I recently participated in a discussion of reeds.  All woodwind players (except flutes and piccolos) have very definite preferences, practices, myths and superstitions about reeds.  They are preoccupied with brands, strengths, cuts, care and maintenance.  It’s a fascinating preoccupation.  I read a discussion once about the proper method of soaking a reed.  Should you use water, saliva, vodka, rum, mouthwash, etc.  My favorite was “I prefer to soak my reeds in water, and my head in vodka! “.  Then there are endless discussions on why reeds turn black, or in one case, blue.  It’s riveting!

Brass players, on the other hand are preoccupied with bores and mouthpieces.  Rims, the bite, the cup, material and dozens of variables.  Of course brands are very important for every instrumentalist.  We all have our favorites.  And oils?  Don’t get me started!

Now percussionists are a breed unto themselves.  Nobody could possibly understand a percussionist except another percussionist.  They live in an exotic and mystical world of endless varieties of instruments, ancient and modern, from every culture.  The sheer variety of sticks and mallets is overwhelming.  And how and where to strike each instrument for effects so subtle and diverse that they can only be discerned by the keen ear of a percussion player is as arcane as inscrutable.  I won’t even attempt to describe the neurotic world of the string player.

What a fantastic bunch we are.  And when I stop and think about how such a hoard of specialists, highly skilled, intelligent and individualistic can come together of one mind,  to create music that exalts the soul, lifts the spirit, works the emotions and leads the audience to a place of transcendence, I am humbled, honored, amazed, thrilled and privileged to be a part of such an experience.