Parts of the Bassoon

Figure 29. Parts of the Bassoon

Assembling the Instrument

The key mechanism of the bassoon is complicated, and the long rods on which some of the keys operate make it of the utmost importance that assembly and disassembly be done carefully. Do not put pressure on keys or rods when putting the instrument together. Before starting the process be sure that all cork joints are well lubricated with prepared cork grease. The following procedure is an efficient one for beginners:

1. Put the wing joint into the small opening in the butt joint, grasping the wing joint in the left hand wi th the thumb in the curved portion beneath the cluster of keys and the middle of the butt joint with the right hand. Push the two together with a slight twisting motion, lining up the curved portion of the wing joint wi th the other hole in the butt. Lay these assembled parts in the case.

2. Grasp the bell joint with the right hand pressing the key with the thumb and put it on the long joint lining up the connecting lever which operates the key.

3. The two assembled sections are then put together, holding the boot and wing joint in the right hand and the bell and long joint in the left . The long joint can be pushed into place wi th a slight twist.

33

4. Make final adjustments of the long and wing joints so that they lock together.

5. Insert hand rest for right hand and tighten screw to hold it in place.

6. Grasp the bocal near the cork and put it f i rmly in place. If the instrument has a whisper key adjust the bocal so that the pad of this key covers the small hole in the bocal.

7. Put the reed f i rmly in place.

Bassoon Playing Position

The weight of the bassoon is supported by the neck strap, with the lower part of the instrument against the right side of the player and is balanced with the left hand (Figure 30). Adjust the height of the instrument with the neck strap so that when the head is erect the reed will touch the lower jaw below the lips. The reed can be cor­rectly taken into the mouth f rom this position.

Figure 30. Bassoon Playing Position Side View

The bell of the instrument is inclined toward the play­er's left so that the music can be seen over the bocal (Figure 31). Head is slightly inclined wi th the chin up and eyes straight ahead. Shoulders up but relaxed. The elbows should hang naturally away f rom the sides of the body, with the right elbow raised slightly to maintain a straight wrist.

Figure 31. Bassoon Playing Position Front View

34

Figure 32. Bassoon Left Hand Support

The left hand balances the bassoon, with the flesh below the knuckles resting against the wing joint (Figure 32). The fingers cover the three holes. The thumb has several keys to close, and must move f rom joints as well as the base to contact the keys. It is most frequently on the whisper key (Key W).

The right hand is best supported with a hand rest at­tached to the instrument. This hand rest fi ts in the crotch between the thumb and first finger, leaving the fingers free to cover holes, and the thumb free to close its keys (Figure 33). The use of a hand rest is especially important for beginners.

Figure 33. Bassoon Right Hand Support

Keep the fingers slightly curved, using the fleshy part of the fingers away f rom the tips on the holes, rings, and keys. Keep the fingers one-fourth to one-half inch directly over the proper holes or keys (Figure 34).

Guide Position

Proper establishment of a guide position (Figure 34) maintains correct hand and finger position and facilitates rapid progress in performance. With the left hand against the tenor joint, the right hand in the hand rest and the fingers directly over the proper holes, the left little finger touches lightly the D-sharp key and the left thumb touches lightly the whisper key—Key W (Figure 32). The right little finger touches lightly the F key, and the right thumb the E key (Figure 33). Thumbs and all fingers maintain this posi­tion except when they are used in closing other keys. Check this guide position often until i t becomes auto-

Figure 34. Bassoon Guide Position matic.

35

Figure 35. Bassoon Embouchure

the way across the t ip. For higher tones contract ing a smaller opening in the center.

Embouchure

To form the bassoon embouchure (Figure 35) turn ; much of both lips over the teeth as possible, pushing tr corners of the mouth toward the center so as to cau< slight wrinkles. The lower jaw is pulled back slightly t increase the natural overbite. The reed rests in the cent* of the mouth on the lower lip, wi th the lips contracte around the reed to keep the air f rom escaping. Insert th reed into the mouth so that the upper lip is almost toucr ing the first wire. Avoid pinching or biting the reed b having the feeling of pulling the lower teeth away from th lips.

The lower jaw is pulled further back for the lower note For the low tones relax the lips so that the reed is open a

lips so that the t ip of the reed is together at the sides, lea\

Preliminary Tone Production

Before producing a tone on the instrument, practice with the reed alone. The bassoon reed must be soaked eaci time before playing by placing i t t ip down in water for three to five minutes. The water should come only to th first wire, since immersing the entire reed wil l expand the tube and the binding wil l come loose.

After the reed has been thoroughly soaked, form the embouchure as described above, using a mirror to check th formation. Using standard abdominal breath support produce a sound, checking to maintain the correct em bouchure formation. A good reed will blow easily, and wil l produce the characteristic "double crow" in which botl low and high pitch sounds are present. The low pitches should predominate. Move the reed back and for th slighth in the mouth until the best position for the crow is found. The upper lip should be almost touching the first wire

Continue practicing on the reed until the crow is easily produced and you can sustain it for five to ten seconds When you can do this you are ready to proceed with the entire instrument and the formal sequence of learning if the remainder of this book.

Care of the Bassoon

The instrument must be thoroughly cleaned and put in its case after each use. Disassemble wi th the utmost cart in the reverse order of assembly. Dry the inside of each piece thoroughly with the special swabs provided. Shake and blow the moisture out of the bocal. Keep the joints well lubricated with prepared cork grease. Wipe o f f the keys and wood with a chamois or soft cloth. Because of the way in which the holes are bored in the instrument some of them tend to collect moisture. This can be blown out or swabbed out wi th a folded pipe cleaner. 11 moisture has collected under a pad, dry the pad with blotting paper or with a cigarette paper. The bocal may be cleaned by running warm water through it occasionally, and the small hole in i t which is closed by the whisper ke\ cleared with a straw.

Place the parts in the case carefully with the proper keys up. Figure 22 shows a typical arrangement of parts ir the case. There is only one correct way in which the parts f i t . Do not force the case closed. If i t doesn't close easily, check the arrangement of parts in the case.

Care of the Bassoon Reed

The reed should be blown free of moisture and kept in the special reed case to prevent damage and to keep i t f rom drying too rapidly. One type of bassoon reed case is shown in Figure 22. Reeds left loose in the case are soon damaged beyond use so a reed case is a wise investment.

The inside of the reed should be cleaned occasionally with a small feather or pipe cleaner drawn through f rom the larger end. This should be done after playing when the reed is thoroughly soaked. Girls are warned that lipstick clogs the pores of the reed, soon making i t d i f f icul t to play. Remove lipstick before playing.

Keep the instrument away f rom all sources of heat and out of the direct sunlight.

Tuning and Intonation

The bassoon is a non transposing instrument, i.e., " A " played on the bassoon sounds " A " on the piano, the music sounding exactly as written. A-440 is the standard tuning note for orchestra, with the bassoon tuning an octave lower by playing " A " top line of the bass clef which sounds A-220. Learning to hear a perfect octave requires some practice, but facility is easily acquired. Bands frequently use B-flat as the standard tuning note, since this is a better tuning note for the brass instruments. For accuracy the tuning note should be sounded by a tuning fork , tuning bar, or electronic tuner, or checked with an electronic aid. Tune wi th the piano if playing with one, or if no other comparison source is available. Even with regular tuning pitch on a piano fluctuates and is not the best source for a tuning note.

In the very beginning stages of learning to play tuning and intonation present some difficulties. However as the embouchure develops and technical facility is increased, more and more attention must be given to intonation and tuning. An electronic aid such as a stroboscope is invaluable.

On the bassoon, i t is not the instrument itself which is tuned, but the reed. Correct tuning is part of the process of making a bassoon reed, and every player who makes his own has an A-440 or A-220 tuning fork for this purpose. Correct pitch is determined by the length of the reed and by the way in which the lay is cut.

Earlier i t has been suggested that the beginning bassoonist use reeds made by a professional player. If reeds are being ordered for a particular instrument, the brand and model of the instrument being used should be indicated, along with the information that the reed is for a beginning player. Then the reed can be made to f i t its use.

If the reed being used is sharp or flat i t can frequently be adjusted to the correct pitch. Seek the assistance of your instructor or a fellow student who is majoring on the bassoon. However, most reeds made by a professional player wil l be accurately tuned.

Very slight adjustments in pitch can be made by adjusting the distance the bocal is inserted into the end of the instrument. Pulling the bocal out will flatten the overall pitch, pushing it in wi l l sharpen the overall pitch. However this must be done in such a way that the small hole in the bocal can be closed by the pad of the whisper key.

Larger adjustments in pitch on the bassoon are made by changing bocals. Most instruments are supplied wi th two bocals of different lengths. The longer bocal wi l l be flatter in pitch than the shorter one. Experiment with both bocals to determine the one best suited for your playing.

If the reed itself is good, once it and the instrument are accurately tuned to the standard pitch, the remainder of the intonation on the instrument is dependent on the player. Intonation is controlled primarily by the embouchure with the assistance of breath support. Good intonation is the product of careful and continuous attention.

37

F O X A m e r i c a n Wall Models Both have thicker walls than their earfier counterparts, with longer, larger, more resonant tone holes. Their tone quality is bigger, yet slightly less concentrated man the short or long bore models. They are somewhat more difficult to play,, but they deliver more power when pushed, yet easily hsnote soft attacks.

Model 601 Thick wall model, maple and long bore.

M2-F0601.'. list $19,000.00...., Calf

Model 660 ^ Thick, waB modeL maple and short bora V

M2-F0660 List $\%milfejLJM-\

Short Bore Models Voiced to permit the performer to open up and "sing** in sokr register and Its tone itself to solo performance.

Model 101

M2-foioi .............listii7fooq.oo...:.....»Caff

^ M2TFO201:^...-..^.Ust$16,OO0.0O.Uv.w^

L o r £ 8 o r £ ^ f ' v I The Long Bore bassoon has a very.wani rttind

tone, evenly balanced, with excellent rntoratiori " trroughout the entire range. It is the most secure

design and it? tone quality fits weB into chamber rntis^asyvetasorchestr1 ~ - ~ —

M o d e l I

M2-F0I ......«;;;u..~Ust $15,500,00/

f = O X

M2-F0& -1 . List $14,500.00 Caff

M o d e l ' l l f Hand finished dolypropytene body. 19% nkkef silver keys with sto-ptating. Ful German system2

with additional high D. Riglitr^ whisper key lock. Rollers on F, Ab, ft, and Db.

M2-F0W „...-.Ust$595O.O0...^575.OO

M o d e l l V Hand finished polypropylene body. 18% nickel sfl-ver keys with silver plating. Ft* German system with additional high D key. Ring key for wing joint thtrd finger bote, rtolers on F, Ab, FJb and Db.

M2-FOIV list $495000... $2995.00

Model 240 , Red maple body with .

natural nibber linings in the wing joint and small bore of trie boot joint French beH and body lock. 18% nickel silver keys with silver-plating. High D and E keys. Ring key for wing joint. Right hand whisper key lock, right thumb Bb and F# in combination with a crowned E key. Bb guard.

MZ.F0240...: .....List $8595 00. J51S0.00

Naturally aged Black Maple body. 18% nickel sil­ver keys with silver-plating. FuB German system with additional high D anq Ekeys. Ring key for wing joint third finger hole. Right hand whisper

. key lock. Rollers on t, Ab, Eb, right thumb Bb, and - F# in combination with a crowned E key. Bb v>

guard. Vinyl case cover included. • *

MZ-f0220 1 List $7W5m...#705.00

Model 222 . NatuiaRy aged maple body. 18% nickel silver keys with nickel plating. FuB German system. Additional high 13 key available as an option. Plateau key on wing jtjint tltird finger hole. Rogers oh F, Ab, E, and

M2-P02Z2 ...l'.„.:..:..Ust %m$A...$2895.00

Model ?22D With high D key . v # ^\

ModcCh \ . * V - - : -\ \ Polypropylene body. 1B% nickel stiver keys with . nickel plating. FuB German system. Additional high

. R key available as an ootiok Plateau key on wing:,, joint third linger bole. Rolen) on F, Ab, Eb, and Db.

M2-ro4i ;;....^u.._yst.$4495.09, 9S-00

Short reach model designed for players with small 14 bands. Polypropylene body. 18% nickel silver keys

" with iiicker-plating. Metal tubes extending Into the bore in the fnger holes of the wing joint to prevent water from entering the tone holes.

M2-F05Y. list $42^5.00....^45.00

rfijuali'lyf

Cdhtrabassoon Finish

Mahogany or ebony, using tough acrylic enamel, with silver-plating on a keys and metal work.

Mechanism

18% nickel silver keys and trim with W nickel hinge rods. German system with rollers on little mger E* and D*, F and Ab keys. Alternate F* spatula {lime finger) and Eb key for right fore­finger. Water key on tuning slide. Al posts set in epoxy and spring posts are bckeoVwrth screws. AB needle springs utilize long tasting music wire.

Body " ; , . , . ;

Naturallyaged maple selected for optimum res­onance and performance characteristics. All tenons carefully fitted to their receiving sockets to insure structural reliability. Joint connections

;f: and metal reinforcing bands sealed with sili­cone sealer. Three point beH bracing to improve rigidity. Inner elbows are removable without disturbing the bracing, permitting easy cleaning access without disassembly. •.,:••••-/• - .. . ,

Accessories

Finecase, two Foxbocals and two reeds. . Tuning '

Based on A-440 with the tuning slide extended., \ Highly centered tone o alrty vvrth maximum >."•;• ? core in the sound. Resonance, projection and ";

flexibility to satisfy the requirements of the rnostdlscrWratingpeffonne^ s ,t

M2-F0CB .......List $21.000.Qol...LjCall

Bassoon Reed Making For the Beginning or Intermediate Player Jeff Genovese (414) 708-3050

jsguw@yahoo.com

Following these easy steps will give you a great start to the art of reed making!

Tools Needed: Fox Reamer and Mandrel combination ($25)

Plaque ($5) Reed Knife ($18)

#22 Brass Wire ($10) Drying Rack ($25)

Reed Thread or regular string. Flat File

Wire clippers/pliers combination Fine Sandpaper

"Jones" DB Shaped and Profiled Cane. ($25) P.O. Box 3888

Spokane, WA 99220 (509) 747-1224

www.jonesdoublereed.com Steam from kettle (I have an electric teapot for easy travel).

Step 1 To Do: Soak about 4-8 pieces of cane for 12 hours

Why: The cane needs to be flexible enough to bend without breaking.

Step 2 To Do: Take one piece and make about 8 slits

lengthwise on the bark of both ends of the cane. This is called scoring. Why: The slits allow the wood to form the circle needed to stay on the bocal.

Step 3 To Do: Cut 3, 21/2 inches of brass wire to have ready. Bend the cane in half using a ruler or knife in the center to fold onto. If the bark

isn't even, rebend the cane again. It's not as easy the second time, but it will save you extra steps later.

Step 4 To do: Use the following dimensions to put on the wires. The top and bottom wires you tie facing you. The second wire faces away from

you. Why: We use dimensions to make reeds consistent.

Step 5 To do: Get your steamer ready! Hold your reed over the steam for about one minute (you might need to hold it with pliers). The back of

the read (part with the wires) is the only part that needs the steam. Why: Heating up the wood allows it to be flexible. You form it and then let it "harden."

Step" 6 To do: Take the reed away from the steam and immediately shove the mandrel up the reed and mash the bark around the mandrel to form

the circle. Make sure that you don't mash the wires. You mash, then tighten. Mash, tighten until there is a good circle on the bottom. To tighten wires, twist

and pull toward your body. Why: You have to do this right after you pull from the steam so it will not split down the middle.

Step? To do: Once you have a good circle, transfer your reed blank to your drying rack for 12 hours. Once it is dry, the wires will be loose so

you need to tighten them again. Set it aside and let it rest. f

Build your blank reservoir before you start using any of them!!

Finishing Your Reeds Take a reed out of your blank reservoir. You only

need to do the following things:

1. Soak the reedfor a minute.

2. Make a pronounced collar. Take your file and file a straight line where the bark ends. You file in the exact same place for both sides. Do this so there is a noticeable

difference between the bark and the blade.

3. Cut the tip of the reed. The blade should be 25-26mm from your collar. The easiest way to do this is by taking a bassoon easel or piece of wood on a table and

cutting it.

'AMAHA • if H

u Model ABN415

B a s s o o n ^ *

YFCr-SU Custom bassoon; Heckei system; maple; high C; high 0; low C, Eb, F', Ak, Ak2, F rollers; F/G and E/F* tril keys; nickel silver keys, silver-plated; neck strap, hand crutch and 2 bocals included; FGC-810L-N case and FGB-810 case cover.

M2-YFG812 Call

Custom bassoon; same specifications as YFG-812 but with a slightly larger bore and thinner wafl construction similar to "pre-war" models; FGC-820-N case and FGB-810 case cover.

M2-YFG821

B a s s o o n s

Ten Year Warranty

Schreiber research and development has devel­oped a solution to the age-old problem of mois­ture induced wood rot in the wing and boot joints. This was accomplished through the use of Luratori, a new epoxy resin, which homogeneous­ly fuses the fining to the wood of the instrument, effectively eliminating air leaks between the lining and the wood body as wefl as at the tube gasket. Thus, the major problem of Bassoon man­ufacturing is eliminated.

Model 5013 • Short Reach • High D • Alpine Maple body a Luracast bore • Luracast finger tone holes • 22 keys, nickel plated • Attache style case • 4 rollers: F-G' and C -D' • 2 Schreiber hand hammered bocals: KE1, KE2

M2-SCS53 List $6095.00....£7595.00

Model 5016 • Alpine Maple body • Luracast bore • Luracast finger tone holes • High 0 • 25 keys, nickel plated • Attache style case • Crook key lock, right hand thumb • 4 rollers: F-G' and C* -D' • 2 Schreiber harxl hammered bocals:KEl,KE2

M2-SCS56 List $7160 00 $4095.00

Model 5031 • Professional Model, 25 keys • Luracast bore • Handmade keywor • Alpine Maple body • Luracast finger tone holes • High 0 • 25 keys, nickel plated • Deluxe attache case • Crook key lock, right hand thumb • 2 relets: F-G'and C'-D'

3 hand hammered bocals :KE1, KE2, KE3

Maple body, silverplated keys, high D key, rollers on F/AVEVD/ and right hand thumb key. An excel-

| V lent instrument, outstanding keywork, with good I response throughout the scale. Plays like a much

more expensive instrument.

M2-AZABN41S List $4950.00... $2099,00 *

1 Model ABN81S | Heckel System,Yugoslavian maple wood, | silver-plated keys, two bocals, high C b D, | and F' trill key.

% M2-AZABN81S List $638O.OO....$27$9.00

I Model ABN36 Cordrdb&6<.x)n i | Heckel system, maple wood body, nickel silver % bell and trim, and silverplated keys. *i M2-AZ452 Ust$91OO.OO....$4fi35.00

Call I Qidntbassoon The Quintbassoon is a smaller, lighter version of a standard bassoon. It is pitched in the key of G, one quint (one fifth) higher than a standard bassoon. The tone holes are more closely spaced for ease of playing. The bocal is of standard sue and shape for tone and air control purposes but is lighter in weight. Ay of these features make this an ideal instrument for beginners as young as six years old and later eases the transition to a full size bassoon.

Besides its use as a student instrument, the quintbassoon can be used as a tenor instrument or as a bass instrument in a recorder ensemble. A wealth of original music written for tire quintbassoon exists and dates back to the 18th century. The quintbassoon measures 30'/« inches in overall length.

M2-AZABN21S List $2750.00....$1295.00

S E L M E R Bassoons

Model 132 Maple body, rubber-lined wing and boot joints, nickel-plated key mechanism, German system, high D key, F' trill, large ring A and C D' trills, rollers for C D* and F-A", kid leather pads, two bocals, wood shell case.

M2-SE132 List $5610.00 Call

Model 1432 High-impact plastic body, nickel-plated key mechanism, German system, high C key,

F' trill, large ring A and C'-D* trills, rollers for C D' and F-Ab, kid leather pads, two bocals, wood shell case.

Gossoons

Long Bone The Long Bore bassoon has a very warm, round

tone, evenly balanced, with excellent intonation

throughput the entire range. . .

ft is the most secure design and its tone quality

fits weB into chamber music, as wel as orches­

tral second bassoon parts.

Models such as the Fox I, H, III and IV, and

Renard Models 220,222,41, and 51 are

Long Bore.

Short Bore '/ The Short Bore bassoon is characterized by a tone quality that is more "open" than the long bore.

It is voiced to permit the performer to open up and "sing" in solo register and its tone quality lends itself to solo performance.

Models such as the Fox 101 and 201 and Renard Model 240 are "Short Bore" bassoons.

Imported from Germany by the Woodwind & Brasswind. Made from select well-seasoned maple wood, stained reddish-brown/chestnut, highly polished. Silver-plated keys. Features F'/G* trill key, C7D' tril key, E/F* tril key, automatic G ring, E-flat key on wing, high D key, self-acting piano mechanism operated from low E plate, shutter mechanism for the left thumb, double C key.

M2-MK13574 List $4995.OO....#2S5.00

Model 1358/4 Same as above with A'/B* tril key, low C7D#

connection and further 5 rollers on C D key left hand, F#/Ak key right thumb.

M2-M13584 List $5495.OO....#5S5.00

Contrabassoon

Model 1368/4 Made of selected maple, with a highly polished reddish-brown finish, silverplated keys; includes rollers on F and G-sharp keys and low C7P keys, adiUStahlfl PnHnin Ronna trnm DM C

Bassoon Articulation

Articulation: The tip of the tongue touches the lower reed blade approximately 1/16" from the tip. Correct articulation uses a small up-and-down motion of the front of the tongue. Incorrect articulations include: tonguing into the reed opening; anchor tonguing; moving the lips, jaw, or throat; tonguing the teeth or roof of mouth; moving tongue front-to-back, sideways, or circularly, tonguing with motion of air rather than tongue; tonguing with extreme tip or underside of tongue. Be sure to correct any incorrect articulation as soon as symptoms are apparent. Correct articulation syllable: tah

Staccato (•): Two methods of staccato are possible: tongue-stop and air-stop. Both methods start with the articulation described above. (1) In tongue-stop staccato, the tongue returns to the tip of the lower reed blade to end the note. This method is f o s t often used in fist, repetitive passages. Correct articulation syllable: tat. (2) In air-stop staccato, the tongue does not re­connect with the lower reed blade to end the note. Instead, the diaphragm halts the flow of air to end the note. The air should not be stopped with a "cutting-ofF motion of either the throat or lower jaw. This method is most often used in slow, semi-legato passages where an abrupt note ending would be inappropriate. Correct articulation syllable: tah-1

Accent (>): A standard accent is a variation of standard articulation. Follow the directions for articulation but add a stronger tongue-stroke to produce the stress on the beginning of the note. Advanced players may also add a slight air push to the beginning of the note. Correct articulation syllable: Tah

A cap or "carrot" accent produces a cross between an accent and a staccato. The tongue strikes the reed harder to begin the accent on the note and the note is ended by a tongue-stop. Correct articulation syllable: Tat

Sometimes it is necessary to produce an accent under a slur. Two methods are possible to produce this type of accent. (1) A slight push from the diaphragm effects a stress on the note. (2) In fast passages when the diaphragm is not able to effect a stress, a slight articulation from the tongue may be used. Correct articulation syllable: huh

Legato (—): Legato is produced in much the same manner as a standard articulation. I t is imperative that the air is used in a constant flowing motion when playing legato. In this manner, correct, flowing, attached legato is produced. Correct articulation syllable: taa—

Cap accent ( A ) :

Slur-accent p ) :

Detached legato (—): Detached legato is the combination of a lengthened staccato. The articulation must produce a feeling of detached connection. While there are several ways to produce this articulation, the best method is to use air-stopped staccato. Simply lengthen the length of the note to produce the desired note length. Correct articulation syllable: taa 1

Bassoon Models

Student Models - Grade 6+ • Beginning students • Plastic or resonate body (black body) • Acceptable sound, intonation, and response • Indoor or outdoor use • Nickel-plated keys • Only the basic keys; no high D thumb key • No locks on whisper and/or pancake keys • Least expensive: $2500-3500

Examples: Fox Renard Model 41 ($3195), Selmer 1432 ($2900)

Intermediate Models - Grade 10+ • Advanced students - college • Wood body • Indoor use only « Good sound, intonation, and response • Nickel or silver-plated keys • Key rollers on various keys, high D thumb key, other accessories • More expensive: $5000-7500

Examples: Fox Renard Model 240 ($6100), Moosmann 100A ($7190), Schreiber S16 ($4870)

Professional Models - Graduate Level + • Professionals only • Wood body • Best sound, intonation, and response • Indoor use only • Silver-plated keys • Numerous options available (often custom-made to player's specifications) • Most expensive: $10,000+

Examples: Fox Model 601($14,769), Heckel Model 41i ($25,000), Puchner Model 23, Schreiber 5191

Contrabassoon Models

• Professionals only • Used only in large universities and professional orchestras • Wood body • Indoor use only • Numerous options available • Expensive: $18,000+

Examples: Fox ($17,395), Schreiber ($20,945)

Double Reed Transpositions

Oboe • Pitched in C; sounds as written • Uses: band, orchestra, solo, chamber music

Oboe d'amore • Pitched in A; sounds m3 lower than written • Parts are now played on A clarinet, or transposed for oboe • Uses: Baroque music

English Horn • Pitched in F; sounds P5 lower than written • Uses: band, orchestra, solo, chamber music

Oboe da caccia (hunting horn) • Pitched in F; sounds P4 higher than written in bass clef or P5 lower than written in

treble clef • Original use was as discant bassoon; possible predecessor of modern English horn • Parts are now played on English horn • Uses: Baroque music

Baritone Oboe • Pitched in C; sounds P8 lower than written • Uses: Double reed consorts

Heckelphone (bass oboe) • Pitched in C; sounds P8 lower than written • Extended range downward to A • Uses: ?

Bassoon • Pitched in C; sounds as written • Uses: band, orchestra, solo, chamber music

Contra-bassoon • Pitched in C; sounds P8 lower than written • Sounds lowest pitch in symphony orchestra or band • Uses: band, orchestra, solo, chamber music

Bassoon Ranges

First Octave Whisper key

Second Octave Half-hole + whisper key

Second Octave No whisper key

w & , & .

S

a

Second Octave Non-related fingerings

Third Octave Extreme Low Range Pancake key

f

Bocals • You can usually just use the one that comes in the case • Fox Bocals are good brands • Heckel Bocals are also good brands • Don't use any other brand

Back Keys

Left Hand Flicker Keys

C# Whisper Key (play either this or pancake, not both together)

* Bb Right Hand

* E (Pancake) (middle keys) - F # " A b

Basement Fingerings

Hold down Pancake Key and add others Pinky Keys + Pancake Key Eb

C#

V / / ' / /

/ / ^ ^ r F \ %

Flicking on the Bassoon

Vi Hole (add Whisper Key) G ~ * % F# Ab"

less -\ Viajr\ ——*r norma t «; — more 4-^a_o

No Vi hole or Whisper Key

• To jump to the next octave you flick the corresponding trill/flicker key • It helps for clarity and precision

Tuning • Tuning can be done by embouchure • Can only tune physically • A good reed should always play in tune • 1 s t Bassoon (high school) usually plays melody lines in tenor range (trombone and

horn) • the 2 n d Bassoon usually plays inner parts in the basement range which is harder to

play, uses all thumb keys and usually needs a softer reed to get a nice tone in the basement register

Reed Closed/Openness • to adjust reed openness or closure use a pair of pliers to push gently on the wires

(only when the reed is wet, or it will snap) • Either squeeze apart (on corners) or together (on blade side)

\ / 1ST Wire TIL 2 n d Wire -Mr 3 r d Wire

Bassoon • Reeds must soak for 5 -10 minutes • The whole reed is soaked (string and all) • In the mid 1850's the modern Bassoon was developed • The Boehm system of fingerings doesn't work (only for flute, oboe, sax and

clarinet) • The Buffet (French) system - sounds nasal and pinced and looks totally different

(the low register is not good) • The Heckel (German) system sounds warm and open and is what we use • The bassoon is a non-transposing instrument • Contra-Bassoon reads and 8ve lower than written

Model

X T 7

i

Numbers in order of Assembly 1) Boot 2) Tenor or Wing Joint 3) Bass or Long Joint 4) Bell 5) Bocal 6) Reed

The bassoon is normally played seated

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TEXAS SCHOOL M u s i c PROJECT B A N D

from the School of Musfc at Stephen F. Austin State University

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£ BAND I CHOIR | ELEMENTARY j KEYBOARD | THEORY | ORCHESTRA U N K S HOME t

H Return to Tips for Bassoon

B a s s o o n

Intonation

by Dr. Kirsten Nelson SFA Assistant Professor of Music Bassoon & Theory SFA School of Music knelson(5)sfasu.edu H

The bassoon, due to the nature of its construction and playing condition, can have many intonation problems. Sharpness is the most common problem; however, from middle c up to the f immediately above it has a tendency to be flat.

To change the overall pitch of the instrument, change the bocal. Bocals range from 0 to 4 in length with 0 being the shortest and 4 being the longest. 2 is the standard length bocal.

S h a r p n e s s - - C a u s e s a n d S o l u t i o n s :

1. Biting, even j a w s , e x c e s s i v e tension in l ips, smil ing — all poor embouchure formations. Review the correct embouchure and emphasize lowering the jaw, relaxing the lips and throat muscles (form the vowel "oh"), and lower the back of the tongue as if having your throat examined.

2. Reed that is too hard — soften the reed or try another one. Hard reeds often cause the embouchure problems listed in #1 .

3. Boca l that is too short — use a longer one (larger number). Pulling out the bocal or the joints DOES NOT WORK. You cannot pull them out far enough to make a difference in the pitch. Also, pulling the joints loose creates breaks in the bore which can cause response problems.

4. Tens ion in the face and head m u s c l e s (raised eyebrows, for example) or shou lders , and twisting the body to the s ide . Each of these things can cause the pitch to go sharp even if the embouchure is correct. Face straight ahead and work on relaxing the tense muscles.

F l a t n e s s - - C a u s e s a n d S o l u t i o n s :

1. Embouchure too loose or s l a c k , lower Hp rolled out, air in c h e e k s or between lips and teeth. Review the correct embouchure and emphasize keeping the lower lip parallel to the teeth and directly under the reed while keeping air out of the cheeks and lips. Shaping the vowel "ay" or "ee" in the throat can also raise the pitch.

2. Weak air s t ream blow

3. Reed that is too soft — harden the reed or try another one.

4. Boca l that is too long — use a shorter one (smaller number).

Too Thick Correct Uneven

After Cutting Tip

After Trimming

Figure 71

The reed should now be checked for air-tightness. Adjust the tip opening to 1/16 inch (1.5 mm.) maximum and suck the air from it quite forcefully (Figure 72). It should hold air for a short time; 1 second at least. As material is removed from the blades and they therefore become more flexible, the reed should hold air for several seconds. Leaks encountered at this time are generally due to improper shaping or tube forming.

Skookum Reeds Product and price list - effective February 1, 2011

W e have cane f r o m f ive sources - AUiaud, Rigott i , K G E (China), Argendonax (Argentina), and E D R

(European Double Reeds). Y o u may order any o f the sources in any o f these forms - Pre-gouged sticks (approx.

1.7mm thick), gouged (1.25-1.30mm thick), gouged and shaped, gouged shaped and profi led, blanks (tube formed,

tip left uncut), or complete reeds (tip cut, tip profi led and tube reamed).

Also note that we can supply K G E , AUiaud, and Rigott i cane in different diameters (curvatures) - f r o m

22mm to 27mm, Changing cane diameter w i l l change the vibrational resilience o f the reeds. We use only 24-25mm

tubes for our reed products unless the customer specifically orders another size. The price for all cane diameters is

the same. We can also supply Baroque bassoon cane at 150mm long, 18.5 wide and 2.00mm thick, and we use

27mm tubes for this.

Processed cane

Pre-gouged cane $ 1.40 per stick

Gouged $2.75

Gouged and shaped $3.60

Gouged, shaped & profi led $4.75

Reeds, finished $22 each

Reed blanks $ 18 each

Baroque cane, gouged $3.50 per stick

Prices are in Canadian funds

Pre-gouged $ 1.40 each or 100 pre-gouged sticks o f cane from, any our sources for $ 125.

Lengths vary f r o m 125 to 170mm, thickness is approximately 1.70mm. Pre-gouging saves most o f the wear

on your gouger blade, and cuts down on the cost o f shipping. Also, green cane and twisted or warped sticks

are eliminated, guaranteeing you a higher average quality and yield.

Gouged $2.75 each

Our standard gouge is 1.25-1.30mm thick. Other thicknesses available on request.

Gouged cane f r o m any o f our sources is $2.75 per stick for standard gouge, and $3.50 per stick for custom

ordered thicknesses.

Gouged and Shaped $3.60 each

Y o u can order cane o f any source shaped with any o f these shapers (and we hope to add more):

Prestini Knockenhauer, Prestini # 1 , Prestini #2, Fox #2, Pisoni #3..

Gouged, Shaped, and Profi led $4.75 each

Y o u can order any source o f cane shaped wi th any o f our shapers, and profi led.

Reeds and Blanks

Our finished reeds are $22 each, or i f you prefer, blanks wi th the tube formed and tip uncut are $18. Y o u

can choose any cane source and shape. Reeds and blanks are shipped in individual plastic vials.

Shrink-wrap tubing $0.60 per foot

This is a convenient and colourful way o f sealing the tube o f the reed. This tubing shrinks to half its

original size when warmed wi th either hot air or water, and comes in six colours - red, blue, white, black, yellow,

and forest green. One foot o f tubing w i l l cover 12-15 reeds.

Glue We use a glue made by 3 M known as #4475. I t dries hard and clear, and comes in a big tube for $20.00

Skookum Reeds, 348 Oakwood Ave., Winnipeg, MB, Canada R3L 1G1 204-284-7289

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Like all w o o d w i n d ins t ruments , the bassoon has a "break" between the f i rs t and second register. To negotiate this

register change smooth ly , die player must be p rof ic ien t i n half-hole technique. 1 he transi t ional notes that require a

ha l f -hole f i nge r ing are: . p | c\> a '

T o de te rmine the correct size of the half-hole, practice the slurs below. Start i n the low octave and roll the first finger

d o w n w a r d to the ha l f -hole pos i t ion . W h e n the l o w note jumps to the upper octave, the size of the half-hole is correct.

Always roil the finger to create the half-hole - never pick it up and place it in position.

add resonance key (low Df/E^key)

9- <: ii-: y~ (h.h.) (h.h.)

Bassoon Wing Joint and

F l i c k i n g is a technique used to faci l i ta te certain slurs. The keys used for f l i c k i n g are located o n

the w i n g jo in t ; they are the h i g h A, C, and D keys. Note that the h igh D key is not available o n

al l bassoons. These keys are also used to facili tate attacks - or get t ing certain notes to "speak"

cleanly w i t h resonance.

"Fl ick ing" is accomplished w i t h the l e f t t h u m b . At the exact m o m e n t tha t the fingers depress the

slurred, or tongued note tha t needs to be f l icked, the lef t t h u m b l igh t ly opens the appropriate

f l i c k key for an instant (do n o t f u l l y depress the f l i ck key).

Use the indicated f l i c k keys w h e n s lu r r ing f r o m any note i n this range: d^Ez===z^

Hick/Speaker Keys -^^—^ I n *> ° , t o these notes: ?- •

flick high A

O c t a v e a n d F l i c k exercises - pract ice s l o w l y :

Octave Slurs

flick high C flick high D (if available)

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Remember that the flick keys can also

improve the tone quality and response

of these notes when they are articulated.

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Flick Etude (slurs with fingering changes)

flick C key flick C key flick C key flick C key flick D key (if available)

"Speaker-Key" Etude (use flick keys for clear attacks)

THE DOUBLE REED 41

Bassoon Basics for the Flicking Bassoonist!

By Robert S. Williams North ville, Michigan

The following is a list of fundamentals of bassoon playing that 1 teach. These work for me, they should work for you. I suggest that you give them a try.

Whisper Key The whisper key is really an opposite octave key. Its use facilitates the lower register of the bassoon and when it is not used it helps sustain the upper register. The whisper key is "automatic" from low B-flat to low E. You should always examine your whisper key pad when your bassoon is first assembled to make sure that it fully closes when the low E, (pancake) key is closed. The whisper key itself must be used from low F up to A-flat on the top line of the bass clef.

Automatic Whisper Key Used

ho n

___ ^ The whisper key is used on nil half hole notes, including high G and A-flat.

E-flat.Key The E-flat key is used on low E-flat, middle G to lower the pitch, and on all notes starting on high E natural and above as a resonance key. I use the low D-flat key on middle G because it is slightly lower in pitch than the E-flat key

For E-flat To Lower G For Resonance

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Optimum Half Hole Openings F# G G#

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It is illegal to photocopy or reproduce this Bassoon Trill Fingering Chart.

V

I N T O N A T I O N

T h e notes on a bassoon are more capricious than on any other w o o d w i n d instrument. This is par t ly due to the size and shape of the instrument, and to the fact that some o f the holes have to be bored at an angle to enable the fingers to cover them. Therefore more care must be taken w i t h in tona t ion on the bassoon than on other w o o d w i n d ins t ru­ments. Good ear t ra in ing is essential so that the necessary adjustments can be made.

As I said i n an earlier chapter, the top register w i l l tend to be a l i t t le flat i f the same l ip pressures and b lowing are used for the h igh notes as are used for the lower ones. Consequently an adjustment of pressure must be made a l l the t ime—a tighter l i p pressure as you go up the instrument , and a slacker pressure as you go down. Care must be taken not to overdo these changes of l i p pressure, and the only guide to this is, o f course, the ear.

I n addi t ion , a l l bassoons have some notes w h i c h respond d i f fe ren t ly , and need slightly di f ferent airspeeds and

pressures (middle G / • H is sharp on many ins t ru

ments) and these adjustments w i l l soon become automat ic i f the ear is sufficiently alert.

Care must also be taken when the volume o f sound is increased, for w i t h the greater air pressure forced th rough the reed the sound frequent ly sharpens, so a compensatory slackening, probably very slight, must be made by the lips. Th i s is another reason w h y ' long-note' practice is so valuable.

Because of these l i t t le problems of in tona t ion the bassoon is real ly the most personal o f a l l instruments, each ins t rument d i f f e r i n g f r o m every other one. This is par t of its charm, no doubt , bu t i t w i l l be readily understood w h y no bassoon

24 B A S S O O N T E C H N I Q U E

player can pick up someone else's ins t rument and play on i t w i t h a good in tona t ion r i g h t away. I t may take months to become at home on a d i f fe ren t one. Exercises for in tona t ion can be devised, and arpeggio practice—done slowly—is very h e l p f u l i f you listen careful ly to every note.

Th i s is a good exercise. T h e higher octave note must be clearly heard i n your head, before i t is p layed.

A n d here is another one

and so on.

Y o u can invent s imi lar exercises on these patterns.

W h e n you p lay i n an orchestra, or w i t h other people, and there is some f a u l t y in tona t ion around, do, please, be the shining example and assume i t is p robably y o u who are out o f tune—and act accordingly—instead o f wa i t i ng com­placently fo r the others to pu t matters r i g h t !

W h e n there is some discrepancy o f in tona t ion i n an orchestra, there are times when the offender finds i t d i f f i c u l t to know whether he is s l ight ly f l a t or sharp. Th i s may be when the clash occurs between instruments p lay ing at wide range (for example, bassoon and piccolo) . A t these times you must t r y to push i t the w a y y o u feel most l ikely, bu t be ready to adjust the other w a y i f i t does not correct the t rouble. I n an orchestra y o u must remember there are

I N T O N A T I O N 25

problems o f in tona t ion wh ich you w i l l not meet elsewhere. Vio l ins , for instance, f requent ly go sharp as they play higher notes (one o f the minor mysteries), and cellos and basses are o f t en sharp on their lowest strings. For the sake o f the performance one has to h u m o u r them, and accompany them at least par t o f the way.

I a m going to say a few words now to the more advanced student. I t happens occasionally that one o f you w i l l come along i n some distress, and compla in that you feel you are p lay ing consistently sharp nowadays, and have even been to ld so b y your colleagues, and perhaps by a conductor. T h i s is the reason. Over recent years your embouchure has strengthened and altered a li t t le—so gradual ly that y o u have not realized i t — w i t h the result that the pressures y o u used i n your earlier days are now, i n conjunct ion w i t h your stronger l i p , too fierce. I f you have been chided for this i n an orchestra y o u may, i n your anxiety, have made matters even worse by t ightening st i l l more. T o deal w i t h this, relax, a n d take a l i t t l e less reed i n the mou th—and then relax a l l over again.

3

The Double Reed, Vol. 23 No. 3

THE DOUBLE REED 99

A Pedagogy for Finishing Reeds for the German-System (Heckel-System) Bassoon

By Terry B . Ewell

Towson University, Towson, Maryland

h i l e m a n y e x c e l l e n t books and articles are now available de ta i l ing preliminary steps fo r making bassoon reeds (gouging, p r o f i l i n g , shaping,

forming the tube, etc.), few go into extensive detail concerning finishing bassoon reeds.1

The reason for this is quite apparent. While the early steps of forming bassoon reeds can be precisely specified and in many instances may be r e d u c e d t o a m o d e s t n u m b e r of instructions, the methods for finishing reeds to f i t a l l bassoons a n d m o r e i m p o r t a n t l y a l l bassoon players are numerous.! Moreover, the "objective approach" employed by many reed-m a k i n g t e x t b o o k s is l a r g e l y u n s u i t e d t o addressing the mult iple needs of bassoonists. By "objective approach" I mean that the text cons i s t s of a ser ies of i n s t r u c t i o n s o r directions: do this.., take off x amount here.., e t c t This is not to fault reed making texts that m o s t l y use the d i r ec t i on -based a p p r o a c h . Several of them, such as books by Christopher Weait and Mark Popkin and Loren Glickman, are wonderful instruction manuals.' 1 have used these books w i t h my students fo r years and prof i t ed f r o m them myself. These books are except ional ly e f fec t ive in impa r t i ng precise actions, wh ich when p rope r ly executed w i l l y i e l d the des i red and q u a n t i f i a b l e r e su l t s . However , the o b j e c t i v e app roach is no t as effect ive when the desired results are more ephemeral : 1 want a darker sound, 1 wan t a louder low register, 1 want a more dependable h i g h regis te r , e tc . Le t ' s c a l l t h i s o t h e r approach , one tha t seeks these less easi ly quantif iable results, a "subjective" approach. Let me add a fur ther c lar i f ica t ion to the two a p p r o a c h e s . Le t ' s d e f i n e t h e o b j e c t i v e approach as one that centers on the physical evidence: how the bassoon reed appears and its va r ious measurements . Let 's de f ine the subjective approach as one that centers on the aural results, how the bassoon reed sounds (on the bassoon) or how one w o u l d w i s h i t t o sound and how to change the reed f o r the better.

Most if not all experienced reed makers rely u p o n b o t h o b j e c t i v e and s u b j e c t i v e a p p r o a c h e s . In f a c t i t is not p o s s i b l e t o

separa te t h e t w o d u r i n g r e e d m a k i n g and especially reed finishing. When I make bassoon reeds 1 use an objective approach (the reed is u x " long, the shape is "y" wide, the heart is "z" thick, etc.) to arrive at a reed that is then ready f o r " f i n e t u n i n g . " 1 a lso use t h e o b j e c t i v e approach when balancing the bassoon reed. Then w i t h a subjective approach I achieve the sound quali ty and response I want tailored to each reed and the music the reed wi l l perform. The instruction of several bassoon reed makers and years of bas soon r e e d m a k i n g and p e r f o r m a n c e have r e f i n e d m y s u b j e c t i v e approach, wh ich 1 w i l l share w i t h you in this article. 3 As a bassoon reed maker I know what I do and how 1 achieve a reed I want. But as a teacher, how do I impart this to students? The object ive approach to my reed making is the easiest to teach to students. The subjec t ive a p p r o a c h to m y reed m a k i n g , h o w e v e r , is diff icul t , to impart.

This a r t i c le seeks to address the several aspects of reed finishing and provide concepts for teaching reed finishing. In particular I t r y to address the subjective aspects of bassoon reed f inishing. You w i l l note, for instance, that no reed measurements are included and no model reeds dimensions are given. Students should consult other sources for objective aspects of the c ra f t or fo r model reed measurements . ' Below you wi l l f ind an explanation of the terms used in the article, an introduct ion to the four r eed types , and c o m m e n t s o n r eed adjustments. At the end of the paper is a test f o r y o u t o check y o u r k n o w l e d g e of the concepts of reed f in i sh ing conta ined in this paper . T h i s tes t is s i m i l a r t o the ones I r e g u l a r l y gave to f i r s t - s emes t e r f r e s h m e n bassoon students at West Virginia University. The answers to the test are inc luded in this journal issue as well .

I. A Few Terms and Figures Please re fe r to Figure 1 f o r many of the

terms used in this ar t icle . Figure 2 presents models of the two types of scrapes mentioned here. While there is an infinite variety of reed blade p ro f i l e s , fo r our purposes the p r o f i l e types are c lass i f ied by the i r r e la t ion to t w o

Vie Double Reed, Vol. 23 No. 3

100 A PEDAGOGY FOR FINISHING REEDS

Blade

) = Collar -

Tube

-Alley

First Wire

Second Wire

Tmrd Wire

Fig. 1. The lay of the bassoon reed with terms.

extremes: 1) the para l le l scrape and 2) the s l o p i n g sc rape . In i t s i d e a l i z e d f o r m , the paral lel scrape features a steeply sloped t ip area r i s i n g t o t h e hea r t of t h e r e e d . The t h i cknes s f r o m t h e hear t up t o the co l l a r , however, remains the same. In the idealized form of the sloping scrape, the t ip area to the heart rises much less steeply than the parallel t i p . The th ickness f r o m the heart up to the col lar gradual ly increases. Thus, the s loping scrape is heavier towards the collar than the parallel scrape, but lighter in the heart area.

Wire adjustments are described as fol lows. "Flattening" a wire means to flatten the oval of the t u b e b r i n g i n g i t c lose r to the shape i t originally had before the forming process wi th a mandrel. "Rounding" a wi re means to make the t u b e m o r e c i r c u l a r . "Ra t ios" are the relationship of thickness between the spine and the rails or the heart and wings. A spine that measures twice as thick as the rails has a 2:1 ratio. A 3:1 ratio is greater than a 2:1 ratio; and changing a reed f r o m a 2:1 ratio to a 1:1 ratio decreases the ratio. Figure 3 illustrates "points of i n f l e c t i o n . " Note that the cent ra l par t ( in front of the heart) of the reed t ip has a convex curve; the wing por t ion of the t ip is concave— curving in the other d i rec t ion. The arrows in the f igure show the points of i n f l ec t ion , the

p lace at w h i c h t h e c u r v e of the reed t i p changes f r o m concave t o convex . F igure 4 i l l u s t r a t e s a r eed t i p w i t h no p o i n t s of inf lect ion. The "aperture height" refers t o the distance between the two blades at the t ip of the reed (See "A" in Figure 5); the iaper ture width? w i l l refer to the w id th of the aperture,

Scrapes

ParMlei Sloped

Fig. 2. Two types of bassoon reed scrapes.

Points of Inflection

Fig. 3. Points of inflection.

Fig. 4. No points of inflection.

the freely vibrat ing t ip area, between the t w o b lades (see " B " i n F igure 5 ) . By t h e t e r m "aperture" 1 mean bo th aper ture height and width .

I I . The Four Reed Types I f i n d tha t t h e best w a y to t e a c h r e e d

finishing (especially the subjective part of the craf t ) is to present the "normal reed type" in contrast w i th three specialty reeds: high note, low note or p ian iss imo, and c o n c e r t o . The n o r m a l r e e d is the s t u d e n t ' s w o r k h o r s e , accounting for the type of reed needed 95% of the t ime, w i t h the specialty reeds employed just for unique situations. The specialty reeds.

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THE DOUBLE REED 101

Fig. 6. Varied apertures views from the tip.

however, take on impor tance not merely fo r t h e i r p o t e n t i a l use i n d e m a n d i n g m u s i c a l passages, b u t a lso as " c o n c e p t u a l counterpoises" to the no rma l reed type . By conceptual counterpoises I mean concepts that counterbalance and def ine the n o r m a l reed type.

Let me f u r t h e r exp la in t h r o u g h a menta l p i c t u r e these c o n c e p t u a l c o u n t e r p o i s e s . Imagine balancing a pencil o n your finger, so that the pencil is horizontal to the ground. Now imagine a pin s tuck in to the m i d d l e of th is balanced pencil, a p in that sticks straight up in to the air away f r o m y o u r f inger . Pushing slightly on one end of the pencil w i l l t i l t the pin in the d i rec t ion of the end pushed. T r y this wi th a pencil if you are not able to picture this in your mind. Now consider that the pin is the n o r m a l reed type and the t w o ends of the pencil are two of the counterpoises, that is, two of the spec ia l ty reed types . W h e n the t w o counterpoises are in balance, the normal reed (the pin) is in balance. Giving more emphasis to one counterpoise (one end of the pencil) shifts the balance of the normal reed towards the emphasized counterpoise (end of the pencil) . Now t r y to imagine a three-ended pencil w i th the pin. When the three ends are in balance on your finger, the pin sticks straight up in the air. Depressing one end w i l l natural ly t i l t the p in towards the end that is pressed. Pressing two ends w i l l shif t the pin in the d i rec t ion of the m i d d l e area of the t w o pressed ends. Th i s t h r e e - e n d e d p e n c i l c o r r e s p o n d s t o t h e relationship of the four reed types, the normal reed type (pin) and the three specialty reeds or counterpoises (ends of pencils). Understanding the fundamental ideas of the three special ty reed types and their relationship to the normal r eed t y p e he lps e q u i p s t u d e n t s t o make adjustments to bassoon reeds that bring about

I

I r - 2 — , I

Fig. 7. Varied apertures viewed from the blade.

many of the subjective results they are seeking. The c o n c e p t of each s p e c i a l t y r eed t h u s c o n t r i b u t e s t o the ba l ance of t h e n o r m a l bassoon reed.

1) Normal. This reed shou ld be the best possible compromise of the three reed types below. It should possess stable in tonat ion, a pleasing tone, and good enunc ia t ion of the high, middle, and low registers at all dynamics. This reed features points of inflection.

Fig. 8. Varied apertures of reed with no points of inflection.

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102 A PEDAGOGY FOR FINISHING REEDS

The Specialty Reed Types (The Conceptual Counterpoises)

2) H i g h Note, in comparison to the normal reed type this reed generally has;

• a narrower shape (especially the throat) • a shorter blade • rounded f i rs t and second wires • a greater heart to wings ratio • a greater spine to rail ratio

T h i s r eed f e a t u r e s p o i n t s of i n f l e c t i o n , especia l ly when a w i d e dynamic range and control in the high register is needed. Often the parallel scrape works best for this reed type. The aperture height tends to be greater than the no rma l reed type. (Used fo r the opening solos in Ravel's Bolero and Stravinsky's The Rite of Spring.)

3) Low Note/Pianissimo. In comparison to

the normal reed type this reed generally has:

• a wider shape (especially the blade) • a longer blade • flattened first and second wires • a lesser heart to wings ratio • a lesser spine to rail ratio wi th a

thinner spine • a thinner t ip

A reed made just for the easy production of low notes need not have points of inf lec t ion. However a reed made for pianissimo playing shou ld have p o i n t s of i n f l e c t i o n . O f t e n the s loping shape works best for this reed type. The aperture height tends to be smaller than the normal reed type. (Used for the opening solo of Tchaikowsky's Symphony No.6 and the opening of the overture to Mozart's Marriage of Figaro.)

4) Concerto. This reed needs to emphasize the louder dynamics wi th a pleasing sound and excellent ar t icula t ion in all registers. In com­p a r i s o n to the n o r m a l reed t y p e t h i s reed generally has:

• a wider shape (especially the throat) • no points of inflection (or very slight ones

at the edge of the wings)

• a lesser spine to rails ratio wi th thicker rails

• a larger aperture height and width (the result of a rounder first wire and/or a wider shape)

This reed may also have a wider shape wi th a shor te r blade. (Used to p e r f o r m concer to l i t e r a t u r e w i t h a la rge o r c h e s t r a s u c h as Weber's Concerto in F, Jolivet's Concerto, etc.)

Not every spec ia l ty reed ( h i g h note, low note/pianissimo, or concerto) w i l l necessarily have each characteristic listed above, but they w i l l draw upon many of the characteristics as componen ts to achieve the desi red resul ts . These characteristics are a bit like ingredients in a stew: more of one ingredient should be added if another ingredient is decreased or even omitted. Each player finds the recipe most appropriate for his or her style of playing.

Now let ' s t r y to unders tand the r e l a t ion between points of inflection and the reed types. A reed w i t h po in t s of i n f l e c t i o n a l l o w s f o r mult iple reed apertures due to the spring-like a c t i o n of the reed . T h i s s p r i n g - l i k e a c t i o n permits the performer to select varying reed apertures as illustrated in Figure 6. A reed w i t h min imal embouchure pressure w i l l have the wider aperture shown in number 1 of Figure 8 and wi l l vibrate in the region under the number 1 in Figure 7, Note that a port ion of the wings and the rai ls in Figure 7 do not pa r t i c ipa te freely in this vibrat ion since the blades are in contact in those areas. These areas are shaded i n b l ack . The area des igna ted n u m b e r "2" indicates greater embouchure pressure on the reed such as one might apply for higher notes or for quieter passages. Since larger portions of the reed blades are in contact, less of the reed s u r f a c e area v i b r a t e s f r e e l y . T h e area d e s i g n a t e d n u m b e r "3" ( t h e non-shaded p o r t i o n of Figure 7) i l lustrates the v ib ra t i ng surface of the reed wi th almost total closure of the aperture. This illustrates the reed vibrat ion

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THE DOUBLE REED 103

Fig. 10. Reed blade between fingers.

Now let's fur ther apply these reed types to the pedagogy of reed finishing. For instance, a student who has consistent d i f f i cu l ty wi th the h i g h reg i s te r of the bassoon m i g h t have a normal reed type that favors the low register ( th ink again about the penc i l analogy) . This student should move their normal reed type in the d i r e c t i o n of the h i g h n o t e r e e d t y p e . Adopting one or more of the characteristics of the high note reed moves the student's normal reed in the r i g h t d i r e c t i o n . For ins tance , a narrower shape in the throat may be all that is needed. Add to this a shorter blade length and the reed wi l l have an even greater bias towards the h igh regis ter . Round ing b o t h wi res w i l l increase the high register tendencies fur ther , etc. Any one or all of these characteristics w i l l sh i f t the reed in a r ight d i rec t ion . In another e x a m p l e a s t u d e n t w h o c o n s i s t e n t l y has d i f f i cu l ty w i t h low register pianissimo attacks may have a normal reed type the favors the conce r to m o d e l . This s tudent s h o u l d move their normal reed type in the di rect ion of the l o w n o t e / p i a n i s s i m o r e e d t y p e . M a k i n g a thinner t ip or creating more prominent points of i n f l e c t i o n in the reed w o u l d a id the low register response. Also f la t tening the 1st and 2nd wires w o u l d move the reed in the r ight d i r e c t i o n . Encourage the s tudents t o make changes one by one in o r d e r t o f u l l y u n d e r s t a n d the e f f e c t s on the r e e d . T h e y should play the reeds on the i r i n s t rumen t s after each change. Naturally there are plusses and minuses with every reed modificat ion, so i t is i m p o r t a n t to u n d e r s t a n d w h a t each a d j u s t m e n t does f o r t h e i r reeds o n t h e i r instruments. Remember that the normal reed type does not do everything that the specialty reeds do. rather it is a suitable compromise that allows the performer as wide a command of the instrument as possible.

III. Comments on Reed Adjustments N o w t h a t we have set t he i m p o r t a n t

concepts in place it is time to tu rn to practical suggestions on reed finishing. I encourage the reader to ponder how each suggestion below aids in the product ion of one or more of the four reed types. Careful consideration of each aspect of reed adjustment w i l l aid you in fine tuning your reeds to produce the result you desire.

A n i m p o r t a n t pa r t of r eed m a k i n g is o b s e r v a t i o n and b a l a n c i n g . I have f o u r principal methods of observation that I use to instruct students. Al l these methods require a

d u r i n g e x t r e m e h i g h no tes o r p i a n i s s i m o passages.

There is an i n f i n i t e v a r i e t y of aper tures ava i l ab le be tween the m a x i m u m a p e r t u r e opening and total closure of the reed t ip . This variety of apertures is ideal for the normal reed t y p e , w h i c h is p l a y e d u n d e r the g rea tes t d i v e r s i t y of p e r f o r m a n c e d e m a n d s — l o u d , quiet, high, low, etc. The high note reed favors points of inflection as well since the high notes are p layed a lmos t e x c l u s i v e l y f r o m center portion of the reed. The smaller vibrat ing reed surface noted in area 3 of Figure 7 aids in the p r o d u c t i o n of h i g h no tes . T h e p o i n t s of i n f l e c t i o n also aid the va r ious shading and t i m b r a l b a l a n c i n g needed f o r l y r i c a l h i g h register melodic lines. The low note reed may or may not feature points of inflect ion. Points of i n f l e c t i o n are less necessa ry f o r the enunc ia t ion of the low register . However if p i a n i s s i m o p l a y i n g in the l o w r e g i s t e r is required, points of inflection are quite helpful since the vibrating surface area is reduced. The less reed surface that vibrates, the less noise produced by the reed. In addition the points of inflection allow tor greater dynamic nuance, a necessary requirement fo r playing at quieter dynamic levels.

A reed with no points of inflection yields an " a l l o r n o t h i n g " a p e r t u r e . W i t h a d d i t i o n a l pressure the aperture height is reduced but the aperture width stays roughly the same until the blades make contact along the entire length of the t ip (Figure 8). This is a plus for achieving maximum volume throughout the range of the i n s t r u m e n t — o f t e n a r e q u i r e m e n t f o r pe r fo rming concertos w i t h a large orchestra. The greater the aperture of the reed, the more the a i r f l ow and consequent ly the louder the reed can be played. Even w i t h the increased embouchure pressure for the high register, the w i d t h of the a p e r t u r e is no t s i g n i f i c a n t l y reduced.

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104 A PEDAGOGY FOR FINISHING REEDS

Fig. 11. Two unbalanced reeds.

wet reed. This is because the cane is suppler when wet and it is easier to view the layers of the perenchyma — the wood or grain — when the cane is moist . Also since the reed is wet when played, we want to observe its tendencies in this state. 1) Visually examine the blade of the reed for symmetry. We can see in Figure 9, for instance, that the reed is unbalanced since the layers of grain on the left side of the reed extend fu r the r towards the t ip . The layers of grain show tha t the lef t side of the blade is heavier than the right side. This reed should be balanced before fu r ther work is done. 2) The a p e r t u r e or t h e "bubb le " tes t is a n o t h e r important way to check the balance of the reed blades. Observe the aperture of the reed while slowly closing the blades between your thumb and a f inger in the same hand (Figure 10). C a r e f u l l y w a t c h h o w the a p e r t u r e ( t h e "bubble") closes when you apply pressure. The bubble should be centered during all phases of closure (Figure 6). If the "bubble" is off-center, y o u r r eed is u n b a l a n c e d and needs to be ad jus ted . The bubble w i l l be largest on the heavier side of the reed. Figure 11 shows the t i p of t w o unba l anced reeds. T h i n k of the b lades as a r m w r e s t l i n g each o t h e r . The stronger blade p o r t i o n w i l l push the weaker blade por t ion away as shown by the arrows in Figure 11. These heavier port ions of the reed wi l l need to be thinned unti l the blades are in balance similar to the reed in Figure 6. You are s eek ing t o have a s y m m e t r i c a l b u b b l e o r aperture in the middle of both blades dur ing the ent i re test. 3) The "finger" test w i l l also help you to ident i fy the location of heavier or l ighter por t ions of the reed blade. Pinch the reed b lades t h r o u g h o u t i t s w h o l e su r face between your thumb and a finger of the same hand. With this process move up and down the blade, especially concentra t ing on the sides and t ip port ions. The thinner port ions of the blade w i l l collapse more easily than the thicker p o r t i o n s . The f i n g e r t i p s are r e m a r k a b l y sensi t ive and can give a ve ry accurate and quick assessment of the balance of the blades.

j Fig. 12. Plaque inserted between the rails. j

4) The ' p l aque tes t" he lps t o i d e n t i f y the thickness of the rails. Insert the plaque so that i t s l ightly separates the length of the rails on one side of the reed (Figure 12). This way you can ea s i l y o b s e r v e w h e t h e r the r a i l s are balanced and whe the r they are the des i red th ickness . Many s tudents are unaware tha t their rails do not evenly taper f rom the collar to the t i p o r t h e ra i l s are uneven ly ba l anced between the blades. This test gives students an immediate visual check of the rail thicknesses.

Y o u w i l l n o t i c e t h a t I have n o t y e t m e n t i o n e d t w o c o m m o n ways of assessing blade thickness. Looking th rough the blades i l luminated by a l ight can sometimes help in determining unevenness in the blades and the overal l p rof i l e . However, the age of the reed and t h e d e n s i t y of cane a lso a f f e c t t he translucence of the reed. Especially it can be diff icul t to make judgements about the thicker portions of the reed—the heart and spine areas — since these are not we l l i l lumina ted b y a light. A dial indicator is another excellent way of t e s t i n g b lade t h i c k n e s s . It has t w o disadvantages however. With the reed intact it is d i f f i c u l t to measure thickness at the rails . Also the machines are cos t ly . 1 hes i ta te to emphasize the use of a tool that students wi l l no t use w h e n they leave m y s t u d i o . M a n y students are fortunate to be able to purchase t h e r u d i m e n t a r y t o o l s necessary f o r reed making. For most students the expense of a dial indicator is prohibit ive. Al l students, however, can q u i t e eas i ly p e r f o r m t h e m e t h o d s of observation I give above.

Now let 's move on to ad jus tments of the wires. It is quite important to understand how changes to the 1st and 2nd wires affect the reed. Figure 13 gives a table of the effects of wi re adjustments. Rounding or f la t tening the first wire alone wi l l have varying effects on the p i t ch depending upon the prof i l e type, blade length and other factors. Opening the first wire creates a larger aperture height and of ten a larger aperture width , allowing for more air to go t h r o u g h the reed. Round ing b o t h w i r e s

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THE DOUBLE REED 105

Adjustment Tip Opening Timbre (Tone) Pitch tendencies

Round 15 1 wire opened mostly darker varies

Flatten I s t wire closed mostly brighter varies

Round 2 n d wire closed darker higher

Flatten 2 n d wire opened brighter lower

Fig. 13. A table of the effects of wire adjustments

together, however, w i l l darken the sound and raise the overal l p i t c h . Flattening bo th wires together wi l l brighten the sound and lower the p i t c h . A n o v e r l y r o u n d e d f i r s t w i r e is an indication that other methods of darkening the reed or opening the t i p should be used w i t h reeds in the f u t u r e . Also note tha t an over­t ightened 1st w i r e w i l l g rea t ly cons t r i c t the v ibra t ion of the reed. 1 suggest that students give their f irst w i r e the "fingernail" test. Once the reed is soaked in water and played for a bit, they should be able to shif t the f i rs t wire loops slightly w i th their fingernails. If moving the wire requires excessive force, the wire is too tight. It is quite common for the cane in new reeds to s w e l l up in the f i r s t f e w p l a y i n g sess ions . Keeping the f irst wi re at a proper tension is key t o p r o p e r l y assess ing f u r t h e r b l ade adjustments.

The heart to wing and spine to rails ratios have several i t ems in c o m m o n . In general , h igher ra t ios y i e l d a darker sound ing reed; lower ra t ios give a b r i g h t e r sound ing reed. Carefully study the fol lowing list of problems of i m p r o p e r t h i cknes s and c h a r a c t e r i s t i c s of balance between these areas:

A heart that is too heavy (large heart to wings ratio)

• Forked Eb (Eb3), G3 (G above open F)

and F#3 (F# above open F) are too sharp

• The low register is sharp

and unresponsive

A heart that is too thin (small heart to wings ratio)

• C# 3 (below open F) and possibly E3

(below open F) drop in pi tch

• The high register is f lat

• The reed collapses at loud dynamics.

Wings that are too heavy (small heart to wings ratio)

• Reed not responsive at pianissimo

Wings that are too light (large heart to wings ratio)

• Corners break off w i t h tonguing

• C o r n e r s a re t o t a l l y c o l l a p s e d and

therefore

do not contr ibute to v ibra t ion of the reed

A low spine to rails ratio with a thick spine and thick rails

• A vibrant or bright reed favoring the low register and louder dynamics.

A low spine to rails ratio with a thin spine and thin rails

• A nasal or bright reed favoring the low

register and quieter dynamics

A high spine to rails ratio (thick spine, thin rails)

• A dark reed favoring the upper register. If the rails are too th in , the low register w i l l speak only w i t h dif f icul ty .

There are several ways in w h i c h to darken

the sound of the bassoon reed beyond the wire

adjustments mentioned above. 1 theorize that

b r i g h t s o u n d i n g reeds have s e v e r a l

componen t s of b r igh tness . One is t h e h i g h

frequency brightness or edginess generated by

t h e t i p area. A n o t h e r is t h e m o r e r o b u s t

brightness generated by por t ions of the reed

away f r o m the t ip towards the heart and spine.

Drawing a piece of fine sandpaper—400 to 600

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106 A PEDAGOGY FOR FINISHING REEDS

grit—across the t ip w i d t h by making contact

w i t h both blades at the same time w i l l reduce

brightness generated f r o m the t ip (Figure 14). A

method of reducing the brightness f r o m the t ip

area and some f r o m the back areas is done as

follows. Insert a single piece of fine sandpaper

i n t o t h e t i p o p e n i n g (as one does w i t h a

plaque). Light ly pinch the blades closed w i t h

one hand and f i r m l y p u l l the sandpaper out

w i t h the o ther . Fl ip over the sandpaper and

repeat the procedure for the other blade. The

best s o l u t i o n f o r t e m p e r i n g t h e r o b u s t

b r i gh tnes s f r o m the m i d d l e p o r t i o n of t h e

bassoon reed comes f r o m increasing the spine

to rails by tak ing off mater ia l f r o m the rai ls .

Most o f t e n 1 use a f i l e f o r t h i s ope ra t i on . In

extreme cases of brightness, part icular ly w i t h a

reed tha t is f l a t i n p i t c h , c l i p the t i p o r use

sandpaper or an emery board to na r row the

shape of the reed.

The tone of a reed may be b r igh t ened in

s eve ra l w a y s i n a d d i t i o n t o t h e w i r e

adjustments mentioned above. Any decrease in

the heart to wings ra t io or the spine t o rails

ra t io w i l l b r igh ten the sound . Na tu ra l ly th is

means taking material away f r o m the heart or

spine of the reed. A thinner t i p w i l l add more

high frequency brightness o r edginess.

The t i p is an essential c o m p o n e n t of the

reed since i t acts much like the spark plug of an

Fig. 14. Drawing sandpaper across the reed tip.

engine . A wel l -made t i p a l lows the reed t o

respond in all registers and at all dynamics. For

t h i s r ea son t h e t i p is one of t h e f i r s t

adjustments I make on the reed when I finish i t .

Once the t i p is wel l formed, the condit ion of the

reed can be be t t e r assessed and the o t h e r

ad jus tments made. I a l low on ly the concer t

type of reed to have a thicker t ip, all the other

reed types are t h i n and responsive.

T h i n n i n g t h e a l l eys (see F igure 1)

encourages the points of in f l ec t ion . In o ther

words, it weakens the reed so that the aperture

w i d t h contracts when the reed is squeezed by

the embouchure. These points of inflection are

desirable if one wants greater dynamic control .

I work on the alleys starting at the back of the

reed progressing w i t h the grain towards the t ip .

A c u r v e d k n i f e blade is best f o r t h i s w o r k ,

allowing the reed maker to take out just a sliver

or t w o of cane material . Just as we have our

mea t t e n d e r i z e r s t o make t h e m e a l m o r e

appetizing, taking material out of the alleys acts

as " reed t ende r i ze r , " m a k i n g the tone and

r e s p o n s e m o r e a p p e a l i n g . T a k e n t o t h e

extreme, however, you are left w i th a reed that

plays "like mush."

IV. Conclusion Once you have carefully studied the material

contained in this paper, I encourage you to take

ne Double Meed, Vol. 23 No. 3

WE DOUBLE REED 107

the "Test on Concepts of Finishing Bassoon Reeds." Na tu ra l l y t h i s tes t o n l y ascer ta ins whether y o u have "head knowledge" of the subjective and objective approaches contained in this article. It is qui te another thing to put into practice the concepts contained here. I te l l my students that un t i l they have made the i r first 100 reeds they are novices. Only after they have made 1,000 reeds w i l l t h e y beg in t o unders tand the in t r i cac ies of s c u l p t i n g t h e sound-producing devices we ca l l a bassoon reeds. There is no s h o r t c u t t o the t i m e d -honored procedure: scrape it and t ry i t , sand i t and t ry it , adjust it and t r y it . . . May your knives be sharp, may your cane be mellow, and may you have something to crow about when all is finished!

A Test on Concepts of F in ishing Bassoon Reeds

(A passing grade is 70 points or better out of 100 points . Numbers 1-7 are 10 poin ts each, Each answer for number 8 is wor th 5 points.)

1. Give t w o a d j u s t m e n t s t o change a concerto-type reed into a low note/pianissimo reed.

2. Give two adjustments to change a normal-type reed into a high note reed.

3. Name th ree a d j u s t m e n t s t o a r eed t o darken the sound.

4. Name th ree a d j u s t m e n t s t o a reed t o brighten the sound.

5. Name two ways to f ix a reed that is too flat in pi tch.

6. What are the characteristics of a reed that has a low spine to rails rat io w i t h thicker rails than a normal reed type?

7. What are the characteristics of a reed that has a low heart t o wings ra t io w i t h a thinner heart?

8. In the blank supply the letter of the reed type most likely to feature the fol lowing: A. High note B. Low note/pianissimo

C. Concerto

Answers to " A Test on Concepts o f Finishing Bassoon Reeds Figures"

Numbers 1-7 have more than the requested t w o o r t h r e e a n s w e r s . S t u d e n t s are n o t required to supply every answer given here.

1. Take cane out of the alleys to encourage points of in f lec t ion . Close the f i rs t wi re . T h i n the t ip . Th in the heart and wings.

2. Shor ten t h e b lade b y c l i p p i n g the t i p (Then re fo rm the t i p fo r clean upper register articulation). Round the f i rs t and second wires. Narrow the shape (if necessary). Thin the rails t o c r ea t e a g rea te r s p i n e t o r a i l s r a t i o ( i f necessary).

3. Nar row the shape. Round the f i r s t and second wires. Th in the rails t o create a greater spine to rai ls r a t i o . If necessary shor ten the blade by cl ipping the t ip and then reforming a new t ip . Sand across the t i p of the reed.

4. Decrease t h e h e a r t t o w i n g s r a t i o b y thinning the heart. Decrease the spine to sides ratio by thinning the spine. Flatten both 1st and 2nd wires. Thin the t i p fur ther .

5. Shor ten the blade by t r i m m i n g the t i p ( then re form the t i p ) . Round the 1st and 2nd wires. Narrow the shape. Increase the spine to rails ratio by thinning the rails (less effective).

6. This reed is more vibrant than the normal reed . I t w i l l p lay louder t h r o u g h o u t a l l the bassoon registers. It typical ly does not feature points of inflection.

7. I t w i l l f a v o r t h e l o w r e g i s t e r of t h e instrument and often w i l l not play the extreme upper notes. It w i l l have a brighter sound and more uncon t ro l l ab le sound t h a n the normal reed type (unless both wires are rounded) . It may play f la t in p i tch , pa r t i cu la r ly on E (E3) and C# (C#3) b e l o w open F (F3) . It w i l l be responsive for pianissimo playing.

8. A A narrow blade

A A high spine to rails ratio

A narrow blade

A high spine to rails rat io - C - N o P o i n t s o f l n f , e c t i o n

No points of inflection - A - A short blade

A short blade

A low wing to heart ratio B A low wing to heart rat io

A very thin t i p B A very th in t ip

The Double Reed, Vol. 23 No. 3

108 A PEDAGOGY FOR FINISHING REEDS

About the Author... Dr. Terry B. Ewell is Chair of the Department

of Music at Towson University. His writings appear in 10 journals and his performances are heard on over 5 record labels. He is First Vice President of the International Double Reed Society and will serve as conference host for the 30th annual Conference of the International Double Reed Society at West Virginia University, August 7-11, 2001.

About the Illustrator... Jessica Wooldridge is a bassoon performance

major at West Virginia University. She has studied with Terry Ewell and Phillip Kolker. She has attended the bassoon program at Tanglewood.

End notes

1 One notable exception is Mark G. Eubank's Advanced Reed Design & Tesing Procedures for Bassoon, t h i r d p r i n t i n g ( P o r t l a n d , Oregon : A r u n d o Research Company, 1993). This tex t has some wonde r fu l suggestions f o r f in ish ing bassoon reeds.

'Christopher Weait. Bassoon Reed-making: A Basic Technique, 2nd edi t ion (McGinnis & Marx Mus ic P u b l i s h e r s , 1980). M a r k P o p k i n and Loren Glickman, Bassoon Reed Making Including Bassoon Repair, Maintenance and Adjustment and an Approach to Bassoon Playing. (Evanston: The Instrumentalist, 1969).

1 am in debt to several teachers f o r the i r reed making advice: Ar thur Grossman, Norman Herzberg, Sidney Rosenberg, Richard Plaster, and Stephen Maxym. I also acknowledge J.M. Heinrichs' excellent article "The Bassoon Reed" 7 (1979) The Journal of the Double Reed Society. 17-43.

'Please see R o n a l d K l i m k o , Bassoon Performance Practices and Teaching in the United States and Canada (Idaho: Universi ty of I daho , 1974); Marc A p f e l s t a d t and R o n a l d Klimko, Bassoon Performance Practice, Teaching Materials, Techniques and Methods ( I d a h o : Universi ty of Idaho, 1993); Te r ry B. Ewell and T o d d A. G o r a n s o n , " D o u b l e Reed Measurements Part 1: Bassoon Reeds" Scrapes International 2 (December 1999): 56-64; and the WWW Bassoon Reed Project on the IDRS web s i te : h t t p : / / w w w . i d r s . o r g / R e e d / R e e d s . h t m l . Also of interest is Lewis Hugh Cooper and Mark D. Avery 's article "Reed Cont r ibu t ion" i n The Double Reed 13/3 (1991): 59-68.

Lttp://ww.steesbassoonxoir^make.html vlaking Bassoon Reeds

tep 1: Selection of the cane

down the Bahn of the gouged piece to follow the grain. Choose cane that has grain that is as straight as possible. Discard any warped pieces.

. Lay the cane bark side up on a table. Discard any pieces that bow in the middle or rock quite a bit from corner to corner.

. Choose cane that is somewhat uniform in color. The bark should have a creamy, slightly yellowish color. Some mottled spots are ine. Discard pieces that have a lot of iscoloration and gray spots. The gouge should be the color of a mania file folder. Cane that is slightly too yellow or green can be saved for another year or two. Cane thai ray cast to it is too old and should be discarded.

. I use a slightly elliptical gouge. Be sure the ends of each gouged piece have a slight crescent moon shape. If the crescent is not symmetrical, trim the thin side to restore yrometry. I f the gouge is concentric, then regouge or sand the sides.

fsing a hardness gauge, select a batch of cane mat is of a uniform hardness. I use cane that tests out from 14-16 in hardness. These numbers may not work for other 1 ssters since they are not all calibrated the same way. Be sure to check both ends of the gouge and the very center, for they will often differ in hardness. Use the average of the tteee numbers to attain the hardness number. Cane that differs greatly from one end to the other is often of poor quality.

"you do not have access to a hardness gauge, you may evaluate the hardness of a piece of cane in a number of other ways.

. Drop the piece of cane on a hard surface and listen for the pitch. Higher piteh=hardcr cane, lower pitch=softer cane.

. Hold the cane between thumbs and forefingers and twist back and forth. Leam to feel for the "give" of a particular piece of cane. More give==softer cane, less give=harder cane.

. Notice the way the cane feels under your tools. Cane that comes off the profiler in even, uniform strips is harder cane. That which comes off in torn, uneven thicknesses is softer.

. Cane mat is thinner in gouge will tend to be harder than thickly gouged cane.

with a batch of cane that is consistently too soft you may gouge the cane a bit thinner (up to .047")to harden it or put it away for a few years and test it again. Cane too hard often cannot be modified for use, but sometimes simply scraping the blade thinner throughout, especially in the channels, can make it work.

reparation of the gouge and soaking:

. Start with a gouge of about .050-053" and a tube diameter of24-26mm. The diameter can be checked by fitting the piece of cane on a dowel rod that is 1" in diameter. The tube s an effect upon the tip opening. Smaller diameter tends to yield reeds with a more arched tip, larger diameter, less arched.

. Sandpaper the gouge of the dry piece of cane with #400 wet/dry sandpaper. Wet the cane and let dry under a light Repeat with #400 sandpaper, but do not re-wet. Finish with 600 sandpaper. Rub the gouge with the sandpaper backing.

. Soak cane for 24 hours in distilled water. Use a container with a tight lid and opaque surfaces so no light gets in. Alternatively, put the container in a dark place.

. Change water and soak for another 24 hours.

. Sand again while wet (optional).

rofilmg (single barrel):

. Clamp profiler to table.

. Center cane on barrel both front to back and side to side.

Place barrel on profiler making sure it goes all the way in the post slots and that there are no cane shavings in the slots.

http://www.stcesbassoonxoiTi/make.htm Making Bassoon Reeds

4 Bring cutting arm down on cane. Strip off bark starting in the middle of the width of the cane. Work from center to one side, then the other, slowly rotating the cane barrel. Use p o d pressure to begin the cut, then lighten up at the end of the stroke. Bring cutting arm up and back when finished with a cut to avoid dragging the blade backwards against the cane before each new stroke.

5. Rotate the barrel and cut bark from other side.

#, After the bark is removed use only the natural weight of your hand and the sharpness of the blade do the work (no downward pressure) and start removing cane below the bark. Work gradually removing a little at a time rotating the barrel after each pass. Remember to lift the cutting arm when bringing it back to the starting position to avoid dulling the Made. Check for cane shavings in the blade or in the posts in between passes.

7. You are finished when you notice no more cane coming off.

Profiler troubleshooting:

1. Blade seems to catch on cane. Oil the cutting arm bar with key oil.

2. Barrel sticks in slots. Lift the barrel out of one of the slots, leaving the other end in. Rotate free end towards or away from you slightly so that amount of play around slot is equal m both directions. Do the same to the other slot end.

3. Cutter cuts through cane. STOP PROFILING IMMEDIATELY. Check bolt on wheel for tightness. Check for cane shavings in slots. If all else feils, bring profiler to Mr. Stees

After profiling:

1. Place cane on easel.

2. Score cane at center point (about 60mm)by measuring halfway point between the two collars, marking with pencil and scoring lightly with carving knife.

3. Remove cane from easel and fold cane over knife blade.

4. Fit cane over shaper. It is extremely important that the cane be centered on the shaper. Sides should fit together with no overlap. Grain of cane should be parallel to length of shaper tip. Center thickness of cane should be placed precisely over midpoint of shaper width. Check centering under a light and clamp cane on shaper. Using carving knife, shape in a sawing motion. Rest shaper handle end on breast bone and hold knife with blade parallel to ground. Pinch fold with thumb and forefinger of left hand. Saw towards you, stopping about halfway down, reverse direction and cut back, (see diagram) Remember that the tip is thinnest in the middle (near where the second wire would go on the blank). Shaping in one direction only will result in a small tube opening and lots of unnecessary reaming. Do not sand the cane while it is on the shaper.

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Step 2: Forming the Reed

If you buy gouged, shaped and profiled cane, start here afterfollowing the steps for preparing the gouge and soaking

1. Place cane on easel again.

2. Score bark with carving knife using five marks all starting at the collar and going all the way to the tube end (see diagram). Rotate cane on easel and repeat.

3. Mark wire placements with a pencil and score bark with edge of file. Score collar positions as well, (see diagram)

4 Fold cane over and carefully line up shaped sides with no overlap. Shoulders should line up. If shoulders do not line up, pinch fold and carefully slide tube end of longer side until shoulders line up. I f shoulders do not line up, the profiled blades will not be symmetrical.

5. Put first wire on by placing wire behind folded cane at first wire mark with 1/3 of wire on left, 2/3 on right Wrap right side over left keeping right side on top at all times. Wrap around once and bring both wires together feeing you to form small isosceles triangle at center point of cane width, (see diagram)

6. Pull and twist wires in counterclockwise direction using needlenose pliers. Always pull first to take up slack in wire. Crimp wires together at base of cane occasionally to take up slack.

ttp://www.steesto^ faking Bassoon Reeds

Check measurement before last tightening. Inch mark should fell in between two wire wraps. Tighten until triangle disappears. Cut off excess wire. Be careful not to overtighten,

vr 'ening digs grooves into cane and chokes the sound-

Cut a long rubber band open and wrap it on bark area starting at first wire. Wrap one end loosely at first then tightening aggressively at butt end. Wrap other end of rubber band

opposite direction from the first in the same manner. Tie off or hold in position near butt.

I f blank has dried off soak in water for five minutes.

). Insert forming mandrel part way inside the tube until stable. Open first wire by squeezing it slightly on the sides with pliers. Continue insertion of forming mandrel until butt

id contacts collar on forming mandrel tip. If you haven't tied the rubber band ends together, do so now.

[. Remove forming mandrel from pin vise and place on drying rack.

I. Let dry for at least two weeks. Longer drying time is even better.

I. Remove rubber band, cut off first wire and open up blank.

\. Tape a sheet o f #320 sandpaper to the table.

i. Sand the seams of the tube by laying the tube gouged-side down flat on the sandpaper and sand with 2 or 3 light strokes.

y. Find ine second wire mark you filed onto the bark. Place cane between thumb and fingers at the second wire mark, butt end of one side of the cane lying on the sandpaper. The st of the cane should be hanging over the edge of the table. Sand from butt to second wire using fingers as a stop for the stroke. Use about 8-10 strokes, depending upon how uch o f a bevel you want.

I Repeat on other side o f cane.

L To check bevel accuracy, fold cane over. Place fingers on the second wire mark. The amount sanded away should appear as a small sliver of light that begins at the butt and ids at the second wire mark. Sand again to correct any inconsistency.

>. fingers of one hand holding cane at second wire mark, fingers of another squeezing butt ends together, you should notice seams of blade open slightly, (see diagram)

). Put on third wire with holding mandrel inserted. Be sure that when wire is secured there is no opening at the seams o f the cane around mandrel. Do not worry i f tube does not as far on the mandrel as a finished, reamed reed would at this point Third wire should be tightest of the three.

I. Put on second wire with twist facing opposite from third wire. Should be securely t ight but need not be as tight as third wire.

Put on first wire. Tighten so ft is secure, but not constricting. This wire must be placed at exactly 1" from butt end - not a 64th more or less. The first wire should be moveable en cane is dry, snug and immobile when wet.

L Check all wire i

I . Cut excess from twists, cutting third wire as close to tube as possible.

>. Coat area from second wire to butt and wrap.

>. After glue dries, soak reed for 3-5 minutes.

J. Check first wire again. It should be exactly 1" from butt end.

I. Mark tip on blade exactly 1-1/8" from first wire with a pencil.

h Cut tip with tip cutter or razor blade on cutting block. With razor Made, use both hands on blade and rock from left to right Do not chop and do not use a dull blade. Most ogle edge blades are good for only 3-5 cuts.

). To finish reed, refer to REED FINISHING guide.

faftp://www.steesb^ Making Bassoon Reeds

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Step 3: Forming the Reed (Additional Instructions - Rubber Bands)

1. This system works best with a shape that measures about 3/8" or 9.5mm in width at the butt of the shaped piece of cane, but similar widths will work, too. I use a Rieger # 13 (Van Hoesen/Pfeifer copy) or a Berdon #6.

2. Make sure the cane has been thoroughly soaked, folded and the first wire is taut and exactly in position.

3. Insert mandrel pin into pin vise and tighten. Cut a long rubber band* so that it can be wrapped around the cane.

4. Place the rubber band around the first wire so that half of it extends to the right of the blank and half extends to the left. Wrap once or twice around collar area above first wire.

:S Take one end of the rubber band and loosely wrap it around the tube portion of the blank down to about where the second wire would go. Wrapping too tighdy at this stage will result in a constricted throat

6. Holding the wrapping of the first in position, take the other end of the rubber band. Wrap the other end going in the opposite direction down to the second wire position. Wrapping one end clockwise and the other counter-clockwise avoids warping the cane during the drying process.

7. Holding both rubber band ends tightly in position, insert the pin vise with forming mandrel in the butt end and push part way on. Avoid twisting the blank.

8. Finish wrapping by greatly increasing the tension of the rubber band while wrapping all the way to the butt. Tie rubber band ends together tighdy.

9. Gently squeeze first wire on sides with pliers. Open to about first wire shape for a finished reed. Push blank onto pin until it butts up against the collar of the pin. Avoid twisting the blank.

10. Loosen pin vise chuck and remove pin with blank from the pin vise.

11. Insert pin with blank into hole in drying rack.

12. Let dry for at least two weeks.**

13. When reaming, ream until reed fits all the way on mandrel pin. Use a Popkin or Pisoni spiral fluted reamer.

* Using rubber bands insures consistent tube taper dimensions and makes beveling easier after drying. Cane formed with rubber bands retains its formed shape in the tube better than that formed with string or no binding agent at all.

Using this system insures that the tube is formed and dries on the same taper and leads to reeds that blow with more similarity.

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Step 4: Modifications

The following are modifications to the Van Hoesen reed that I make for specific circumstances. Make these modifications only after you have mastered the finishing techniques I tech and are still not satisfied with the results or need a reed to do something particularly well.

1. More low in the sound: bevel more aggressively.

2. Fuller low register: cut 2-5mm from tube end of shaped cane before forming tube. Make wire measurements the same minus the amount cut off.

3. Deeper sound: (not for use with soft cane) put cane on shaper leaving 1/8" between shaper tip and cane fold.

4. Sound more focused: Narrow flair of blade shape by slicing offsides of tip and filing with plaque as guide to put less flair in blade. Can also be done by rubbing on sandpaper

before tip is cut off.

5. Second bassoon reed (soft, low, down to pitch): Move first wire down from 1" mark the width of one wire. Also good if finished reed crows above an F.

Tips for Beginning Bassoonists 9/17/2000 18:05

Tips for Beginning Bassoonists

C o m p i l e d b y S teve H a u n a

It is assumed that, i f you are making extensive use of "these tips, you do not have an experienced bassoonist with whom to study. That is a shame, as it is really the best way to learn properly, and money for lessons is money well-spent. Nonetheless, many people do try to start "on their own" and maybe this list wil l help you get started on the right foot. Since not many people choose the bassoon as their first instrument, some of the tips refer to common practice for other woodwind instruments.

The International Double Reed-Society provides a variety o f publications and services for ils members and for the public.

For an excellent introduction to the history and development of the bassoon, see the article in the New Grove Dictionary of Music and Musicians or the New Grove Dictionary of Musical Instruments. These are standard reference works available, at most major libraries. The article is by British bassoonist and musicologist William Waterhouse. It includes a helpful bibliography i f you are doing research.

INSTRUMENT TIPS [ REED TIPS [ FINGERING TIPS | REPERTOIRE TIPS TIPS FROM OTHER BASSOONISTS

EXPERIENCED BASSOONISTS!! Take a minute to A D D A TIP o f your own!

Instrument

Most school-owned bassoons are not in top condition. Have your instrument played by an experienced bassoonist to check for problem areas. Sometimes a simple mechanical problem might make the bassoon very difficult to play.

The names of the joints, from narrowest bore to widest, are: bocal, wing joint, boot joint, long joint, bell.

The normal order o f assembly is: boot, wing, long, bell, bocai.

When inserting the wing into the boot, watch for the key rod that extends across the junction. It is easy to bend i f you become careless. To align the wing properly with the boot look at the second bore hole in the top of the boot after assembly. It should make a concentric circle with the cut-out part o f the wing.

To align the long joint properly with the wing look at the thumb keys. They should not touch one another. Most bassoons also have a metal alignment block on the long joint opposite the "tip' o f the wing.

Be careful when pushing the bocal into the receiver at the top of the wing. The metal of the bocal is quite soft, so it's easy to bend the boca! over on itself. Hold it as near the cork end as possible, and rotate it slightly as you insert.

Use cork grease to lubricate tenon corks i f they are present. Never use cork grease on string-wrapped tenons, as it makes them sticky. Parafin wax (sold as "canning wax" in some stores) is used to lubricate and protect string-wrapped tenons.

Most bassoonists prefer to use a "drop" swab for the wing and boot joints. Check that there are no knots in the swab before each use. Always drop the weight into the iarge end of the bore and pull through to the small end. Swabbing the boot joint in this way is a fun trick, since the string has to go around the bend at the bottom o f the boot.

It is safest always to transport the bassoon in its case, even i f you are only going down the hall. When you must carry the assembled instrument, be especially careful of doorways.

Use a seal strap when sitting, a neck strap when standing.

Posture: sit upright in a plain chair with no arms or attached desk. Since you are using a seat strap, use the whole seat; don't try to perch on the edge of the chair the way the flutes do. It is o.k. i f your back touches the chair back, but don't lean back. Keep your feet under the seat, with weight equally distributed.

Ad just the seat strap so that it is under your weight. Don't try to hold it in place too near your knees. I f it slips down under the weight of the bassoon, it is either not fully under your weight or your seat strap is too slippery. The suede side o f a leather strap wil l give good grip against a smooth chair seat. Cloth straps can also work i f they are made from a "knobbly" fabric.

I f the bassoon feels too heavy on your left hand when seated, you can try placing the seat strap further forward on the chair. This wi l l tip the bassoon into a more upright position.

h up://www. uidaho.edu/LS/Music/hanna/ttps.htmt Page 1 of 3

Tips for Beginning Bassoonists 9/17/2000 18:05

Bassoonists read their music over the bocal side of the instrument. Tip it down across your body until you can read your music and see the conductor over the bocal.

Reed

Reeds sold at music stores are frequently not very good. Mail order ones are typically somewhat better, but more expensive.

I f you get to pick a reed out o f a group, but are not allowed to play them, look for the following characteristics:

no obvious chips or cracks in tip of blades; symmetrical tip opening with nice smooth curvature; blades not excessively slipped from side to side; round (not oval) hole at bocal end; string wrap tight to bark of reed.

The most basic adjustment to the reed is per formed with a pair of long-nosed plyers. Use them to squeeze the wire nearest the blades to adjust the tip opening. If the tip is too closed the reed wi l l play sharp and without loud dynamics; i f the tip is too open it wi l l play flat and without soft dynamics.

The second most basic adjustment is performed with a sharp knife or razor blade. I f "one-finger" E wi l l not stay up to rjitch or is too unstable, you need to clip the tip. Do just a little at a time until the E holds steady.

I f the reed tip has one blade which is more arched than the other, put the arched blade against your upper lip when you play.

Wipe'lipstick/chapstick o f f lips before playing.

Immerse the reed completely in cool or room-temperature water before playing. It should be sufficiently soaked in the amount o f time it takes to assemble the instrument.

Store reeds in a ventilated container; sealed containers breed mold.

I f the first wire (nearest the tip) becomes loose, slip i.t into the indentation in the bark before soaking the reed thoroughly.

I f the string ball becomes loose, re-position it and then glue it down with DUCO cement or fingernail polish.

Clean the inside o f the blades with a soft pipe cleaner at least once a month.

F i n g e r i n g

Failing to cover the open holes completely with the fingers is the most common fingering error for the beginner. The stretch between the second and third fingerholes is large on the bassoon, much larger than on other woodwinds.

The primary' octave key on the bassoon is cnlled'the "whisper" key in the U.S., and its action is the reverse of that on most woodwinds: press it for the low register, release it for the high register. Note that for the lowest register (E below the staff and lower) there is a mechanism to hold the key closed for you, freeing your left thumb for other duties.

Use the "forked" fingering for E-flat in the staff.

Spend some time learning the low register (from "open F" on down) before attempting higher pitches.

Not ail fingerings are created equal. Use your ears when selecting fingerings for notes that are new to you. None of the fingering charts you are likely to find wil l give you the "best" fingering for every note.

A reliable fingering chart is available free from the Fox Products Corp. (phone: 219-723-4888) in the booklet "Let's Play Bassoon" by Hugo Fox. The booklet is intended for band directors and woodwind instructors who are not bassoonists.

R e p e r t o i r e

Most bassoonists learn from the "Practical Method" written by Julius Weissenbom. It is published by Carl Fisher and costs about $20. It contains material from the most basic to advanced, all presented so as to aid in developing good technique and musicianship.

Another good method book for beginners is the "Belwin Bassoon Method Book One," by Kenneth Gekeler (ed. Hovey). Unfortunately, this inexpensive volume is permanently out of print.

"Band Method" books are typically very difficult for new bassoonists, because they introduce the higher register too soon. This is true o f the Rubank "Elementary Method" (Skornicka), as well.

As soon as you feel up to it, f ind a small ensemble to play bassoon with. It's hard to hear yourself when playing with the full band. Playing in a small group (i.e. two to five instruments) wi l l give you a chance to learn more about tone production.

ht tp : / /www, u idaho .edu /LS/Mus ic /hanna/ t ips .h tml Page 2 of 3

woodwind Clinic

Squeeze the first ujre vertically to raise the pitch.

To lower the pitch, pinch the first wire side to side.

Squeeze the second wire vertkaky to lower the pitch.

Pinch the second wire side 8» side to raise the pitch.

41

UP

The Basics of Bassoon Intonation

by Kristin Wolfe Jensen

I c has been humorously suggested that the easiest way to create a half-step interval is to instruct two bas­

soonists to play in unison, but poor bas-soon intonation is no laughing matter. Variables in equipment, poor ear train­ing, a lack of knowledge of fingerings* and poor balance between air stream and embouchure pressure all con­tribute to poor bassoon intonation. Most of the underlying causes of faulty bassoon intonation can be remedied with careful instruction.

The first step toward good intona­tion is to check the condition of the equipment. Many school bassoons leak so badly that the entire range is sharp, the scale uneven; and the low notes impossible to articulate. There are more pads on a bassoon than any other wind instrument, and if just one of these pads does not seal perfectly, the intonation will suffer. A capable repair person should seal all bassoons at least once every two years. Each joint should maintain suction for several seconds when a player closes all finger holes with one hand, seals one end of the joint with the palm of the other hand, sucks all the air out of the other end, and immediately seals it with the lip or cheek. This is commonly referred to as a vacuum test.

Bocals significantly affect intona­tion because the length (indicated by a number engraved on the bocal with #0 being the shortest length and #4 the longest) changes the overall pitch ten­dency. Short bocals tend to be sharp, while long bocals. ace generally flat. Most students should use a #2 or a #3. If a student plays sharp on a #3, check for embouchure problems instead of switching to a #4. When several bocals are at your disposal, try them all because bocals of the same number often vary greatly in pitch level, even­ness of scale, and tone.

Pitch tendencies vary greatly from reed to reed as well. Simple adjust­ments to the reed aperture, made by squeezing one or both of the top two wires with pliers, can alter the pitch levels slightly. When making these adjustments, check that the reed is well-soaked and squeeze the pliers gen­tly to minimize the change in the size of the opening. To make the pitch

higher, squeeze the first wire (closest to the blades of the reed) top to bottom to close the aperture slightly. This adjustment also makes the tone brighter and the reed easier to playv To lower the pitch, open the aperture by-pinching the first wire side to side; this conversely makes the reed harder to play and darker in ton£.

Adjustments to the second wire pro­duce almost the opposite effect. Squee­zing the second wire top to bottom makes the pitch flatter, the aperture larger, and the tone brighter, while squeezing it side to side makes the pitch sharper, the aperture smaller, and the tone darker.

If the E3 drops uncontrollably to El>, the reed is too long. Shorten the reed by closing the aperture with your fin­gers and carefully cutting across the tip with very sharp scissors. The cut should be straight with only a tiny sliver removed. If too much is clipped, the reed can be ruined. It is far better to clip only a little at first and then clip again if necessary.

Even with the instrument, bocal, and reed in good condition and matched appropriately, a number of intonation challenges remain for bas­soonists. The foremost concern is that students learn to listen to pitches crit­ically. Ear training can be integrated into rehearsal by asking students to sing scales, intervals, and parts. Exercises in which students identify the higher of two unmatched pitches are also useful. Because tone and into­nation interrelate so closely, students

often play more i n tune when they focus on maintaining a certain tone quality for each note and on blending w i t h the section.

A n appropriate balance between air speed and embouchure firmness is per­haps the most impor tant physical aspect of playing i n tune and the most d i f f icul t to achieve. Bassoonists of ten play sharp because they pull the cor­ners of the mouth outward (as i f smil­ing) and clamp the teeth down on the reed. Students should instead make a long face when playing to bring the corners of the mouth inward and to create a large space between the molars.

The embouchure and air stream should be relaxed in the low range, w i t h the inside of the mouth shaped as i f pronouncing aw; the embouchure should become f i r m w i t h the mouth changing to an ee shape and the air stream fast in higher ranges. I n the low range students of ten do not drop the jaw low enough or open the throat wide enough, which causes the pi tch to be sharp. I t may help to increase the weight on the upper blade of the reed by leaning down w i t h the upper l ip; rol l ing out the bot tom l ip or pouting is also beneficial.

Flatness i n the tenor range f rom B3 to F3 can be corrected by raising the back of the tongue (this is similar to the ee position for the high register). Firm lips and a fast air stream w i l l also pre­vent the p i tch f rom being flat . I f the embouchure is pinched or the air forced, the p i tch w i l l be sharp. Students should strive for an open embouchure and a free b lowing air stream.

Bassoonists tend to play sharp i n quiet passages because they bi te down on the reed. A l t h o u g h the lips should become sl ightly f i r m to muff le the reed, the teeth should remain wide apart. Conversely, bassoonists typ i ­cally play f l a t i n loud passages because they over-blow w i t h an unsupported air stream or w i t h the mouth open too wide, w h i c h makes the lips too loose.

A consistent embouchure w i l l pro­duce a consistent p i t ch , so students should be sure to place the reed i n the mouth the same way each day. A n effor t to use the same posture w i t h the same bocal angle (so that the reed is parallel to the f loor or angled downward sl ight ly) each day w i l l greatly improve the consistency of the in tona t ion . Most of the reed blades should be inside the mouth so that the top l ip almost touches the first wire.

Incorrect fingerings o f t en underlie

poor in tona t ion . Students who un­knowingly use the wrong combina­t ion of fingers produce what is at best

an approximate p i t ch w i t h a weak tone. Because bassoon students tend

to be stubborn once they have grown comfortable w i t h these easier but less

accurate fingerings, teachers should be insistent on standard fingerings

f rom the beginning.

Published bassoon f inger ing charts

o f t en conta in mistakes or do not in ­clude all viable options for each note. Because the ideal f inger ing for tone

and i n t o n a t i o n o n cer ta in notes varies f rom instrument to instrument

and player to player, a l l options should be tr ied. T h e f inger ing that

best matches the p i t ch level and tone quality of the adjacent notes w i l l be the best choice. The fo l lowing charts

address six notes o f t en fingered incor­

rectly.

The first f inger ing listed for EK the

forked f ingering alone, tends to be

unstable. T h e next two fingerings, w i t h and wi thou t the lef t p inkie on

the E b resonance key, are b e t t e r options.

Unstable

Better

Pitch Tendencies on the Bassoon

T T T T

~u—war

I t ~ T i T T T t

. O " 1

H ) 11

i

T i i T I T 1 1

o — o b o — o . 1 L

4 V €> *

I i i | ^ i 1

* * T T T i i i I

3 :

T=sharp T T = very sharp at

*= tendency depends on the fingering used.

1 i=ve ry flat

= pitch is unstable, steady embouchure and air flow are essential

MAY 1999 / THE INSTRUMENTALIST 73

Better

O

( O o

Many students incorrectly finger G3 by omitting the whisper key with the left thumb and a resonance key with the left pinkie. The half-hole first fin­ger should be executed carefully; if too open, the pitch will be sharp or will squeak and if too closed, the note might growl. Despite the misnomer, the half-hole should be played with approximately V4 of the bottom of the hole closed.

Incorrect

• • 9

Correct

• '*

8>

Sharp and bright O

Flat and muffled

Although the first two F fingerings listed are easy to use when slurring from other notes, they may be slightly unstable. The third fingering might be more stable but may not slur as well. The fourth fingering tends to be flat.

Unstable

O

Unstable !

O

'0

The first Gt fingering is the standard one, although it tends to be sharp and bright. The second fingering offers bet­ter pitch and tone. Only a small open­ing should remain on the half-hole note; roughly 4/5 of the hole should be covered.

Sharp and bright

Better

15 ~° C — 5 W

8> As with the G#, adding the B^key

and second finger of the left hand to the standard high A fingering lowers the pitch and darkens the tone.

Standard 0 v o o

Of the standard options for O , the first two fingerings below tend to be sharp and bright, but the third finger­ing produces a flat and muffled tone. Choose the option that produces the best sound for the particular instru­ment and passage.

Sharp and

bright

Better

C D

Fiat

O

(6

Lower pitch and darker

tone o

The opening to Grainger's Lincoln­shire Posy challenges bassoonists be­cause it uses the instrument's flat range along with an accompaniment by muted trumpets and horn, which tend to be sharp.' The best way to raise the pitch is to send fast air through the

instrument whi le pronouncing eh or ee; bassoonists who try to elevate the pitch by b i t ing down w i l l likely over-compensate. The descending interval from to in measures 2, 6, and 14 places the part suddenly in a lower range and shifts f rom a flat note to a sharp one. To handle the change, the bassoonist should loosen the bottom lip slightly for the B^ and progress f rom an ee to an ah syllable. To avoid play­ing the h i g h A k sharp, bassoonists should imagine descending or blowing down to the note while using the long fingering indicated above.

r c r p

T h e bassoon theme i n N o r m a n D e l l o Joio's Variants on a Medieval Tune at measure 21 should be played at a comfor tab le mezzo piano w i t h a focus on a f u l l tone rather than p lay ing sof t ly to avoid making the p i t c h sharp. Bassoonists should use the whisper key ( l e f t thumb) and one of the l e f t pinkies on the G3. I t w i l l take some exper iment ing to f i n d the o p t i m a l opening for the ha l f hole on the G , and the f i rs t hole should be f u l l y covered for the A tha t fo l lows . Inadvertent ly half -h o l i n g the A w i l l cause the p i t ch to be sharp and fuzzy.

Var ian t s o n a Medieval Tune

b y N o r m a n D e l l o Joio M e a s u r e s 2 1 - 3 2

T h e air and embouchure support should increase as the l ine ascends i n measures 24 and 25 and relax again at measure 2? for the B? to F leap. To keep the G low enough i n measure 30, the jaw should drop s l ight ly w i t h the mou th f o r m i n g an ah syllable.

As in the previous excerpt, the bassoon solo start ing in measure 6 of M a r k Camphouse's Movement for Rosa calls for a soft entrance in the f l a t range of the ins t rument . A con­f i d e n t , free air stream w i t h o u t too m u c h concern for p laying sof t ly w i l l he lp players to be i n tune. A l t h o u g h the lips should be f i r m , c l amping w i l l cause the p i t ch to go sharp and may even prevent the f i rs t note f r o m speaking. T h e m o u t h shou ld be shaped to the syllable ee.

T h e h i g h G i n measure 11 w i l l be re luc tant to speak unless the fingers move to the note simultaneously, i n c l u d i n g the precise pos i t ion ing o f the ha l f hole. Students o f t e n force the air and t igh ten the embouchure o n this note, w h i c h raises the p i t c h . I f the fingers are wel l coordinated and the inside of the m o u t h opens d u r i n g the leap, this cha l l eng ing measure can be played w e l l .

M o i t m t m for Rosa by M a r k C a m p h o u s c

espT. «=d mp

ddenu m a caniabiU e sost.

P(echa)

N o t only does the passage opening the second movement o f Ma lco lm

Arnold's Four Scottish Dances require bassoonists to play in unison w i t h the clarinets, but the part is also quite a

finger-twister. Whether consciously or inadvertent ly, students w i l l be

tempted to cheat on some fingerings, but this w i l l only detract f rom good

intonat ion and tone quality. Give stu­dents ample t ime to learn this passage, and rehearse i t slowly so that students

can focus on the fingerings wi thout feeling pushed just to get through i t .

Long fingerings should be used on all the th i rd space E'i>s and the lef t pinkie

on all the Gs. The left pinkie can remain down for the G tri l ls wi thout

obscuring the Aj>s.

I f students learn techniques to make

stubborn notes speak, they w i l l be less

l ike ly to force attacks and push

pitches sharp. The slur fingering for the upper E^ ( lef t hand 1, 2; right

hand 2, 3) i n the first f u l l measure

allows the note to speak freely, while

f l i ck ing the C key ( four th key above

the whisper key) w i t h the left thumb

for the middle Bt>s and Cs enhances the art iculat ion.

Four Scottish Dances b y M a l c o l m A r n o l d

( 2 p l a y e r s ) • • fr-w

' r f f r ~ 1 r

"" k '-^ ^ i

s u e ® The octaves in the flutes, clarinets,

and bassoons in Kei th Wilson's ar­

rangement of the March from Hinde-

mith's Symphonic Metamorphosis (at the

second ending before [G]) can be

treacherous. The second bassoonist can

counteract the natural sharpness of the

low B ^ i n the second measure by lean­

ing down on the reed w i t h the top l ip

and pouting the bot tom l ip . The first bassoonist add the third finger of

the right hand to bring down the open

F i n the second bar and both the pinkie

and the thumb Ft keys along w i t h the pancake key (low E key) to bring down the G^ in the th i rd measure.

" M a r c h " f r o m P a u l H i n J e m i t h ' s Symphonic M f i s m o T p n o s i s

arr K e i t h W i l s o n

To lower the pi tch and darken the

tone on the low As at (G] and the low

Es four bars later, the low C t kev (the

REEDTIPS C H A R L E S — — — —

o o \3 B L E Fall 2000 A Publication of Charles Double Reed Company R E E D

TIP OF THE MONTH

Make Reeds Last Longer When you're done for the day and it's time to put away your instrument, cleaning it is essential.

Give the same level of concern to your reeds that you give to your instrument, and you'll be surprised at the incredible results!

Here's what you can do to clean and prolong the life of your reed.

Give it a bath. Rather than simply putting your reed in the case, take a few moments to go to the sink and turn on warm tap water. Hold your reed upside down and let the warm water run through the reed. Just 15 to 30 seconds should be enough.

Give it a shower. Go a step further once a week to get even more debris out of the reed. First brush your teeth. Then get a glass and fill it with warm water. Take a mouthful and blow it - not too aggressively - through the reed. To do this effectively, blow the water into the reed with the tip facing away from you and into the sink. Finish by running some more water through the reed.

Give it good vibrations. Ultrasonic cleaners are made to vibrate away surface particles from the inner and outer surface of your reed. This method is good for reeds that have more than the average grime -like when cleaning a student's grungy reeds. See our website or catalog for more information on this useful device.

FAVORITE QUOTES

HERE'S HOW!

Smart Practicing Techniques Practicing is a no brainer-just start making sounds and do what your teacher assigned for the next lesson. Right?

Wrong! Smart Practicing will insure that you get the maximum benefits each time you practice.

Here are some ways to make the most of your practice sessions:

Warm-up for 20% of time you intend to prac­tice. This gives your instrument a chance to accli­mate, your reed to settle down, your embouchure to limber up and your focus to sharpen. Stick to scales, patterns and long tones, rather than work­ing on a section of a piece. Keep your focus on sound production, embouchure control and breath­ing techniques.

Take the music apart Rather than practicing a passage that you are having trouble with over and over, take it two or three notes at a time. Play those two or three notes over and over. Start slowly and gradually build up to full tempo. Then play the small group along with the notes surrounding them and begin to fit it all together. Gradually build the tempo up. Use a metronome to see where you are, and to stay consistent.

Cool down. Take a few minutes as the practice session draws to a close to play more long tones, scales and patterns. If you're tired, this can help to extend the practice session. If you're not tired, this can help to further focus your sound and solidify your technique.

"The bassoon is one of my favorite instruments. It has the medieval

aroma - like the days when everything used to sound like that.

Some people crave baseball -1 find this unfathomable - but I can

easily understand why a person could get excited about playing a

bassoon."

- Frank Zappa, American composer

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Variations to the Outside of the Blades 81

Test 3 Forked E flat

Play forked E flat from ff and decrescendo to pp. Do not use a right-hand block (addition of B flat and index or middle finger — or low E flat key). The note should be stable and should not shoot up in pitch when blown hard and when making a diminuendo.

T A B L E 7.4 Test 3, Tests for cane in the mid-range section o f the heart

(either side o f center, jus t beh ind the tip) i n the 43- to 5 0 - m m

part o f the blades

P R O B L E M C H E C K F O R S O L U T I O N

Forked E flat shoots up in pitch at loud dynamics and when making a diminuendo (similar problem with the B flat immediately above)

Forked E flat and D flat fall

There is too much cane in the area indicated on Figure 7.1

You have taken out too much cane in the area indicated.

Remove cane with knife or 220 W D from the area indicated on Figure 7.1. Make sure to blend your strokes into the wing and high-range areas, and into the tip area.

Either clip the tip or remove cane from the high-range area between 43 and 50 mm so that the relative thicknesses of the center (high-range) and mid-range areas are closer to each other.

Tests 4 and 5 Upper-register tonguing and low El and B2 attacked pp

You should be able to tongue vigorously in the high register and, at the same time, tongue pp in the low register.

Test 4

Tongue four sixteenth notes on high g, and repeat, moving chromatically up­ward to and beyond high c 1, and

TestS

Attack low E l and B I pp.

82 Chapter 7

T A B L E 7.5 Tests 4 and 5, Test for thickness across the tip edge and how

the front 6 m m o f the blades blend into the heart area (the

solut ion w i l l always be a c o m p r o m i s e )

P R O B L E M C H E C K F O R S O L U T I O N

You can tongue the high register but cannot attack low E l and B2pp

You can attack low E l and B2 pp, but the reed collapses when you try to tongue in the high register

Thickness Your tip edge is too thick Reduce of tip edge thickness with knife and plaque

or with 220 W D as in Steps 3.8.2 and 4.8.2. If your reed is also buzzy,then repeat Step 3.8.1, Tip Undercut. Blend your knife work into the area between the tip edge and the heart.

Thickness Your tip edge is too thin. Clip your of tip edge tip edge until you can tongue in

the high register, but not so much that you lose the ability to attack low E and B pp.

7.4 ADDITIONAL T R O U B L E S H O O T I N G

7.4. I Popping the corners

Sometimes a reed will perform the Five Tests adequately but will not articulate easily enough in the low register. Skinner recommended "popping the corners" of the reed to open the aperture in the wing areas. I f the aperture in the wing areas is too closed, then the aperture is effectively "half opened" without any embouchure pressure, according to Figure 1.2, "Aperture of Reeds."The solu­tion is to open the aperture in the wing areas by gentry flattening or squeezing the tube with pliers (preferably parallel-jaw pliers) between wires II and I I I un­til the corners of the reed "pop open" 0.1 mm. Hold this position for 5 seconds before releasing the pliers. The "adjustment notches" that you added in Step 3.6.14 or 4.6.14 are there to help the tube retain its new shape. This procedure improves low-register articulation with very little effect on the other charac­teristics of the reed.

N O T E : You can also make wire II more oval from top to bottom to "pop the

corners," but this will drastically affect the other characteristics of the reed.

7.4.2 Improving low Dj

I f low D i seems to be "stuffy," try removing a small amount of cane from the back of the wing areas on the sides of the blades. With your thumb and index finger on the edge of the blades, feel where the fibers tend to pyramid, and then reduce the thickness at that point.

Variations to the Outside of the Blades 79

Mid Range Wing*/ Low Notes

15 mm

56 mm

High. Range , iRemove Cane for

From Butt End Thickness

50 mm

43 mm

.55 mm in High Range .40 + mm Tn Mid Range .65 mm

32 mm .90 mm in High Range

8 mm wide Length Blade t il ill Wires

& Tube

F I G U R E 7.1

Diagram of reed to be used with the Five Tests

7.3 T R O U B L E S H O O T I N G : T H E F I V E TESTS

These tests were developed by Skinner and the author for the 1986 York University sem­inar. Further work was done in the summer of 1990, and Skinner requested they be in­cluded in the book. The following tables are to be used in conjunction with the tests and with Figure 7.1.

N O T E : It is best to perform all five tests before taking the corrective steps recom­mended in Tables 7.2 through 7.5.

Test 1 Low Fi

Low F i should play freely and should feel as if you could make an infinite crescendo on it. It should not collapse when pushed.

30. Skinner is referring to the first overtone of the bassoon as a formant. Stricdy speaking, for-mants on the bassoon are not necessarily the first overtone. For example, the formant for low Fi is the second overtone, or middle C. Nonetheless, he makes a valid point about the importance and strength of overtones, especially the first two, in establishing sound color.

8o Chapter 7

T A B L E 7.2 Test 1, Tests for overall balance o f cane in the blades

P R O B L E M C H E C K F O R S O L U T I O N

Low Fi is stuffy

Low Fi collapses

Low Fi is too buzzy

Aperture too open

Tip edge too thick

Too much cane in heart

Too much cane out of heart

Cane is too heavy in the wing areas

Tip edge is too heavy

Close aperture at wire I so that center opening is 2 mm or less.

Take tip edge down with sandpaper and plaque (Steps 3.8.2 and 4.8.2) or with knife or sapphire file.

Thickness should be about 0.65 mm at 43 mm and 0.55 mm at 50 mm. Remove cane with knife or 220 W D .

Usually thickness at 50 mm has dropped below 0.50 mm. Clip 0.05 mm off tip.

Take cane out from 43 mm to tip edge on upper sides of blades.

Tip edge should be 0.25 mm thick. Repeat 3.8.1, Tip Undercut.

Test 2 Open F and E

Find out how much over-blowing and jaw-dropping you need to force an open F and one-finger E down a semi-tone.

TABLE 7.3 Test 2, Tests for cane in the heart, especially at the 5 0 - m m m a r k

P R O B L E M C H E C K F O R S O L U T I O N

Open F and/or one-finger E No problem You have the right can be forced down only amount of cane in the heart: with difficulty, and can be about 0.65 mm thickness played within a comfortable at 43 mm and about 0.55 mm dynamic range without falling thickness at 50 mm.

Open F and E fall too easily Thickness of You have probably taken out in pitch when played cane at too much cane at 50 mm in pitch when played

50 mm (>0.50 mm). Clip 0.05 mm off tip and try again. Keep clipping tip until F and E stabilize.

Open F and E cannot be Too much Bring the thickness of the blades forced down in pitch cane in at 43 mm to 0.65 mm and at forced down in pitch

the heart 50 mm to 0.55 mm.

FINGERING DIAGRAM 9

:»{*/•

4.: .....v

: Notice that - ; - . . l ^ ? ^ t h c fingering

'f-* 3P--- d i f l 6 r a m i s « : I'* divided into

t- (our quadrants.

Lis. v-'

L I F T THUMB

V

R IGHT T HUMS

L I F T HAND F I N G E R S

BASIC FINGERINGS

By observing the notations

in each quadrant, one can determine

the correct fingering.

2z:

LowB^ #

LowB

.. • ••• t.~.;,;•„•

XT

LowB

• F

LowC

t • F

— oh

LowC

I r c r

LowQ

# - " 1*

F

Low D

• F t • F

FINGERING DIAGRAM

jfrA^a^j .• man -

• • ST 1 NOLIC*THAL

J r -'%Klhe n n 6 e r i n 6

r: V ^ ' t diagram is t

' divided into ' lour quadrants.

it TV

L I F T THUMB

R I G H T THUMB

By observing the notations

in each quadrant, one can determine

the correct fingering.

BASIC FINGERINGS;

A8 6