1. Breathing: Use the diaphragm to breathe deeply. Practice breathing by lying on your back on the floor with a heavy book on your abdomen. The book should rise when you inhale and sink when you exhale.
2. Sitting position: Sit up straight in the chair, leaning slightly forward with your hips acting as a fulcrum. Your head should be in a natural position, looking straight forward, not looking up or down. Adjust the height of the bassoon so that the reed easily aims straight into your mouth. Your sitting posture should be the same with or without the bassoon; if you are contorting to accommodate the bassoon, then it's time to readjust.
3. Embouchure: Wrap your lips completely around your teeth and push your lower jaw back, forming an overbite. (The teeth never touch the reed.) All pressure on the reed is applied from above. (Never push up on the reed!) If your embouchure is too tight you will constrict the reed, preventing it from vibrating. Your embouchure needs flexibility so that it can loosen for lower notes and tighten for higher notes.
4. Reed placement: Be sure not to place the reed too far into your mouth- generally, aim to insert about half of the blade. More of the reed should be inserted into your mouth for high notes and less for low notes.
5. Sound concept: It’s advisable to listen to recordings of bassoonists to develop a tonal goal. The solo recordings or youtube videos of Klaus Thunemann, Gustavo Nunez, Judith leClair, Nadina Mackie Jackson, Bernard Garfield and Milan Turkovic are highly recommended.
6. Intonation: One of the most challenging aspects of bassoon playing is intonation. Most notes on the instrument have a lot of pitch flexibility, and bassoonists need some sort of guide to refer to- preferably an electronic tuner like the Boss TU-12H. This particular tuner is no longer manufactured, but I just bought one on eBay.
7. Rhythm: Rhythm is a critical aspect of performance, and metronome practice is essential. When sight reading, remember that rhythm is top priority. If the rhythm is right, other flaws can be overlooked, but if the rhythm is flawed, nothing else matters.
8. Musicianship: Musical sense is best learned from listening to lots of performances and recordings of great singers, string players and pianists.
9. Vibrato: When learning vibrato, it’s helpful to practice pulsating (loud-soft-loud-soft, etc.) in a set rhythm on long tones. (Try it on the reed alone first!) For example, with the metronome at 60, pulsate 4 times per beat, and when that becomes reliable, try 5 times per beat. It’s ideal to be able to vary your vibrato in speed and fluctuation. But first make sure that your straight tones are steady! (Practice long tones with and without crescendos and diminuendos to stabilize your straight tones.) One of the biggest challenges of using vibrato on the bassoon is figuring out how to match vibrato from note to note, since some notes vibrate easier than others.
10. Practicing: Never practice a mistake! If your playing isn’t accurate, don’t go on- stop, fix the problem, then proceed. Fix problems by slowing down! Find a tempo at which you can play the passage, and become rock solid at that tempo before increasing it. It often helps to make up little customized exercises. For example, you may wish to focus on just one interval at first, and then gradually add more notes one at a time. Applying dotted rhythms or other rhythms is often helpful, and removing all articulation so that you are slurring everything is a great way to ensure accurate finger motion. If the problem persists despite your careful efforts, take a break.
11. Care of instrument: The bassoon should never be laid down. Disassemble it and put it in its case (being sure to swab the boot!) if you don’t have access to a bassoon stand. Don’t lay the boot flat in the case without swabbing it first. The bocal should be cleaned once every month or two, preferably with a bocal swab. Key oil should be applied every few months to each moving part.
Some useful phrases for gig calls - Here are some phrases that have been useful to me when somebody calls about a gig. When dealing with other professionals (or working through the musicians’...
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