs — Spring are usually attached to Ts Post one of the posts the key perew Spee is hinged on. A tiny Nub- I needle spring is forced Spring Toilet Seat Key through a tiny hole in the post and connected to the toilet seat by a nub on the key's hinge tube. The spring can be tightened by pulling it with a spring hook. The toilet seat spring should almost always be bent in the direction that will hold the key open. (13)PADS (A)The pad is an integral part of virtually all modern woodwind instruments. On a clarinet the pad is a small Cutaway View round piece of cardboard with a popes slightly larger felt disc on top of Felt_(——— it. The felt and cardboard are Cardboard covered with a thin piece of parchment paper which holds them all together. Pads are glued into the key cup section of the key with a special kind of glue stick. When the glue is heated, it becomes soft and will stick to the pad. When it cools, it hardens to hold the pad into the key cup. This type of glue is used because it allows the repair person to reheat the pad cup to adjust the angle of the pad within the cup. In this way you can make tiny adjustments to the angle of the pad, allowing you to 'seat' the pad to the tone hole without bending the key. (B)When you check clarinet pads there are several things to look for. The most obvious thing to check for is a missing pad. A missing pad effectively causes the (14)instrument to stop playing any note below the tone hole that the pad should be covering. When you look at a pad that has been on the clarinet for a long time you will see a circular indentation where it has been pressed against the tone hole. The indentation is referred to as the seat. When the outer skin of the pad becomes torn across the seat, air will leak through the tear and cause problems. As the small tears increase in number, so will the size of your problem with the leaking instrument. Torn pads, especially when they are torn across the seat, should be replaced for the instrument to work properly. It is sometimes hard to tell, but a pad can come out of line with the tone hole and cause leaks. This can be because a pad has come loose or a key has been bent. It is particularly hard to see when the leak is in the back section of the pad. A repair person will use a ‘feeler guage' to find these leaks. The leaks do not have to be too large to cause major problems. (A)If an instrument has been stored for a long period of time it is quite common to find that it has been infested by ‘pad-worms'. 'Pad-worms' are carpet beetles that have a (15)particular affinity for clarinet pads. You find them sometimes in flutes but I have never seen them in saxophones. You aan tell when your y attacked by carpet they leave on the fl actually look like bites instrument has been ( beetles by the marks pads. They can taken out of the side of the pad. They will also eat just the center of the pad within the seat, which is a little harder to see. I have seen them make a tiny hole in the pad skin and eat only the felt beneath. 'Pad worms' will not hurt the rest of the instrument. They touch neither the wood or the corks. They just like pads. If an instrument has been sitting a long time, an easy way to tell if it has been infested with ‘pad worms' is to look in the case. They will shed their skins and leave tiny, dry husks throughout the case. Any pad that has even the smallest evidence of pad worms should be replaced. In thirty years of repairing instruments I have seen thousands of husks and only one live 'pad worm’. (A)Flute pads are made just like clarinet pads. The pads on (16)the 'B' key and the two trill keys are installed just like clarinet pads and look very similar. The other pads, however, are quite different. They have the same basic elements and covering but they are larger and have a hole in the middle. Installing a flute pad is more complicated than a clarinet pad. Rather than being glued in, flute pads are held in with a screw and washer. A threaded receiver is soldered into the key cup and a screw is inserted through the hole in the pad with a washer holding the pad into the cup. When the screw is tightened it leaves wrinkles in the skin of the pad. The wrinkles are ironed out with a heated ‘pad slick' and the keys are mounted back onto the flute. The key cups and pads are then leveled to match the tone hole. The pads are sprayed with water and clamped shut to form a good seat into the pad. (A)Checking for problems in flute pads is basically the same as clarinet pads. You will be looking for tears across the seat of the pads as well as missing pads. Many people confuse the lever that depresses the 'B' key for a key cup. A pad is never necessary when there is not a tone hole to (17)be covered. It is more common for flute pads to leak because keys or posts become bent. This makes it more difficult to repair than just adjusting a pad on a clarinet. "Pad worms' are less common in flutes but you do see them occasionally. (A)One thing that you find on flutes more often than other instruments is sticking pads. I don't mean that the key is stuck and will not move. They usually are working just fine, but the pads make a sticking noise because the skin is sticking to the tone hole. This happens because there has been some moisture on the pad and the seat gets sticky. It is fairly common for this to happen after a new pad has been installed and seated. In worst cases it is caused by crud on the pad. The best way to solve this problem is to slide a piece of paper, a dollar bill works best, between the pad and the tone hole. Depress the key until there is light pressure against the paper and pull the paper out, cleaning the seat. You might have to do this several times. One of the most common places to have this problem is on the 'G#' key of saxophones. This pad seems to catch a lot of (18)moisture because it is held shut by its spring. (A)Saxophone pads are built along the same lines as flute and clarinet pads with a few changes. The skin on a saxophone is a soft leather and the larger pads usually have a rivet in the center. Many professional model saxes have resonators attached to the pad. The resonators can be either metal or plastic. (B)Sax pads, like the other pads, can be torn or missing, but I have never seen one that had been eaten by 'pad worms’. They can also be knocked out of adjustment by having either their posts or keys bent. Saxophone pads do get gross from having saliva (spit) collect on them more than other instruments. When they get bad enough you just have to replace them. (19)KEY CORKS (A)Key corks are found on the backs of nearly all keys, normally on the key legs. Key corks soften the sound of the keys striking the body of the instrument. They also allow you to take the free-play out of adjustments. In most cases the key corks will not cause the instrument to play incorrectly. The instruments may make a lot of noise but they'll usually play the right notes. Felts and shrink-tube bumpers are used in place of corks in some instances. Corks, felts, and bumpers make the most difference in adjustments and playability on saxophones. (20)SPRINGS (A)There are only two types of springs you are likely to run into. Flat springs are normally found on teeter-totter keys and hold the pad closed. Flat springs are a thin piece of hardened steel that is curved to provide tension. They have a small hole on one end for a tiny screw to fit through. The screw mounts the spring to the key. In general it is best not to try to replace them yourself but there are a couple things you can check to be sure they are working correctly. Sometimes the screw that holds the spring to the key backs itself out a little. This causes the spring's tension to be lost. The key does not close properly and sometimes just hangs limp. If this is indeed the problem simply tighten the screw and the tension will be restored. Another thing that can happen is that the spring can bind up where it meets the body of the instrument. If you think this is happening, put a couple drops of key oil under the spring where it meets the body. If this doesn't free the key up, you probably have more severe problems (21)that will require a repair shop. (A)Toilet seat keys usually have needle springs which are mounted through tiny holes in the posts that hold the keys to the body of the instrument. Needle springs generally hold keys open. If a needle spring breaks, save yourself a major headache and have a repair technician fix it. It can really be a pain to remove the nub of the broken spring from the post. If the spring is still there and the key is not performing properly, there are several things you can try. The most common malady is that the spring simply comes off the nub that is holding it to the key. Using a spring hook you should be able to reconnect the spring to the nub. Sometimes the spring will get bent in the wrong direction or will not have enough tension to open the key correctly. If this is the case, use the spring hook to pull and bend the spring in the direction the key is supposed to open. Then hook it back up. But I'm warning you! Some springs are very hard to get to; and if you pull them too hard or if the spring is very old, you can break them clean off. (22)LOWER JOINT Side Keys ~~ Tenon Corks Clarinet General: 24A Ab Key: 27B C# Key: 32A E Key: 30A Eb Key: 31A F Key Upper Joint: 294 G Key: 29A Bridge Key: 31A UPPER JOINT oe Ab Key CLARINET MOUTHPIECE /, Key BARREL Ligature 7® | Eb Key ss Ire FT A / ES BELL__7— J \) Lower Joint: 27B, 32B Mouthpiece: 24B Pads: 14A, 14B Skipping Octaves: 27B, 284 Springs: 21A, 22A Sticking Keys: 30A Tenon Corks: 26A, 28A Upper Joint: 26A, 28A (23)CLARINETS (A)Those of you who play or understand clarinets know that every clarinet plays, fingerings-wise, in two keys. For simplicity's sake we will speak of specific keys for repair referring to their name in the lower register. In other words, we will name the keys from low 'E' through second space ‘A’. Using the 'panpipe' theory of repair, we will start at the 'shortest' and work our way to the 'longest' note. (B)The sound generator on the clarinet is the mouthpiece and reed. Many times if the instrument will not play at all, or if you get a strange sound that goes throughout the instrument, this is where you will find the problem. The first step is to check the reed. Reeds can be split or chipped, causing disruptions in the airflow and usually squeaking. These reeds simply need to be replaced. If the sound is being squeezed off, the reed could either be very old or too soft for the student. If the reed is too strong, the sound could come out 'breathy’; or, if the student is trying to play through a reed that is too strong for them, it can (24)come out ‘honky’. (There are many theories about choosing reed strengths. It is popular now to start students on stronger reeds. I have seen directors begin them as high as #3. The theory is that the student will be forced to put more air through the horn, get a bigger sound to start with and eventually get used to the reed. My theory is to begin on a softer reed, get a more controlled sound and move to a stronger reed as your lip becomes stronger through practice. I don't think either theory is wrong and I always tell customers to follow the advice of their instructors.) Anyway, let's get back to sound generation. If the problem does not appear to be the reed, check the mouthpiece. Even the smallest chip or crack in the mouthpiece will cause the instrument to play incorrectly. Unfortunately, there is no way to repair broken mouthpieces. They simply need to be replaced. Ifthe mouthpiece and the reed are fine, there can be an embouchre problem. If there has been a sudden change in the way the instrument is playing, I always ask the student if they have recently been fitted for braces or if their (25)braces have just been tightened. Even the slightest changes in the student's mouth can cause problems. These problems will work themselves out in time with practice (The 'P’ word.) (A)The first thing I do when checking a clarinet for leaks is to take all the joints apart. I always begin with the upper joint. The upper joint is the joint that connects to the barrel which, in turn, connects to the mouthpiece. Most of the keys on the upper joint are teeter-totter keys and should be sprung closed. The three keys that should be held open are all toilet seat keys and have rings on them. If all the keys are working properly, cover all the tone holes with the fingers of your left hand as if you were actually playing the clarinet. Cover the hole at the end of the joint with your right index finger. The joint / should be sealed. Blow into the upper end of the joint, making sure to seal your lips against the tenon. If there are any leaks you should be able to hear the air leaking out. I check the upper joint first because any air (26)leaks in the upper joint will affect more of the instrument than the lower. (A)On the lower joint the 'F' and 'E' keys, as well as the ring key, should be open. The 'B', 'Ab', and 'F#' keys should be closed. You should be able to compression-test it by using your right hand. Cover the three tone holes circled by the multiple toilet seat key and the low 'E' lever. Hold your left palm over the the tenon cork end of the joint and blow on the opposite end. Be sure to seal your lips against the opening and don't squeeze the keys too hard. (No white-knuckling.) This is the quickest way to check for general leaks and will help you get started looking for more specific problems. (B)If the clarinet will only play in the upper octave, it probably has a leak near the top of the upper joint. The first place to check is the 'Ab' key. You will see that the "Ab' crosses over the 'A' key. All modern brands have an adjustment screw on the 'Ab' key. Many times kids will tighten this screw. They think they are helping to make sure none of the screws fall out. What they have done is (27)tighten the adjustment screw against the 'A' key lifting the ‘Ab! key off the tone hole. This, of course, makes a huge leak as bad as creating a giant open octave key. (A)If it is not the 'Ab! adjustment screw, check all the pads on the upper end of the joint. (See checking pads and springs.) Remember, the leak is probably near the octave key so check the octave key next. Hold the upper joint so that it is right side up in front of you. You will see two toilet seat keys that have rings over them. They should be open. Check the four teeter-totter keys to the left of the ring keys. They should all be closed. It is very common that these side keys will get bent and bind against each other, forcing one or more of the keys to remain open. If you use duck-billed pliers carefully, you should be able to straighten these keys so that each will be able to move independently. Another thing to check is the small channel that holds the upper teeter-totter keys straight. (Not all clarinets have these.) This channel can be bumped, causing it to bind against one or both of the keys passing through it. This could keep them from both opening or (28)closing properly. If the keys are all moving independently and one will still not close, it is probably a more serious problem like a broken spring or a corroded hinge rod and should be taken to a repair shop. Spring replacement can be very tricky and should not be attempted at home. (A)Using the law of ‘longer and shorter’, always check the keys that play the notes where the problem seems to be. If the student says that 'G' will not play or is playing funny, check the 'F# key. Since the fingering for 'G' is open’ it is effected most by the toilet seat keys which should be held open. Because the 'Ab' and 'A' keys are so close to the top of the clarinet, it is more likely that they would cause the instrument to skip octaves as mentioned previously. The 'F#' will normally only effect the note 'G' by remaining shut. In other words, you will finger open 'G' but the inadvertently shut 'F#' will cause a 'pseudo F#' to come out. Check the needle spring connected to the 'F#' and be sure that it is not broken or needs to be hooked up. One other thing. The 'F#' can also be held down by the thumb 'F' key. See if the thumb key is moving freely. If it is sticking (29)back the hinge rod out a little and put a drop of oil at each end of the key where it meets the posts and screw the rod back in. If you cannot back the hinge rod out, take it to a repair shop. If the key is moving freely and still binding against the 'F#' key, here's what you do. There should be a thin cork on one of the legs between the two keys. This cork can dry up and cause the two keys to bind. Puta little cork grease on the end of your screwdriver. Holding down the 'F#' key with one hand, slide the screw driver between the keys applying the cork grease to the dry cork. The grease should keep the cork from binding. (A)If the 'E' is playing funny, check the 'D' toilet seat key. It should be in the up position. If it is not, check the spring. If the spring is fine and the 'D' key is stuck down, it is probably being held too tightly between the screws going through the posts at either end of the key. The top screw is an extension from the hinge rod coming all the way through the 'F#' key. The bottom screw is a pivot screw extending through the post at the bottom of the joint. The tips of both of these screws are tapered. Using (30)your screw driver, you can back these screws out by turning the screws counter-clockwise just a little or until the key moves freely. If you have a Bundy clarinet, the screws are not tapered. Ifthe nubs become bent you can free up the key by tapping lightly on the two end points near the posts with a rawhide mallet. You need to keep an eye on the pivot screws at the bottom of the joints. This screw backs itself out and gets lost more than any screw on the clarinet. (A)As you can imagine, one of the most vulnerable areas for inadvertent abuse on a clarinet is where the two major joints come together. You not only have the bridge keys but additional keys extending from both joints over the other joint. Ifa student is not paying attention (imagine that) while they are putting it together, these keys can easily get bent. The two most vulnerable keys seem to be the side 'Eb' key and, of course, the bridge key. You can straighten the 'Eb' key with your duck-bill pliers as explained previously but be very careful bending keys. Move them the smallest amount possible. They can and GB)will break. If the bridge key is bent down too far nothing below 'C’ will play correctly. If it has been bent up, the only note affected will be the 'one and one Eb’. The upper bridge key is usually the key that gets bent and needs to be adjusted. When the bridge is properly adjusted you should be able to hold both keys down lightly. The lower 'Bb' should be closing completely and you should be able to barely feel pressure across the bridge on the upper 'D' key. If you can get this far it is very close to proper adjustment. (A)Once in a while the 'C#' key will also get bent. It gets pushed sideways off the tone hole. If you can move it until it is pretty centered on the tone hole it should be OK until you can get it to a repair shop. If this happens, the clarinet will not play 'C' or below. Remember, we are using the lower register designations. (B)There are far fewer things that can go wrong with the lower joint. Most of the problems occur due to missing pads or broken springs. These problems generally require a repair shop to be handled correctly. If you have a problem affecting a specific note or notes, go to that area (32)and check the springs. The side 'Bb’, 'Ab' and 'F#' should all be closed while the ring keys, 'F' and 'E' should be open (See checking springs.) The pads on the lower joint are larger which makes it easier to find the tears and holes. (A)A common problem with ring keys is that the straight rod that holds the rings together and connects them to the posts gets bent. This is fairly easily straightened by placing your screwdriver under the most bent part and using the side 'Bb' key as a fulcrum. If you push down slightly on the 'Bb' key you can straighten the ring key without bending the side key. (B)There are really only two other repairs you should attempt on your own and they both involve the 'F' key. When you look at the 'F' key from the top you can readily see that it is a toilet seat key with a lever and a pad cup. The spring should be holding the key open. Under the lever section of the key you will notice an interesting extension. This extension is referred to as the 'crow's foot’. The 'crow's foot' is designed to enable the levers on the low 'E' and 'F#' keys to individually depress the 'F' pad cup (33)as well as their own pad cups. As you are holding the joint in front of you, you will see three keys on the upper right side. These keys allow for alternate fingerings for 'F', 'G#' and'E’. The long thin key beneath the other two is the alternate 'F' key. It is held between two posts by pivot screws. If these screws are tightened too far, they will bind and can cause the 'F' key to stay closed. You can usually remedy this by simply backing the two screws out just a little. (A)The last clarinet repair we will mention also regards the 'F' key but affects the 'E' note. When 'E' is not playing at all or playing 'fuzzy', the cause can be the 'F' key. It is common for the 'F' to be bent so that it will not seat completely when the 'E' key is depressed. To fix this put your thumb beneath the 'crow's foot! of the 'F' key. While holding the 'crow’s foot’ up with your thumb, slightly push the 'F' pad cup down until the 'F' key and the 'E' key close simultaneously. (B)This is probably as good a time as any to mention tenon corks. Tenon corks are strips of cork wrapped around the (34)narrow ends of the joints. They are designed to fit inside the larger ends of the other joints so that the clarinet will be held together tightly. Luckily a clarinet will only go together one way. After much use or too little cork grease these corks can shrink or get torn off. I do not suggest that you try to replace them yourself. If you are having trouble holding the instrument together I suggest you wrap paper or masking tape around the loose tenon. I have seen people try to expand the cork by heating it. I don't think this is a good idea because the chance to damage the body of the instrument is too great. 5)FLUTE MAIN BODY HEAD JOINT = roorsomr Crow CORK Eb Key A © e Wy eee CHK Ae ieee A Key Embouchre cKeyy | a7 G# Key Plate - ONG Key N\ ~~ F# Key —[~F Key r NE Key Np Key General: 37A Head Cork: 38A B Key: 17A Mechanism: 37B C Key: 44A Pads: 16A, 17A, 18A, 43B G# Key: 18A Rod: 39A Trill Keys: 42B Screws: 40A, 41A. Embouchre Plate: 38A Springs: 21A, 22A, 42A, 43A Foot Joint: 444 Trill Keys: 42B (36)FLUTES (A)The first thing you will notice when you look at a flute is that the great majority of keys are toilet seat keys. The 'Gi#!' key, the 'Eb' key and the trill keys are all technically teeter-totter keys and should be sprung shut. The thumb key is fairly rare among modern band instruments in that it is a teeter-totter key but is sprung open. You will see that the 'G' key is a double toilet seater with two pad cups on one hinge. All the rest of the keys are toilet seats and, rather than being on individual hinges, are all on long hinge rods. Each of the pad cups moves independently but is hinged on a rod with other keys. (B)On the main body you will notice that, even though the keys move independently, they are connected in a way that allows them to work in tandem. The four keys on the bottom of the main joint all have the same hinge rod running through them but only the top key, the 'F#' key, is actually connected to the rod. The other keys move freely on the rod. All three keys, though, have the ability to (37)depress the 'F#' key when they are depressed. (It's pretty depressing.) This happens due to nubs which are connected to the hinge rod, which connects them to the 'F#' key. The three lower keys have adjustment screw mechanisms which are mounted over the nubs. By tightening and loosening the adjustment screws you change the relationship of the heights of the pad cups allowing them to seat on the tone holes at precisely the same time. In this way the 'F#' key can be depressed individually or by any of the other three keys. You will find the same mechanism used on the two larger pad cups on the top of the main body. (A)The sound generator on the flute is the embouchre plate on the head joint. The vibrations are started by blowing over the hole in the lip-plate. The head joint works because it is sealed on one end by a cork assembly. The cork itself is a solid cylinder with a small hole running the length of it. A threaded rod runs through the hole in the cork. The threaded rod is connected to a round plate slightly smaller than the diameter of the head joint. (38)Another round plate is drilled and tapped to fit the threaded rod and is screwed down tightly against the cork, holding it in place. The entire assembly is pushed into the large end of the head joint. It should fit very tightly. If it fits loosely, air will leak around it and the flute will not play correctly. To make the cork fit tightly in an emergency I have seen three things done. What I would do is try to tighten the threaded plate with a pair of pliers to compress the cork. Be careful because sometimes the threads of the rod do not go all the way to the bottom plate and if you reef on the top plate, you can break the rod. The other two things I have seen done but have never done myself. You can heat the cork with a match, causing it to expand or you can put some masking tape around the cork. Whichever of these three things you try, you should get the flute to a repair shop to have the cork replaced as soon as possible. (A)You may be wondering how far to push the cork in. The head cork is critical in setting the tuning for the entire flute. Every flute comes with a tuning/cleaning rod. It is a (39)long narrow rod with an opening at one end like a large sewing needle. You are supposed to insert a small piece of absorbant material through the opening so the rod can be used to swab out the inside of the flute. On the other end of the rod you should find some kind of a mark or indentation going around the rod about 3/4 of an inch from the end. You will use this end to push the head cork into the head joint. The cork will be pushed beyond the hole in the lip plate until this mark is right in the middle of the hole for the flute to be in tune. (A)The most common problems with flutes, that can be taken care of by a non-repair person, have to do with screws. There are two types of screws on most flutes; pivot screws and adjustment screws. There is a general rule that all band directors should follow regarding screws. Only attempt to adjust the screws which are parallel to the body going through posts. Do not attempt to adjust the screws that can be reached on top or behind the keys. It takes a lot of experience to get the hang of these adjustment screws. You wouldn't believe how many times I have had to do a (40)complete adjustment on a flute that had been previously ‘adjusted' by a director and probably just needed to have the pivot screws adjusted. (A)It seems like flutes are more prone to having screws back out than the other wind instruments. When screws back out, it affects the adjustment of the keys. The first thing I do, when diagnosing a flute repair, is check the pivot screws and hinge rods. The hinge rod that holds the 'B' key to the posts on the upper part of the body has a nub extending out of the post beyond the threads that holds the hinge rod to the post. The nub holds the upper end of the rod connecting the keys just below the post. The slotted end of the hinge rod is at the post on the upper end of the 'B' key. If the keys below this post can wiggle when you place your finger on it or has come completely loose, the hinge rod has backed itself out. To bring it into proper adjustment, turn the screw clockwise until the lower key binds up. Slowly back the hinge rod out. As soon as the key springs up freely, stop turning. You can repeat this process if the lower stack of keys has loosened from the (4)post at the bottom of the joint. Repeat the process by tightening the pivot screw in the post. When you have tightened too far, the 'F#' pad cup at the top of the lower stack will bind up. This same process will work for the two pivot screws holding the trill keys. The top trill key will be the cup that binds. (A)Every key on the flute has a needle spring to activate it except the thumb key. Because of this, one of the most common emergency repairs is reconnecting and tightening springs. Before you begin messing with the springs, you might want to review the section dealing with them. (B)The keys that can cause the greatest disruptions on the flute are the trill keys. If one of the trill keys is not seating, none of the instrument will play correctly. If one of the springs becomes disconnected, not closing the key at all, the flute will only make a sad, howling noise. On many modern flutes, the springs for both trill keys are at the top of the flute, adjacent to where the pads seat against the tone holes. These springs should be holding the keys closed. On many older flutes, and some modern ones, the (42)spring holding the lower key closed is by the tone holes, but the spring for the upper trill key is down by the curved levers that you depress to open the pad cups. When you are looking at the back side of these keys you can see where the spring is supposed to connect to the key and, hopefully, you can see the spring that has become disconnected. In order for this spring to work correctly you will need to push the spring in against the legs of the lower stack of keys. To get the proper tension on the spring, many times you will need to take the lower stack off. If you choose to accept this mission, be sure to get all the springs reconnected on the stack too. (A)As you are beginning to check the springs on the rest of the instrument be sure to ask the student on which note or notes they are having the problem or below which note they cannot play. This way, using the theory of ‘long and short', you will know where to look for the disconnected spring. (B)Don't get in over your head. Flute pads are hard to replace and the mechanisms take time to learn to adjust. (43)Stick to the head cork, springs and pivot screws. That should be enough to keep you busy anyway. (A)After all that the foot joint should be easy for you. On student models there are only three keys. The 'Eb' key should be sprung closed. The 'C' and 'C#' should be open. The most common adjustment that needs to be made on the foot joint involves the 'C' and 'C#' keys. In order for the flute to play low 'C’, the 'C#' needs to close simultaneously. If the 'C#' is not closing, simply hold your thumb under the lever on the 'C# key. Gently push down the pad cup until it closes at the same time as the 'C' key. (B)If you want to try piccolos, God help you. You will find piccolos basically the same as flutes. The adjustments are far more tricky than flutes so don't be surprised if you can't do much with them. (44)SAXOPHONE G# Key : : B Ke 7 Octave Key Right Pal ey Cork F# Key Keys A key ‘or! 7 ‘ Ut 4 < Left GOOSENECK Kw a 4.” Palm Keys Ligature Oy ae 4 G Key / Eb Key Ue A Key MOUTHPIECE ———B Key ee oS) 7 Key Guards ——~ C# Key General: 46A, 52A A/Bb Key: 63A Bb Key (One and one):63B C Key Upper Stack: 624 C Key: 55B Eb Key: 55B Alternate F Key: 55B G# Key: 57A, 59A Bell Keys: 59B Gooseneck Cork: 47A Lower Stack: 64A Mouthpiece: 47A. Octave Mechanism: 47B - 51A Pads: 19A, 19B Palm Keys: 52B, 53A Stacks, General: 60A Upper Stack: 61A (45)SAXOPHONES (A)The first thing you notice when you compare saxophones to the other woodwind instruments is that it is far more complicated, mechanically speaking. Don't be overwhelmed. When you break the sax down into its individual notes, you will find that there are many emergency repairs that are within your grasp. You will also find that there are many problems you won't want to try to tackle. You probably already know that all saxophones are fingered the same when a note is played from the music. That is, when you read low register 'E' on the music, there is only one fingering for it regardless of the sax you are playing. The note that actually comes out of the instrument can be different depending on the particular sax you are playing but that has to do with the 'key' the horn is played in. We won't go into that too much. Suffice it to say, typically, soprano and tenor saxes are written in the key of 'Bb' and alto and baritone saxes are in the key of 'Eb'. It gets more complicated than that (46)but those are the four saxophones you will most often see. For the sake of simplicity and uniformity we will refer to the keys by the notes that are fingered so that you can find the problems on any of the saxes. (A)The sound generator on the sax is a reed vibrating against a mouthpiece. A lot of information on reeds and mouthpieces is already given in the CLARINET section so I won't bore you with it a second time. Saxophones generally require a looser embouchre and you can usually use a reed about 1/2 strength stronger than you use on clarinets. The biggest difference you will see on the mouthpiece is that it fits over the cork on the gooseneck rather than inside a barrel like a clarinet. Many new sax players will play sharp and you will want to pull the mouthpiece out further on the gooseneck cork. If the mouthpiece will not fit tightly on the gooseneck cork, I do not suggest replacing the cork yourself. I suggest wrapping paper around the gooseneck to tighten the fit which will allow you to pull the mouthpiece out further. (B)The octave mechanism on all alto, tenor and many bari (47)saxophones consists of two parts. There is one key on the gooseneck that is a teeter-totter key and should be closed when not in use. This key interacts with a key mechanism on the body. The portion of the mechanism on the body differs depending on the brand of sax. It always consists of a group of keys working together and can be somewhat complicated. Older models are more complicated to work on and have several keys, all mounted to the body individually. The keys have springs that work against each other to activate the mechanism. The mechanism on newer saxes always involves some type of rocker system with at least one of the keys that moves freely when the spring tension is off. There is always a lever which is activated by your left thumb and should be near, but not binding against, athumb rest. ( This thumb rest is not like the one for your right hand which is designed to steady and even hold the sax. It is higher on the horn, is often circular, and many times has a plastic cap.) (A)If I were you, I would not mess with the springs on the older, many-keyed octave mechanisms. But there are (48)several things you should be able to check on the newer ones. The gooseneck octave key has a flat spring and rarely causes problems in the mechanism. There are usually just two springs to check on the body. One holds the lever that activates the octave mechanism open and the other (which may seem unrelated to the octave mechanism) holds the 'G' key open on the upper stack of the horn. (A)Octave mechanisms have two pad cups which open at opposing times depending on the notes being played. One cup is a small nipple on the gooseneck and the other is a small nipple on the body which is closed by the key cup portion of the lower mechanism. There is only one adjustment that I would suggest trying, but it is a problem that occurs frequently and affects the playing of the entire horn. This adjustment would be made to the octave key on the gooseneck. The bridge between the the upper key and the lower mechanism is one that is easily and often bent, causing either the upper or lower pad cup to not close when it is supposed to. Properly adjusting the upper key will affect both of these pads. The octave mechanism is (49)supposed to change between the lower and upper pad cup when the fingering changes from 'G' to 'A' in the upper register. In other words, when you are fingering 'G' with the octave key depressed, the lower pad cup should be open and the key on the gooseneck should be closed. When you are fingering 'A' with the octave key depressed, the key on the body should be closed and the key on the gooseneck should be open. So, if you are holding down the octave key and switching from 'G’ to 'A' the mechanism should move smoothly between the two octave keys. When the octave key lever has not been depressed, both cups should be closed completely. (A)If the octave lever has not been depressed and the gooseneck octave key is open, the sax will not be able to play in the lower register at all. You can adjust this. The gooseneck key is a teeter-totter key but it is a little different from any other teeter-totter key you may have seen. The pad cup end of the key looks like most other teeter-totters but the opposite end is very different. On most saxes the end opposite the pad cup loops around the (50)tube of the gooseneck. The loop is designed to work together with the mechanism on the body to activate the two octave pad cups. If the gooseneck key has been bent, it can be held open by the shaft extending from the octave key on the body. Put your thumb between the loop of the key and the gooseneck tube. While keeping pressure on the key, push the pad cup end of the gooseneck key down so that it will close sooner. If the key will not open when you play 'A' while depressing the octave lever, you probably have bent it a little too far. Hold your thumb under the pad cup and push the loop slightly toward the gooseneck tube. You do not have to push too hard in either direction. You should be able to adjust this key until the two pad cups are opening and closing at the appropriate times. (A)The gooseneck octave keys on some professional and older saxophones are designed completely different but work with the same basic mechanism. | would not suggest trying to adjust them yourself. Bari sax mechanisms can also be very complicated. Even checking the springs can (51)be confusing because there are many spring tensions working against each other; and knowing which spring has which tension in which direction.....you get the picture. (A)When I adjust a saxophone, I do it in a particular order. For emergency repair, start, of course, by using the ‘long and short’ method to find the problem area. If you cannot find the problem quickly, it may be helpful for you to follow the order I use. I will clue you in to the most common adjustments you will need to make as we go along and learning these can help you as you are looking for the required emergency repairs. (B)Always begin by checking the keys that are supposed to be closed all the time. These are most commonly teeter-totter keys, but many of them are operated in conjunction with another key. If an instrument will not play below a certain note, most of the time it is because a key that is supposed to be closed is staying open. I begin by checking the three palm keys operated by the left hand. See if any of these are staying open. If they are staying open it is probably one or more of three possibilities. The (52)hinge rod could be corroded, the spring could be missing, or the spring could just be sticking. The only one of these I would try to fix, if I were you, is the last. Sometimes, because of the moisture around these keys, the flat springs connected to the keys can get rusty. If the spring becomes rusty where it meets the body of the instrument it can bind up, not allowing the key to close. Usually you can put a little drop of oil on the point where the two meet and it will free up the key. Sometimes it is bad enough that you might need to file the rust from the spring and then oil it. Eventually the rust will cause the spring to break and it will need to be replaced. All three of these palm keys are mounted to the body with hinge rods. Friction, caused by using the keys, can cause the hinge rods to back themselves out of the threaded post. When the threads get backed out of the post entirely, the tension from the spring will make the key go cattywampus (Don't ask; it's a technical term.) and not cover the tone hole correctly. Make sure each of the hinge rods are screwed securely into the posts. (A)Next I check the right hand palm keys. Like the left (53)hand palm keys, these three keys should all be closed. Unlike the other keys, the right hand palm keys are not all straight forward teeter-totter keys. The high 'F' key is technically a teeter-totter but it has a long rod running about half the length of the instrument. It has a needle spring to check pulled through one of the posts it is mounted to. Some models have added an additional post somewhere along the the length of the key and the spring can be connected to that post. There is another problem to check that is somewhat unique to the high 'F' key. The upper post that connects the key to the body is in a very vulnerable location. Because it sticks out so far, it can easily be bumped, knocking the pad cup off its seat on the tone hole. If you think this might have happened, check how the pad is seating on the tone hole. If there is a major leak on the side nearest the post, tap the post gently with a plastic mallet in the direction away from the tone hole. If the leak seems to be on the side away from the post, tap the post toward the tone hole. Tap lightly in either case, as you can knock the post off the body, requiring it to be (54)soldered back on. (A)The other two right hand palm keys are different. Many times, they appear to be standard teeter-totter keys. If you look closely, however, you will see that they are activated by levers that are connected to posts by pivot screws. The levers are tucked in beneath the long rod which is part of the high 'F' key. Sometimes the levers can be mounted with hinge rods but they always work the same. They have needle springs that hold them in the 'up' position. The levers are attached to the tail end of the keys that seat over the tone holes. The springs holding the levers up force the pad cups of the keys down. It is common for these springs to become disconnected, not allowing the keys to close properly. Sometimes, on older models, you will find a flat spring mounted to the pad cup keys like typical teeter-totter keys. If this is the case, use the same process you used with the left hand palm keys to adjust the springs and hinge rods. (B)As you continue to work your way down the instrument, the next two keys that should be staying closed are the (55)alternate 'F' key and the 'Eb' key. On older models the alternate 'F' can be a standard teeter-totter key with a flat spring attached and should be handled the same way as the other keys of this type. On newer instruments the key usually has a long rod suspended between two posts that are parallel to the body. It can have either a hinge rod running through it or two pivot screws at each end. This type would have a needle spring holding it closed. The pad cup is normally on the upper end of the key and the lever to operate it is on the lower. The spring is the only adjustment I would suggest making. The 'Eb' key is similar to the alternate 'F' but can have a slight difference. Many times the 'Eb' and low 'C' keys turn on the same hinge rod between the same two posts. If you are going to reconnect or adjust the 'Eb' spring, make sure you are working on the correct key. The 'Eb' key should be held closed and the 'C' key should be held open. Although we have been checking the keys that are supposed to remain closed while not in use, I check the 'C' key next because we are right there anyway and ready to move back up the instrument. The 'C’ (56)key is prone to being bent so that it will not seat on its tone hole. This is one of the first places I check if the sax will not play low 'B' or 'Bb’. It is normally easy to see if it has been bent and you can usually straighten it out without too much trouble. Being on the bottom crook of the instrument the 'Eb' and 'C' keys are more likely to be bumped. They should each have a keyguard to protect them from this exposure. This does not, however, protect the keyguard from exposure. The keyguards can become bent causing them to bind against the key they are meant to protect. If either the 'Eb' or 'C' key is stuck open or closed, check the keyguards to see if they have been bent in. If they have, use your duck-billed pliers to bend the keyguard away from the key. (A)From here I go back up the instrument to the 'G#’ key. I find that the 'G#' key is the most common culprit on the saxophone for emergency repairs. It seems like it always has one of two problems. It either will not open or it will not close. (duh) The 'G#' key itself is usually a toilet seat key being held open by a needle spring. It is held closed (57)by a lever that has a stronger needle spring than the pad cup section of the key. The lever is located under the left hand palm keys and works in conjunction with the 'C#', 'B' and 'Bb' keys. If the player cannot play below 'G', the 'G#" key is probably not closing correctly. This can be caused by one of two things that you can do something about. First, check the spring on the 'G#' lever. It may need to be reconnected, or, perhaps tightened, so that it will be stronger than the pad cup spring. You can check this by holding down the lever with one hand while activating the pad cup with your other hand. The pad cup should move freely but should have considerably less spring tension than the lever. The other thing that will keep the key from closing involves the way the lever interacts with the 'B'/Bb' key cluster. It is common for this cluster to become bent in a way that will not allow the 'G#' lever to hold the pad cup closed. If the 'G#' lever has been bent so that it goes beneath the cluster you can bend it back out. Keep in mind that the 'G#' lever will have two small extensions that are supposed to be under the 'B' and 'Bb' keys. If the lever is (58)still being held by the cluster, not allowing the pad cup to close, hold down the end of the lever by the cluster with one hand and push the end of the lever holding down the pad cup with your other hand. Once you know that the pad cup will close, push down the lever to be sure it will open. On some older models the 'G#' lever will go beneath a leg protruding from the back side of the pad cup, rather than coming over the top of the pad cup. If you have this type of mechanism, you can insert a screwdriver under the leg of the lever that is lifting the pad cup and push down on the lever where it meets the cluster. This should lift the leg, forcing the pad cup closed. (A)If the 'G#' pad cup will not open, the player will not be able to play 'G#'. Check the spring to be sure it is connected. More often than not you will find that the pad has become crusty and is stuck closed with crud. If running a dollar bill under the pad does not help, you can try to scrape the crud off the pad and the tone hole. You probably should have the pad replaced, however. (B)About all you should try on the bell keys is to check the (59)springs. The 'B' and 'Bb' keys should be open and the 'C#" key should be closed. If all three keys seem to be operating properly and the 'B' and 'Bb' will still not play, check the 'G#' key. When you activate any of the bell keys, you also open the 'G#' key. The 'G#' is supposed to be held closed by depressing any of the keys on the lower stack. If the 'G# is not closed completely, the bell keys will not play. Depress one of the lower stack keys. Then depress the 'G#' lever, while watching the 'G#' pad cup. If the 'G#' pad cup opens at all, you will need to adjust it. The top key of the lower stack (‘F#' key) has an 'arm' extending over the 'G#' key. On newer instruments there is an adjustment screw on the arm to hold the 'G#' key closed. Using this screw you can be sure the 'G#' key is closing completely. When you have it closed, be sure to check the 'F#' key to see that it is seating as well. (A)The rest of the saxophone is broken down into two sections that are referred to as the upper and lower stacks. All of the keys in both stacks are toilet seat keys and their springs should be holding them open. They should all have (60)needle springs running through various posts along the lines of the stacks. You will find that some posts hold more than one spring. I have seen as many as three in one post. Most of the problems that can be cured on short notice have to do with key corks. Replacing key corks, especially in more complicated mechanisms, such as the upper and lower stacks of saxophones, requires a qualified repair person. There are, however, a couple ‘jury rig! fixes you can try ina real pinch. None of these suggestions should be considered true repairs, and in all cases the instrument should be taken to a qualified repair person as soon as possible. (A)The upper stack is made up of five keys. They are the major keys played by the left hand. On many models they are attached to the posts by a single hinge rod running half the length of the entire body. The top key on the upper stack has a much smaller pad cup than the others and is commonly referred to as the 'C' key. The four pad cups below it are the 'B' key, the 'Bb' key, the 'A' key and the 'G' key. All of these keys are linked together except the 'G' (61)key. The 'G' key is linked only to the octave mechanism. The 'C' key is activated by either pressing the 'B' key or the 'A' key. If you look behind the rod that is tying the upper stack together, you will see that the 'C' key has a long bar that runs parallel to the rod. The legs on the 'B' and 'A' keys, opposite the pad cups, extend under the 'C' key bar. When you depress either the 'B' or 'A' key, the leg of the key depressed lifts the bar closing the 'C' key as well. (A)If the 'C' key does not close completely the note that is being fingered will not play correctly. Where the key legs meet the 'C' key bar, there is a thin key cork. It can be either on the key leg or on the bar. If it is gone the 'C' key will not close properly. This is an easy problem to diagnose. Simply push either the 'A' or 'B' key closed lightly (not at the same time). While holding the key closed with one hand, touch the 'C' to see if it is closing completely. You can usually tell which key might be the culprit by knowing which note is not playing. A repair person would disassemble the entire stack mechanism, replace the cork and make the proper adjustments. This is (62)an operation that should not be tried at home. I have seen many different things band directors have done in emergencies and there is only one I would recommend. Cut some masking tape into very small pieces and start sticking them on the leg of the key that is out of adjustment. Be sure to put them between the leg and the 'C' key bar. After each piece of tape, see if the 'C' key is closing. Remember that the key you are applying the tape to needs to close completely as well. (A)The 'A' key is the third key down from the 'C' key. It has a lever with a pearl finger tip that extends over the 'Bb! key. Beneath this extension is usually a circular piece of felt between the keys. When the 'A' key is closed, the 'Bb' key should also be closed. If both keys don't close together, neither the 'A' nor the 'G' will play. If the 'one and one Bb' is out of adjustment as well, nothing will play below 'B'. If this felt comes off, I would still use the masking tape method mentioned in the previous paragraph to get this combination back into adjustment. (B)When you depress the 'B' key on the upper stack, and (63)the 'F' key on the lower stack, you have an alternate fingering for ‘Bb! known as the 'one and one Bb’. The 'Bb' key is being activated by the 'F#' key on the lower stack. The arm on the 'F#' key that extends over the 'G#' key also extends over a narrow lever connected to the 'Bb' key. If the 'Bb' key is not closing then the 'Bb' will not play. There are other ways to play 'Bb' so you may not consider this an emergency. If the player needs to be able to use the ‘one and one Bb' there are a couple things you can try. On many models the arms extending from the 'F#' key have adjustment screws to depress the key. You can try the masking tape method on the screws. If the arm on the 'Bb! does not have an adjustment screw you can try the masking tape method but it will probably require many layers of tape. Be sure that the 'F#' key is closing completely, though, because your problems will be much worse than just losing your ‘one and one Bb’. (A)The final section we will be covering on the saxophone is the lower stack. The lower stack is made up of four keys. We have mentioned the 'F#' key several times, with (64)its arm that goes over the 'G# and 'Bb' keys. Like the 'C' key on the upper stack, it has a bar that runs behind and parallel to the rod that holds the lower stack together. The three keys below the 'F#' key are the 'F', 'E', and 'D' keys, respectively. These three keys all have legs that extend under the 'F#' key bar, like on the upper stack. They also have thin pieces of cork between the legs and the bar to close the 'F#' key when any of them are depressed. You should use the masking tape method to get these keys back into adjustment. To make it easier to get to the legs and apply the masking tape you will need to remove the keyguard that runs parallel to the keys on the back side. The keyguards usually just have two screws held to legs and are easily removed and replaced. It must be emphasized again that the masking tape method should only be used in emergencies and the instrument should be seen by a qualified repair person for the proper repairs as soon as possible. (65)BRASS WIND INSTRUMENTS (A)Brass instruments come in three basic types. Piston brass instruments are operated by depressing piston valves in casings. Rotary brass instruments have a mechanism that spins a valve within a casing. Trombones change pitches by manually lengthening and shortening a long handslide assembly. Each type of instrument has its own set of problems and we'll tackle them individually. Many of the problems common to brass instruments have to do with denting the brass body and solder connections breaking loose. These problems should be repaired only by a qualified repair person. I have seen the 'solder jobs' done by school metal shops and they are not pretty. Epoxy and super-glue are popular remedies for broken solder but they end up being far more work for the repair person. All of the hardened glue must be scraped off just to be able to solder it properly. The best way to hold a broken instrument together is to tape it. After all, duct tape does hold the world together. It is much easier to clean up when (66)you get it to the shop to be repaired correctly. Do not try to remove the dents. If you don't use the proper tools and techniques to remove them, you are only making matters worse for yourself. It is nearly impossible for a repair person to get a bell back to its original shape when people have used broom handles and drum sticks to try to remove the dents. (A)AII brass instruments you will be seeing have cup mouthpieces. The buzzing of the lips within the rim of the mouthpiece is the sound generator. I'm not going to discuss the physics of brasswind mouthpieces but there are a couple of very important things every band director should know about them. You will occasionally see gold plated mouthpieces and even plastic mouthpieces have become more popular; but most of the mouthpieces you will see will be brass mouthpieces with silver plating. When the silver begins to wear through, the brass will start to show. When you begin to see the brass showing on the rim where it will come into contact with the players lips, it is very important that the mouthpiece is either replated or (67)replaced. Worn mouthpieces can cause brass poisoning. I have a friend that was hospitalized from using a mouthpiece with the plating worn through. This can happen with all brass instrument mouthpieces. Stuck mouthpieces are very common, especially with beginning brass players. Do not try to remove mouthpieces with pliers or vise-grips. If you don't have a real mouthpiece puller, don't try to pull it at all. Take it to a repair shop to have it pulled. You wouldn't believe how many times I have had to solder complete leadpipes back onto trumpets because of parents using vise-grips on their child's horn. (A)Waterkeys are another essential part of all brass instruments. Some people refer to them as spit valves. When you lose the waterkey cork on the main tuning slide, it will make the entire instrument sound stuffy, like it has an obstruction in the bell. When it is missing from an individual valve slide, it will only affect the notes that use that valve. Waterkey corks are easy to replace. Get some waterkey corks from your local repair shop. Find one that is just a little too big to fit into the cup of the waterkey. (68)TRUMPET Finger Button : 7 Valve Stem ss +) Barrel a _ >>> Spring 1 Guide Tuning Slides . Valve Casing Ports __—~piston i PISTON VALVE oa Waterkey Alignment: 72B, 764A. Guides, Baritone: 74 Assembly, Baritone: 72A Guides, Trumpet: 75A, 76A, 78A Assembly, Trumpet: 70B Numbering: 72B Cleaning: 79A Sticking Valves: 79A (69)While pushing one end of the cork against the far side of the cup force the edges that are sticking out of the cup into the cup. I would use a small screwdriver but many things would work. When all the edges are in the cup, put something flat between the cork and the waterkey nipple on the slide. Hold it flat against the top of the nipple. Press down on the waterkey allowing the flat tool to level the cork to the nipple. When the cork and the nipple are fairly level, take out the flat tool and press the waterkey a little harder with the cork directly against the nipple. This should form a seat in the cork and stop the leaks. PISTON VALVED INSTRUMENTS (A)The most commonly used piston valved instruments are the trumpet, the cornet, the baritone, the flugelhorn and the tuba. Most of the marching instruments like mellophones, marching baritones and french horns and contras are also usually piston valved. Less commonly you will see alto horns and valve trombones. (B)Piston valves come in two basic types. Smaller (70)instruments, such as trumpets, cornets, flugelhorns and mellophones generally have the same type of valve. We will call these valves 'barrel valves'. The part of the valve that operates the instrument is the piston. The piston has round, curving tubes running through it called ports. On ‘barrel valves' you will find a tube with a slightly smaller diameter than the piston mounted on top of the piston. This is the barrel. The valve guide and valve spring usually go inside the barrel with the valve guide resting on the piston. Occasionally the valve guides and the springs fit over the barrel. The barrel will almost always have a slot cut along the length of it that will allow the valve guide to go up and down. Most of the modern horns have two slots on opposite sides of the barrel. The valve guides are designed to slip through these slots and are held in place by the valve spring. The valve stem has a larger, threaded portion that should screw directly into the top of the barrel, holding the spring in place over the guide. A round felt disc with a hole in it should fit over the valve stem and should rest on the threaded portion just above the (71)barrel. The valve cap then goes over the stem and the finger button screws into the end of the stem. There is a felt that goes between the finger button and the valve cap. Sometimes it fits into the cap and on others it goes into the button. (A)The valves in larger instruments are simply a piston with a valve stem screwed into the top of it. The valve guides are screwed onto the piston. They can be mounted either on the top or the side of the valve near the top. The valve springs are placed beneath the valve in the casing and are not mounted to the valve at all. They fit between the bottom valve cap and the indentation on the bottom of the valve. The felt that keeps the valve quiet fits over the valve stem and onto the top of the valve, beneath the cap. The finger button screws into the top of the stem with another felt between it and the cap. (B)Valve alignment is the problem you will most often find on piston valved instruments. It normally happens when a student or parent is cleaning the instrument and takes things further apart than they should. They attempt to (72)reassemble it and somehow the horn doesn't play right anymore. The first thing to check is the placement of the valves. Valves are almost always numbered somewhere. Where they are numbered depends on the type of valves the instrument has. If the horn has barrel valves, the number of the valve is almost always on the barrel section. Piston valves on baritones and tubas have numbers stamped on the top of the valves. It is usually a number that is stamped, but it can be individual punch marks from a center punch. Ona three-valved instrument the first valve would be punched with one mark and the second valve would have two marks. Most of the time the third valve would not be marked. I suppose they figure a person could use the process of elimination to decide where to insert the valve. Sometimes the casings on the instrument are also marked with numbers. If the casings are not marked, then you can assume that the valve closest to the mouthpiece is the first valve. The valves must be inserted into the proper casing or the horn will either play stuffy or be totally blocked. If all the valves are in their respective (73)casings, it's time to check the valve guides. (A)The valve guides on the larger instruments are pretty basic. The guide is designed to stick out beyond the outer diameter of the piston. The casing has a slot that extends about half way down the interior wall. The protrusion of the valve guide slides into the slot and keeps the valve from spinning. There are three basic types of valve guides for this kind of valve. One valve has a guide that screws into the side of the piston. These are normally found on older instruments and need to be repaired at a shop if they are not working correctly. Another guide is a small piece of metal shaped somewhat like a mushroom. It is screwed to the top of the valve in an indentation shaped to fit the guide. These are also hard to fix on your own. The third type of guide is used by almost all current brands and there are definitely things to check if they are not working correctly or spin inside the casing. This guide is generally plastic and is held in place on top of the valve by the valve stem. There is an elongated hole through the guide. The threads of the valve stem go through the hole and hold the (74)guide in place with a small washer. On the bottom of the guide a small nub sticks out. This nub is the key to having the valve aligned properly in the casing. On the top of this type of valve there are three holes. The largest is the threaded hole that the valve stem screws into. The smallest one is the hole that the nub on the bottom of the guide belongs in. If the valve is out of alignment or is spinning in the casing, be sure that the nub on the valve guide is in the correct hole. If the guide is still not protruding far enough and the nub is in the correct hole, I have one more suggestion. Using a razor blade or a sharp exacto knife, cut the plastic nub in half and round the edges. When you re-install the valve guide, you should be able to slide it out a little further so that the protrusion of the guide can extend out far enough to catch in the slot within the casing. (A)The guides on the barrel type of piston valves are not mounted to the valve at all. Typically, these guides are plastic or brass. They are round with two extensions opposite each other on a central disc. Many times the disc has an indentation for the valve spring to fit into. As (75)mentioned before, the barrel section of this type of valve usually has two slots running almost the length of the barrel. The valve guides are installed through these slots. On most modern instruments the slots on either side have differing widths and the widths of the extensions on the guides correspond to the slots. This way it is virtually impossible to put the guide in backwards. The slots on the barrel will have a small section near the valve stem that is wider than the width of the slot. To install the valve guide, look at the guide and the slots to determine the wider slot and extension. Holding the wider extension on the guide, turn it on its side and slide it through the wider of the two slots on the barrel. When the smaller extension comes through the opposite slot, turn the guide so that it will fall down the slots and lie flat on the top of the piston. The spring goes in on top of the guide and the valve stem holds the assembly together by screwing it into the top of the barrel. (A)When students disassemble barrel type valves, many things can happen that cause the valve to be out of (76)alignment. Many times students don't know that the valve guide needs to be aligned in order for the valves to work correctly. Before you insert the valve, look into the casing. Within the casing you will see, about a third of the way down the tube, that there is a line where the casing becomes smaller. As you follow the line around the casing with your eyes, you will see either one or two notches in the line. The notch or notches are where the extension of the valve guides fit to align the valve. If there are two notches, one will be larger than the other. If you have this type of casing, you will necessarily have a valve guide with the end of one extension larger than the end of the other. Insert the valve with the larger end of the guide turned a little counter-clockwise of the larger notch in the casing. When you feel the light spring tension of the guide hitting the line around the casing, turn the valve clockwise, keeping the tension on. As you are turning the valve, be listening carefully to the valve. You will hear the valve guide snap into the notch. If you have done this correctly the valve will be in alignment. If the air will still not flow (77)freely through the horn, the guide extensions could be in the wrong slots. If you are sure they are in the correct slots you need to check on how the valve guide is within the barrel. Sometimes the slots are the same size on the barrel and the guide can be placed in backwards. Take it out, turn it around and try it again. (A)There is another type of valve guide that is popular now. It looks quite similar to the previous one but only one of the extensions is designed to slip into the notch in the casing. If you look closely at the two extensions, you will see that the extension on one side is thinner and is set higher off the disc than the other one. The thicker extension is the end that slips into the casing notch. When you have installed the valve guide into barrel you insert the valve into the casing and spin it clock-wise. Like the other barrel valve guides it will snap into the notch when it lines up. Ifa student has assembled this type and the valve just spins in the casing, they probably have installed the valve guide upside down in the barrel so that the guide will not snap down into the slot. If you have tried all these (78)alignment options and the instrument is still playing stuffy or is blocked, you may have an obstruction or some other problem. Take it to the repair shop. They should be able to fix it. (A)At times the valves just become sticky. Take the valves out and douse them with valve oil. Take off the bottom cap and insert the piston into the casing from the bottom. Spin the valve in the casing until it moves freely and re-insert it from the top. Most of the time this will clean up the valve enough for it to work. If the valve seems very dirty and the slides are stuck or very hard to pull out, you probably need a professional cleaning from a repair shop. If you can't get the piston to work properly after oiling the valve, you probably have a dent in the valve casing and need a qualified repair person to rub it out. The second valve casing on a trumpet or cornet seems to be especially prone to getting dented. The tuning slide gets bumped, which, in turn, can twist the connection between the slide receiver and the valve casing. This knocks the casing out of round and causes the piston to (79)ROTARY VALVE E— Stop Arm Retaining Screw Oy Stop Arm ( 41-Valve Casing = {L_valve Stem Se Valve Valve Lever Arm Bushing a] == Valve Cap General: 81A Stop Arm: 81A Installing: 82A Stringing: 84A Numbering: 81A Thumb Valves: 864 Oiling: 82A Trombone F-Attachment: 86A (80)stick. I have seen this happen even while the horn is still in the case. If this happens, you can place both thumbs behind the second valve tuning slide and push out gently. Be careful! If you push too hard, you can break the tuning slide receivers off completely. ROTARY VALVES (A)Rotary valves are found most often on french horns and some tubas. They are normally made of solid brass. The body of the valves is cylindrical with ports cut into opposite sides. On each end of the thicker cylinder is a narrow stem. The longer of the two stems has flat surfaces ground into the sides near the end on most models. This is the top of the valve. There are usually two ports on each valve except on double french horns which have four ports on the first second and third valves. The valves are usually numbered on the bottom and may have either numbers or punch marks. There will be one punch mark for the first valve, two for the second, etc. Except on some double (81)horns, the first valve is closest to the mouthpiece receiver. On some double horns the fourth valve can be nearest the receiver; but you should be able to tell the fourth valve from the other three. (A)I do not suggest removing and replacing rotary valves as a general practice, but I know you may find yourself in a situation where you will have to reassemble them in an emergency. It can be rather complicated. If you get lost or confused, you may have to take it to the shop. I'll take it step by step. To install the valves, first oil them and their casings. I use rotary oil for the body of the valve and key oil for the stems. Insert the appropriate valve into the casing, long stem first. When the stem protrudes, slip the stop arm over the stem. The stop arm should have a hole shaped like the top of the stem. As you are slipping the arm onto the stem, turn the valve so that the nub sticking down from the stop arm is between the two corks mounted to the top of the casing. The stop arm is mounted to the stem with ascrew. Some people call this screw the oiler screw. | prefer the term ‘stop arm retaining screw.’ When (82)the screw has been tightened, turn the stop arm/valve back and forth between the two corks to make sure it is moving freely. Turn the horn over to look at the back side of the valves. You should have brass bushings that correspond to the valves that need to be installed. They have a hole that will fit over the smaller stem on the valve. On one side of the bushing there is an indentation around the edge that will fit tightly into the bottom of the valve casing. On the other side of the bushing they should be marked in some way indicating which valve they belong to. There are marks on the outer edge of the bushing that should match marks on the threads of the casing. Lining these marks up, slip the bushing over the shorter stem and fit it gently into the casing. The bushing must be set into the casing precisely or the valve won't turn correctly. The best way I have found to ensure this fit is to take an old trumpet mouthpiece, place the rim of the mouthpiece so that it is flat against the bushing and tap lightly on the stem of the mouthpiece with a plastic mallet until the bushing is set tightly within the rim of the casing. When you think it is (83)set, turn the stop arm back and forth between the corks again to be sure that the valve is still moving freely. If it is, screw on the valve cap. When all the valves are spinning freely and everything is assembled, we can move on to stringing the valves. (A)The mechanism that spins the valves on most french horns is a group of three levers that are connected to the stop arms of the valves by string. I prefer to use 25 Ib. test leaded fishing line because | think it has a crisper action than french horn string and is much easier to thread through the holes in the levers. The levers that operate the valves have three 'spatulas' that are depressed by the left hand of the player. The opposite ends of the levers should be lined up so that they move along side the stop arms in a way that will allow them to spin the valves. The ends of the levers should be on the sides of the stop arms opposite the cork plates. When you are sure that they are in correct relation to the stop arms, lay the horn on a flat work area with the spatula ends of the levers down on the table. This will hold the levers still while you work on them, and, with most (84)models, keeps the ends of the levers that spin the valves in proper relation to the stop arms. In each of the levers there are two small holes and a screw located near the stop arms. Be sure you have loosened both the screw on the lever and the screw on the extension of the stop arm before you begin. Cut about a one foot length of the leaded line and tie a double knot onto one end of it. Insert the opposite end of the line through the hole furthest away from the end of the lever. Pull it through until the knot is held tightly against the lever. Wrap the line in a figure eight around the stop arm body and the screw on the stop arm extension. Begin the figure eight by wrapping the line around the side of the stop arm opposite the hole the line has been run through. Wrap the line around the screw on the extension. When you bring the line back around the stop arm body, pass it under the line that you have already run. Pull the line tight but don't tighten the screw on the stop arm yet. Insert the line through the hole at the end of the lever and wrap it around the screw on the lever. When the entire line is tight around the figure eight, tighten the screw on the (85)lever to hold the line in place. When you have strung all three valves, you can lift the horn from the bench. The screws on the stop arm extensions should still be loose. If the screws are loose enough, you should be able to adjust the levers to the height you desire. Simply hold the the stop arms in place as you move the levers up and down. The line should move freely around the screw. When you have reached your desired height, tighten the stop arm screw. This process will take some practice but you should be able to do it yourself. Once again, if you have any problems, let your repair person fix them. (A)There are differing types of thumb valves for double rench horns but you should be able to string them using the same method. You can also do trombone triggers this way but it gets a little tricky when you are stringing double valved bass trombones. As far as the rest of the french horn is concerned, follow the same rules I have given on the other brass instruments. Do not attempt dent repair or use super glue. (86)TROMBONES (A)Trombone slide repair can be very difficult and should only be done by a qualified repair person, but there are a couple minor things you can check if a handslide is sticking too much. Remove the handslide from the bell and pull the inner slide out of the outer slide. As the inner slide is coming out, see if the two tubes of the inner slide spring apart. Then hold the two tubes directly over the tubes of the outer slide. They should line up perfectly with the openings of the outer slide. If they are too far apart squeeze them together by holding your hands directly under the hand grip of the inner slide. Be careful! The slides can break off inside the hand grip. If they seem twisted when you remove them, you can check them by holding the hand grip of the inner slide with the two tubes pointing away from you. Line the slides up so you can see just a thin sliver of whatever the background is between the tubes. You can tell if they are out of alignment if one end of the slides is closer together than the other. (87)INDEX Acoustics; 1B Baritone; (See Brass Instruments General & Piston Valves) Brass Instruments General; 66A Brass Poisoning; 67A Clarinets General; 24A Clarinets; Ab Key 27B; C# Key 32A; E Key 30A; Eb Key 31A; F Key Upper Joint 29A; F Key Lower Joint 33B, 34A; G Key 29A Clarinet Bridge Key; 31A Clarinet Lower Joint; 27B, 32B Clarinet Mouthpiece; 24B Clarinet Pads; 14A, 14B Clarinet Skipping Octaves; 27B, 28A Clarinet Springs; 21A, 22A Clarinet Sticking Keys; 30A Clarinet Tenon Corks; 34B Clarinet Upper Joint; 26A, 28A Cornet; (See Brass Instruments General & Piston Valves) (88)Da Vinci, Leonardo; 2A Dents; 66A Felts; 20A Flute, General; 37A Flute; B Key 17A; C Key 44A; G# Key 18A Flute, Embouchre Plate; 38A Flute, Foot Joint; 44A Flute, Head Cork; 38A Flute, Mechanism; 37B Flute, Pads; 16A, 17A, 18A, 43B Flute Rod; 39A Flute, Screws; 40A, 41A Flute, Springs; 21A, 22A, 42A, 43A Flute, Trill Keys; 42B French Horn; (See Brass Instruments General & Rotary Valves) Key Corks; 20A Keys, Teeter-Totter; 1OA, 11A Keys, Toilet Seat; 12A, 13A Musical Notation; 3A, 4A, 4B (89)Pad Worms; 15A Pads; 14A, 14B, 15A, 16A, 17A, 18A, 19A, 19B Panpipe; 6B Piccolo; 44B Piston Valves Alignment; 72B, 76A Piston Valves Assembly; Trumpet 70B, Baritone 72A Piston Valves Cleaning; 79A Piston Valve Guides; Baritone 74A Piston Valve Guides; Trumpet 75A, 76A, 78A Piston Valve Numbering; 72B Piston Valve Stuck; 79A Pitch; 5A, 6A, 6B Pythagorus; 4A Rotary Valves General; 81A Rotary Valves Installing; 82A Rotary Valves Numbering; 81A Rotary Valves Oiling; 82A Rotary Valves Stop Arm; 81A Rotary Valves Stringing; 84A Rotary Valves Thumb Valves; 86A (90)Rotary Valves Trombone F-Attachments; 86A Saxophone General; 46A, 52A Saxophone; A/Bb Key 63A, Bb Key (one and one) 63B, C Key Upper Stack 62A, C Key 55B, Eb Key 55B, Alternate F key 55B, G# Key 57A, 59A Saxophone Bell Keys; 59B Saxophone Gooseneck Cork; 47A Saxophone Lower Stack; 64A Saxophone Mouthpiece; 47A Saxophone Octave Mechanism; 47B, 48A, 49A, SOA, 51A Saxophone Pads; 19A, 19B Saxophone Palm Keys; 52B, 53A Saxophone Stacks General; 60A Saxophone Upper Stack; 61A Soldering; 66A Sound Waves; 2A, 2B Spit Valves; See Waterkeys Springs Flat; 21A Springs Needle; 22A Tenon Corks; 34B (91)Trumpet General; See Brass Instruments & Piston Valves Tuba General; See Brass Instruments & Piston Valves Waterkeys; 68A Woodwind Instruments General; 9A (92)RECOMMENDED LIST OF TOOLS Small Screwdriver Pad Slick Duck-billed pliers Pin Vise Spring Hook Key-bending tool Masking or Duct Tape (Of course) To purchase more copies of this book or any of the tools listed above, please e-mail us at: robin@amendmusiccenter.com Or phone us at: 509.456.0376 or 509.483.0276 Amend Music Center 1305 W. 14th Ave 6301 N. Regal Rd. Spokane, WA 99204 Spokane, WA 99218 (93)1s LI08 @®@UCLCOCCCCCCCOCCOOCOCOCO0C000000000000000094323224944441+ — ———— SCOOCOOOSBBOOOCOOCOC COC 200000000 G000000000NK