tag:blogger.com,1999:blog-41154333267078383012024-03-19T01:46:59.625-07:00Bassoon BlogB.S.http://www.blogger.com/profile/08724883690591213622noreply@blogger.comBlogger192125tag:blogger.com,1999:blog-4115433326707838301.post-46100625683833548712023-08-17T15:49:00.001-07:002023-08-17T15:53:02.021-07:00Making bassoon reeds with GSP cane<p> Bassoon Reedmaking</p><p><span class="Apple-tab-span" style="white-space: pre;"> </span>1.<span class="Apple-tab-span" style="white-space: pre;"> </span>Soak GSP cane in water for a few hours or overnight.</p><p><span class="Apple-tab-span" style="white-space: pre;"> </span>2.<span class="Apple-tab-span" style="white-space: pre;"> </span>Fold cane in half using a knife as a guide (fold the cane over the knife blade, but don’t actually use the knife to cut the cane).</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh45PBPqNGs85f6ZKwZ8dxj_Qq2S-2P6FONIlNIWIOqq-Hp4waI_CS-3FivkiVEI9gN-_hryX6LowsvantbJ5S5vcal_cmakjiIuC6E0eZJqHXzyubCCJCoItkQLk3KEZYQ8W-eRF5wtLM3IaDnRUMucu2cigtSwOOZ1rcnNS3B-q9BYVOlDBSInKOWyvSL/s3264/IMG_5021.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2448" data-original-width="3264" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh45PBPqNGs85f6ZKwZ8dxj_Qq2S-2P6FONIlNIWIOqq-Hp4waI_CS-3FivkiVEI9gN-_hryX6LowsvantbJ5S5vcal_cmakjiIuC6E0eZJqHXzyubCCJCoItkQLk3KEZYQ8W-eRF5wtLM3IaDnRUMucu2cigtSwOOZ1rcnNS3B-q9BYVOlDBSInKOWyvSL/s320/IMG_5021.jpeg" width="320" /></a></div><br /><p></p><p><span class="Apple-tab-span" style="white-space: pre;"> </span>3.<span class="Apple-tab-span" style="white-space: pre;"> </span>Use pruners to cut the ends of the cane off if necessary. The bark should be 1 and 1/18” long. (The top wire is applied at 1 inch, and there is a 1/8 inch “collar” of bark above the top wire.)</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQNIuAKjlUvsNY9p9kLbHw4SD4xGzBiDx4UB5sSJRq97hvGLPyx78yRTM9GuSxT58RYtD0-rBG0_S1lqqC22rXYvkDsZmtxnrdr7MAhOV9F0jw9SpVjHyzbni0NkE6VN0ITQ5GUaX8lGHzX4ha-5Vs3WpNOvucF5Y3yKkG5Oa9c666eQVG0RjiR_uGzpAM/s3264/IMG_5023.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2448" data-original-width="3264" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQNIuAKjlUvsNY9p9kLbHw4SD4xGzBiDx4UB5sSJRq97hvGLPyx78yRTM9GuSxT58RYtD0-rBG0_S1lqqC22rXYvkDsZmtxnrdr7MAhOV9F0jw9SpVjHyzbni0NkE6VN0ITQ5GUaX8lGHzX4ha-5Vs3WpNOvucF5Y3yKkG5Oa9c666eQVG0RjiR_uGzpAM/s320/IMG_5023.jpeg" width="320" /></a></div><br /><p></p><p></p><p><span class="Apple-tab-span" style="white-space: pre;"> </span>4.<span class="Apple-tab-span" style="white-space: pre;"> </span>Score the bark with lengthwise knife marks, barely breaking through the bark, which will enable the tube to be round.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3sjhS91_SGOH5imuvWs_7sc-YiNLx27WZv8OXi32kOtWsbXPaFIUocVXptbJ-widk8zQy_hTMB-4RjWDqdi0svBJxI0zCW6IotX4Ygxfe4BF3NOk6UxDH4r5jjiQWJBJV1AB_m11_6MHTAh-qMHCGG4yVjYU8npv32rW7xwcaQWxQjFoXd5Pnlf7UFmZV/s3264/IMG_5024.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2448" data-original-width="3264" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3sjhS91_SGOH5imuvWs_7sc-YiNLx27WZv8OXi32kOtWsbXPaFIUocVXptbJ-widk8zQy_hTMB-4RjWDqdi0svBJxI0zCW6IotX4Ygxfe4BF3NOk6UxDH4r5jjiQWJBJV1AB_m11_6MHTAh-qMHCGG4yVjYU8npv32rW7xwcaQWxQjFoXd5Pnlf7UFmZV/s320/IMG_5024.jpeg" width="320" /></a></div><br /><p></p><p><span class="Apple-tab-span" style="white-space: pre;"> </span>5.<span class="Apple-tab-span" style="white-space: pre;"> </span>Fold the reed in half and apply the top wire at 1 inch from the bottom.</p><p><span class="Apple-tab-span" style="white-space: pre;"> </span>6.<span class="Apple-tab-span" style="white-space: pre;"> </span>Wrap string around the reed below the wire and moisten the reed with water.</p><p><span class="Apple-tab-span" style="white-space: pre;"> </span>7.<span class="Apple-tab-span" style="white-space: pre;"> </span>Use parallel pliers to nudge the bottom of the reed open so that the forming mark may be inserted.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggNpPY7e_ftIMd9IIV8VzvUVhtbnx8JTDtYTPt5Dj_rec1xdmXYG5tirrmTW11A09nyWES1Uc7E-dHl4AL7pOw1kT1iF0GhgHviPxlzZOGWMQoJf6A1-E3_uNcpdctbrBzdSXIqZxq7AfmaK_qCEodNQEp07kQWIqSQe36JHjX0G0RsCWB7EJW8sDRmaC3/s3264/IMG_5025.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2448" data-original-width="3264" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggNpPY7e_ftIMd9IIV8VzvUVhtbnx8JTDtYTPt5Dj_rec1xdmXYG5tirrmTW11A09nyWES1Uc7E-dHl4AL7pOw1kT1iF0GhgHviPxlzZOGWMQoJf6A1-E3_uNcpdctbrBzdSXIqZxq7AfmaK_qCEodNQEp07kQWIqSQe36JHjX0G0RsCWB7EJW8sDRmaC3/s320/IMG_5025.jpeg" width="320" /></a></div><br /><p></p><p><span class="Apple-tab-span" style="white-space: pre;"> </span>8.<span class="Apple-tab-span" style="white-space: pre;"> </span>Insert the forming mandrel, being careful NOT to TWIST! Insert it straight in, slowly. If it won’t go all the way to the line on the mandrel, loosen or remove some of the string. Never twist the reed or mandrel.</p><p><span class="Apple-tab-span" style="white-space: pre;"> </span>9.<span class="Apple-tab-span" style="white-space: pre;"> </span>Remove some of the string at the bottom of the reed and apply a wire to the bottom of the tube, with the wire twisting on the opposite side of the reed from the top wire. This bottom wire should go around 3 times instead of the normal 2 times so that it’s extra strong.</p><p><span class="Apple-tab-span" style="white-space: pre;"> </span>10.<span class="Apple-tab-span" style="white-space: pre;"> </span>Allow the reed (called a “blank” at this stage) to dry, ideally for at least 2 weeks. ————————————————————————————————————————————————</p><p><span class="Apple-tab-span" style="white-space: pre;"> </span>11.<span class="Apple-tab-span" style="white-space: pre;"> </span>Remove string and wires.</p><p><span class="Apple-tab-span" style="white-space: pre;"> </span>12.<span class="Apple-tab-span" style="white-space: pre;"> </span>Straighten out the piece of cane and bevel each end by rubbing the bottom third of the bark on a sanding block.</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOEmWsA-RyQT17b_idzYDYIeNfSIhnrm_Nv2E9H1mmO0qYSB0Bd5rhJvkdkqD7NC7FGRrX6SIluokdwQyWDUAht_JGnO7mHDVQRxx1BqdUh4EVXBM2y5bVJwg09Y0HDGPT7D7kT07HP8z-2dNCgcRv-P59Pgqj3AluKnMvNLpjKQ_LOl5gSN2Wv9QbbpsB/s2160/IMG_5026.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1620" data-original-width="2160" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOEmWsA-RyQT17b_idzYDYIeNfSIhnrm_Nv2E9H1mmO0qYSB0Bd5rhJvkdkqD7NC7FGRrX6SIluokdwQyWDUAht_JGnO7mHDVQRxx1BqdUh4EVXBM2y5bVJwg09Y0HDGPT7D7kT07HP8z-2dNCgcRv-P59Pgqj3AluKnMvNLpjKQ_LOl5gSN2Wv9QbbpsB/s320/IMG_5026.jpeg" width="320" /></a></div><br /><p></p><p><span class="Apple-tab-span" style="white-space: pre;"> </span>13.<span class="Apple-tab-span" style="white-space: pre;"> </span>Fold the cane and wrap dry string around the bottom third. Apply the middle wire at 5/16” below the marks where the top wire was. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP_iELMyIZ4bGNnpCfME_ToJQzKp_XOlR-LNlW0uPXpme3zxkXCqUQcmnBYEQ40mySg6U2VAqzP-1gNM3prIN3ZWy4bZNfSScPBirGvE5kvQmkNjreZc4UtNfp-fP4PzaXJ3nAOTFHjU8rQaSP88Nj4gWyxRbYzTmF9eijr8U5yiFj6DJZP1gaSgS3eNRa/s3264/IMG_5027.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2448" data-original-width="3264" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP_iELMyIZ4bGNnpCfME_ToJQzKp_XOlR-LNlW0uPXpme3zxkXCqUQcmnBYEQ40mySg6U2VAqzP-1gNM3prIN3ZWy4bZNfSScPBirGvE5kvQmkNjreZc4UtNfp-fP4PzaXJ3nAOTFHjU8rQaSP88Nj4gWyxRbYzTmF9eijr8U5yiFj6DJZP1gaSgS3eNRa/s320/IMG_5027.jpeg" width="320" /></a></div><br /><p><br /></p><p><span class="Apple-tab-span" style="white-space: pre;"> </span>14.<span class="Apple-tab-span" style="white-space: pre;"> </span>Apply the bottom wire at 3/16” from the bottom, making sure the wire twists on the opposite side from the middle wire.</p><p><span class="Apple-tab-span" style="white-space: pre;"> </span>15.<span class="Apple-tab-span" style="white-space: pre;"> </span>Apply the top wire at 1” from the bottom. It should twist on the same side as the bottom wire.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7K78nh2HJSyaWqNsyQKQzCh-KSUW6VSFv0Lv8sil9KAd6NW_fOBDLHccKvgtrv1Uqta_wXEW_FP3NNQmMdYnRiAVP0ESXVkU-eM_3k93kp_qyfFitS4BWLpCJcO22zGvazrm-1R2_CrjBw39DbqkAenSd1tVuPY9geC-v95D4N7Z5fVMIP_7qku9IQa3a/s3264/IMG_5029.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2448" data-original-width="3264" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7K78nh2HJSyaWqNsyQKQzCh-KSUW6VSFv0Lv8sil9KAd6NW_fOBDLHccKvgtrv1Uqta_wXEW_FP3NNQmMdYnRiAVP0ESXVkU-eM_3k93kp_qyfFitS4BWLpCJcO22zGvazrm-1R2_CrjBw39DbqkAenSd1tVuPY9geC-v95D4N7Z5fVMIP_7qku9IQa3a/s320/IMG_5029.jpeg" width="320" /></a></div><p><span class="Apple-tab-span" style="white-space: pre;"> </span>16.<span class="Apple-tab-span" style="white-space: pre;"> </span>Apply a small amount of Duco cement to the edges of the bark below the middle wire.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip3fC-YZ-nVeCUCdcDTnqG8v38O95jgXp_rhbjbLiOrh_TZqFkglZlVepdYdNgrYkxe9UJlXsU9BmvjVGPtOir_Bg2DTvYrDESW7l7AAy0ySah3oKo1b1-kR2xbG8DWotEgW6wxNm6ID7HKcDYOq_RXoN6cpuEQJ0IpkvsbLkq892CvtPdHwN1Kni3Z0Vi/s3264/IMG_5028.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2448" data-original-width="3264" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip3fC-YZ-nVeCUCdcDTnqG8v38O95jgXp_rhbjbLiOrh_TZqFkglZlVepdYdNgrYkxe9UJlXsU9BmvjVGPtOir_Bg2DTvYrDESW7l7AAy0ySah3oKo1b1-kR2xbG8DWotEgW6wxNm6ID7HKcDYOq_RXoN6cpuEQJ0IpkvsbLkq892CvtPdHwN1Kni3Z0Vi/s320/IMG_5028.jpeg" width="320" /></a></div><br /><p></p><p><span class="Apple-tab-span" style="white-space: pre;"> </span>17.<span class="Apple-tab-span" style="white-space: pre;"> </span>Cut off the twisted part of the bottom wire.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKMjVqpeN0F8vzre5j5FAvQLsT9BTYucd71W5rH58PHsm5_bCphWVF8MSYC8XDUE9YNFKxm5rsB1uB8w-LfR7MWe_RxqepQsHOp4eMOwGOAusg1r2F8uzsVMhoOU7KkU2RCGxVrLrxBany4cC_4Q7ByS6Xu83ZFnrOj4yMqaSSND8tNMh7o1LRtGJm3low/s3264/IMG_5029.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2448" data-original-width="3264" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKMjVqpeN0F8vzre5j5FAvQLsT9BTYucd71W5rH58PHsm5_bCphWVF8MSYC8XDUE9YNFKxm5rsB1uB8w-LfR7MWe_RxqepQsHOp4eMOwGOAusg1r2F8uzsVMhoOU7KkU2RCGxVrLrxBany4cC_4Q7ByS6Xu83ZFnrOj4yMqaSSND8tNMh7o1LRtGJm3low/s320/IMG_5029.jpeg" width="320" /></a></div><br /><p></p><p><span class="Apple-tab-span" style="white-space: pre;"> </span>18.<span class="Apple-tab-span" style="white-space: pre;"> </span> Wrap the reed with thread between the bottom and the middle wire, forming a “Turk’s head” around the bottom wire and then folding the middle wire form over the string just under the middle wire. </p><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL0R4UxbnlO8q_8ZOCq53QFDiMa4-govA_pNEE-J1NXJHlCDdWJtdzebVgSs1-kanDinZpV8nDRkRnbkU8nzJth8s4IgeB5VP8d4aBtUQMTvIPWwVFe29RbhLgYe4k7lngj7Sq7dXdAy67b8akCMgyTC6Vw-qPw7UfsHnvSUxX6xVJV579AAFuNPYfTQIt/s3264/IMG_5030.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2448" data-original-width="3264" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL0R4UxbnlO8q_8ZOCq53QFDiMa4-govA_pNEE-J1NXJHlCDdWJtdzebVgSs1-kanDinZpV8nDRkRnbkU8nzJth8s4IgeB5VP8d4aBtUQMTvIPWwVFe29RbhLgYe4k7lngj7Sq7dXdAy67b8akCMgyTC6Vw-qPw7UfsHnvSUxX6xVJV579AAFuNPYfTQIt/s320/IMG_5030.jpeg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUGb8dlzqNk1QRID8_E3m9kk3jD9v-Q5jne1di3hy-Ujc0Yt7gLezCHB42pV3rfxlnpnVppbNacX8_ps3LXMAgSpNdmKgm3TkqxBRAvM_QGN8BoOUeWPRUtT8RbnQfmqgC3sfRIfvZkGbU5_a8Um0jzbknowIt-37CfOg53ffzYVAumTYtj-wc_RtHfOcj/s3264/IMG_5031.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2448" data-original-width="3264" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUGb8dlzqNk1QRID8_E3m9kk3jD9v-Q5jne1di3hy-Ujc0Yt7gLezCHB42pV3rfxlnpnVppbNacX8_ps3LXMAgSpNdmKgm3TkqxBRAvM_QGN8BoOUeWPRUtT8RbnQfmqgC3sfRIfvZkGbU5_a8Um0jzbknowIt-37CfOg53ffzYVAumTYtj-wc_RtHfOcj/s320/IMG_5031.jpeg" width="320" /></a></div><br /><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO1K8kvaIPSh_8Rl9FJzXST_clDLwAST8FL4TgPeY1TTkcGabqXxcchpHY2K7lTSF4UMFhvv3tgk2P7bI5CEpFIaxv-GxzNSRICXheS2Mfyxzb59uqS9Y41lroIOm2lWw3QcHE3XRqN-lyty5pNWMgpIUUc867QpjTdno1znvTp2sjsM8vMbTf_OASb842/s3264/IMG_5032.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2448" data-original-width="3264" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO1K8kvaIPSh_8Rl9FJzXST_clDLwAST8FL4TgPeY1TTkcGabqXxcchpHY2K7lTSF4UMFhvv3tgk2P7bI5CEpFIaxv-GxzNSRICXheS2Mfyxzb59uqS9Y41lroIOm2lWw3QcHE3XRqN-lyty5pNWMgpIUUc867QpjTdno1znvTp2sjsM8vMbTf_OASb842/s320/IMG_5032.jpeg" width="320" /></a></div><br /><p></p><p><span class="Apple-tab-span" style="white-space: pre;"> </span>19.<span class="Apple-tab-span" style="white-space: pre;"> </span>Apply Duco cement to the string wrapping and dry overnight. ————————————————————————————————————————————————</p><p><span class="Apple-tab-span" style="white-space: pre;"> </span>20.<span class="Apple-tab-span" style="white-space: pre;"> </span>While dry, ream the inside of the tube. Ream until you reach the stopping mark on the reamer, since there should be no guesswork involved.</p><p><span class="Apple-tab-span" style="white-space: pre;"> </span>21.<span class="Apple-tab-span" style="white-space: pre;"> </span>After reaming, smooth the inside of the tube with a rat tail file or rolled sandpaper.</p><p><span class="Apple-tab-span" style="white-space: pre;"> </span>22.<span class="Apple-tab-span" style="white-space: pre;"> </span>Measure from the bottom of the reed to the top (2 1/8 from bottom wire or 1 1/18 from top wire) </p><p><span class="Apple-tab-span" style="white-space: pre;"> </span>23.<span class="Apple-tab-span" style="white-space: pre;"> </span>Soak the reed in water for a few minutes.</p><p><span class="Apple-tab-span" style="white-space: pre;"> </span>24.<span class="Apple-tab-span" style="white-space: pre;"> </span>Cut the tip off the reed off at 1 1/8” from the top wire. Measure carefully, being cautious not to cut too much off.</p><p><span class="Apple-tab-span" style="white-space: pre;"> </span>25.<span class="Apple-tab-span" style="white-space: pre;"> </span>Use the top profiler. Start with the side with wire twist on top. Continue using top profiles until no more cane is removed, then turn the reed over and tip profile the other side. Make sure the cane is kept wet so it won’t crack!</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK4cEHiMLt_-kWp3aksnHkB4bzyyTfmTpQBt-L314tIDLy-v937sIOwyiri_ruhpYGKCrHdDg2Mfbw8GHG4-PBuTyg63yHsTinj3x4QX9WYnkn9FBhpvPdqVOBzgvDrkHAWa8hsISVPfApKqBayqzoyvz422gGDEwKMX164jgT1n5ctngAe65gZ4wM80O1/s2160/IMG_5033.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2160" data-original-width="1620" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK4cEHiMLt_-kWp3aksnHkB4bzyyTfmTpQBt-L314tIDLy-v937sIOwyiri_ruhpYGKCrHdDg2Mfbw8GHG4-PBuTyg63yHsTinj3x4QX9WYnkn9FBhpvPdqVOBzgvDrkHAWa8hsISVPfApKqBayqzoyvz422gGDEwKMX164jgT1n5ctngAe65gZ4wM80O1/s320/IMG_5033.jpeg" width="240" /></a></div><br /><p></p><p><span class="Apple-tab-span" style="white-space: pre;"> </span>26.<span class="Apple-tab-span" style="white-space: pre;"> </span>Cut the corners of the sides of the tip with a knife and cutting block.</p><p><span class="Apple-tab-span" style="white-space: pre;"> </span>27.<span class="Apple-tab-span" style="white-space: pre;"> </span> Hand finish the blades as needed, being mindful of maintaining the heart in the center of the blade. It’s possible that your reed might not need any hand finishing, so be sure to play on the reed before hand finishing.</p><p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dzcfvE1Hme9NbZ4AAf2jIeSVHD0NetgH3flkEVCHDhUtbqXINkAFZYpkppaBtiIezrbJTVJNO0EuTP4cCFFDw' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div><br /><p></p><p><br /></p><p><br /></p><p><br /></p><p><span class="Apple-tab-span" style="white-space: pre;"> </span>◦<span class="Apple-tab-span" style="white-space: pre;"> </span></p><div><br /></div>B.S.http://www.blogger.com/profile/08724883690591213622noreply@blogger.com4tag:blogger.com,1999:blog-4115433326707838301.post-6295217927328960552023-01-12T15:27:00.000-08:002023-01-12T15:27:30.073-08:00Guidance for High School Orchestral Bassoon (and Woodwind) Playing<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5n_3NbehnzUZq-Q9hPOYYMIpBHRABsVPDIA1D8lRCFqGdZC1o6bkUnwp356m4MQcJnWXkJmL4D4xVwNg9daOsjM00WF0gAzHjGB5nBlRZk7MZqmxgpj2-2ZXNrXkYddeCWjZh1G7LU_YHAOgkKVLasPE3iBQBmElwiuQmFWlzmimkUIqbGr8HLgqiXg/s741/CDAD62DE-7E36-4257-AE30-D81E0E7668F6.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="429" data-original-width="741" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5n_3NbehnzUZq-Q9hPOYYMIpBHRABsVPDIA1D8lRCFqGdZC1o6bkUnwp356m4MQcJnWXkJmL4D4xVwNg9daOsjM00WF0gAzHjGB5nBlRZk7MZqmxgpj2-2ZXNrXkYddeCWjZh1G7LU_YHAOgkKVLasPE3iBQBmElwiuQmFWlzmimkUIqbGr8HLgqiXg/w400-h231/CDAD62DE-7E36-4257-AE30-D81E0E7668F6.jpeg" title="Columbus Symphony Youth Orchestra" width="400" /></a> </div><div class="separator" style="clear: both; text-align: center;"> <br /></div>In major metropolitan areas throughout the world, high school woodwind
players are afforded the opportunity to perform in local youth
orchestras, some of which are affiliated with professional orchestras. For students in the Columbus, Ohio area, the <a href="https://columbussymphony.com/education/youth-orchestras/">Columbus Symphony Youth Orchestra</a>
(CSYO) is a fine example of an organization which provides high level
orchestral experience for high school aged musicians. Based upon my experiences with the students of the CSYO, I've assembled a few pointers for young orchestral wind players.<br /><p>One of the first basics an orchestral player must learn is how to follow the conductor and how to allow the conductor to provide the pulse of the music. Each musician in the orchestra relies on their individual sense of pulse, which is ideally locked into the pulse provided by the conductor. If you are not watching the conductor, then you may not know what their pulse is. (While focusing your eyes on your sheet music, you can still watch the conductor peripherally, but it doesn't happen automatically. While peripheral vision is always available, it doesn't do any good unless you <i>notice</i> it, or<i> use</i> it.) If you feel out of touch with your internal pulse, just practice more with a metronome so that when you turn off the metronome, you can still hear it in your mind. That's your internal pulse. Focusing on the conductor (and aligning your pulse with theirs) is particularly important for wind players, for unlike the string players, we are not members of large sections of musicians all playing the same parts.</p><p> Equally important is the goal of listening carefully to your orchestral colleagues, in your section and in other sections.<i> </i>Similarly to peripheral vision, your ability to hear others is always available, but it won't do any good unless you actively<b><i> choose</i></b> to hear the playing of others. Unless you consciously listen to others, you will only hear your own playing, ignoring how it fits in with the playing of the other musicians. When you listen carefully to your colleagues, you'll be able to figure out how to fit in stylistically, rhythmically, dynamically and pitch-wise. That's how you become a good ensemble player.<br /></p><p>Timing is everything in music. It doesn't matter how well you play a passage if you're not playing it <b><i>at precisely the correct time</i></b>! Use your eyes to follow your conductor, and use your ears to fit in with your colleagues. <br /></p><p>Pay attention to the conductor's words also! To this day I remember (and abide by) words of wisdom spoken by my youth orchestra conductor from high school. For example, once when a trumpet player was struggling with a technical passage, our conductor advised us to always practice with a handicap - if the passage is going to be performed at a tempo of 120, then it should be practiced at tempos up to 125. Conductors are teachers as well as musical leaders, and if you aren't paying attention, you might miss some valuable information about music in general or about the piece being rehearsed. Also, it goes without saying that if you're tuned in to your conductor, then you'll always know where in the music you'll be starting, and you'll be ready to play <b><i>on time</i></b>. Remember: timing is everything!<br /></p><p><span style="font-size: large;"><b>The importance of CONFIDENCE</b></span> <br /></p><p>In any orchestra of any level, the woodwind players are soloists. Since each wind position is a solo position, it makes sense to encourage wind players to play with great confidence. <br /></p><p>As a bassoon student of K. David Van Hoesen, I was taught that if I wanted to succeed as a musician, it would be necessary to play with absolute conviction. That means playing with great strength and authority, as though you totally know what you're doing, as though you know beyond doubt what the music is supposed to sound like, and you know how to deliver it. It means <i>playing out</i>, with a full sound, which is particularly important for a bassoonist because the bassoon has the most limited dynamic range of the orchestral instruments. It means playing with confidence.<br /></p><p>The best way I know of to gain confidence is to prepare <b><i>thoroughly</i></b> to the best of your ability. That means listening to recordings of the music you're playing, and writing helpful notes in your part. For example, if you hear on the recording that you have an exposed passage in octaves with the 2nd oboe, write that in your part. If you hear that one of your passages is not played by any other instrument, write "solo" in your part to avoid being caught by surprise. <br /></p><p>It also means spending adequate time practicing your parts. Learn the notes, of course, using effective practice techniques such as slow practice, and use the metronome and tuner! Those devices teach you how to play with good intonation, accurate rhythm and a steady pulse. That will boost your confidence! One of my own consistent practice techniques is to practice passages with a tuning drone to check intonation, which is especially effective for bassoon players considering our pitch instability. Woodwind players often augment their practicing by playing along with recordings of the orchestral works they're preparing. (Even professionals do that sometimes!) <br /></p><p>What do wind players do while the conductor is rehearsing another section of the orchestra? Oftentimes it's wise to listen to what the conductor says to other sections because it can inform your own playing. Also, it may be a good use of your time to finger through your own part (moving your fingers as though playing the part, but without blowing into your instrument) while another section is being rehearsed (either silently "playing" along with the passage being rehearsed, or silently "playing" a different passage you're concerned about). Definitely do not check your phone or daydream, since you never know when your section will be called upon and it's best to be ready to jump in.<br /></p><p>If you do those things (listen to recordings, mark your music, practice your parts assiduously with metronome and tuner, watch and listen during rehearsals) then there is no reason for you NOT to play with confidence! Preparation enables you to do your best, which naturally inspires confidence. </p><p>Confidence, of course, is a mindset, which may be applied even when you do not feel that you've had quite enough time to prepare. Even in the professional orchestral world, confidence is not <i>always</i> felt by the player, but can be displayed anyway! If you're not feeling confident, then fake it, since confident playing is guaranteed to bring a better result than shy, timid playing! It makes much sense to develop the <b><i>habit</i></b> of playing with confidence at all times, in any situation (including sight reading) while reinforcing and justifying your confident mindset with careful, contentions preparation and mindful attentiveness during rehearsals and concerts. </p><p>The earlier you take on the aura of confidence, the better! It will serve you well throughout your life.<br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1wczwqbmGdt5llzpFrgEkb2KIr9GOGxF58dMRsAyVywY3QyKYn9vZvKMryGlPCa36Z034Ia8vwePE5Yn0dutaS5sEOFIyKiX5OgfmX154L7F--0ltJjNhi9Y9TigE5Ic0Q7ej2rebZ3tDrCMD82VypcClpAZ4NZi97z1mnox-eO76kKG2BYKsf6gqhQ/s745/E1E67458-2D27-44CC-A0C0-86DEE120435B.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="425" data-original-width="745" height="366" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1wczwqbmGdt5llzpFrgEkb2KIr9GOGxF58dMRsAyVywY3QyKYn9vZvKMryGlPCa36Z034Ia8vwePE5Yn0dutaS5sEOFIyKiX5OgfmX154L7F--0ltJjNhi9Y9TigE5Ic0Q7ej2rebZ3tDrCMD82VypcClpAZ4NZi97z1mnox-eO76kKG2BYKsf6gqhQ/w640-h366/E1E67458-2D27-44CC-A0C0-86DEE120435B.jpeg" title="Columbus Symphony Youth Orchestra" width="640" /></a></div><br /><p><br /></p>B.S.http://www.blogger.com/profile/08724883690591213622noreply@blogger.com1tag:blogger.com,1999:blog-4115433326707838301.post-11530259590787946192022-05-07T09:48:00.000-07:002022-05-07T09:48:29.655-07:00Shostakovich 10 & Britten Violin Concerto<p>This past week the <a href="http://columbussymphony.com/">Columbus Symphony</a> with Music Director <a href="https://columbussymphony.com/musicians/columbus-symphony-conductors.dT/rossen-milanov">Rossen Milanov</a> performed Shostakovich 10 and the Britten Violin Concerto featuring our Concertmaster <a href="https://citypulsecolumbus.com/joanna-frankel-on-a-lifelong-love-of-the-violin-and-her-inspiration-behind-it/">Joanna Frankel</a>. For this demanding concert I found that in order to do justice to each solo and exposed passage, I had to use no less than 4 different reeds. Furthermore, some of those reeds were used
more than once during each concert. That's a lot of reed juggling, and it goes against my usual policy of playing the entire concert on one reed to avoid the distraction of fussing with equipment.<br /></p><p></p><p>Why did I decide to put myself through the hassle of keeping track of 4 alternating reeds? This past week I couldn't ignore the vast differences in sound and character among my various reeds. The program featured the bassoon over and over in a wide variety of exposed passages and I decided that in order to really sound my best on each of those passages, reed changes would be necessary. Certainly I could have used one reed for everything, but the result would have been a compromise to say the least.</p><p>The last time I played <a href="https://bassoonblog.blogspot.com/search?q=shostakovich+10">Shostakovich 10</a> I wrote about it on this blog. Apparently I didn't fuss quite as much with reeds back then. We musicians are constantly raising our standards and expecting more of ourselves, so it makes sense that I'm more particular about reeds than I used to be.<br /></p><p>Does that mean I'm recommending using multiple reeds for a concert? Not necessarily - it depends upon how much of a difference it seems to make, and whether or not your concentration is reliable enough to successfully execute the reed changes. During Friday night's concert, my concentration proved to be fallible. I missed an exposed entrance in the Britten Violin Concerto due to nearly forgetting a reed switch (and executing it later than planned) thereby demonstrating why I normally prefer not to switch reeds. As one might imagine, I had carefully marked all the reed changes in my parts (using numbers to identify the different reeds) but sometimes it's possible to accidentally overlook even the most clearly marked instructions. <br /></p><p>In many professional orchestras there is an assistant, associate or co-principal bassoon. That person would most likely play the Britten Violin Concerto on a program such as this one. In Columbus the principal woodwinds play everything - there are no assistants. Playing the Shostakovich is daunting enough, but it turns out that the Britten is no stroll through the park either! There is a solo near the end of the Britten which, under different circumstances, would give pause:</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF73-yoN6bQxg4hqKZDvPoo34z97rs_wGW-irqLHs0kgVR9MVbijH0AywV0MKtdUAn7sf_J_a1w3_mySxPrOSOnUdZsIM-dvH844SbdEMu2neL5slcMFCV9i__LuozUNQ33rGRr8xJL2G2rUsIhA0maNc7ao79naOT7QFZVrPjd0HYOZfmXTfqU7xuPA/s2240/DAA1DC9C-395C-41AC-ACAB-016FAD59CB04.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="963" data-original-width="2240" height="173" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF73-yoN6bQxg4hqKZDvPoo34z97rs_wGW-irqLHs0kgVR9MVbijH0AywV0MKtdUAn7sf_J_a1w3_mySxPrOSOnUdZsIM-dvH844SbdEMu2neL5slcMFCV9i__LuozUNQ33rGRr8xJL2G2rUsIhA0maNc7ao79naOT7QFZVrPjd0HYOZfmXTfqU7xuPA/w400-h173/DAA1DC9C-395C-41AC-ACAB-016FAD59CB04.jpeg" width="400" /></a></div><div><br /></div>Considering that Shostakovich 10 was on the same program, this solo was relegated to the category of “just figure out how to ensure that the high Db comes out, and don’t give it another thought”. That meant searching for a reed that favored the high range. And for me, it also meant planning to de-activate the low C, B and Bb keys by inserting an earplugs underneath the keys. That's because my left thumb unintentionally depresses the low note keys whenever I use the high D key. (Bassoonists with larger hands never have to worry about this.)<br /><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwhNMgJTbIq-VOZfxf-pdc9fj37RMoT24jeeuttvwAZyTxs-TvdckY5LVvJRlcZdioWA5Rojoy3we7r6OG05kU_-pZyN6MTgaTV0h3i4r6Nvar8tJF--vKar_8gDI_AD-nK0Dpc47yjvO_FSCX34wYrxWqV4RpcZlE9KJvjz6vtKo8iBKazOhPb7Wx9w/s2592/april%202011%20048.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1944" data-original-width="2592" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwhNMgJTbIq-VOZfxf-pdc9fj37RMoT24jeeuttvwAZyTxs-TvdckY5LVvJRlcZdioWA5Rojoy3we7r6OG05kU_-pZyN6MTgaTV0h3i4r6Nvar8tJF--vKar_8gDI_AD-nK0Dpc47yjvO_FSCX34wYrxWqV4RpcZlE9KJvjz6vtKo8iBKazOhPb7Wx9w/s320/april%202011%20048.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">yellow squishy earplug lodged under low C key (to de-activate the low note keys)<br /></td></tr></tbody></table><div><br /></div><div>The first movement of the Britten features an unusual repetitive solo:</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYYGjjM8joPzaIe3JyJNODgD8E1bnDJVP03O-SHMfbACEBkLsDq7u54tNCq7GyOChsPzfqpaizBWt0uZwBbGyfkzb6TypAMCy7XcLbcCDjKjvDqnpDjsEYTp-738F1VRgJEeM8orKEkq7xV1fMelAI1p7xoUcMMDoL0RfkHkvqvTeziiPnAXvHsmqQrg/s2127/B41E99E6-96FD-4890-8907-2BCB59A97947.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2008" data-original-width="2127" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYYGjjM8joPzaIe3JyJNODgD8E1bnDJVP03O-SHMfbACEBkLsDq7u54tNCq7GyOChsPzfqpaizBWt0uZwBbGyfkzb6TypAMCy7XcLbcCDjKjvDqnpDjsEYTp-738F1VRgJEeM8orKEkq7xV1fMelAI1p7xoUcMMDoL0RfkHkvqvTeziiPnAXvHsmqQrg/s320/B41E99E6-96FD-4890-8907-2BCB59A97947.jpeg" width="320" /></a></div><div> </div><div>This solo doesn’t require a special reed necessarily, but I noticed that the sound of this solo varied considerably from reed to reed. I don’t know if my particular bassoon is more reed-affected than most bassoons, but this past week, the sound and character differences resulting from reed choices were impossible to overlook. Furthermore, I kept changing my mind about the reed choices! By the final concert, I had finally settled on the reed I truly liked best for this solo - a reed that I thought had a full and slightly darkish sound even on short staccatos, and it was flexible dynamically.</div><div><br /></div><div>That same reed handled exposed eighth note passages in movement II with adequate strength and projection:</div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4zjfWGgTZm5O1QhsPugeAkDCS5e1SWRPjcvS2311QPXH6AIjo9FPfTIWFI_onsQ1uZrVa0yPDgKSpDAiPFTj-LJ0DKE3E4wPQqvABZFfXXqPBBXk2yw12BWWK5V7uluOFYZ_EQNYzHf0BwQ78hVzHsHXeejFIYuvcD6PvrQbInP0CxPJo0iufns4HBA/s1673/BA75F750-8261-4433-B65C-E32C90CA21F0.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1673" data-original-width="1637" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4zjfWGgTZm5O1QhsPugeAkDCS5e1SWRPjcvS2311QPXH6AIjo9FPfTIWFI_onsQ1uZrVa0yPDgKSpDAiPFTj-LJ0DKE3E4wPQqvABZFfXXqPBBXk2yw12BWWK5V7uluOFYZ_EQNYzHf0BwQ78hVzHsHXeejFIYuvcD6PvrQbInP0CxPJo0iufns4HBA/s320/BA75F750-8261-4433-B65C-E32C90CA21F0.jpeg" width="313" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">This is conducted in one beat per measure, so the 8th notes are fairly fast. Also, this is a passage that benefits from paying close attention to the conductor.<br /></td></tr></tbody></table><br /><div>Identifying the best reeds for Shostakovich 10 was much more involved. The day before the first rehearsal (which took place two days before the first performance) I lined up all of my best reeds for a "reed audition". I went through several rounds of recording the two main Shostakovich solos on each reed. I ended up with 6 reed “finalists”. These are the two Shostakovich 10 solos I used for the "reed audition": </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcUaQL9TF017AP_eY7y3qv-UuIrhBHWgZZ-Nmac6g3myqVHXblzG9GW02UHb_6QVLeyjkvvAdFnOoviiojQU86CfHNUSsnECX1pl4-MN9YQ-xHU5t78L7K-0tmNR1dshMapTj31t-oIfg9mHogrE54P6vDCBwh72F6YX2NLqQCqUn5vbRIjPMaOE86WA/s3381/09925E25-A801-4398-B8F2-5F3B3FA03C7D.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1737" data-original-width="3381" height="164" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcUaQL9TF017AP_eY7y3qv-UuIrhBHWgZZ-Nmac6g3myqVHXblzG9GW02UHb_6QVLeyjkvvAdFnOoviiojQU86CfHNUSsnECX1pl4-MN9YQ-xHU5t78L7K-0tmNR1dshMapTj31t-oIfg9mHogrE54P6vDCBwh72F6YX2NLqQCqUn5vbRIjPMaOE86WA/s320/09925E25-A801-4398-B8F2-5F3B3FA03C7D.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Movement 1 solo<br /></td></tr></tbody></table></div><div><br /></div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4K1xP-sR3-4XHhkKZBohikG0M-kAQk_wR8NMJOYBSgpSF9nAYADFQjf23BwcB6ebvPobmLw8ttDfwQmygjaEKp8ZXEEkTYG4amsFoKCEdXNGWhIKr-RAWdrFmV1s8CbOUoHyiKy7V_6rF9XTe0E6nvy8X4iJWRkAofxtXHWp5sfRQjJlFfN5xWcLUBA/s3823/042465C4-A660-4ED8-9B50-FAA66796F458.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2789" data-original-width="3823" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4K1xP-sR3-4XHhkKZBohikG0M-kAQk_wR8NMJOYBSgpSF9nAYADFQjf23BwcB6ebvPobmLw8ttDfwQmygjaEKp8ZXEEkTYG4amsFoKCEdXNGWhIKr-RAWdrFmV1s8CbOUoHyiKy7V_6rF9XTe0E6nvy8X4iJWRkAofxtXHWp5sfRQjJlFfN5xWcLUBA/s320/042465C4-A660-4ED8-9B50-FAA66796F458.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Movement IV solo<br /></td></tr></tbody></table><div><br /></div><div>At first I wasn't sure if I'd use the same reed for both of these solos; both require a reed that is unusually strong in the high tenor range. Also I was looking for a reed that made it possible to match tone quality from note to note in that range. A certain type of sound, round and projecting, was included in the search. I ended up using the same reed for both solos. That reed was difficult to control in some situations and did not sound good in the low range, so I didn't use that reed at all except on those two solos.</div><div><br /></div><div>An exposed passage near the end of the first movement also required a certain type of reed - one that favors the low range but can be played softly: </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ03ol45EypxTBMVU5ewYDmfCsg6XVFwMhwkLXBrUDsaYfZe_R8F_GGZ0jF3ceCXFYhIrpG2W3MscPVnHjeR06_aKVWjTkfBMcVOOzPiha6YqHEPNO0xMHU2yorxoEaRp49b92iWlQkJSsGRLLhWM6rYZtOH8epxjGMpx9oLmdZI-vKiNhVvwuoQIIaA/s3372/DEBF8675-D927-47B2-9DFA-B9A51FDDEC2F.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1640" data-original-width="3372" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ03ol45EypxTBMVU5ewYDmfCsg6XVFwMhwkLXBrUDsaYfZe_R8F_GGZ0jF3ceCXFYhIrpG2W3MscPVnHjeR06_aKVWjTkfBMcVOOzPiha6YqHEPNO0xMHU2yorxoEaRp49b92iWlQkJSsGRLLhWM6rYZtOH8epxjGMpx9oLmdZI-vKiNhVvwuoQIIaA/s320/DEBF8675-D927-47B2-9DFA-B9A51FDDEC2F.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Exposed passage in octaves with contrabassoon near the end of movement I</td></tr></tbody></table><br /><div>A reed favoring the low range is definitely needed later in this symphony, but the one I planned to use later was too loud for this passage. So I used two different low reeds in this symphony, which is definitely not my usual modus operandi.</div></div><div><br /></div><div>The second movement features a rather raucous outburst which must cut through the orchestra. This is the type of passage more commonly relegated to the trombones or tuba., so it calls for an unusual reed, one that favors the low range, has a big sound, and plays in tune in the low range:</div><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjodQd_7bIWrHeJ5VxXkrL4vd1BgFvM0CEc4lLyWENViXovqdFJFhxqkyZ2wUaA9-u6VzoQnM2G2uPdmQd-Todna5C2ZLo16FEHChPw1EW5MGwXoyInWtzzEMElMXk_uIPHvD-h6edscFPN-C17WSbupaHN0amEnOlVR86J6ZTM-FeaZxyy2pMN_tQmjg/s3176/5FB81CA2-45F3-4B76-96E6-0A71A2DA4BBB.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="784" data-original-width="3176" height="79" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjodQd_7bIWrHeJ5VxXkrL4vd1BgFvM0CEc4lLyWENViXovqdFJFhxqkyZ2wUaA9-u6VzoQnM2G2uPdmQd-Todna5C2ZLo16FEHChPw1EW5MGwXoyInWtzzEMElMXk_uIPHvD-h6edscFPN-C17WSbupaHN0amEnOlVR86J6ZTM-FeaZxyy2pMN_tQmjg/s320/5FB81CA2-45F3-4B76-96E6-0A71A2DA4BBB.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">from movement II</td></tr></tbody></table><p>The bassoon solo in the third movement would normally be a fairly big deal for an instrument which is so often neglected by composers! In this particular symphony, however, it is quite overshadowed by more dramatic solos. Still, I struggled with finding the right reed for this:</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFkcHsauqpbIRc4elTYAs0L_hwJW3ZRX4U8-Eo988qewq2pcbmeCxth82dYG68GiLwu86E_ft4Uigc06-gZqjyI6fARC9LqAfNLl-OzdqAkgj0RShnXWCEIqViVQUjwlQ7uh4jZJXjdM218FgFW56lxgB_VHedMn3IRlz489WJ3Od1D8GN2bEiJsNZhA/s3298/2F56BDF4-2A39-45A3-B99F-76024A784662.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1567" data-original-width="3298" height="152" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFkcHsauqpbIRc4elTYAs0L_hwJW3ZRX4U8-Eo988qewq2pcbmeCxth82dYG68GiLwu86E_ft4Uigc06-gZqjyI6fARC9LqAfNLl-OzdqAkgj0RShnXWCEIqViVQUjwlQ7uh4jZJXjdM218FgFW56lxgB_VHedMn3IRlz489WJ3Od1D8GN2bEiJsNZhA/s320/2F56BDF4-2A39-45A3-B99F-76024A784662.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Third movement solo<br /></td></tr></tbody></table><p>I tried many different reeds for this, but it never sounded quite right. Our concert hall is extremely dry and I thought this solo needed some resonance to sound decent. Finally, by the last concert I found a reed that I was more satisfied with. It was the same reed that I used for the loud low solos. Originally I didn’t think this solo needed a low reed, but eventually my nonstop experimentation revealed that a low reed was helpful in creating the illusion of resonance. </p><p>After the major solo in the 4th movement the bassoon begins a series of low exposed passages:</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRF1YTGBZD9e75CkNet3spcvQGO0UAm2yRBHTOX3i9-09pTvYpBgSovK75pJqeXc-qoFleLpAyZNUUGorCeErHFyo8SPidA9ncxm-vD4u4LXQ_v-Fu9g-8WxStgnUgLkHIb-GqH_NBGthG5YffIoi_3hjiOdX2jlR5U-6y6CpQ8KN9lifGqvH88YMTvw/s2207/62F1D96B-7DC6-44D7-8704-B4001FEAA9F9.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1605" data-original-width="2207" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRF1YTGBZD9e75CkNet3spcvQGO0UAm2yRBHTOX3i9-09pTvYpBgSovK75pJqeXc-qoFleLpAyZNUUGorCeErHFyo8SPidA9ncxm-vD4u4LXQ_v-Fu9g-8WxStgnUgLkHIb-GqH_NBGthG5YffIoi_3hjiOdX2jlR5U-6y6CpQ8KN9lifGqvH88YMTvw/s320/62F1D96B-7DC6-44D7-8704-B4001FEAA9F9.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">from the 4th movement </td></tr></tbody></table><p>This is in unison with the low strings. If you try to hear the strings (who are likely to be located quite a distance away from you) and play with what you hear, you’ll likely end up lagging behind. Instead, it’s advisable to follow the conductor. We often hear conductors telling the strings to listen back to the winds. This is one of those situations when we truly hope that happens. </p><p>The final bassoon solo of Shostakovich 10 probably inspires a reed change for even the most laid back of bassoonists. It’s not that it can’t be played on a “normal” reed, but a reed specializing in the low range may ensure that each note responds on time, with a big sound, and perhaps most importantly, in tune. This jaunty solo presents a carefree reversal of Shostakovich’s depiction of Stalin with despair, terror and rage which had characterized the symphony until this point.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpzUJbv0kD_xjLGZlM5jIauUMu6sqfDJxP8ZgHWtzgImApNgt1JzfhQ5W-piDZ27ewu55EodukAEE1DoUbe5JGclcROdzuCP1ukeCAFyMU5m82QLLagirY4Zi34N4moRg6zjPLohLpW4uw3kQ0nRJIg97bIu1jMGAvZfBMjB6WwYIjjduysNonKrPI4Q/s4032/45856320-307A-4AEE-9CBB-70D46A6B78D8.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpzUJbv0kD_xjLGZlM5jIauUMu6sqfDJxP8ZgHWtzgImApNgt1JzfhQ5W-piDZ27ewu55EodukAEE1DoUbe5JGclcROdzuCP1ukeCAFyMU5m82QLLagirY4Zi34N4moRg6zjPLohLpW4uw3kQ0nRJIg97bIu1jMGAvZfBMjB6WwYIjjduysNonKrPI4Q/s320/45856320-307A-4AEE-9CBB-70D46A6B78D8.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Final bassoon solo of Shostakovich 10</td></tr></tbody></table> </div><div>Very few composers throughout the history of western music have kept the bassoon player as busy as Shostakovich does. I’ve often wondered what type of bassoon sound Shostakovich had in his head. It may have been the then-prevalent French bassoon, with its narrow bore, nasal sound and ease of high and lyrical playing. (The first recording of Shostakovich 9 was made in 1946 with Koussevitsky conducting the BSO, with Raymond Allard - uncle of Maurice Allard - on French bassoon.) Regardless of what type of bassoon playing Shostakovich was familiar with, it's our ongoing challenge to honor Shostakovich’s devotion to our instrument as best we can, even if it means changing reeds a few times.<br /><p><br /></p><p><br /></p><h4><span style="font-size: xx-small;"><a class="a2a_dd" href="http://www.addtoany.com/share_save#url=http%3A%2F%2Fbassoonblog.blogspot.com%2Fsearch%3Fupdated-max%3D2013-12-18T18%3A58%3A00-08%3A00%26max-results%3D7&title=bassoon%20blog&description=" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="Share" border="0" height="16" src="https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" width="171" /></a></span></h4><p></p><p><br /><br /></p><p></p></div>B.S.http://www.blogger.com/profile/08724883690591213622noreply@blogger.com2tag:blogger.com,1999:blog-4115433326707838301.post-91912325865234052082022-04-24T21:53:00.001-07:002022-04-26T07:14:30.286-07:00Orchestral bassoon adventures: Bach St. John Passion<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTzMvgjobZZ29GMQtvZQS-VBHcaqI57Uyep3TyTi-NFYoc0lmt-gGWyzt77rLP0fSjnAWkUz53bdqP-gMbb4zN_v7als9F7YcbHoQBg9KGtUyQzzmas9xRcvf-ZpOqyr6Cxyb8PrQn3Q82_fkwmK-XDvHEjRPr5UMaiNSU1RD3bVqImLGQBtxEm5Qr6Q/s1792/89EB5CE9-EB4A-4E3B-BAA4-5830C998476E.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="828" data-original-width="1792" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTzMvgjobZZ29GMQtvZQS-VBHcaqI57Uyep3TyTi-NFYoc0lmt-gGWyzt77rLP0fSjnAWkUz53bdqP-gMbb4zN_v7als9F7YcbHoQBg9KGtUyQzzmas9xRcvf-ZpOqyr6Cxyb8PrQn3Q82_fkwmK-XDvHEjRPr5UMaiNSU1RD3bVqImLGQBtxEm5Qr6Q/w640-h296/89EB5CE9-EB4A-4E3B-BAA4-5830C998476E.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Columbus Symphony Bach St. John Passion with overhead English subtitles<br /></td></tr></tbody></table>Being an orchestral player is an ongoing adventure. Even when you think you know what you're in for, there are so many variables - orchestra size and personnel, stage setup, conductors, soloists, tempos, number and timing of rehearsals, interpretations of the score, interpretations of the style, and for bassoonists, the functionality and quality of the reeds. <p></p><p>This past week, for the first time in 56 years, the <a href="https://columbussymphony.com/">Columbus Symphony</a> performed the monumental <a href="https://en.wikipedia.org/wiki/St_John_Passion">Bach St. John Passion</a>. I thought I knew what to expect. I've listened to plenty of recordings of the piece, and I've played Baroque music before (although not nearly enough!) and I was definitely looking forward to the experience. In this highly emotional masterpiece Bach tells the story of Jesus' betrayal, denial, arrest, trial, beating and crucifixion. Emotion flows from start to finish, covering the entire spectrum from raw rage to the comfort of the lullaby "<i>Es ist Vollbracht</i>" in which Bach uses the hushed-voiced <i><a href="https://www.youtube.com/watch?v=BO2JeKiwbvQ">viola da gamba</a></i> to symbolize comfort for the mourners. <br /></p><p>Several weeks before our first rehearsal our music director <a href="https://www.rossenmilanov.com/">Rossen Milanov</a> sent detailed instructions for the continuo players (harpsichord/organ, cello, string bass, <i>viola da gamba</i> and bassoon). The work is rather lengthy, so it was helpful to know in advance which arias and choruses I'd be playing. The instructions included a link to a reference recording for stylistic guidance. </p><p>The stylistic guidance helped with preparation. It seems that there are varying opinions on the rules of Baroque performance practice. We bassoonists enjoy the challenge of attempting to play the Bach cello suites, but for many of us, our experience in performing Baroque music, especially in an orchestral setting, is quite limited compared to the other periods of music history. (This is unfortunate, because the library of Baroque music is so vast and rich.) <br /></p><p>Our reference recording featured period instruments. The <a href="https://www.youtube.com/watch?v=ls-bij2qMT4">Baroque bassoon</a>, of course, sounds very different from the modern German bassoon. The Baroque bassoon has a much lighter and more discreet sound, never overpowering any other instrument or voice. It sounds more like a French<i> basson</i> than a German bassoon. (Click <a href="https://www.youtube.com/watch?v=DvbO70xeaZM">here</a> for a comparison of German and French bassoons.) I tried to find a reed that I thought sounded more like a Baroque bassoon than usual. That was not easy.<br /></p><p>On top of that challenge, I was positioned in a new spot on stage, in front of the soloists, not far from the conductor's podium. I was so close to the front of the stage that I could actually see audience members clearly, which is not normal for me. The cello, organ, harpsichord and string bass were positioned far across the stage from the bassoon, and the size of the orchestra was very small. As a result, at times I felt way too loud (and wished I had a Baroque bassoon!). <br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW2Vf3x8ZDVLy553Fag26-3oDg6Izk09JUd6z0FO889O_3C4ntOINDQqKzTLHlsrp9uO7YutdJBwOUeYMMEhD8YoK-fIZUU7AsWHYwoArkeBjBz0a0UzKttL_qHnb5qEZQUDMMXZ6DHXX9yOGFZOY1wyklGve77YkVu8X5bTfhYNiIhEhbsgza6AK3sA/s280/FFB5C6DB-F4E5-4C3A-BE8F-B7FC9F5831EF.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="280" data-original-width="227" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW2Vf3x8ZDVLy553Fag26-3oDg6Izk09JUd6z0FO889O_3C4ntOINDQqKzTLHlsrp9uO7YutdJBwOUeYMMEhD8YoK-fIZUU7AsWHYwoArkeBjBz0a0UzKttL_qHnb5qEZQUDMMXZ6DHXX9yOGFZOY1wyklGve77YkVu8X5bTfhYNiIhEhbsgza6AK3sA/w259-h320/FFB5C6DB-F4E5-4C3A-BE8F-B7FC9F5831EF.jpeg" width="259" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">(squeezing the reed, trying not to be loud)<br /></td></tr></tbody></table><p>The experience of being present in the midst of a live performance of such a great work of musical art was absolutely indescribable, far surpassing my expectations. Listening to recordings of this work is one thing, but hearing it performed live is a whole new experience. I felt as though I'd been transported to another world, an ancient world of emotional outpouring which culminates in immense ethereal beauty. There were a couple of times when I nearly missed my entrances due to being caught up in the moment. The vocal soloists <a href="https://nicholas-phan.com/">Nicholas Phan, tenor</a>; <a href="https://www.dashonburton.com/">Dashon Burton, bass-baritone; </a><a href="http://www.hannahdepriest.com/">Hannah De Priest, soprano; </a><a href="https://www.paulmaxtipton.com/">Paul Max Tipton, bass-baritone</a>; <a href="https://www.thomascooley.com/">Thomas Cooley, tenor</a>; and <a href="https://www.benjaminwenzelberg.com/">Benjamin P. Wenzelberg, countertenor </a>sounded magnificent, each singing with a total commitment to bringing the text to life. The <a href="https://columbussymphony.com/musicians/chorus/">Columbus Symphony Chorus</a>, prepared with great care and expertise by its director <a href="https://columbussymphony.com/musicians/columbus-symphony-conductors.dT/ronald-j-jenkins">Ronald J. Jenkins</a>, met the considerable choral challenges aptly.</p><p>Our <i>viola da gamba</i> player <a href="http://rebeccalandellreed.com/">Rebecca Reed</a> played as though transported from Bach's time--I am quite sure that she played the <i>viola da gamba</i> solos<i> exactly</i> the way Bach would have wanted them, with delicate perfection, finesse and grace. I don't think I was alone in being transfixed (and comforted, as Bach intended) by her heavenly playing. <br /></p><p>Any orchestral program has the potential to affect its audiences, but the music of J.S. Bach is uniquely empowered to reach its listeners with great impact. Bach is considered by many to be the greatest composer of all time. Take it from Claude Debussy, who described Bach as "a benevolent god to which all musicians shall offer a prayer to defend themselves against mediocrity". Or in the words of Albert Einstein: "This is what I have to say about Bach - listen, play, love, revere - and keep your trap shut." Indeed, Bach's music has been analyzed, studied, dissected and described since it was written, but the bottom line is that its effect on the listener is beyond words.<br /></p><p>The audience members left the concert hall transformed, as many expressed profusely to orchestra members
on the way out. At the conclusion of the Saturday night concert, people
were not just applauding - they were <i>cheering</i>. I don't know how many
tickets were sold, but I do know that those who bought tickets received
therapy they didn't even know they needed. I know that their souls
were stirred, soothed, inspired and transported to that other world - the
world in which mundane concerns are laid aside, and life's true meaning emerges. </p><p><br /></p><h4><span style="font-size: xx-small;"><a class="a2a_dd" href="http://www.addtoany.com/share_save#url=http%3A%2F%2Fbassoonblog.blogspot.com%2Fsearch%3Fupdated-max%3D2013-12-18T18%3A58%3A00-08%3A00%26max-results%3D7&title=bassoon%20blog&description=" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="Share" border="0" height="16" src="https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" width="171" /></a></span></h4><p></p><p><br /></p><p><br /></p>B.S.http://www.blogger.com/profile/08724883690591213622noreply@blogger.com0tag:blogger.com,1999:blog-4115433326707838301.post-43528793014929268002022-04-08T10:31:00.004-07:002022-05-04T13:06:23.457-07:00Playing the bassoon in an orchestra<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl40VtEkIUfOuZI9Kb53D-1iOBkOolp9v1mDcMqnF4G2PWwzJcqRVHiXKARmRtf9lY9awOIHgFKOn7UloycqpZW_qBuVvGkXRo2eHAcH-QTOggwBoFQyjkzRR3oQsyq1FawKCtEVgh1IXl4x-0tfJv1J5GildhEKo1UDxSRHSr4Qmgc3Bem20e3Xgqlw/s4432/IMG_0774.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2502" data-original-width="4432" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl40VtEkIUfOuZI9Kb53D-1iOBkOolp9v1mDcMqnF4G2PWwzJcqRVHiXKARmRtf9lY9awOIHgFKOn7UloycqpZW_qBuVvGkXRo2eHAcH-QTOggwBoFQyjkzRR3oQsyq1FawKCtEVgh1IXl4x-0tfJv1J5GildhEKo1UDxSRHSr4Qmgc3Bem20e3Xgqlw/s320/IMG_0774.JPG" width="320" /></a></div><br />If you are a student or amateur musician who is playing in an orchestra and no one has advised you on the unofficial "rules" of orchestral playing, then this post is for you. I had the opportunity to hear an amateur orchestra rehearse recently and it struck me that the bassoonists and other woodwind players could have used a few pointers to enhance their orchestral playing experience.<br />
<br />
During the rehearsal I heard the conductor (who was apparently inexperienced) instruct the wind players to go with what they heard from the piano soloist instead of watching his baton. That piece of advice contradicts my experience in the halls I've played in. In fact, if the winds go with what they hear from a soloist in front of the orchestra, those wind players will end up lagging behind due to the distance between the soloist in the front of the stage and the position of the wind section. Light travels faster than sound, so the visual guides (such as watching the conductor's baton or the movement of the string bows) are actually FAR more reliable than the aural guides, in situations where the winds or bassoons are on their own, trying to play with a soloist. However, when the entire orchestra is playing OR if players beside or in back of the musician are playing---then the sound IS reliable. For example, a bassoonist can listen reliably to brass or percussion player situated behind the bassoons or clarinet players beside the bassoons. But it is not helpful to use the sound of a musician (or a section, like the first violins) located in front of you at a great distance, because your ears are hearing a delayed sound. You'll be lagging behind!<br />
<br />
This was probably the most difficult orchestral lesson I had to learn when I began playing principal bassoon in the Columbus Symphony. While I was a student at Eastman I was fortunate to have the experience of playing second bassoon in the Rochester Philharmonic. That was much easier because I was following the principal bassoonist, and the delay described above was his problem, not mine. I wasn't even aware of the issue! But once I began playing principal in Columbus I was constantly being told that I was behind until one day I asked for advice from a percussionist. He told me to go with the conductor's baton. Since then, I've been fairly conscientious about playing right on top of the conductor's beat, and the problem has been greatly alleviated.<br />
<br />
If you want your ensemble playing to be as precise as possible, then have your eye on the baton either directly or peripherally whenever you are playing an exposed passage. Again, if the entire orchestra is blasting away, that's when you can just relax and trust your ears. The rest of the time, keep your eye on the baton either directly or peripherally.<br />
<br />
Pay attention to your rhythmic accuracy. Subdivide. Watch out for coming off of ties (many musicians hold the tie too long due to failure to subdivide). Don't play dotted eighth and sixteenth figures like triplets (again, subdivide). Be aware of the very human tendency to rush. (Practicing with a metronome really does help with that!)<br />
<br />
Listen closely at all times to the other players so that you're able to match the style, volume, note lengths and articulations. Good orchestral players are good listeners, as though they're playing chamber music.<br />
<br />
Whenever you have a passage which has already been played by another musician before you, it's your job to match whatever that other musician did (even if it was distasteful). I learned that from conductor David Effron at Eastman and that concept has been confirmed by many conductors since then.<br />
<br />
These days many musicians practice with tuners. Your orchestral playing will be enhanced by this, especially if you practice with a sound drone instead of a meter to develop a solid habit of listening for intonation. For bassoonists especially, it's wise to check in occasionally with the visual tuner (instead of the tuning drone) just to be sure.<p></p><p>When playing a chord in a wind section, do not use vibrato. (Tuning is challenging enough without introducing vibrato into the mix!) Chords in a wind section are best tuned from the bottom up, which usually means that the wind section uses the second bassoon pitch as its reference . When playing passages with oboes or flutes (especially flutes), use vibrato as they do. No vibrato is used when clarinets and bassoons are playing exposed passages together, since clarinets do not use vibrato. The same is true for playing with horns. Generally, vibrato enhances projection and is often used liberally for bassoon solos. But in any passage where your goal is to be discreet or innocuous, it's probably best to leave out the vibrato.</p><p>The bassoon is the chameleon of the orchestra, having the ability to blend with any other instrument quite well, using our various tools of vibrato or lack thereof, dynamics and articulation. It is also the quietest instrument. When a bassoonist has a unison solo with another instrument (such as the horn), I have found that it's best to defer to the other instrument rather than attempt to assert my own sound. That results in a better blend. That also helps with matching the intonation, because if you're playing too loudly, it becomes much more difficult to hear the pitch of the other player(s).<br />
<br />
Learn the music before the first rehearsal so that you know where your entrances are and where you'll be exposed. That includes listening to recordings and studying scores so that you'll know how your part fits into the orchestral texture. Don't be afraid to mark you parts with helpful information. The first time you make a mistake, such as playing a wrong accidental, should be the last. Mark it with a pencil to ensure that it won't happen again. Learn to anticipate where you might be likely to play a wrong note, and mark it in advance.<br /></p><p></p><p>Finally, there are a couple of etiquette rules. Be very, very careful when walking near instruments on stage. I usually go out of my way to avoid walking anywhere near an unattended instrument (whether it's in an instrument stand or laying on a chair). Also, try to resist the urge to turn to look at other players while they're playing (or after they finish). When considering approaching other wind players about ensemble or intonation issues, be aware of the benefit of choosing one's words very carefully! Whenever a musician seated near you (especially beside you) is playing a solo or exposed passage which does not include you, it’s your job to FREEZE! The last thing you want to do is distract another musician when they’re in the hot seat. (With any luck, your woodwind neighbors in the orchestra will return the favor when it’s your turn to solo.) </p><p>Once you've prepared as thoroughly as you possibly can, you've earned the right to just show up and enjoy the experience! Listen to the music as it unfolds and play your part with total commitment.<br />
<br />
<br /></p>B.S.http://www.blogger.com/profile/08724883690591213622noreply@blogger.com4tag:blogger.com,1999:blog-4115433326707838301.post-78053231707864355772021-12-02T07:36:00.002-08:002023-05-15T13:26:00.055-07:00tools needed for bassoon reedmaking (using GSP cane)<p>These days many bassoonists forgo the burden of purchasing and maintaining a gouger, a profiler and a shaper, especially since there are several reliable sources of processed cane. Although I profile and shape my own cane, I prefer to teach students to make reeds using cane which is already gouged, shaped and profiled (also known as GSP cane). To make reeds using GSP cane, the following tools and supplies are required (according to my specific method of forming and finishing blanks):</p><p><br />
GSP cane (<a href="https://www.bartoncane.com/">Barton Cane</a> is a popular source)<br />
forming mandrel (the mandrel used for forming the tube)<br />
holding mandrel (the mandrel used for holding the reed for wrapping or finishing)<br />
double hollow ground knife <br />
flat file <br />
rat tale file<br />
reamer<br />
plaque<br />
#22 brass wire<br />
#3 cotton crochet thread<br />
Duco cement (or beeswax if you prefer a nontoxic alternative)<br />
ruler<br />
scoring tool or hacksaw blade<br />
cutting block<br />
broom handle<br />
sanding block (can be made by gluing sandpaper onto a wooden block)<br />
parallel pliers<br />
pruners (the cheap kind, such as from the dollar section at Target)<br />
pliers<br />
tip cutter (the tip may be cut using a cutting block and a knife, but the results are often disappointing)<br />
long brass forming mandrel tips from Christlieb Products.<br />
<br />
</p><table border="0" cellpadding="0" cellspacing="0" style="width: 650px;"><tbody>
<tr><td height="27"><br /></td>
<td><br /></td>
<td><br /></td>
<td><br /></td>
<td><br /></td>
<td><br /></td>
<td><br /></td>
<td><br /></td>
<td><br /></td>
<td><br /></td>
<td><br /></td>
<td width="14"><br /></td>
<td width="78"><br /></td>
<td width="72"><br /></td>
<td width="47"><br /></td>
<td width="40"><br /></td>
<td><br /></td>
</tr>
<tr>
<td height="15"><br /></td>
<td colspan="9" rowspan="3" valign="top"><br /></td>
<td><br /></td>
<td><br /></td>
<td><br /></td>
<td><br /></td>
<td><br /></td>
<td><br /></td>
<td><br /></td>
</tr>
<tr>
<td height="147"><br /></td>
<td><br /></td>
<td colspan="5" valign="top"><br /></td>
<td><br /></td>
</tr>
<tr>
<td height="101"><br /></td>
<td><br /></td>
<td colspan="5" rowspan="2" valign="top"><br /></td>
<td><br /></td></tr>
</tbody></table>
<br /><br />
<br />
<br />B.S.http://www.blogger.com/profile/08724883690591213622noreply@blogger.com1tag:blogger.com,1999:blog-4115433326707838301.post-24495300114692337292020-05-31T10:15:00.001-07:002020-05-31T10:15:38.700-07:00Rhythmic fingering on bassoon--a K. David Van Hoesen conceptRhythmic (or rhythmical) fingering is a concept I rarely hear about these days, yet during my student years at the Eastman School of Music I heard about it plenty from my teacher, K. David Van Hoesen. He believed that rhythmic fingering was an important (yet often ignored) aspect of bassoon playing. When he first brought it up in one of my lessons, he admitted that it could be very difficult to teach. Then he mentioned that one of his students who was particularly sharp (not in pitch, but in brainpower!) had picked up on it instantly. I wanted to be like that student, so I've been applying the rhythmic fingering concept since that very day.<br />
<br />
Imagine playing a series of notes all slurred. Your fingers move from the note you're on to the next note at the precise moment of changing notes. Next, remove the slur and play each note staccato. Unless you've been trained to use rhythmic fingering, you will likely notice that your fingers move early, in anticipation of the next note rather then waiting until the precise moment of changing notes. Of course if you use rhythmic fingering, then your fingers will move exactly the same way they moved when you were slurring.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dwJ6MLuuxB6rpNSo4w1SuiAKg_zkyBx71FSz-kPysTTjTOpg4Ftp732vs24tV3W6TN9Ma9EVvTNAl2bJY2vkw' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
Why does this matter? <br />
<br />
As K.David Van Hoesen used to say, many difficult passages can be smoothed out with a rhythmic approach to fingering. It certainly reinforces rhythm when tongue and fingers are synchronized. Besides, it's awfully hard to imagine a valid argument in favor of haphazard movement of the fingers. How can that possibly lead to clarity and rhythmic accuracy?<br />
<blockquote class="tr_bq">
<b><span style="color: #351c75;"><i> "Obviously in slurred passages the
tongue and fingers must be coordinated, but in separated note passages
(tongued passages) the same coordination between tongue and fingers
should be present, but often isn't." - K. David Van Hoesen</i></span></b></blockquote>
Finger/tongue coordination is a consciously developed habit. When fingerings and tonguing are both rhythmically conceived, they will always coincide. If my students have trouble with tongue/finger coordination in a tongued passage, I instruct them to play the passage all slurred, thereby establishing rhythmic fingering. Once the passage is rock solid all slurred, then the articulation is added. This method works amazingly well.<br />
.<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dxLt7GlbmILi_nTjqnY2N96L4lJSackz-exQQJjxDArqoeu6BxeoUKnSjxgPNztoNmpmRXhO-IxBrTtHYzchA' class='b-hbp-video b-uploaded' frameborder='0'></iframe> </div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
. </div>
<h4>
<span style="font-size: xx-small;"><br />
<a class="a2a_dd" href="http://www.addtoany.com/share_save#url=http%3A%2F%2Fbassoonblog.blogspot.com%2Fsearch%3Fupdated-max%3D2013-12-18T18%3A58%3A00-08%3A00%26max-results%3D7&title=bassoon%20blog&description=" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="Share" border="0" height="16" src="https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" width="171" /></a></span></h4>
<!-- Blogger automated replacement: "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" --><!-- Blogger automated replacement: "https://images-blogger-opensocial.googleusercontent.com/gadgets/proxy?url=http://static.addtoany.com/buttons/share_save_171_16.png&container=blogger&gadget=a&rewriteMime=image/*" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" -->B.S.http://www.blogger.com/profile/08724883690591213622noreply@blogger.com69tag:blogger.com,1999:blog-4115433326707838301.post-72370920673797780392020-05-26T08:47:00.001-07:002020-06-01T08:23:53.315-07:00Beeswax for Bassoon ReedsShortly after starting my job with the Columbus Symphony, someone contacted me to ask if I taught bassoon lessons. I wasn't sure how to respond, since I was busy trying to figure out how to play principal bassoon in an orchestra and felt that I had my hands full with that. Teaching was not really on my radar. So I called my teacher, K. David Van Hoesen to ask him if I should teach. He said <i><b>yes</b></i>, I<i><b> had to</b></i> teach....I'd learn from my students.....teaching would force me to analyze what I'm doing.....it would help me figure out what works and what doesn't......etc., etc. He convinced me that teaching protects against complacency and stagnation. So I taught.<br />
<br />
And he was right, as usual. A recent example of learning from my students has to do with sealing bassoon reeds. Many bassoonists use glue to secure the binding on the reed and to
prevent leakage and shifting of the blades. I always used Duco Cement
even though I have long been aware of its toxicity. One of my students at the Capital University Conservatory of Music asked if I'd ever used beeswax to seal reeds. No, I hadn't, and I was only vaguely aware that some reed makers do use it. Further investigation ensued.<br />
<br />
First I bought a brick of beeswax for $10.95 on Amazon. Then I researched the matter online. The one complaint I read about using beeswax was the problem of the binding becoming loose. The way I make reeds, Duco cement is applied<i><b> underneath</b></i> the binding before wrapping the reed. This prevents the binding from shifting later. Once I began this practice, I have not had any issues whatsoever with loose binding. So if Duco cement can be used underneath the wrapping, it stands to reason that beeswax can be used as an alternative underneath the wrapping. The wax is fairly easy to place where it needs to be on the blank, and then a heat source such as a candle flame is used to melt it slightly, making it harden and adhere to the reed.<br />
<br />
My students at Capital University were concerned about candles setting
off the fire alarms.<br />
(Note: This speaks<i> volumes</i> about their level of maturity......I
recall my classmates at Eastman purposely setting off fire alarms
for entertainment, especially at the dorms in the middle of the night!) My Capital University students are not only mature-- they're also innovative. One of them solved the fire problem by coming up with the excellent idea
to use a soldering iron as the heat source.<br />
<br />
Here is a Capital University bassoon major demonstrating the application of beeswax to seal the reed, both underneath and then on top of the wrapping. He is using a battery-operated soldering iron (cost:$22.81):<br />
<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/x8cXhK-M7Bw" width="560"></iframe><br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
The reed is immediately available as soon as the beeswax is applied....it hardens immediately. You can soak the reed, cut the tip, play on it, and proceed with finishing right after applying the beeswax. The immediate availability of the reed after wrapping is a big plus, along with the non-toxicity.<br />
<br />
CONCLUSION:<br />
<br />
We had mixed conclusions, ranging from liking beeswax enough to use it exclusively to planning to never use it again. My opinion is that I found the beeswax too messy to deal with efficiently and effectively, perhaps because the beeswax I ordered was the cheapest available (or because I'm a klutz when it comes to the manipulation of beeswax). I shared one student's observation that the binding was not secure enough....I was afraid the beeswaxed reeds might fall apart at an inopportune moment! Most importantly though, it took too much time. I'm already a slow reed-maker, so adding a few more minutes onto my time required to make a reed is <i>not</i> an option. I'm disappointed though, because I love the fact that beeswax is nontoxic (assuming the bees were not exposed to pesticides or herbicides). I have not sworn off beeswax forever; I'll probably give it another try someday, maybe with a higher quality beeswax.<br />
<br />
We "gave it the old college try" as my teacher K. David Van Hoesen used to say. If worse comes to worst and you decide you prefer not to use beeswax after trying it, you can always make beeswax candles out of it!<br />
<br />
<h4>
<span style="font-size: xx-small;"><br />
<a class="a2a_dd" href="http://www.addtoany.com/share_save#url=http%3A%2F%2Fbassoonblog.blogspot.com%2Fsearch%3Fupdated-max%3D2013-12-18T18%3A58%3A00-08%3A00%26max-results%3D7&title=bassoon%20blog&description=" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="Share" border="0" height="16" src="https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" width="171" /></a></span></h4>
<!-- Blogger automated replacement: "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" --><!-- Blogger automated replacement: "https://images-blogger-opensocial.googleusercontent.com/gadgets/proxy?url=http://static.addtoany.com/buttons/share_save_171_16.png&container=blogger&gadget=a&rewriteMime=image/*" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" -->B.S.http://www.blogger.com/profile/08724883690591213622noreply@blogger.com18tag:blogger.com,1999:blog-4115433326707838301.post-13232780038859822302020-01-23T17:45:00.002-08:002020-01-25T10:56:33.992-08:00The devil's in the details (Columbus Symphony Russian Winter Festival II)This week the Columbus Symphony is performing a program of exotic masterpieces as part of its Russian Winter Festival.<br />
<br />
<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/EvD0BZc8XzA" width="560"></iframe><br />
<br />
This is the program:<br />
Prokofiev - <i>Lieutenant Kije</i><br />
Borodin - <i>Polovetsian Dances</i><br />
<div class="separator" style="clear: both; text-align: center;">
<i></i></div>
Rimski-Korsakov - Suite from <i>The Golden Cockerel (Le Coq d'Or)</i><br />
Tchaikovsky - <i>1812 Overture</i><br />
(And there's also an encore which shall remain a secret.)<br />
<br />
The bassoon is not featured heavily in this program as a solo instrument but there is always plenty to keep us occupied. The details can be daunting.....I noticed that there were 3 intervals which captured much of my attention this week. An interval, in case any non-musicians are reading this, may be defined as the distance between two notes. And one of the main intervals vying for my attention this week is the one which opens the first movement Lt. Kije bassoon solo (played here with a metronome on 80 and a drone on Bb):<br />
<br />
<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/nZC4ks1bryg" width="560"></iframe> <br />
<br />
Often there is a noise between the high Bb and the F below it, thereby ruining the interval. Smooth playing is one of the great challenges of bassoon playing...left to its own devices, the bassoon sounds pretty rough and rocky. But in the hands of an aware player, many of those rough edges are smoothed out. It takes some work though. To master the interval from high Bb to F, the air and embouchure must be subtly manipulated AND the finger movement from the Bb fingering to the F must be absolutely perfect. We must will the bassoon to cooperate, as thortugh we're reining in a defiant toddler.<br />
<br />
In that same solo, sometimes the Bb to the E natural is also a troublesome interval, benefiting from an embouchure shift on the E. And finally, the low D to the low Bb might be awkward. For me it requires a forceful movement of the left thumb. By this point in the solo, the player has surely moved back on the reed, so the main problem here is the swift and strong motion of the left thumb.<br />
<br />
I recommend practicing this solo with a metronome. The reason is because this is one of the many solos in which the bassoonist tends to lag behind. Practicing with a metronome prepares the player to keep the tempo moving throughout the solo. I looked at the score to see if there was a tempo marking, and sure enough there was: 80 beats per minute. As always, though, I practiced with the metronome on faster and slower tempos so that I'm prepared for anything.<br />
<br />
Many recordings of this piece feature faulty intonation in this bassoon solo. Practicing the solo with a sound drone on Bb will greatly reduce the chances of playing out of tune on the solo in the orchestra. This level of preparation may seem like overkill but I think pays off. It's better to be over-prepared than under-prepared.<br />
<br />
There is a tricky technical passage in the second movement of Lt. Kije which presents a different type of interval challenge - one that is solved by the fingers exclusively - between low Eb and low Gb:<br />
<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/jeMBOCitifw" width="560"></iframe><br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
I use the alternate F# key (little finger right hand) but it can be difficult to slide the little finger from the low F key to the alternate F#. Once again, extra force is needed.....that little finger has to work hard to move cleanly from F to F#. I recorded myself (with my phone) playing the first 2 bars of the passage a couple of times, clearly establishing the difference between the quintuplet and the four 16ths. With a precarious passage like this one, recording it accurately provides a degree of assurance for later playing it in the orchestra.<br />
<br />
All four of the above mentioned intervals benefit from isolated practice (meaning practicing only the interval). I recall many a lesson with K. David Van Hoesen when one interval would be played over and over, with discussion, until it really sounded ultra smooth and connected, with the first note clearly<i> leading </i>to the next. He frequently began lessons by asking to hear a broken arpeggio all slurred, paying very close attention to each interval.<br />
<br />
The 4th movement of Lt. Kije features two bassoons and a tenor saxophone in a unison soli beginning a beat before 46: <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDwliOTqm5OaL1dQ0MFXBmj1vsSvYWMNzEHK7pvojQUOmLSVxe4_hPRgkev4x1KmgvDiTJUGbWFj3hfWAN61eVfjuAYFAsF64n0qQuv-yCTYvbnKLKnZ-P6jOlGZRsyjzWZphzwDTQt3ee/s1600/7CD24D37-3B6C-40CD-8B81-76BEFCBE8E38.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDwliOTqm5OaL1dQ0MFXBmj1vsSvYWMNzEHK7pvojQUOmLSVxe4_hPRgkev4x1KmgvDiTJUGbWFj3hfWAN61eVfjuAYFAsF64n0qQuv-yCTYvbnKLKnZ-P6jOlGZRsyjzWZphzwDTQt3ee/s640/7CD24D37-3B6C-40CD-8B81-76BEFCBE8E38.jpeg" width="640" /></a></div>
<br />
Good intonation and ensemble are of paramount importance here. The staccatos are ideally crisp, with clear accents, including the accented eighth at the end of each phrase (which may be the opposite of the way we often end phrases!). The sixteenths are best double-tongued because of the tempo and character.<br />
<br />
That reminds me of something that happened during this afternoon's rehearsal. Our music director Rossen Milanov summarized with one word what he wanted from the orchestra: <b><i>character.</i></b> Similarly, my teacher K. David Van Hoesen used to insist that his students play with character and commitment <i>at all times</i>. That's a valuable goal to have in mind throughout our musical endeavors.<br />
<br />
The first time I ever used double tonguing in an orchestra was in the Borodin <i>Polovetsian Dances</i>. At the time I assumed it was difficult because I was a <a href="https://bassoonblog.blogspot.com/2016/01/double-tonguing-on-bassoon.html">double-tonguing novice</a>, but I have since learned that it's an unusually taxing passage (occurring twice, with different notes):<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGI8lSXkU0kuRZHu-Uln2FIuLQAalJDlmLgM7HAzjbH2RGtWgFZXDjKmTDWK9-UuPsvAGTWkP_eQEt2ATPJwpQkftmJeF2l0baRD5QUWLB_ysxHVMzF1Z-FPSe6iSSI6ggLZj071uwlfDl/s1600/IMG_4789+%25283%2529_LI.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="688" data-original-width="1600" height="274" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGI8lSXkU0kuRZHu-Uln2FIuLQAalJDlmLgM7HAzjbH2RGtWgFZXDjKmTDWK9-UuPsvAGTWkP_eQEt2ATPJwpQkftmJeF2l0baRD5QUWLB_ysxHVMzF1Z-FPSe6iSSI6ggLZj071uwlfDl/s640/IMG_4789+%25283%2529_LI.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">score pages from Borodin <i>Prince Igor (Polovetsian Dances) </i>with tongued bassoon parts encircled</td></tr>
</tbody></table>
The first and second bassoons both play the exposed passage, and the tempo is extremely fast....it's in one, at a tempo of approximately 108 (remember: this is the beat <b><i>per measure</i></b>---it's darned fast--if the 6/8 were in two instead of one, the tempo would be 216 per beat!). I doubt that there's a bassoonist on earth who'd be able to single tongue this, and even double tonguing it isn't easy, probably because it's relentlessly fast and it goes on for a long time. Especially during my first experience playing this piece, I was really, really glad that I had learned to double tongue.<br />
<br />
The first entrance of the first bassoon in the <i>Lento</i> of Rimsky-Korsakov's<i> Le Coq d'Or Suite</i> presents a different type of demanding detail:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_SwfX7SMAN42WPrZGF_Bt8A8sN_lBNK6W0tWj_-M3A6Tdo75ErPaj8YEJD6iO6iP-OaHXV_qNc8eISN_dFWp2Z2hTK61qOIHonNZegSddGq4jNdvnpe53b6oMgvcpvvlwJU7d8t8Ez60h/s1600/FFE76AFA-C0A6-4CF1-83FD-B66C285709CF.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1388" data-original-width="1600" height="553" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_SwfX7SMAN42WPrZGF_Bt8A8sN_lBNK6W0tWj_-M3A6Tdo75ErPaj8YEJD6iO6iP-OaHXV_qNc8eISN_dFWp2Z2hTK61qOIHonNZegSddGq4jNdvnpe53b6oMgvcpvvlwJU7d8t8Ez60h/s640/FFE76AFA-C0A6-4CF1-83FD-B66C285709CF.jpeg" width="640" /></a></div>
<br />
It looks harmless.....it's nothing but a D3 in whole notes, right? Well....the clarinets begin the soft woodwind chord before the 1st bassoon enters, and they are playing very, very, very quietly, as only clarinetists can do. The entering bassoon is sure to sound like a bull in a china shop. I actually considered using my flat<i> pp</i> fingering (which means I'd add the first finger of the right hand) but I decided it was too likely to be flat, ruining the intonation of the chord. So I'm suffering through the entrance with the normal fingering. I try not to drink coffee within 30 minutes of playing a piece like this, because caffeine makes it harder to control delicate entrances such as this one. The second bassoon enters a bar later on the B natural below the D of the 1st bassoon. (I'd much prefer to play the easy-to-control, ultra cooperative B natural!)<br />
<br />
In movement III of the Rimsky-Korsakov, the oboe begins an Allegretto solo in 6/8 with the bassoon entering later. The parts are kind of similar; it sounds as though they are supposed to line up better than they do, as though the oboe and bassoon are clumsily and unsuccessfully trying to dance together. The bassoon solo should equal the oboe solo rather than accompany it, while matching the oboe's staccato and general style:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc7wcZ7XRiO9GOPhlIpwlTIKc9PaTm_F26Sdtkt07kpsKfJvrARSL7C7FSuUaD4GkIZWpKb96FSBTEmdlvGpcnvcgDe3iM7fSJZSljvRsT5OxHj3ps5ZNZURP-r0gCycCS39393bIuoUaK/s1600/78073954-4AD5-4883-B72F-C40AB73098BC.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="429" data-original-width="1600" height="169" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc7wcZ7XRiO9GOPhlIpwlTIKc9PaTm_F26Sdtkt07kpsKfJvrARSL7C7FSuUaD4GkIZWpKb96FSBTEmdlvGpcnvcgDe3iM7fSJZSljvRsT5OxHj3ps5ZNZURP-r0gCycCS39393bIuoUaK/s640/78073954-4AD5-4883-B72F-C40AB73098BC.jpeg" width="640" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
There is a technically difficult tutti passage in movement IV. It looks easy enough, but at a fast clip those grace notes leading to the low F are pretty tricky, especially because they're repeated:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYEOsssXEtFSKHAONVfufg2iIyZ6Dvf7vTo1SVzuZ1DUxAysu-7po3z5bs4BSfo0BDxPuNuslPZI4sTtFneQQF2gHstEhTlf1VBlkdkHNZA6MKlGGtV8E2kR76y6gputX8dBJFuic9DReV/s1600/EAF6F0C7-D1ED-46D4-BE6B-05A5F9C0B805.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1106" data-original-width="1600" height="441" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYEOsssXEtFSKHAONVfufg2iIyZ6Dvf7vTo1SVzuZ1DUxAysu-7po3z5bs4BSfo0BDxPuNuslPZI4sTtFneQQF2gHstEhTlf1VBlkdkHNZA6MKlGGtV8E2kR76y6gputX8dBJFuic9DReV/s640/EAF6F0C7-D1ED-46D4-BE6B-05A5F9C0B805.jpeg" width="640" /></a></div>
<br />
The bassoons certainly can't be heard well in the above passages, but it's incumbent on us to do our best to master our entire program including loud tuttis. <br />
<br />
Even Tchaikovsky's bombastic 1812 Overture has some details to fret over. On the first page there is an exposed passage (beginning in measure 45 with the cellos) which is a technical entanglement in the triplets in measures 47 and 51:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFCeOf9vKbAPxKI5TPx82cn37C3fZhLiQs8nUk8VjGSKLT4dTeo-bf6P7St9dhLsnsLzkMCwTZ_zWxCP6q5EEtdRJiv6EKmF8Bp8KddPA06xkfxyKn9iU4ygXEBcR6XJoh47TUOaI2qSDv/s1600/006DF612-CB76-440E-9D42-B4B324E020C2.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="508" data-original-width="1600" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFCeOf9vKbAPxKI5TPx82cn37C3fZhLiQs8nUk8VjGSKLT4dTeo-bf6P7St9dhLsnsLzkMCwTZ_zWxCP6q5EEtdRJiv6EKmF8Bp8KddPA06xkfxyKn9iU4ygXEBcR6XJoh47TUOaI2qSDv/s640/006DF612-CB76-440E-9D42-B4B324E020C2.jpeg" width="640" /></a></div>
In measure 47 above I use the most basic fingering for Eb (just the 1st and 3rd fingers of the left hand plus the whisper key). With most reeds, that fingering is in tune on my bassoon although I suspect that fingering may not be useful on all bassoons. I use that same Eb fingering again in measure 51. It's a little bit disconcerting the use that fingering, since it's not one that we commonly use, and it can be unstable. It's hard to trust the fingering, but it is technically preferable. <br />
<br />
As you can see, I wrote in the first note of the next line (Eb) at the end of measure 51 above. Such visual aids seem to help in difficult technical passages. (No use making a mistake because we don't know what the next note is!)<br />
<br />
These are just a few of the daunting details of the first bassoon parts for this weekend's Columbus Symphony concerts. If you're in the central Ohio area, you can hear it live on Friday and Saturday night at 7:30pm or Friday morning at 10am. Hope to see you there!<br />
<br />
<br />
<h4>
<span style="font-size: xx-small;"><br />
<a class="a2a_dd" href="http://www.addtoany.com/share_save#url=http%3A%2F%2Fbassoonblog.blogspot.com%2Fsearch%3Fupdated-max%3D2013-12-18T18%3A58%3A00-08%3A00%26max-results%3D7&title=bassoon%20blog&description=" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="Share" border="0" height="16" src="https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" width="171" /></a></span></h4>
<br />
<!-- Blogger automated replacement: "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" --><!-- Blogger automated replacement: "https://images-blogger-opensocial.googleusercontent.com/gadgets/proxy?url=http://static.addtoany.com/buttons/share_save_171_16.png&container=blogger&gadget=a&rewriteMime=image/*" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" -->B.S.http://www.blogger.com/profile/08724883690591213622noreply@blogger.com24tag:blogger.com,1999:blog-4115433326707838301.post-31330218700459662092020-01-09T20:41:00.001-08:002020-01-12T09:43:45.368-08:00Tchaikowsky: Manfred SymphonyTchaikowsky's epic Manfred Symphony (1885) stands out in numerous ways. It is a multi-movement romantic symphonic poem rather than a numbered symphony, it's Tchaikowsky's longest symphonic work, it's an example of Tchaikowsky using the <span class="st"> <i>idée fixe</i></span> made famous by Berlioz, AND its score includes 3 bassoons often playing in unison in exposed passages. There are so many exposed bassoon passages is the work that I'd definitely label it bassoon-heavy.<br />
<br />
The Manfred Symphony is based upon the dramatic poem <i>Manfred</i> by Lord Byron. The Russian journalist Vladimir Stassov came up with a sketch of a program for a 4-movement musical composition and asked composer Mili Balakirev to write the music. Balakirev didn't want to get in over his head so he sent the sketch to Hector Berlioz (an obvious choice considering the success of Berlioz's<i> Harold in Italy</i> which was based on Byron's <i>Childe Harold</i>). Berlioz, feeling old and sickly at the time, declined, and next Balakirev tried to pass off the project to Tchaikowsky. Tchaikowsky also balked, not giving in to Balakirev's nagging until years later. And once he did take on the task, Tchaikowsky quipped that it was "a thousand times pleasanter to compose without a program"!<br />
<br />
Tchaikowsky provided the following description of his setting of <i>Manfred</i> in the score:<br />
<dl><dd>I. Lento lugubre (B minor, 338 bars)
<br />
<dl><dd><i>Manfred wanders in the Alps. Wearied by the fatal questions
of existence, tormented by hopeless longings and the memory of past
crimes, he suffers terrible spiritual yearnings. He has delved into the
occult sciences and commands the mighty powers of darkness, but neither
they nor anything in this world can give him the forgetfulness to which
alone he vainly aspires. The memory of the lost Astarte, once
passionately loved by him, gnaws at his heart, and there is neither
limit nor end to Manfred's despair</i>.</dd></dl>
</dd><dd>II. Vivace con spirito (B minor, 555 bars)
<br />
<dl><dd><i>The Alpine Fairy appears to Manfred beneath the rainbow of a waterfall</i>.</dd></dl>
</dd><dd>III. Andante con moto (G major, 282 bars)
<br />
<dl><dd><i>Pastorale. A picture of the simple, free and peaceful life of the mountain folk</i>.</dd></dl>
</dd><dd>IV. Allegro con fuoco (B minor–B major, 491 bars).
<br />
<dl><dd><i>The subterranean palace of Arimanes. An infernal orgy.
Appearance of Manfred in the midst of a bacchanal. Evocation and
appearance of the spirit of Astarte, who pardons him. Death of Manfred</i>.</dd></dl>
</dd></dl>
In the Manfred Symphony the <span class="st"> <i>idée fixe</i></span> melody, representing Byron's romantic protagonist Manfred, is presented in the opening by 3 bassoons and bass clarinet in unison. (An <span class="st"> <i>idée fixe </i></span>is theme occurring in each movement of a work, lending unity and sometimes a sense of obsession.)<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFk8unk1uLvOyKTufok2jk65vdakEOyyXuzym9lQ2Jm136hcn88eJJHsHYnEfExy_spJco_MP4GYanpn_U2LPKP4L_kt8rRKzxYo5K7GxZZDbOfdmGAv74wwHc0SVXf5v_ikytcxM1XyE4/s1600/IMG_4767+%25282%2529.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1594" data-original-width="1377" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFk8unk1uLvOyKTufok2jk65vdakEOyyXuzym9lQ2Jm136hcn88eJJHsHYnEfExy_spJco_MP4GYanpn_U2LPKP4L_kt8rRKzxYo5K7GxZZDbOfdmGAv74wwHc0SVXf5v_ikytcxM1XyE4/s640/IMG_4767+%25282%2529.JPG" width="552" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Manfred Symphony opens with the <span class="st"> <i>idée fixe</i></span> played by 3 bassoons and bass clarinet in unison.</td></tr>
</tbody></table>
There is usually an unspoken hierarchy for unison passages. For example, if I'm playing in unison with a horn, I'm going to defer to the horn
because it's a louder instrument. In fact, in unison situations I almost always defer to the other instrument (unless, for example, it's a situation where blending is more important than playing underneath the other instrument). The main reason for
this is that the bassoon is the quietest of all orchestral instruments.
Also, the bassoon is like a chameleon, easily adapting to and blending
with whatever musical environment it finds itself thrust into.
Generally, especially in unison situations, we bassoonists make better followers
than leaders, let's face it.<br />
<br />
Incidentally, when we play with other instruments in octaves or harmony (instead of unison) the priorities may be different. Achieving the best balance sometimes means that the bassoon, perhaps playing in the lower octave, plays out more than the others.<br />
<br />
In the opening of the Manfred, even though it's a unison soli I think it's appropriate for the principal bassoonist to play out like a leader. There's only one bass clarinet, and the 2nd and 3rd bassoons are likely to follow the 1st bassoon. This passage (along with the later passages featuring the same instrumentation) is traditionally played without vibrato. The bass clarinet doesn't use vibrato, and I think it might be nightmarish for 3 bassoonists to somehow try to sync their vibrato. Also, there's no question that playing without vibrato makes it easier to tune with the other players.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAPPKjWtO8MEn3S5JUM5rd5ZnON5_kosIK_pFjU9udxF9JH60ahq9VZY5Fafx-dcXsiKFinKQ38Yg5IcdyUdIGNkjiza1p-mSvq_MFU9JwjXyW_4ib28XJDQxnct7CsFidqT9O4A0dR_0z/s1600/IMG_4770+%25282%2529.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="646" data-original-width="1600" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAPPKjWtO8MEn3S5JUM5rd5ZnON5_kosIK_pFjU9udxF9JH60ahq9VZY5Fafx-dcXsiKFinKQ38Yg5IcdyUdIGNkjiza1p-mSvq_MFU9JwjXyW_4ib28XJDQxnct7CsFidqT9O4A0dR_0z/s640/IMG_4770+%25282%2529.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">This unison soli is played by bassoons 1,2 and 3 and bass clarinet.</td></tr>
</tbody></table>
<br />
The opening statement sets the tone for the entire work, so it's particularly important to aim for a strong but pleasant sound. I "auditioned" my reeds by turning on a sound drone on low A and playing the opening on each reed. I sought a reed which easily played in tune AND also had an appealing sound which projected well. (And it also had to be a new reed, since that's what works best on my 15k Heckel.)<br />
<br />
The Manfred Symphony is full of various types of unison soli passages involving the first bassoon, affording ample opportunity to practice being a chameleon. In measure 38 of the first movement, the opening <span class="st"> <i>idée fixe</i></span> is stated a fifth higher, using the first and second clarinets instead of bass clarinet. Here it seems wise for the bassoons to defer to the clarinets who are playing <i>fortissimo</i>. (Bassoonists must be careful in <i>ff</i> passages to not ruin the sound.....we rarely<i> truly</i> play<i> ff</i> because of the undesirable sound which may result. Clarinetists don't seem to share that problem with us.)<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYKuWTiFCR8VBEeU13NXWlK4s_7CBGMqlUef9JWcm60BU8LataUwAUeTWr6acf6iaZZUi6Fg3Cw6SuT4NPi3NXSsD32Cli5259DPT-h9RBKxhudFijOO6nxyuAPh8ZrWe0RS7wdw4-ckcX/s1600/IMG_4773+%25282%2529.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="418" data-original-width="1600" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYKuWTiFCR8VBEeU13NXWlK4s_7CBGMqlUef9JWcm60BU8LataUwAUeTWr6acf6iaZZUi6Fg3Cw6SuT4NPi3NXSsD32Cli5259DPT-h9RBKxhudFijOO6nxyuAPh8ZrWe0RS7wdw4-ckcX/s640/IMG_4773+%25282%2529.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="st"> Here<i> </i>the <i>idée fixe</i></span> is stated a fifth higher and the 3 bassoons are joined in unison by the 1st and 2nd clarinets.</td></tr>
</tbody></table>
Later in the first movement the first bassoon joins the low strings in a unison melodic passage. Here the bassoonist is free to use vibrato to match the vibrating strings. Also, since this passage involves a large number of players, it's advisable for the bassoonist to play out in a soloistic manner.<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcrLao3dAfAYp8fuGK-b3pef3eAXAUuRsG3cKnOkSABI56MU5S8UHcYPe56bapaCAIR294ptZcyjCgJm6vWPXl-C3Lk22g6p3CqZLreP-uyw2Gy140O24FVMYCCdhyphenhyphen5Sj0ou_0eLmxb3K2/s1600/IMG_4774+%25282%2529.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="371" data-original-width="1600" height="148" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcrLao3dAfAYp8fuGK-b3pef3eAXAUuRsG3cKnOkSABI56MU5S8UHcYPe56bapaCAIR294ptZcyjCgJm6vWPXl-C3Lk22g6p3CqZLreP-uyw2Gy140O24FVMYCCdhyphenhyphen5Sj0ou_0eLmxb3K2/s640/IMG_4774+%25282%2529.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Here, the 1st bassoon plays with the lower strings and vibrato is called for.</td></tr>
</tbody></table>
The second movement, a scurrying scherzo (which is one of my favorite scherzos ever) features some wildly whirling woodwind parts as well as plenty of staccato sixteenths. When I listened to recordings of this movement without looking at the music, I imagined that the sixteenth note triplets, the staccato sixteenths and also the groups of 2 or 3 eighth notes were beginning ON the beat instead of where they really start (on the offbeat). I had to re-program my brain with the corrected beat.<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheeFvKGBMDHTeKSveMYCCUaO6xGYG9MWR7xKBzeIdfbsx4tyzgvutZl8um27iM4_l9I9PLEf2MUXTYb1fHoAYk0f0M2Zb8-c55JNpZFSHxRakiiMwLCgyVW9T1ntwQjj9tKaPpxgeuboYk/s1600/IMG_4776+%25283%2529.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="896" data-original-width="1600" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheeFvKGBMDHTeKSveMYCCUaO6xGYG9MWR7xKBzeIdfbsx4tyzgvutZl8um27iM4_l9I9PLEf2MUXTYb1fHoAYk0f0M2Zb8-c55JNpZFSHxRakiiMwLCgyVW9T1ntwQjj9tKaPpxgeuboYk/s640/IMG_4776+%25283%2529.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">When listening to this movement without the music or score, it's easy
(for me at least) to be fooled into thinking that each of the above
passages are beginning ON the beat!</td></tr>
</tbody></table>
The 3rd movement offers yet another unison soli combination. The English horn, 1st clarinet and 1st bassoon share this <i>fff</i> soli:<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8LObsGgKNnaNqeCXCw_mhLCmxlefJczXtNhniCEquoYr4zlrOAevJHMAANUidt0OtyLW0SdvBtZqgUuw-GxqOn-VOY7EoGqrDGUcNeDRIookOjpGifY15MqgJG1s-ZATax2QA3qKAXcad/s1600/IMG_4777+%25282%2529_LI.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="372" data-original-width="1600" height="148" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8LObsGgKNnaNqeCXCw_mhLCmxlefJczXtNhniCEquoYr4zlrOAevJHMAANUidt0OtyLW0SdvBtZqgUuw-GxqOn-VOY7EoGqrDGUcNeDRIookOjpGifY15MqgJG1s-ZATax2QA3qKAXcad/s640/IMG_4777+%25282%2529_LI.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">This<i> fff</i> soli is for English horn, 1st clarinet and 1st bassoon. </td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
Another 3 bassoon/bass clarinet unison soli appears fairly close to the end of the 4th movement:<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7vmQCxwSk3pfm49BB82AruKjEcVtM4PKxUUtxNwzH-n7z1GnofKZBx4aK_T-NYsfCl-2_zbJMXgu4EFnbyPcPnr6VpY8UvD2kdndOu8EmsKIhUc3i-r6-o_9rH9SQavcbNTj7UbruiZ8M/s1600/IMG_4782+%25282%2529.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="442" data-original-width="1600" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7vmQCxwSk3pfm49BB82AruKjEcVtM4PKxUUtxNwzH-n7z1GnofKZBx4aK_T-NYsfCl-2_zbJMXgu4EFnbyPcPnr6VpY8UvD2kdndOu8EmsKIhUc3i-r6-o_9rH9SQavcbNTj7UbruiZ8M/s640/IMG_4782+%25282%2529.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Near the end of the 4th movement there is a return to the 3 bassoon plus bass clarinet combo.</td></tr>
</tbody></table>
The work ends quietly with important bassoon parts. The 3rd bassoon has a very exposed passage in the last few measures:<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3WbZgzG5pT6trhP5lXNGnLnaCGZKMYTvo3sD2_pC9Ei3FgRxj2fjZmRC-4EZpQbN9Xlv5aEsGdEzH8N6sJcaKmMJsLn4tdD_zGZm3gCncYNAxCClWrlBUCWoG1hqpiIvtb72pf5kOHpBJ/s1600/IMG_4786+%25282%2529_LI.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1124" data-original-width="1600" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3WbZgzG5pT6trhP5lXNGnLnaCGZKMYTvo3sD2_pC9Ei3FgRxj2fjZmRC-4EZpQbN9Xlv5aEsGdEzH8N6sJcaKmMJsLn4tdD_zGZm3gCncYNAxCClWrlBUCWoG1hqpiIvtb72pf5kOHpBJ/s640/IMG_4786+%25282%2529_LI.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The final measures, featuring the bassoons playing quietly</td></tr>
</tbody></table>
Clearly this monumental work requires much flexibility from the bassoons and presumably for the other instruments as well. As far as I know, this is the only work for which Tchaikowsky wrote 3 bassoon parts. Sometimes those 3 bassoons play important parts in unison, and other times the 3rd bassoon is assigned challenging passages not included in the other parts. His orchestration seems quite revolutionary and experimental. (There are also 2 harps in this work, reminiscent of Berlioz.)<br />
<br />
If you'd like to enjoy a rare opportunity to hear this work performed live, <a href="https://columbussymphony.com/events/calendar/profile.dT/russian-winter-festival-i-natasha-returns">the Columbus Symphony is performing it this Friday, Saturday and Sunday</a> in the Ohio Theatre under the direction of Music Director <a href="https://www.rossenmilanov.com/">Rossen Milanov</a>. Also on the program is the Rachmaninoff Piano Concerto No. 1 with soloist <a href="https://natashaparemski.com/">Natasha Paremski.</a><br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
.<br />
<h4>
<span style="font-size: xx-small;"><br />
<a class="a2a_dd" href="http://www.addtoany.com/share_save#url=http%3A%2F%2Fbassoonblog.blogspot.com%2Fsearch%3Fupdated-max%3D2013-12-18T18%3A58%3A00-08%3A00%26max-results%3D7&title=bassoon%20blog&description=" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="Share" border="0" height="16" src="https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" width="171" /></a></span></h4>
<br />
<br />
<br />
<br />
<br />
<br />
<!-- Blogger automated replacement: "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" --><!-- Blogger automated replacement: "https://images-blogger-opensocial.googleusercontent.com/gadgets/proxy?url=http://static.addtoany.com/buttons/share_save_171_16.png&container=blogger&gadget=a&rewriteMime=image/*" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" -->B.S.http://www.blogger.com/profile/08724883690591213622noreply@blogger.com24tag:blogger.com,1999:blog-4115433326707838301.post-17331787280145874822019-12-20T13:22:00.000-08:002020-05-30T13:26:43.270-07:00The art of bassoon maintenanceI'd say the bassoon is a bit unusual in that it's<i> possible</i> (although certainly <i>sub-optimal</i>) for its
players to ignore its maintenance for years at a time, and the bassoon
still seems to work. Right? That's the way it always seemed to me. (I know of a professional player whose bassoon has not been in the hands of a repair-person during this century.) Yet players of other instruments seem obsessed with
constant maintenance performed <b><i>at least</i></b> once a year.<br />
<br />
In
case there's any confusion around what I mean by "maintenance", routine
maintenance on a bassoon usually involves re-seating or replacement of
pads as needed; replacement of worn felts, cork stops and guide post
tape; re-corking of bocal; adjustment, tightening and regulation of
mechanisms; application of grease and oil; and general cleaning of the
instrument.<br />
<br />
A few years ago my very highly regarded
bassoon repairman retired, and I wasn't at all sure what to do after that. I asked around about other repairmen and received a variety of
responses. I'm pretty fussy about my equipment and I really liked the
current state of my bassoon, but eventually I'd have to have it serviced
again, right? It seemed to be working just fine, but how long could I
continue to deny the fact that I no longer have a repairman (and my bassoon is no longer receiving maintenance)?<br />
<br />
In early December a good friend, also a bassoonist, offered to take me along on his next appointment at <a href="https://paulnordbybassoonrepair.com/">Paul Nordby Bassoon Repair</a>
in Indianapolis. This friend said he needed work done on his bassoon, but
hey, maybe I should bring mine along too, you know, just in case......(he understood my
trepidation about switching repairmen and was trying to help). After initially rejecting the idea, eventually I set my fears
aside and went along with it. Long story short, Paul Nordby
accomplished something which I didn't know could be accomplished - he
basically overhauled my bassoon during one 5-hour sitting. And I
watched, hovering like a helicopter parent. He totally disassembled my
bassoon while maintaining conversation (something I couldn't have done for all the tea in China....in fact, I could barely converse while only observing).<br />
<br />
<div class="post-entry post-entry-type-page post-entry-579">
<div class="entry-content-wrapper clearfix">
<div class="flex_column av_one_full flex_column_div first avia-builder-el-1 avia-builder-el-no-sibling ">
<div class="avia-slideshow avia-slideshow-1 av-control-default avia-slideshow-featured av_slideshow avia-builder-el-2 avia-builder-el-no-sibling avia-slide-slider" data-animation="slide" data-autoplay="false" data-autoplay_stopper="" data-bg_slider="false" data-class=" avia-builder-el-2 avia-builder-el-no-sibling " data-conditional_play="" data-control_layout="av-control-default" data-css_id="" data-custom_markup="" data-default-height="28.666666666667" data-handle="av_slideshow" data-ids="878" data-image_attachment="" data-interval="5" data-lightbox_size="large" data-min_height="0px" data-perma_caption="" data-scroll_down="" data-size="featured" data-slide_height="" data-video_counter="0" itemprop="image" itemscope="itemscope" itemtype="https://schema.org/ImageObject">
<ul class="avia-slideshow-inner " style="padding: 0px;">
<li class="av-single-slide slide-1 active-slide" style="opacity: 1; transform: translateZ(0px); transition: none 0s ease 0s; visibility: visible;"><div class="avia-slide-wrap " data-rel="slideshow-1">
<img alt="" height="185" itemprop="thumbnailUrl" src="https://paulnordbybassoonrepair.com/wp-content/uploads/2019/07/logo-2-738x430.png" style="left: 0px;" title="logo" width="320" /></div>
</li>
</ul>
</div>
</div>
</div>
</div>
Paul had me test the bassoon a couple of times. I'm the type who is very affected by acoustics. I had never heard the acoustics in Paul Nordby's studio before, so my bassoon sounded totally different to me (I realized too late that I should have tested the acoustics before the repairwork was done so that I'd have a baseline). I was also distracted by how different it looked - it appeared to be brand new. If I were a repairman, I think I'd really enjoy working on a new Heckel like mine because the end result is a brand new-looking bassoon which plays better than new (because it's more broken in). The only useful information I extracted from my testing in his shop was that the bassoon still played, and that was enough to send me on my way with my friend who probably wished I had given a more clear stamp of approval.<br />
<br />
The true test occurred a week later, unexpectedly. The day after the trip to Indianapolis, the Columbus Symphony began rehearsing for Holiday Pops. Unfortunately there weren't any real bassoon solos on the program so I couldn't tell much. But the next week, we began our lengthy Nutcracker run.<br />
<br />
Now, I've played the Nutcracker a few times in my day......untold hundreds. (I wish I'd kept track.) The Nutcracker proved very valuable for determining the difference in my bassoon resulting from its recent maintenance. As many bassoonists know, there are some challenges in the first bassoon part of the Nutcracker. This is one that comes to mind: <br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH6ZISo_cj9m1ThMTybxKjJl_kul0iKhc1E8Ik3KyaqPQhAaXRiBDcTPeiLYdeADC7_3AGH0LDJBOpwM1s8WYB6cWTcglwXrnbmFNSiiI_runRPm3JCJ0za683jB-VEyAhACZRMQh3m9jD/s1600/Dec10+011.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH6ZISo_cj9m1ThMTybxKjJl_kul0iKhc1E8Ik3KyaqPQhAaXRiBDcTPeiLYdeADC7_3AGH0LDJBOpwM1s8WYB6cWTcglwXrnbmFNSiiI_runRPm3JCJ0za683jB-VEyAhACZRMQh3m9jD/s640/Dec10+011.jpg" width="617" /></a></div>
<br />
During the rehearsal I was shocked to find out that this passage was 10 times easier than it's ever been before. What had changed? The only changed factor was the maintenance performed on my bassoon. I guess it's reasonable to conclude that difficult technical passages benefit from a bassoon which is operating as well as it can mechanically. Maybe that's why Paul mentioned a bassoonist who always came to see him right before important performances.<br />
<br />
While in Indianapolis I was shocked by what came out of my tone holes.....I thought I did a really good job of keeping my bassoon clean. So how on earth did debris end up in the tone holes? I'm baffled. I became understandably nervous as I anticipated the intonation changes which would surely result from the tone holes being suddenly cleaned out, but once I played the instrument I forgot all about that....<i>.<b>until </b></i>I played the Nutcracker. Now, my bassoon has always played pretty well in tune, but I'll admit that I always had to fuss with the D above middle C, the one held out for a few measures in the middle of the Arabian Dance. After Paul Nordby's cleaning of the tone holes, the D came out in tune without tweaking. And it cooperated nicely on the long diminuendo.<br />
<br />
So this is why we maintain our bassoons. If we really want them to function as the manufacturer intended (Paul quipped that he doubted that Heckel intended the instrument to be played with debris in the tone holes) then constant maintenance is necessary.<br />
<br />
Now the only problem was that the Nutcracker became almost<i> boring</i> without all those challenges caused by a less-than-optimally-functioning bassoon.......<br />
<br />
<br />
<br />
<br />
<h4>
<span style="font-size: xx-small;"><br />
<a class="a2a_dd" href="http://www.addtoany.com/share_save#url=http%3A%2F%2Fbassoonblog.blogspot.com%2Fsearch%3Fupdated-max%3D2013-12-18T18%3A58%3A00-08%3A00%26max-results%3D7&title=bassoon%20blog&description=" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="Share" border="0" height="16" src="https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" width="171" /></a></span></h4>
<br />
<br />
<!-- Blogger automated replacement: "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" --><!-- Blogger automated replacement: "https://images-blogger-opensocial.googleusercontent.com/gadgets/proxy?url=http://static.addtoany.com/buttons/share_save_171_16.png&container=blogger&gadget=a&rewriteMime=image/*" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" -->B.S.http://www.blogger.com/profile/08724883690591213622noreply@blogger.com4tag:blogger.com,1999:blog-4115433326707838301.post-14212382128378822922019-04-23T10:23:00.000-07:002019-04-23T18:23:21.284-07:00Contrabassoon for sale My recent post about the contrabassoon inspired an email exchange with contrabassoonist William Safford. He has an excellent Fox Fast System contrabassoon for sale. For anyone who is already playing professionally or who is thinking about a possible career as a contrabassoonist, this instrument could be life-changing (and career-changing). <br />
<div class="yiv3160680860">
<br class="yiv3160680860" clear="none" /></div>
<div class="yiv3160680860">
The Fast system contrabassoon was developed by Arlen Fast, contrabassoonist of the New York Philharmonic. Arlen explains in <a href="https://www.norapost.com/pub_recent/Time%20to%20Rethink%20the%20Contrabassoon.pdf">this comprehensive article</a> why it was necessary to rethink the contrabassoon. I know from a recent phone conversation about the Herzberg profiler with Arlen Fast that he is an absolutely brilliant man whose mind knows no limits. <br />
<div class="irc_mimg irc_hic">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a class="irc_mil i3597" data-ctbtn="2" data-cthref="/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwjW2pbx1ubhAhXEwVkKHVc2CBIQjRx6BAgBEAU&url=http%3A%2F%2Fnyphil.org%2Fabout-us%2Fartists%2Farlen-fast&psig=AOvVaw1kZ89cw3jXOaSvQKQJ_m45&ust=1556124833202878" data-noload="" data-ved="2ahUKEwjW2pbx1ubhAhXEwVkKHVc2CBIQjRx6BAgBEAU" href="https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwjW2pbx1ubhAhXEwVkKHVc2CBIQjRx6BAgBEAU&url=http%3A%2F%2Fnyphil.org%2Fabout-us%2Fartists%2Farlen-fast&psig=AOvVaw1kZ89cw3jXOaSvQKQJ_m45&ust=1556124833202878" rel="noopener" style="margin-left: auto; margin-right: auto;" tabindex="0" target="_blank"><img alt="Image result for fast system contrabassoon" class="irc_mi" data-iml="1556038432710" height="266" src="https://nyphil.org/~/media/images/artists/orchestra/e-f/arlen_fast.ashx" style="margin-top: 78px;" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Arlen Fast, NY Phil contrabassoonist and developer of the Fast system contrabassoon</td></tr>
</tbody></table>
</div>
William Safford explained to me that the Fast system is an enormous improvement over the standard contrabassoon in the
upper range starting with half-hole G. Notes such as written
middle C, C#, D and Eb are all in tune, sounding clear and resonant with matching tone colors and no cracking. Also no cross fingerings are required
(except an optional one on Eb). The middle C to high Bb
slur in the Mother Goose solo speaks with more clarity and ease than on a
bassoon. The instrument plays all the way through the treble clef
with beauty, security, and resonance.<br />
<br />
Based upon what I've heard about the Fast system contra, I'm wishing that Arlen would get to work on a Fast system bassoon!!</div>
<div class="yiv3160680860">
<br class="yiv3160680860" clear="none" /></div>
<div class="yiv3160680860">
Here is the Musical Chairs ad for William's <a href="https://www.musicalchairs.info/sales/10492?ref=5">contrabassoon for sale:</a></div>
<br />
<h4>
Fox Fast System Contrabassoon #5xx</h4>
<br />
<div class="post_image_row">
<div class="post_image_th">
<a class="click" data-lightbox="instrument-photos" data-title="" href="https://www.musicalchairs.info/mast/m_srcset.php?img=sale_photos%2F9cbefd8d585ce5de87450fa06a98ffe9.jpg&sec=sa&cvs=share">
<img alt="Fox Fast System Contrabassoon #5xx, pic 1" class="profile_img" src="https://www.musicalchairs.info/mast/m_srcset.php?img=sale_photos%2F9cbefd8d585ce5de87450fa06a98ffe9.jpg&sec=sa&cvs=post" />
</a>
</div>
<div class="post_image_th">
<a class="click" data-lightbox="instrument-photos" data-title="" href="https://www.musicalchairs.info/mast/m_srcset.php?img=sale_photos%2Fa63966b74677fd223b1713465d342d11.jpg&sec=sa&cvs=share">
<img alt="Fox Fast System Contrabassoon #5xx, pic 2" class="profile_img" src="https://www.musicalchairs.info/mast/m_srcset.php?img=sale_photos%2Fa63966b74677fd223b1713465d342d11.jpg&sec=sa&cvs=post" />
</a>
</div>
<div class="post_image_th">
<a class="click" data-lightbox="instrument-photos" data-title="" href="https://www.musicalchairs.info/mast/m_srcset.php?img=sale_photos%2F7de1638199fedfe515f039ce5824e1a6.jpg&sec=sa&cvs=share">
<img alt="Fox Fast System Contrabassoon #5xx, pic 3" class="profile_img" src="https://www.musicalchairs.info/mast/m_srcset.php?img=sale_photos%2F7de1638199fedfe515f039ce5824e1a6.jpg&sec=sa&cvs=post" />
</a>
</div>
<div class="image_caption">
Click images to enlarge
</div>
</div>
<div class="post_item_info preserve_case">
<h2>
Price: $39,000 USD</h2>
</div>
<div class="post_item_desc preserve_case">
One owner. The patented
five-vent register system, with two semi-automatic mechanisms and three
keys, greatly improves intonation, tone, and clarity of attack of the
mid- and high ranges, with more than a four octave range and simplified
fingerings. It is equipped with the standard Fast system keywork, plus
F# trill and right thumb Ab keys.<br />
<br />
In excellent condition, it has an incredibly even, resonant, and clear scale.<br />
<br />
It
is the right instrument for a professional or aspiring professional
contrabassoonist. Fast-system instruments are being played by members of
the New York Philharmonic, Cleveland Orchestra, Metropolitan Opera
Orchestra, Atlanta Symphony, and others.<br />
<br />
Available immediately.
Includes the instrument freshly serviced at the Fox factory, one Fox #2
bocal, and the original hard case. Located in upstate New York.<br />
<br />
Link to the issue of the Double Reed, with information on Fast system: https:/<span class="word_break"></span>/<span class="word_break"></span>www.idrs.org/<span class="word_break"></span>publications/<span class="word_break"></span>4-the-double-reed-2016-39-4/<span class="word_break"></span></div>
<div class="post_content_subhead">
Seller:
</div>
<div class="post_content_seller preserve_case">
William Safford<br />
Tel: <b>518-281-8153</b><span data-dojo-attach-point="shortHeaderNode"><span class="addressItem fromAddress"><span class="address wsItem"> Email: cbsnbiker@yahoo.com</span></span></span></div>
<div class="email_button_row">
<div class="post_button_outer">
<div class="post_button_inner dark_button">
<div class="post_button_name">
<br />
<h4>
<span style="font-size: xx-small;"><br />
<a class="a2a_dd" href="http://www.addtoany.com/share_save#url=http%3A%2F%2Fbassoonblog.blogspot.com%2Fsearch%3Fupdated-max%3D2013-12-18T18%3A58%3A00-08%3A00%26max-results%3D7&title=bassoon%20blog&description=" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="Share" border="0" height="16" src="https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" width="171" /></a></span></h4>
</div>
</div>
</div>
<a class="button_link_off" href="https://www.blogger.com/null" id="enq_nav">
</a>
</div>
<!-- Blogger automated replacement: "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" --><!-- Blogger automated replacement: "https://images-blogger-opensocial.googleusercontent.com/gadgets/proxy?url=http://static.addtoany.com/buttons/share_save_171_16.png&container=blogger&gadget=a&rewriteMime=image/*" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" -->B.S.http://www.blogger.com/profile/08724883690591213622noreply@blogger.com25tag:blogger.com,1999:blog-4115433326707838301.post-6802984183235660702019-04-20T14:32:00.002-07:002019-04-23T18:20:42.641-07:00Contrabassoon for Dummies<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEdK64-COn_9CK4j5PAZjsiuMwMRC558RBaL2_vpcfTHdCDriy8YsYhOFCPCfqfdoaX8KrZUIio7fb8lq0P2nML-4UgCBIPRyD5pEwYmj-YhMd-N2jtZX6zEidfgLDA5Uts-5abBhFKcuf/s1600/IMG_4616.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEdK64-COn_9CK4j5PAZjsiuMwMRC558RBaL2_vpcfTHdCDriy8YsYhOFCPCfqfdoaX8KrZUIio7fb8lq0P2nML-4UgCBIPRyD5pEwYmj-YhMd-N2jtZX6zEidfgLDA5Uts-5abBhFKcuf/s640/IMG_4616.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">This post is intended for the type of contra player who still needs a fingering chart.</td></tr>
</tbody></table>
If you are a bassoonist who is suddenly called upon to play the contra for the first time, maybe as a student receiving a seating assignment in band or orchestra, or as a professional serving as an emergency replacement for the real contra player, then this post is for you. This is a presentation of a few basic facts about the contra which will most likely enable a clueless bassoonist to conquer the contra. <br />
<br />
There are a few basic differences between bassoon and contra. The one which stands out the most to me is the contra's lack of whisper key.<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6I8oL9R_DUiO0YnS_LYiHrMkDPsc6uoI0pBz0OIoD49fU_42aZwI54wow9Ac_pbiHJ4sF3zHNhdBI2lbJylkImhsMRzjeQNY536e_c8V3w_KT5nl0IYm25k4xJkDPd8HXz-xAkm4rxFvW/s1600/IMG_4593+%25284%2529_LI.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="959" data-original-width="1600" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6I8oL9R_DUiO0YnS_LYiHrMkDPsc6uoI0pBz0OIoD49fU_42aZwI54wow9Ac_pbiHJ4sF3zHNhdBI2lbJylkImhsMRzjeQNY536e_c8V3w_KT5nl0IYm25k4xJkDPd8HXz-xAkm4rxFvW/s400/IMG_4593+%25284%2529_LI.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">It's true....there is NO whisper key on the contra!</td></tr>
</tbody></table>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
Once we get over the fact that there's no whisper key, the second major challenge is hand and finger placement.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjziFOa4Ghyp6-KhHkH4idW6HEy7XgHqHkLoNoFPjlVbc7wjCbJ4THMVMwQEWvYo5XvQSSTFKKrlBuwIa79LnZEStnHlqnrNysR5lEEOgqPwebiiajh0hIGMn2RedRFRaa2RzK-JBcXVAxD/s1600/IMG_4600_LI.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjziFOa4Ghyp6-KhHkH4idW6HEy7XgHqHkLoNoFPjlVbc7wjCbJ4THMVMwQEWvYo5XvQSSTFKKrlBuwIa79LnZEStnHlqnrNysR5lEEOgqPwebiiajh0hIGMn2RedRFRaa2RzK-JBcXVAxD/s640/IMG_4600_LI.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">I had a lot of trouble figuring out where to place my right hand and fingers. I kept trying to place my first finger on the alternate Eb key.</td></tr>
</tbody></table>
Another difference between bassoon and contra is the manner in which Eb2 (the second octave Eb on the instrument) is played. This is the contra fingering for the note:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6CmUN34SR96XCkFnqnuLYfxcC3KnJ2QA1q1ApjSb0Yoq_ztZd45I-txyShjEO-nb_dLQzy6YiRGxhthZLAavMZPzA_JyCSyC6_IcFLcXmn5NWTJ44lekqJ0uYIGJ89BBozLVgBOYOkYu6/s1600/IMG_4689+%25282%2529.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="553" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6CmUN34SR96XCkFnqnuLYfxcC3KnJ2QA1q1ApjSb0Yoq_ztZd45I-txyShjEO-nb_dLQzy6YiRGxhthZLAavMZPzA_JyCSyC6_IcFLcXmn5NWTJ44lekqJ0uYIGJ89BBozLVgBOYOkYu6/s320/IMG_4689+%25282%2529.JPG" width="110" /></a></div>
<br />
<br />
Here are the keys for the left hand fingers. As you can see, the Eb key is situated above the C key and below the D key:<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF2_6QbPhS3KSOwfRB5KClQBE48-BUjgsM-EkbiSZ9Kr9QULeZhtMKzEy2wSYq8lsbslaUIsDHpXWHvllIRzVS5Et0Z2mMOpzjvaaH53NJGFk97a1sHUBJMyz6JYSy1JMi210EyEhAhJgo/s1600/IMG_4602_LI.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF2_6QbPhS3KSOwfRB5KClQBE48-BUjgsM-EkbiSZ9Kr9QULeZhtMKzEy2wSYq8lsbslaUIsDHpXWHvllIRzVS5Et0Z2mMOpzjvaaH53NJGFk97a1sHUBJMyz6JYSy1JMi210EyEhAhJgo/s640/IMG_4602_LI.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Here are the keys for the left hand fingers (not labeled are the low Eb and low C# keys which are the same as on the bassoon). Notice that there are no open holes for the fingers on the contra.</td></tr>
</tbody></table>
The contrabassoon does not require the use of half-holes. Instead, the second octave F#, G and G# require no first finger of the left hand at all.<br />
<br />
There is a movable hand rest or hand support on the contra:<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiweryH8bz_s5qvPvjNgT1SEb-1w2qI_wy4QpIOaczSrVDZKA92ey6Fzk4MBLn0i43cEg79Xc6u3unoFYTN3leSnIUIy04UEIvhZVLE8v-hRmnaWZ5dUAJq_Y6nnD8cD8mVcz7TPIvALZd_/s1600/IMG_4605_LI.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiweryH8bz_s5qvPvjNgT1SEb-1w2qI_wy4QpIOaczSrVDZKA92ey6Fzk4MBLn0i43cEg79Xc6u3unoFYTN3leSnIUIy04UEIvhZVLE8v-hRmnaWZ5dUAJq_Y6nnD8cD8mVcz7TPIvALZd_/s320/IMG_4605_LI.jpg" width="320" /></a></div>
<br />
<br />
The player's left hand goes underneath the support. The support is adjustable, and it can really help stabilize the hand position if it's correctly adjusted.<br />
<br />
Unlike the bassoon, the contra has a tuning slide which is moved by pushing or pulling the ring at the bottom:<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2QS_qG1rlO0Nfk3ftLYYMd1a6IhfgLlm5E-BqSXlr3jDpb-o_AcUl8OCNVM2X8QD67MaEig5sjw_dNbL3MQ0ypACM9MgC8lJKet3fGWUzCt9jSsRWVAeyY6n9UnAXRHiYYmlF3NSzE4hD/s1600/IMG_4596_LI.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2QS_qG1rlO0Nfk3ftLYYMd1a6IhfgLlm5E-BqSXlr3jDpb-o_AcUl8OCNVM2X8QD67MaEig5sjw_dNbL3MQ0ypACM9MgC8lJKet3fGWUzCt9jSsRWVAeyY6n9UnAXRHiYYmlF3NSzE4hD/s320/IMG_4596_LI.jpg" width="240" /></a></div>
<br />
And the contra has a spit valve, which in my opinion should be used liberally:<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs9Kd1TKXkkYTeOElnUCnTSwqh_f6091vNFlmvGNXuo82fmJom6bxVD639qPXWZgn7xH83omxMr41nQf8_xXiRJDo-MAMPZaqTTbsDBj05DKC8nJvOeL80wt-NMZTeAdAu3lQJW_kT78Fw/s1600/IMG_4599_LI.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs9Kd1TKXkkYTeOElnUCnTSwqh_f6091vNFlmvGNXuo82fmJom6bxVD639qPXWZgn7xH83omxMr41nQf8_xXiRJDo-MAMPZaqTTbsDBj05DKC8nJvOeL80wt-NMZTeAdAu3lQJW_kT78Fw/s320/IMG_4599_LI.jpg" width="320" /></a></div>
It seems to be helpful to blow into the contra while opening the spit valve. If you don't remove the reed first, you might find yourself creating an embarrassing noise.<br />
<br />
What about the reed? I had no idea where to buy a contra reed so I did some quick research online and saw a recommendation for GoBassoon contra reeds. I ordered one and it looked perfect. I know from my experience with bassoon reeds that looks can be deceiving, but when I played on this reed I was thrilled with its sound and response. I highly recommend GoBassoon contra reeds.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-Dreb_O6rM1SnC1TkxydjMzmh1jF2F_f1zde4DL4kmV8LgwuLAM6X427-rlTAjKZO54Ln005xNnse4Lz_o6VW0usvhBISugNtu7ZB_abvXRdz9RfeJtr-zQZsYOO23dF2dcKSZF1CNw65/s1600/IMG_4604+%25282%2529.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-Dreb_O6rM1SnC1TkxydjMzmh1jF2F_f1zde4DL4kmV8LgwuLAM6X427-rlTAjKZO54Ln005xNnse4Lz_o6VW0usvhBISugNtu7ZB_abvXRdz9RfeJtr-zQZsYOO23dF2dcKSZF1CNw65/s320/IMG_4604+%25282%2529.JPG" width="320" /></a></div>
<br />
<br />
Hopefully this post provides enough information for the novice to get through the first rehearsal. If anyone tells you that you shook the stage, you'll know you're well on your way to conquering the contra.<br />
<br />
<br />
<br />
<br />
<br />
<h4>
<span style="font-size: xx-small;"><br />
<a class="a2a_dd" href="http://www.addtoany.com/share_save#url=http%3A%2F%2Fbassoonblog.blogspot.com%2Fsearch%3Fupdated-max%3D2013-12-18T18%3A58%3A00-08%3A00%26max-results%3D7&title=bassoon%20blog&description=" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="Share" border="0" height="16" src="https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" width="171" /></a></span></h4>
<br />
<br />
<br />
<br />
<!-- Blogger automated replacement: "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" --><!-- Blogger automated replacement: "https://images-blogger-opensocial.googleusercontent.com/gadgets/proxy?url=http://static.addtoany.com/buttons/share_save_171_16.png&container=blogger&gadget=a&rewriteMime=image/*" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" -->B.S.http://www.blogger.com/profile/08724883690591213622noreply@blogger.com32tag:blogger.com,1999:blog-4115433326707838301.post-69017517567687664082019-02-16T19:13:00.000-08:002019-02-16T20:32:16.405-08:00Characteristics of a top-notch wind quintetToday I was blown away by a recital by the <a href="https://www.windquintet.com/">Berlin Philharmonic Wind Quintet</a> presented by <a href="http://www.chambermusiccolumbus.org/">Chamber Music Columbus</a> in the <a href="https://www.capa.com/venues/detail/southern-theatre">Southern Theatre</a>.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img alt="" class="rISBZc M4dUYb" data-atf="0" height="152" src="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcTvQPO2SmDC8syCagU0gVm8bNSN3n9dLK_2A_-0ExOmeWjH_bUc0WiQ2wn8BnUgWGnWAj5V8Diq" style="margin-left: auto; margin-right: auto;" width="266" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Berlin Philharmonic Wind Quintet</td></tr>
</tbody></table>
The touring quintet performed the following works, with an intermission in the middle:<b> </b><br />
<br />
<b>Mozart: Three Fantasies for mechanical organ<br />
Haas: Quintet, Op. 10<br />
Ligeti: Six Bagatelles<br />
Nielsen: Quintet for Winds, Op. 43</b><br />
<br />
The Southern Theatre acoustics generally enable a very present sound, but the quality is dry (with no reverberation). A lesser ensemble would have struggled to sound good in such a dry acoustic, but not this group. These players knew how to skillfully finish each phrase in a way that made up for the dryness of the hall, almost as if they created their own resonance by the way they tapered the ends of notes and phrases.<br />
<br />
It's safe to say that I've never heard a wind quintet of this quality before, not even on recordings. What a tall order it is to successfully blend such an ill-matched group of instruments, yet this group pulled it off. The instruments matched as well as they possibly could have; the level of homogeneity was astonishing.<br />
<br />
How did they accomplish this? To me it seemed that each player willingly and easily "took the back seat", only springing forth with extra volume when called upon by a solo line. Much of the time, the entire ensemble took the back seat, with the blend...the<i> perfect</i> blend.....being the top priority. No one tried to stand out as a virtuoso - there was no competition for the spotlight. If one player did have a prominent line, the other four players totally accommodated that player as if their lives depended on it. Consideration was the name of the game. <br />
<br />
Never was the sound of any individual player forced. Each player was a master of the<i> pianissimo. </i>And when all five of them played <i>pianissimo </i>together, the sound was not five times louder than one instrument playing <i>pianissimo</i> - it was true <i>pianissimo</i>. It may well have been the quietest wind playing I've ever heard. Yet when it was time to shine, each individual rose to the occasion. I thought the horn player had the smallest sound I'd ever heard UNTIL it was his turn to take a solo, and then I found out how wrong I was - he was also a brilliant and commanding soloist!<br />
<br />
The audience expected a great performance.....they're from the Berlin Phil after all. But I think everyone was amazed at just how impressive they were! During the concert I found myself mentally listing the outstanding characteristics of the ensemble, and here's what I came up with: <br />
<h3>
Characteristics of a top-notch wind quintet</h3>
1. Blending of sound is prioritized, which often means that the louder instruments back off.<br />
2. Ensemble (playing perfectly together) is prioritized at all times. <br />
3. Pianissimo playing is highly refined, with perfect intonation.<br />
4. Tremendous attention is paid to note endings and phrase endings.<br />
5. Each player is constantly considerate of the other players' parts.<br />
6. The individual sounds are never forced. <br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht0C7Y_DK-W220WtQAoLlsBV1AmccG6iBlLyrvhluF4Rq9UoTDJJAR13aLzfR0pO53hyibpEzwNlOFdK_KrzZhyphenhyphenxCPD1WDYWKTNeNZcWMAH3d5sf83mDp3tWIhsxOyrwDK08xewP5Q8Zs4/s1600/IMG_4619+%25282%2529_LI.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1213" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht0C7Y_DK-W220WtQAoLlsBV1AmccG6iBlLyrvhluF4Rq9UoTDJJAR13aLzfR0pO53hyibpEzwNlOFdK_KrzZhyphenhyphenxCPD1WDYWKTNeNZcWMAH3d5sf83mDp3tWIhsxOyrwDK08xewP5Q8Zs4/s640/IMG_4619+%25282%2529_LI.jpg" width="483" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Today's concert program with a mistake on the cover!</td></tr>
</tbody></table>
<br />
<h4>
<span style="font-size: xx-small;"><br />
<a class="a2a_dd" href="http://www.addtoany.com/share_save#url=http%3A%2F%2Fbassoonblog.blogspot.com%2Fsearch%3Fupdated-max%3D2013-12-18T18%3A58%3A00-08%3A00%26max-results%3D7&title=bassoon%20blog&description=" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="Share" border="0" height="16" src="https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" width="171" /></a></span></h4>
<!-- Blogger automated replacement: "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" --><!-- Blogger automated replacement: "https://images-blogger-opensocial.googleusercontent.com/gadgets/proxy?url=http://static.addtoany.com/buttons/share_save_171_16.png&container=blogger&gadget=a&rewriteMime=image/*" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" -->B.S.http://www.blogger.com/profile/08724883690591213622noreply@blogger.com199tag:blogger.com,1999:blog-4115433326707838301.post-11126945198137322822018-10-09T08:10:00.001-07:002018-10-09T08:10:38.856-07:00reed making tipA student recently asked me if my reeds ever crack during the reed-making process and unfortunately my answer was an emphatic YES. I don't take it lightly, either......each time a reed cracks I manage to convince myself that the cracked reed would have been the reed of my lifetime if only I hadn't destroyed it. Depression ensues once the anger dissipates.....it's all part of the mourning process.<br />
😭😭😭 <br />
<br />
In my experience the cracking almost always happens during the tip profiling step. The blade on the underside of the large metal plaque that the reed is inserted on for profiling is the one which cracks. While the top blade is being profiled, the bottom blade is cracking.<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_U0EIkz4GADciBIGE5t_b6SdSTfT8V28ibi5thj4ZbHjV_z0JXZhj2VNiUeCuhXJLmJvdiikn-USKCe4HGsA50XyuacQAdZ0gQxKtlAFPUOk5lYztP5HlK-hPU-IUtru5CN_XeZbBZYQM/s1600/IMG_4574_LI.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_U0EIkz4GADciBIGE5t_b6SdSTfT8V28ibi5thj4ZbHjV_z0JXZhj2VNiUeCuhXJLmJvdiikn-USKCe4HGsA50XyuacQAdZ0gQxKtlAFPUOk5lYztP5HlK-hPU-IUtru5CN_XeZbBZYQM/s400/IMG_4574_LI.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">the devastating sight of a cracked blade when the reed is turned over after tip profiling the other blade</td></tr>
</tbody></table>
<br />
This does not indicate a flaw in the tip profiling machine, though. (I highly recommend using a tip profiler!) I suspect that the cracking is most likely caused by not soaking the reed long enough before insertion onto the plaque. Also it seems that when I'm impatient while making reeds, I'm much more likely to end up ruining the reed. I've been known to become overzealous with the knife during the shaping step with dreadful results, for example. <br />
<br />
Although my reeds rarely crack, today was one of those days. Today's cracked reed could have been a victim of not enough soaking (it was soaked for maybe 5 minutes) before tip profiling, and I was definitely in a hurry (which is why I only soaked it for 5 minutes!).<br />
<br />
It's time to slow down, take a deep breath and get back to the drawing board......and remember:<br />
<br />
<span style="font-size: large;"><b><span style="font-family: "verdana" , sans-serif;">Don't make reeds when you're in a hurry!</span></b></span><br />
<br />
<br />
<h4>
<span style="font-size: x-small;"><br />
<a class="a2a_dd" href="http://www.addtoany.com/share_save#url=http%3A%2F%2Fbassoonblog.blogspot.com%2Fsearch%3Fupdated-max%3D2013-12-18T18%3A58%3A00-08%3A00%26max-results%3D7&title=bassoon%20blog&description=" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="Share" border="0" height="16" src="https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" width="171" /></a></span></h4>
<span style="font-size: large;"><b><span style="font-family: "verdana" , sans-serif;"> </span></b></span>
<!-- Blogger automated replacement: "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" --><!-- Blogger automated replacement: "https://images-blogger-opensocial.googleusercontent.com/gadgets/proxy?url=http://static.addtoany.com/buttons/share_save_171_16.png&container=blogger&gadget=a&rewriteMime=image/*" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" -->B.S.http://www.blogger.com/profile/08724883690591213622noreply@blogger.com112tag:blogger.com,1999:blog-4115433326707838301.post-71360777067302626292018-07-02T21:59:00.000-07:002018-07-02T21:59:06.379-07:00Extending the boundariesDutch bassoonist <a href="https://www.theguardian.com/music/2016/nov/28/facing-the-music-basoonist-bram-van-sambeek">Bram van Sambeek</a> is known for his willingness (and his ability) to extend the boundaries of bassoon playing. He's outdone himself in this intriguing video featuring the band ORBI (Oscillating Revenge of the Background Instruments) of which he is a founding member:<br />
<br />
<br />
<iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/CfATXisEpgo" width="560"></iframe><br />
<br />
Bram van Sambeek was principal bassoonist of the Rotterdam Philharmonic Orchestra from 2002 until 2011 when he left to pursue a solo career. Although few bassoonists possess the musical wherewithal to embark on a solo career, he is enough of a virtuoso superstar to pull it off. In addition to his considerable classical chops, he is admirably at ease in the genres of jazz, rock, heavy metal and world music.<br />
<br />
Bram's intrepid explorations have uncovered hitherto unheard of options for bassoonists beyond the orchestral world. But that doesn't mean we can stop practicing; his jaw-dropping command of the instrument is what fuels his freedom to conquer the outer realms.<br />
<br />
<div class="clearfix top-border">
<div class="block content-block-half">
<h4>
<span style="font-size: small;"></span></h4>
<h4>
<span style="font-size: small;"><br />
<a class="a2a_dd" href="http://www.addtoany.com/share_save#url=http%3A%2F%2Fbassoonblog.blogspot.com%2Fsearch%3Fupdated-max%3D2013-12-18T18%3A58%3A00-08%3A00%26max-results%3D7&title=bassoon%20blog&description=" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="Share" border="0" height="16" src="https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" width="171" /></a></span></h4>
</div>
</div>
<!-- Blogger automated replacement: "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" --><!-- Blogger automated replacement: "https://images-blogger-opensocial.googleusercontent.com/gadgets/proxy?url=http://static.addtoany.com/buttons/share_save_171_16.png&container=blogger&gadget=a&rewriteMime=image/*" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" -->B.S.http://www.blogger.com/profile/08724883690591213622noreply@blogger.com209tag:blogger.com,1999:blog-4115433326707838301.post-91458749124532427952018-06-14T18:37:00.000-07:002018-07-13T14:07:18.730-07:00AFM Pension Fund (AFM-EPF) and the Butch Lewis Act<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
</w:Compatibility>
<w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel>
</w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" LatentStyleCount="156">
</w:LatentStyles>
</xml><![endif]--><!--[if !mso]><img src="https://img1.blogblog.com/img/video_object.png" style="background-color: #b2b2b2; " class="BLOGGER-object-element tr_noresize tr_placeholder" id="ieooui" data-original-id="ieooui" />
<style>
st1\:*{behavior:url(#ieooui) }
</style>
<![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin:0in;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:10.0pt;
font-family:"Times New Roman";
mso-ansi-language:#0400;
mso-fareast-language:#0400;
mso-bidi-language:#0400;}
</style>
<![endif]--><!--[if gte mso 9]><xml>
<o:shapedefaults v:ext="edit" spidmax="1026"/>
</xml><![endif]--><!--[if gte mso 9]><xml>
<o:shapelayout v:ext="edit">
<o:idmap v:ext="edit" data="1"/>
</o:shapelayout></xml><![endif]-->
<br />
<span style="color: black; font-family: inherit;"> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTGpAo-mYmw9kNl3nwgc27cNua3wEMA01u_Ke_b8SysndLpt4S-ipg8sjt2bLb0_DxDRpUKIglMIGHptoBRt4E32XoN0D6hgauHSC93c-aOEYP3hJ82NbkND5uKdKZqm8gnX4pbuBByZdH/s1600/IMG_4424.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1600" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTGpAo-mYmw9kNl3nwgc27cNua3wEMA01u_Ke_b8SysndLpt4S-ipg8sjt2bLb0_DxDRpUKIglMIGHptoBRt4E32XoN0D6hgauHSC93c-aOEYP3hJ82NbkND5uKdKZqm8gnX4pbuBByZdH/s640/IMG_4424.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Thousands of union members showed up from all over the U.S. on July 12 and 13, 2018 for a national rally in Columbus, Ohio to save multi-employer pensions. There was a hearing in the Ohio Statehouse on July 13th on the Butch Lewis Act.</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
</span><br />
<a href="https://www.blogger.com/null" name="_GoBack"><span style="color: black; font-family: inherit;">It's a safe
assumption that every union musician in the </span></a><span style="mso-bookmark: _GoBack;"><span style="color: black; font-family: inherit;">U.S.</span></span><span style="mso-bookmark: _GoBack;"><span style="color: black; font-family: inherit;"> is
aware that the American Federation of Musicians Employers' Pension Fund
(AFM-EPF) has been in "critical" status since 2010 (following the
recession of 2007-9). There has been a deluge of information and opinions on
this matter flooding the internet, and it's rather daunting to attempt to
separate fact from fiction. </span></span><span style="mso-bookmark: _GoBack;"><span style="color: black; font-family: inherit;">Basically, the Fund has developed a a huge gap between its liabilities and its assets. While its assets are growing due to increases in wages and due to earnings from investments, the benefits being paid to retirees far exceed the growth of the Fund's assets.
This problem is not unique to the AFM; 114 multi-employer pension funds in the U.S. are expected to become insolvent over the next 20 years. </span></span><br />
<br />
<span style="mso-bookmark: _GoBack;"><span style="color: black; font-family: inherit;">Peter de Boor, editor of the International Conference of Symphony and Opera Musicians' (<a href="https://www.icsom.org/">ICSOM</a>'s) official publication <a href="https://www.icsom.org/senzasordino/">Senza Sordino</a>, recently published <a href="https://www.icsom.org/senzasordino/2018/06/dropping-the-mute-10/">this article</a> to help shed light on the situation. </span></span><br />
<br />
<span style="mso-bookmark: _GoBack;"><span style="color: black; font-family: inherit;">Shortly thereafter, the <a href="https://www.musiciansforpensionsecurity.com/">Musicians for Pension Security</a> (a
pension awareness group made up of AFM union members who are currently vested
in the AFM-EPF Pension Fund) issued <a href="https://www.musiciansforpensionsecurity.com/news/2018/6/14/mps-responds-to-peter-de-boors-article-in-senza-sordino">this response</a></span></span><br />
to Peter de Boor's article.<br />
<br />
<span style="mso-bookmark: _GoBack;"><span style="color: black; font-family: inherit;">Who's right? Who's wrong? Is there a solution to the problem?</span></span><br />
<br />
<span style="mso-bookmark: _GoBack;"><span style="color: black; font-family: inherit;">In November 2017 Senator Sherrod Brown (D-OH) introduced the <a href="https://www.govtrack.us/congress/bills/115/s2147">Butch Lewis Act of 2017</a> </span></span><br />
<span style="mso-bookmark: _GoBack;"><span style="color: black; font-family: inherit;">(S. 2147/H.R. 4444). This legislation is not a
government bail-out; instead, it restores solvency to multi-employer pension
plans by allowing the plans to borrow the money they need to remain
solvent. The actuaries of the AFM-EPF have confirmed that the Butch Lewis
Act would address the financial issues of the AFM-EPF by providing the
financial support to prevent insolvency in the event that the fund enters
"critical and declining" status. The Musicians for Pension Security also supports this
legislation.</span></span><br />
<br />
<span style="mso-bookmark: _GoBack;"><span style="color: black; font-family: inherit;">The Butch Lewis legislation was not included in the February 2018
Congressional budget deal, but a Joint Select Committee on the Solvency of
Multi-employer Pension Plans was authorized to closely examine the multi-employer
pension crisis and to develop legislation by November 30, 2018. Now is
the time to convince lawmakers to take this matter seriously, prior to that November 30th deadline.</span></span><br />
<br />
<span style="mso-bookmark: _GoBack;"><span style="color: black; font-family: inherit;">We musicians have the ability to make our voices heard in Congress
by using the <a href="https://www.afm-epf.org/Participants/ContactCongress.aspx">contact information and suggestions</a> provided by the American
Federation of Musicians.<a href="https://www.afm-epf.org/Participants/ContactCongress.aspx"><br /></a></span></span><br />
<span style="mso-bookmark: _GoBack;"><span style="color: black; font-family: inherit;">The Musicians for Pension Security offers <a href="https://www.musiciansforpensionsecurity.com/action/">these suggestions for taking action</a>.</span></span><br />
<br />
<span style="mso-bookmark: _GoBack;"><span style="color: black; font-family: inherit;">Here's a user-friendly <a href="https://www.ipetitions.com/petition/please-support-the-butch-lewis-act-of-2017">online petition</a> in support of the Butch
Lewis Act<span style="font-family: inherit;">.</span></span></span><br />
<br />
<span style="mso-bookmark: _GoBack;"><span style="color: black; font-family: inherit;">If you haven't yet taken action in support of the Butch Lewis Act,
please do so now for the sake of your retirement income and the retirement
income of musicians nationwide. </span></span><br />
<br />
<span style="mso-bookmark: _GoBack;"><span style="color: black; font-family: inherit;">The Musicians for Pension Security (MPS) also proposes a solution based upon increased contributions. Specifically, the MPS suggests 6%
annual increases in contributions to the Fund over the next 5 years and 2.9%
annual increases thereafter in order to prevent future cuts in benefits. As a musician who is currently involved in
Collective Bargaining Agreement negotiations, I can state with surety that it
would be impossible to talk my orchestra and/or its administration into <i>increasing</i>
our contributions to the AFM-EPF. Instead, everyone is lamenting the fact
that we're "trapped" in the Fund. While it does seem plausible
that increasing contributions (above the increases which occur as a result of
wage increases) might solve the problem, it doesn't seem<i> possible</i> because of the Fund's unfortunate reputation. That's why I believe that the Butch Lewis Act, endorsed by
both AFM and MPS, is our best available solution at this time. Let's do what we can to support it!</span></span><br />
<br />
<br />
<h4>
<span style="font-size: medium;"><br />
<a class="a2a_dd" href="http://www.addtoany.com/share_save#url=http%3A%2F%2Fbassoonblog.blogspot.com%2Fsearch%3Fupdated-max%3D2013-12-18T18%3A58%3A00-08%3A00%26max-results%3D7&title=bassoon%20blog&description=" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="Share" border="0" height="16" src="https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" width="171" /></a></span></h4>
<!-- Blogger automated replacement: "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" --><!-- Blogger automated replacement: "https://images-blogger-opensocial.googleusercontent.com/gadgets/proxy?url=http://static.addtoany.com/buttons/share_save_171_16.png&container=blogger&gadget=a&rewriteMime=image/*" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" -->B.S.http://www.blogger.com/profile/08724883690591213622noreply@blogger.com2tag:blogger.com,1999:blog-4115433326707838301.post-67340965236801548292018-06-07T08:38:00.001-07:002018-06-09T10:34:24.048-07:00For middle school bassoonists<span style="color: #990000;"><span style="color: #cc0000;"><span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><b><span style="color: #783f04;"><i>Many bassoonists learn to play the bassoon during middle school; that's the ideal time to establish good playing habits. The first important habit presented here is playing position, which includes embouchure and position of the reed in the mouth. Next a few basic fingering issues are addressed, followed by the use of air and embouchure. </i></span></b></span></span></span></span><br />
<h2>
<span style="font-size: x-large;">PLAYING POSITION </span></h2>
<span style="font-size: small;">In order to produce the best possible sound on the bassoon, there are certain basic recommendations for playing position. First, establish your sitting position without the bassoon. Sit comfortably (but sit up straight) in the chair with your head straight (not tilted up). Add the bassoon, adjusting the seat strap backward, forward, up or down to fit the bassoon comfortably into your original position. </span><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5hzt_JBBwFcGxyfA6r_i0NwzJDnjaH5Mlw7Cl6L9vyWltA5W9lYV8-ht7HTMapXFYFdlwqOFg2rWm0eFC5ps3YuMzjYKvh9HlLnTu29NIGsoqKvWoqTivMCU9Azczpm2XcyqfHQINKHPd/s1600/IMG_4373+%25282%2529.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1432" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5hzt_JBBwFcGxyfA6r_i0NwzJDnjaH5Mlw7Cl6L9vyWltA5W9lYV8-ht7HTMapXFYFdlwqOFg2rWm0eFC5ps3YuMzjYKvh9HlLnTu29NIGsoqKvWoqTivMCU9Azczpm2XcyqfHQINKHPd/s320/IMG_4373+%25282%2529.JPG" width="286" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bassoon playing position</td></tr>
</tbody></table>
<span style="font-size: small;"> Make sure that the bocal is positioned correctly. Usually the bocal aligns best between the pad of the A key and the C key. The left thumb keys should be pointing at you, not off to your left. The instrument should be balanced, with its weight shared by your right thigh and your left hand.</span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">The next important aspect of playing position is the embouchure. Cover your teeth completely with your upper and lower lips and then drop your jaw, producing what is referred to as an overbite embouchure. Bassoon embouchure is not symmetrical - there should be little or no pressure on the reed applied by the lower lip or jaw. The lower lip simply encases the reed, otherwise staying out of the way. There are other types of bassoon embouchures but this is the type that has worked best for my students and myself.</span><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhljq5bCJsogkYSy_4Oc2J2sO1QwkIrSQCPInZZTFSNFQeLmPuNlczJL_hqO27q6MZ5Uz6EW5UKSh9PTQwu_diiJtEU_wks17jXDjJjg9qg60M2GOJzNNLOIWaSCLc_yExsuz-FzhdCU9tU/s1600/IMG_4317_LI+%25283%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1522" data-original-width="1251" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhljq5bCJsogkYSy_4Oc2J2sO1QwkIrSQCPInZZTFSNFQeLmPuNlczJL_hqO27q6MZ5Uz6EW5UKSh9PTQwu_diiJtEU_wks17jXDjJjg9qg60M2GOJzNNLOIWaSCLc_yExsuz-FzhdCU9tU/s320/IMG_4317_LI+%25283%2529.jpg" width="263" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bassoon overbite embouchure - drop your jaw and don't push up on the reed!</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
</div>
<span style="font-size: small;">The next critical aspect of playing position is the position of the reed in the mouth. I tell my students to place about half of the blade of the reed in the mouth. If this issue is unaddressed, the tendency of most students is to insert too much of the reed into the mouth, resulting in difficulty in controlling sound, intonation and dynamics.</span><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCW7TNnsDtNR7urlfRn5ot4Hsp7Lxu3NzsJvc1Ea8SiQ-aATDzE6Rep11D7XVim4Jy6jvfl6gmB1WcGCHqF47ASOC6MLX471y51orMa0O1U7aFsZCnlm11wsICnpShMTNjhteu_DLEsPue/s1600/IMG_4374+%25282%2529.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="711" data-original-width="1028" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCW7TNnsDtNR7urlfRn5ot4Hsp7Lxu3NzsJvc1Ea8SiQ-aATDzE6Rep11D7XVim4Jy6jvfl6gmB1WcGCHqF47ASOC6MLX471y51orMa0O1U7aFsZCnlm11wsICnpShMTNjhteu_DLEsPue/s320/IMG_4374+%25282%2529.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Reed position - only half of the blade should be inserted into the player's mouth.</td></tr>
</tbody></table>
<h2>
</h2>
<h2>
<span style="font-size: x-large;">FINGERINGS</span></h2>
Bassoon
students are often unsure of fingerings, which is understandable
considering the complexity of certain bassoon fingerings and the fact
that many notes have multiple fingerings (some better than others!).
There aren't many patterns or rules, unfortunately, but there are a
few.....for example, I was surprised to find out during a recent master
class that none of the students could fully answer the question "Which
notes require the whisper key?". They knew that the whisper key was
needed for Bb1 through F2 (the numbers indicate the bassoon octave, so
our lowest note is Bb1, and the octave higher is Bb2, etc.) but beyond
that, they were uncertain.<br />
<br />
Here are a few rules which should be memorized:<br />
<br />
The
"pancake" key takes the place of the whisper key for the very lowest
notes (Bb1-Db1). That's because the player's left thumb is unable to
reach the regular whisper key while also activating the low C, low B and low Bb keys.<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg41mOwmro8x_5czUxxMS0mot6Qg5W6CqKADa0hbQsa8A9HWG9-du4f8K2wejkwr5ztwaZFIyxvkWrwjilfJ0K8G1NtHZys6uVPv4QOjz6ICD0EZRD9R4afnttqz_DC1nfkz53_ak1ws7yp/s1600/IMG_4391_LI+%25282%2529.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1155" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg41mOwmro8x_5czUxxMS0mot6Qg5W6CqKADa0hbQsa8A9HWG9-du4f8K2wejkwr5ztwaZFIyxvkWrwjilfJ0K8G1NtHZys6uVPv4QOjz6ICD0EZRD9R4afnttqz_DC1nfkz53_ak1ws7yp/s320/IMG_4391_LI+%25282%2529.jpg" width="231" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The pancake key, which substitutes for the whisper key.</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJlmBa_K4kkMxaplxoP7DXQSQ81fmEtZOKRVmiyMv13za1h1Sk5i_LM_L5kKwJj3X_vyb622tsxMN0tU6joHq9GdBSC8PIo8-DXGFtFgHy1X_fcjsCvEf9fL0to0ofvGpcJZtSDAcgYQxo/s1600/IMG_4417_LI.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJlmBa_K4kkMxaplxoP7DXQSQ81fmEtZOKRVmiyMv13za1h1Sk5i_LM_L5kKwJj3X_vyb622tsxMN0tU6joHq9GdBSC8PIo8-DXGFtFgHy1X_fcjsCvEf9fL0to0ofvGpcJZtSDAcgYQxo/s320/IMG_4417_LI.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The
reason why the left thumb whisper key can't be activated at the same
time as the low C, low B or low Bb key (it would be physically
impossible).</td></tr>
</tbody></table>
The purpose of both the pancake key and the whisper
key is to close the whisper key pad which covers the hole in the nub of
the bocal:<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRILuEe9FOFhkSTXUxYmA-pBWVUpy2F_RDkwMHVAx8OhhCA23OAOjMCd7Onw1Z46UGxkKBN169db-TbNysLiQVeTrdyrGl2DpBgS7D51zcela_Q-fZYP10WWWTA5OEVi_kDdQnrFucw2xe/s1600/IMG_4394+%25282%2529_LI.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1260" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRILuEe9FOFhkSTXUxYmA-pBWVUpy2F_RDkwMHVAx8OhhCA23OAOjMCd7Onw1Z46UGxkKBN169db-TbNysLiQVeTrdyrGl2DpBgS7D51zcela_Q-fZYP10WWWTA5OEVi_kDdQnrFucw2xe/s320/IMG_4394+%25282%2529_LI.jpg" width="251" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The
whisper key pad covers the hole in the nub of the bocal. The whisper
key pad is activated by either the left thumb whisper key or the right
thumb pancake key.</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
It's important to regularly test your pancake key to
be sure that it's totally closing the whisper key pad over its hole on
the bocal. If it's not, just add some tape (masking tape, duct tape,
etc.) to the connector extending from the tenor joint to the "foot"
extending from the rod of the pancake. This is what it looks like:<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMJKwizlxcMlf5IQMklELdTc_0z4GkOLTfq2zlzmU9SmWfT-fjfctfJQOiFEQ6tvYz5q64gvPmsDemPMcEFkwgwHG_3lPeF5VhKvCJ2YPSLwA7AigkYmBp3e6n7G7pays0NmaIYDKYYNWB/s1600/IMG_4397_LI.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1243" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMJKwizlxcMlf5IQMklELdTc_0z4GkOLTfq2zlzmU9SmWfT-fjfctfJQOiFEQ6tvYz5q64gvPmsDemPMcEFkwgwHG_3lPeF5VhKvCJ2YPSLwA7AigkYmBp3e6n7G7pays0NmaIYDKYYNWB/s320/IMG_4397_LI.jpg" width="248" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Orange duct tape added to the connector. This enables the pancake to fully close the whisper key over the hole on the bocal</td></tr>
</tbody></table>
These are the notes which require the pancake key (in place of the whisper key):<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnFp8m2RFJEreBRNfLvS26ojGDkCUteKCw2aAYMm97uL_OuLj9W1lYlfUrubysMnf2H8B69kU5mIKhCLR5ZcI4lqQv5zYyZZ6ui_-lpV8r-iVa_U3jVo67-ACWEOzvJ6EfQD5syxS3TKlu/s1600/IMG_4435.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="823" data-original-width="1341" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnFp8m2RFJEreBRNfLvS26ojGDkCUteKCw2aAYMm97uL_OuLj9W1lYlfUrubysMnf2H8B69kU5mIKhCLR5ZcI4lqQv5zYyZZ6ui_-lpV8r-iVa_U3jVo67-ACWEOzvJ6EfQD5syxS3TKlu/s320/IMG_4435.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bb1 through Db1</td></tr>
</tbody></table>
<br />
These are the notes which require the whisper key:<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP-SuRlLSRE85MeazF4d70Wm_29vIZFo5ba1F0Vb8axxvllwoldZRArtVXicXXsLy-0_-BdF15pLnUzlSS5vPvbVRCBk8u8LK6usrh2VMj30t5EXZ5mlQBdktFoNc6WSBT1OYRY9tlrN8i/s1600/IMG_4436+%25282%2529.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="631" data-original-width="1600" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP-SuRlLSRE85MeazF4d70Wm_29vIZFo5ba1F0Vb8axxvllwoldZRArtVXicXXsLy-0_-BdF15pLnUzlSS5vPvbVRCBk8u8LK6usrh2VMj30t5EXZ5mlQBdktFoNc6WSBT1OYRY9tlrN8i/s320/IMG_4436+%25282%2529.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> D1 through Ab2, G3, G#3</td></tr>
</tbody></table>
<br />
There
is another variation of the whisper key issue.......there are 5 notes
on the bassoon which require both the whisper key AND a half hole in the
first finger left hand. These are the notes which require whisper key
PLUS half hole:<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghtM59euTPfNzwh8h07FUctNwSuITiv1Zx26CMmzIyVYPY8d_FsLPCQ90hzpKQ9EuhxK_Ecy5sW1raAz-n0PGGU2-wee4If799g5YGvGkPWOarZMlxAF2nEBDmSTsQKAAUlUZAEz7KguYT/s1600/IMG_4437.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="655" data-original-width="1600" height="130" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghtM59euTPfNzwh8h07FUctNwSuITiv1Zx26CMmzIyVYPY8d_FsLPCQ90hzpKQ9EuhxK_Ecy5sW1raAz-n0PGGU2-wee4If799g5YGvGkPWOarZMlxAF2nEBDmSTsQKAAUlUZAEz7KguYT/s320/IMG_4437.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> F#2 G2, G#2, G3, G#3</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3aW85ImPBmtXbPSAP100NaWl6OZsVdicQLmiNWq4khc5FGaPA94r_59lKU9h_XRUSvwYeuIqZ9hMrShi8vaZ_ATh4iJzzyc5Z2eZ48Cjd93Hl3zvH9KZhlVzcIb4Jlh4yEQL0PQ1CVpbQ/s1600/IMG_4419_LI.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3aW85ImPBmtXbPSAP100NaWl6OZsVdicQLmiNWq4khc5FGaPA94r_59lKU9h_XRUSvwYeuIqZ9hMrShi8vaZ_ATh4iJzzyc5Z2eZ48Cjd93Hl3zvH9KZhlVzcIb4Jlh4yEQL0PQ1CVpbQ/s320/IMG_4419_LI.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">First finger left hand half hole</td></tr>
</tbody></table>
<br />
There is also confusion about when to use
the little finger left hand Eb key (also known as the upper auxiliary
key). These are the notes requiring the Eb (upper auxiliary) key:<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3NvC7wYV1yscRWc1RbcddM2SaFmogeQafex4_d1730Dpo8xS4JceT1QhffTrJ9gr0vZASqDiUUyrOli5j0iswWcCNUOCROH8LusUBwmH-ypKUndZqt1mBAiP1III1ucHla8-0fcjA1OP6/s1600/IMG_4438+%25282%2529.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="528" data-original-width="1600" height="105" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3NvC7wYV1yscRWc1RbcddM2SaFmogeQafex4_d1730Dpo8xS4JceT1QhffTrJ9gr0vZASqDiUUyrOli5j0iswWcCNUOCROH8LusUBwmH-ypKUndZqt1mBAiP1III1ucHla8-0fcjA1OP6/s320/IMG_4438+%25282%2529.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> Eb1, (Eb2), G2, E3 and all notes above E3</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdjpQKVg45k95m7WruXkBGdrFWO9LOjlivJ_py71LlninjePy_F6bEpFaRsUJE2YCbRaZys22Dcv3_pQ2cFcB40A1hzrZfvqcGteKsQtcUAQ24PR8vBgP9WGM78zQ-nEf69tLmRTMvYOCL/s1600/IMG_4418_LI.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdjpQKVg45k95m7WruXkBGdrFWO9LOjlivJ_py71LlninjePy_F6bEpFaRsUJE2YCbRaZys22Dcv3_pQ2cFcB40A1hzrZfvqcGteKsQtcUAQ24PR8vBgP9WGM78zQ-nEf69tLmRTMvYOCL/s320/IMG_4418_LI.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Eb or upper auxiliary key</td></tr>
</tbody></table>
Eb2 has many different fingerings, some of which
require the Eb (auxiliary) key. My preferred fingering for Eb2 does not
require the Eb key, but sometimes I use one of the fingerings which
does require it. It's very important for students to remember that as a
rule, the Eb (upper auxiliary) key is required for all of the high
notes beginning with E3.<br />
<br />
These are the few fingering
rules which apply to the bassoon, and hopefully memorizing these rules
will help students begin to master the vast fingering chart for our
instrument.<br />
<h2>
<span style="font-size: x-large;">USE OF AIR AND EMBOUCHURE</span></h2>
<span style="font-size: small;">The pitch and dynamics are controlled by air and embouchure as follows: </span><br />
<br />
<span style="color: #38761d;"><span style="font-family: "trebuchet ms" , sans-serif;"><b><span style="font-size: small;">If you use more air, the pitch rises and the sound gets louder. </span></b></span></span><br />
<span style="color: #38761d;"><span style="font-family: "trebuchet ms" , sans-serif;"><b><span style="font-size: small;">If you use less air, the pitch drops and the sound gets softer. </span></b></span></span><br />
<span style="color: #38761d;"><span style="font-family: "trebuchet ms" , sans-serif;"><b><span style="font-size: small;">If you tighten your embouchure, the pitch rises and the sound gets softer. </span></b></span></span><br />
<span style="color: #38761d;"><span style="font-family: "trebuchet ms" , sans-serif;"><b><span style="font-size: small;">If you loosen your embouchure, the pitch drops and the sound gets louder. </span></b></span></span><br />
<br />
<span style="font-size: small;">Awareness of these rules helps bassoonists gain control of what comes out of the bassoon! </span><br />
<br />
<span style="color: #cc0000;"><b><i><span style="font-size: large;"><span style="color: #783f04;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: small;">For more in-depth information, here's <a href="https://bassoonblog.blogspot.com/2018/06/for-high-school-bassoonists.html">a blog post for high school bassoonists.</a></span></span></span></span></i></b></span>
<br />
<h4>
<br /><span style="font-size: large;"><span class="mw_t_it"></span><br />
<a class="a2a_dd" href="http://www.addtoany.com/share_save#url=http%3A%2F%2Fbassoonblog.blogspot.com%2Fsearch%3Fupdated-max%3D2013-12-18T18%3A58%3A00-08%3A00%26max-results%3D7&title=bassoon%20blog&description=" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="Share" border="0" height="16" src="https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" width="171" /></a></span></h4>
<h4>
<span style="font-size: large;"><br /></span></h4>
<!-- Blogger automated replacement: "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" --><!-- Blogger automated replacement: "https://images-blogger-opensocial.googleusercontent.com/gadgets/proxy?url=http://static.addtoany.com/buttons/share_save_171_16.png&container=blogger&gadget=a&rewriteMime=image/*" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" -->B.S.http://www.blogger.com/profile/08724883690591213622noreply@blogger.com3tag:blogger.com,1999:blog-4115433326707838301.post-42057809756288342352018-06-05T12:24:00.000-07:002018-06-09T10:35:19.918-07:00For high school bassoonists<span style="color: #741b47;"><span style="background-color: white;"><span style="font-family: "times" , "times new roman" , serif;"><b><i><span style="font-family: "georgia" , "times new roman" , serif;">There are many aspects of bassoon playing which are important for high school-aged bassoonists such as equipment, playing position, air and embouchure, finger technique, effective practicing, musicianship, tonguing and tone production. Here are a few basic pointers from each of those categories which may be helpful.</span></i></b></span></span></span> <br />
<h2>
Reeds</h2>
Once the student has identified a reliable reed source, the
lifespan of each reed may be maximized by following one important
rule: <span style="color: #660000;"> <b><span style="color: red;">Always allow reeds to dry out after playing. </span> </b></span><br />
<br />
<span style="color: #660000;"><span style="color: black;">How
long does a reed last? It varies according to whether or not the reed has dried out after playing, the level of acidity in the player's saliva and the amount of playing on the reed. For most high school students, a reed
lasts a few weeks or even months. (However, it's common for a student
to insist on newer reeds as his/her standards rise.) Serious high
school students often <a href="https://bassoonblog.blogspot.com/2013/12/bassoon-reed-making-for-beginners.html">learn to make reeds.</a></span></span><br />
<br />
<span style="color: #660000;"><span style="color: black;">What
should reeds be stored in? A small tin container such the type used
for Sucrets or Altoids works well and costs little. A nail and a hammer may be used to
puncture a few air holes in the container so that air reaches the reeds.
</span></span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQp9sQ5Osbecbmmw_IfcCa4exCTYDxGNwJnygBffSvi9zl7zbYlTtzwjRnesILW0tGnoh6dufaVjP3KLDqDVygOJPoqRN-jxcE38hP5jAqGM1NtG3-OdaRcIrJrUjP6tyXg-_ZbLeoXiS9/s1600/IMG_3630.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQp9sQ5Osbecbmmw_IfcCa4exCTYDxGNwJnygBffSvi9zl7zbYlTtzwjRnesILW0tGnoh6dufaVjP3KLDqDVygOJPoqRN-jxcE38hP5jAqGM1NtG3-OdaRcIrJrUjP6tyXg-_ZbLeoXiS9/s320/IMG_3630.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">tin reed cases with air holes made with hammer and nail</td></tr>
</tbody></table>
<span style="color: #660000;"><span style="color: black;">
</span></span>
<br />
Here's an easy and effective way to improve a
bassoon reed. If the tip seems too open, just take a pair of pliers and
squeeze the top wire from top to bottom:<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1OZtwn7mEZ3eSbu2jiPLX6AauP78exEsFjIoUaHfQLpeLA5haGG1QiyvV2PNCwiMU71U10Is8Sc5ljl6AETAdIGssg2f-HXngKsgjgTpK7h1bttG_kjnx5iyxx8TTeCOoodl7c9O0W1mW/s1600/IMG_4408+%25282%2529.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1176" data-original-width="1600" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1OZtwn7mEZ3eSbu2jiPLX6AauP78exEsFjIoUaHfQLpeLA5haGG1QiyvV2PNCwiMU71U10Is8Sc5ljl6AETAdIGssg2f-HXngKsgjgTpK7h1bttG_kjnx5iyxx8TTeCOoodl7c9O0W1mW/s320/IMG_4408+%25282%2529.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Closing the tip by squeezing the top wire from top to bottom</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
If the tip seems too closed, squeeze from side to side:<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnOG0hgjF7WOcpF3Akh6eNAQe5xWZ8PnJzO2O7w_srCJfW5wQHAgbY7MjYrdJy5XPh9HJhdproliSaVemc_fEo0OQYTrsFDCAxbWWZuZkgDdqRDub2d_dQuqVOmnc8Jliqhuq7vhnTWzMj/s1600/IMG_4409+%25282%2529.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1396" data-original-width="1600" height="279" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnOG0hgjF7WOcpF3Akh6eNAQe5xWZ8PnJzO2O7w_srCJfW5wQHAgbY7MjYrdJy5XPh9HJhdproliSaVemc_fEo0OQYTrsFDCAxbWWZuZkgDdqRDub2d_dQuqVOmnc8Jliqhuq7vhnTWzMj/s320/IMG_4409+%25282%2529.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Opening the tip by squeezing the top wire from side to side</td></tr>
</tbody></table>
The best part of this reed fix is that if it doesn't
work (or if it makes the reed worse) it's reversible! Don't be afraid
to experiment with this. Many a bad reed has been rectified using this
method.<br />
<h2>
<span style="color: #660000;"><span style="color: black;">Instruments</span></span></h2>
<span style="color: #660000;"><span style="color: black;">If
a student has a choice of instruments, it's best to test each one to
identify the one which is most cooperative. A private bassoon teacher
will be able to ensure that the instrument is working properly. One
common problem is that the connector between the boot and the tenor
joint is often out of adjustment so that the pancake key does not
completely close the whisper key pad on the bocal. That problem will
cause the low notes to balk, and it's an easy problem to resolve using a
piece of tape around the connector to make it thicker.</span></span><br />
<br />
<span style="color: #660000;"><span style="color: black;">If the student's family is fortunate enough to be able to afford to purchase a bassoon, several of my students have recently purchased <a href="https://www.mmimports.com/product/fox-renard-model-240-bassoon/">Fox Renard model 240</a> bassoons from Midwest Musical Imports for less than $10,000. The Fox 240 is an excellent instrument especially considering its relatively low price. I always remind parents that the bassoon can be sold later if for any reason it's no longer needed. Bassoons retain their value more than most other instruments. </span></span><br />
<span style="color: #660000;"><span style="color: black;"><br /></span></span>
<span style="color: #660000;"><span style="color: black;">Bassoons
are delicate and must be properly cared for. Bassoons should never be
laid down flat on any surface due to the probability of moisture
reaching the pads. If it's not possible to keep the bassoon upright,
then it should be disassembled and placed in its case. </span></span><br />
<br />
<span style="color: #660000;"><span style="color: black;">Each
time the bassoon is disassembled, the tenor joint and the boot must be
swabbed with pull-through cloth (such as silk) swabs. The best swabs
have a string (tail) on each end in case the swab gets stuck inside the
bassoon. </span></span><br />
<h2>
<span style="color: #660000;"><span style="color: black;">Bocals</span></span></h2>
<span style="color: #660000;"><span style="color: black;">It's
important for students to use the best bocal available and to
understand that each bocal has a number between 0 and 3. The higher the
number, the longer the bocal, and the lower the pitch. Since bocals
vary greatly, t's a good idea for a student to try all available bocals
and choose the one which plays best in tune and has the best sound.
Bocals are extremely fragile and should be handled with great care.</span></span><br />
<br />
<span style="color: #660000;"><span style="color: black;"><span style="color: #660000;"><span style="color: black;"><span style="color: #660000;"><span style="color: black;">The
bocal must be kept clean it order for it to function properly. A silk
bocal swab (with a string on each end in case it becomes stuck) is the
best tool for cleaning, and should be used approximately once a month. Wash
the swab after each cleaning. </span></span></span></span> </span></span><br />
<span style="color: #660000;"><span style="color: black;"> <span style="color: #660000;"><span style="color: black;"> </span></span></span></span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnwM1rGl4spRXHoyMQJKhX6WDaiOGnJjYyHel2lq3WkBUrqeDWh2Ym4KL7v1zFgW2gla3l8HtcZ3EYRpBB_u4DMYNjIpHs4FQr-SqpAGxdxh0rwkIvCIBxS70xTp1JMWg_sC1fN4_b2V8B/s1600/IMG_3512+%25282%2529.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnwM1rGl4spRXHoyMQJKhX6WDaiOGnJjYyHel2lq3WkBUrqeDWh2Ym4KL7v1zFgW2gla3l8HtcZ3EYRpBB_u4DMYNjIpHs4FQr-SqpAGxdxh0rwkIvCIBxS70xTp1JMWg_sC1fN4_b2V8B/s200/IMG_3512+%25282%2529.JPG" width="90" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">bocal swab, with a tail on each end</td></tr>
</tbody></table>
If no bocal swab is available, twist the ends of
three pipe cleaners together and push the pipe cleaners through the
bocal, rinsing with water afterwards.<br />
<h2>
Seat strap and neck strap support<span style="color: #660000;"><span style="color: black;"><br /></span></span></h2>
<span style="color: #660000;"><span style="color: black;">Bassoons
require a seat strap for playing in the seated position. The best type of seat strap is the cup style. The cup strap allows easy adjusting of the position of the bassoon. <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ29VRfVe9PPvTCfowQOGuwOJHvHeiaWIA_Xm1dTo1i6s1a0oFgKiXeXmUQkE2fv-1XihpItiOIlhcv8Pini_juVOTdfZ6KFE7PDSSx15bmb2kT1eHPnOaZigFgKGTE9ttIUJ3dKL3wgaf/s1600/IMG_4375.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ29VRfVe9PPvTCfowQOGuwOJHvHeiaWIA_Xm1dTo1i6s1a0oFgKiXeXmUQkE2fv-1XihpItiOIlhcv8Pini_juVOTdfZ6KFE7PDSSx15bmb2kT1eHPnOaZigFgKGTE9ttIUJ3dKL3wgaf/s320/IMG_4375.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cup style bassoon seat strap</td></tr>
</tbody></table>
A neck
strap, sling strap or harness is required for playing in the standing position. For either sitting or standing, the support strap should be adjusted so that the bassoon is
in the best possible and most comfortable position for playing. Saxophone neck straps work
well for bassoon. I recommend the <a href="http://wittmanspinscom.ipage.com/?page_id=6">Wittman Spinstrap</a>
Model 700 for sax or bassoon - it's the most comfortable support for
standing with a bassoon that I've found. Unlike typical neckstraps
which can be very uncomfortable, the Spinstrap is more like a sling
which goes over the left shoulder and under the right arm.</span></span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://wittmanspinscom.ipage.com/wp-content/uploads/2015/03/spinsaxstrap.gif" style="margin-left: auto; margin-right: auto;"><img alt="spinsaxstrap" class="alignnone size-full wp-image-153" src="https://wittmanspinscom.ipage.com/wp-content/uploads/2015/03/spinsaxstrap.gif" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Wittman Spinstrap for Saxes and Bassoons</td></tr>
</tbody></table>
<h2>
Placement of bocal</h2>
The bocal should be aligned between the high A
key pad and the high C key pad in order to achieve the best balance (with the weight of the
bassoon evenly distributed between the right outer thigh and the inside
of the left hand near the base of the forefinger). When the position of the bocal is correct, the left thumb keys point toward the player, not off to the player's left.<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiue8I23ivvIqJ9rgqMv6SBFbB_Ca2_ChPXH-sqBNM7cgED61-JRsyYNCJx1ola2hyphenhyphenBo2l2mFqCC_LtEAJfQT2x43T-s3zElc59iRAG9nAG-TvJsH23VTyOUq-BEyoAQy8c2NZTEJw2VUFA/s1600/IMG_4383_LI.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiue8I23ivvIqJ9rgqMv6SBFbB_Ca2_ChPXH-sqBNM7cgED61-JRsyYNCJx1ola2hyphenhyphenBo2l2mFqCC_LtEAJfQT2x43T-s3zElc59iRAG9nAG-TvJsH23VTyOUq-BEyoAQy8c2NZTEJw2VUFA/s320/IMG_4383_LI.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">the bocal is positioned here between the pad of the high A key and the pad of the high C key</td></tr>
</tbody></table>
<h2>
Posture of the player</h2>
The bassoonist should sit up straight and
comfortably in the chair, leaning slightly forward rather than sitting
back in the chair. The player's head should always remain looking
straight ahead, not tilted up or down to accommodate the bassoon. The
seat strap should be adjusted so that the bocal heads straight into the
player's mouth without the player having to adjust. Adjust the BASSOON,
not the posture.<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKrmKtnjgxX3lbXPSgkhwHfjP0_A2V1GVxXljeRa2gbk9X5wNMJpa0XW5fwfnlk10sV0Glu7jlBg-VCeCs8sYxAN0eW20UVE0nGjJOnNQ61BvQVPCjzEDNc95kRnUtHCIBKHeO_cTKlUyg/s1600/IMG_4373+%25282%2529.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1432" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKrmKtnjgxX3lbXPSgkhwHfjP0_A2V1GVxXljeRa2gbk9X5wNMJpa0XW5fwfnlk10sV0Glu7jlBg-VCeCs8sYxAN0eW20UVE0nGjJOnNQ61BvQVPCjzEDNc95kRnUtHCIBKHeO_cTKlUyg/s320/IMG_4373+%25282%2529.JPG" width="286" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bassoon playing position</td></tr>
</tbody></table>
<h2>
Formation of embouchure</h2>
Bassoon embouchure is formed by wrapping
the upper and lower lips over the teeth and dropping the jaw. No lips should be showing, and most of the pressure should be applied to the reed from above, with the jaw just dropped down and not pushing up.<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizo5YhbFI5r4jwt-dVRXErqkcd0ZBeCHXs7NMHLB_N56ZFjXcrBVqqaI7L-wrTFXFWBoi2AtwFuROInvyV-AmTW1TwomLEfkwtC4P4x4ET7JH4a-Q5VKNN9-CSqRb7SRQABVavv2K7q4bH/s1600/IMG_4317_LI+%25283%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1522" data-original-width="1251" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizo5YhbFI5r4jwt-dVRXErqkcd0ZBeCHXs7NMHLB_N56ZFjXcrBVqqaI7L-wrTFXFWBoi2AtwFuROInvyV-AmTW1TwomLEfkwtC4P4x4ET7JH4a-Q5VKNN9-CSqRb7SRQABVavv2K7q4bH/s320/IMG_4317_LI+%25283%2529.jpg" width="263" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">With an overbite embouchure, pressure is applied to the reed from above, and the player is careful to avoid pushing up on the reed!</td></tr>
</tbody></table>
<h2>
Placement of reed in the mouth</h2>
About half of the blade of the
reed should be placed in the player's mouth. Many students insert the
reed too far. As the player ascends up the range, gradually more of the
reed is inserted. As the player descends, gradually less reed is taken
into the mouth.<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUxb3CGquFRTz5SDFjgXSXXDPu5GTcEY2oCVgpkl01brUoEOBKaM8d2uI39yM4uCpLHYV6DkP-NEHAShRySg1G9IPXDCZsvbE8cVAqZ_31y1T2ltDIiCCcMC3RBWTx-53v8L73CfnQ3hCI/s1600/IMG_4374+%25282%2529.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="711" data-original-width="1028" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUxb3CGquFRTz5SDFjgXSXXDPu5GTcEY2oCVgpkl01brUoEOBKaM8d2uI39yM4uCpLHYV6DkP-NEHAShRySg1G9IPXDCZsvbE8cVAqZ_31y1T2ltDIiCCcMC3RBWTx-53v8L73CfnQ3hCI/s320/IMG_4374+%25282%2529.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Only half of the blade is placed in the player's mouth.</td></tr>
</tbody></table>
<br />
Also, it's important for the player to
beware of pushing up on the reed with the jaw, which is a common
problem. It's best to think of applying pressure on the reed from
above, while relaxing and dropping the jaw. Bassoon students often play
sharp, and the best way to avoid that is to be sure that the pressure
on the reed is coming from above, not pushing up from below (the jaw
should be relaxed and dropped down). Generally, a sharp, constricted
sound indicates a too-tight embouchure.<br />
<h2>
</h2>
<h2>
<span style="font-size: large;"><span style="font-size: large;">Fingerings</span></span></h2>
Bassoon
students are often unsure of fingerings, which is understandable
considering the complexity of certain bassoon fingerings and the fact
that many notes have multiple fingerings (some better than others!).
There aren't many patterns or rules, unfortunately, but there are a
few.....for example, I was surprised to find out during a recent master
class that none of the students could fully answer the question "Which
notes require the whisper key?". They knew that the whisper key was
needed for Bb1 through F2 (the numbers indicate the bassoon octave, so
our lowest note is Bb1, and the octave higher is Bb2, etc.) but beyond
that, they were uncertain.<br />
<br />
Here are a few rules which should be memorized:<br />
<br />
The
"pancake" key takes the place of the whisper key for the very lowest
notes (Bb1-Db1). That's because the player's left thumb is unable to
reach the regular whisper key while also activating the low C, low B and low Bb
keys.<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg41mOwmro8x_5czUxxMS0mot6Qg5W6CqKADa0hbQsa8A9HWG9-du4f8K2wejkwr5ztwaZFIyxvkWrwjilfJ0K8G1NtHZys6uVPv4QOjz6ICD0EZRD9R4afnttqz_DC1nfkz53_ak1ws7yp/s1600/IMG_4391_LI+%25282%2529.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1155" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg41mOwmro8x_5czUxxMS0mot6Qg5W6CqKADa0hbQsa8A9HWG9-du4f8K2wejkwr5ztwaZFIyxvkWrwjilfJ0K8G1NtHZys6uVPv4QOjz6ICD0EZRD9R4afnttqz_DC1nfkz53_ak1ws7yp/s320/IMG_4391_LI+%25282%2529.jpg" width="231" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The pancake key, which substitutes for the whisper key.</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJlmBa_K4kkMxaplxoP7DXQSQ81fmEtZOKRVmiyMv13za1h1Sk5i_LM_L5kKwJj3X_vyb622tsxMN0tU6joHq9GdBSC8PIo8-DXGFtFgHy1X_fcjsCvEf9fL0to0ofvGpcJZtSDAcgYQxo/s1600/IMG_4417_LI.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJlmBa_K4kkMxaplxoP7DXQSQ81fmEtZOKRVmiyMv13za1h1Sk5i_LM_L5kKwJj3X_vyb622tsxMN0tU6joHq9GdBSC8PIo8-DXGFtFgHy1X_fcjsCvEf9fL0to0ofvGpcJZtSDAcgYQxo/s320/IMG_4417_LI.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The
reason why the left thumb whisper key can't be activated at the same
time as the low C, low B or low Bb key (it would be physically
impossible).</td></tr>
</tbody></table>
The purpose of both the pancake key and the whisper
key is to close the whisper key pad which covers the hole in the nub of
the bocal:<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRILuEe9FOFhkSTXUxYmA-pBWVUpy2F_RDkwMHVAx8OhhCA23OAOjMCd7Onw1Z46UGxkKBN169db-TbNysLiQVeTrdyrGl2DpBgS7D51zcela_Q-fZYP10WWWTA5OEVi_kDdQnrFucw2xe/s1600/IMG_4394+%25282%2529_LI.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1260" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRILuEe9FOFhkSTXUxYmA-pBWVUpy2F_RDkwMHVAx8OhhCA23OAOjMCd7Onw1Z46UGxkKBN169db-TbNysLiQVeTrdyrGl2DpBgS7D51zcela_Q-fZYP10WWWTA5OEVi_kDdQnrFucw2xe/s320/IMG_4394+%25282%2529_LI.jpg" width="251" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The
whisper key pad covers the hole in the nub of the bocal. The whisper
key pad is activated by either the left thumb whisper key or the right
thumb pancake key.</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
It's important to regularly test your pancake key to
be sure that it's totally closing the whisper key pad over its hole on
the bocal. If it's not, just add some tape (masking tape, duct tape,
etc.) to the connector extending from the tenor joint to the "foot"
extending from the rod of the pancake. This is what it looks like:<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMJKwizlxcMlf5IQMklELdTc_0z4GkOLTfq2zlzmU9SmWfT-fjfctfJQOiFEQ6tvYz5q64gvPmsDemPMcEFkwgwHG_3lPeF5VhKvCJ2YPSLwA7AigkYmBp3e6n7G7pays0NmaIYDKYYNWB/s1600/IMG_4397_LI.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1243" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMJKwizlxcMlf5IQMklELdTc_0z4GkOLTfq2zlzmU9SmWfT-fjfctfJQOiFEQ6tvYz5q64gvPmsDemPMcEFkwgwHG_3lPeF5VhKvCJ2YPSLwA7AigkYmBp3e6n7G7pays0NmaIYDKYYNWB/s320/IMG_4397_LI.jpg" width="248" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Orange duct tape added to the connector. This enables the pancake to fully close the whisper key over the hole on the bocal</td></tr>
</tbody></table>
These are the notes which require the pancake key (in place of the whisper key):<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnFp8m2RFJEreBRNfLvS26ojGDkCUteKCw2aAYMm97uL_OuLj9W1lYlfUrubysMnf2H8B69kU5mIKhCLR5ZcI4lqQv5zYyZZ6ui_-lpV8r-iVa_U3jVo67-ACWEOzvJ6EfQD5syxS3TKlu/s1600/IMG_4435.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="823" data-original-width="1341" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnFp8m2RFJEreBRNfLvS26ojGDkCUteKCw2aAYMm97uL_OuLj9W1lYlfUrubysMnf2H8B69kU5mIKhCLR5ZcI4lqQv5zYyZZ6ui_-lpV8r-iVa_U3jVo67-ACWEOzvJ6EfQD5syxS3TKlu/s320/IMG_4435.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bb1 through Db1</td></tr>
</tbody></table>
<br />
These are the notes which require the whisper key:<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP-SuRlLSRE85MeazF4d70Wm_29vIZFo5ba1F0Vb8axxvllwoldZRArtVXicXXsLy-0_-BdF15pLnUzlSS5vPvbVRCBk8u8LK6usrh2VMj30t5EXZ5mlQBdktFoNc6WSBT1OYRY9tlrN8i/s1600/IMG_4436+%25282%2529.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="631" data-original-width="1600" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP-SuRlLSRE85MeazF4d70Wm_29vIZFo5ba1F0Vb8axxvllwoldZRArtVXicXXsLy-0_-BdF15pLnUzlSS5vPvbVRCBk8u8LK6usrh2VMj30t5EXZ5mlQBdktFoNc6WSBT1OYRY9tlrN8i/s320/IMG_4436+%25282%2529.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> D1 through Ab2, G3, G#3</td></tr>
</tbody></table>
<br />
<br />
There
is another variation of the whisper key issue.......there are 5 notes
on the bassoon which require both the whisper key AND a half hole in the
first finger left hand. These are the notes which require whisper key
PLUS half hole:<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghtM59euTPfNzwh8h07FUctNwSuITiv1Zx26CMmzIyVYPY8d_FsLPCQ90hzpKQ9EuhxK_Ecy5sW1raAz-n0PGGU2-wee4If799g5YGvGkPWOarZMlxAF2nEBDmSTsQKAAUlUZAEz7KguYT/s1600/IMG_4437.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="655" data-original-width="1600" height="130" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghtM59euTPfNzwh8h07FUctNwSuITiv1Zx26CMmzIyVYPY8d_FsLPCQ90hzpKQ9EuhxK_Ecy5sW1raAz-n0PGGU2-wee4If799g5YGvGkPWOarZMlxAF2nEBDmSTsQKAAUlUZAEz7KguYT/s320/IMG_4437.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> F#2 G2, G#2, G3, G#3</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3aW85ImPBmtXbPSAP100NaWl6OZsVdicQLmiNWq4khc5FGaPA94r_59lKU9h_XRUSvwYeuIqZ9hMrShi8vaZ_ATh4iJzzyc5Z2eZ48Cjd93Hl3zvH9KZhlVzcIb4Jlh4yEQL0PQ1CVpbQ/s1600/IMG_4419_LI.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3aW85ImPBmtXbPSAP100NaWl6OZsVdicQLmiNWq4khc5FGaPA94r_59lKU9h_XRUSvwYeuIqZ9hMrShi8vaZ_ATh4iJzzyc5Z2eZ48Cjd93Hl3zvH9KZhlVzcIb4Jlh4yEQL0PQ1CVpbQ/s320/IMG_4419_LI.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">First finger left hand half hole</td></tr>
</tbody></table>
<br />
There is also confusion about when to use
the little finger left hand Eb key (also known as the upper auxiliary
key). These are the notes requiring the Eb (upper auxiliary) key:<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3NvC7wYV1yscRWc1RbcddM2SaFmogeQafex4_d1730Dpo8xS4JceT1QhffTrJ9gr0vZASqDiUUyrOli5j0iswWcCNUOCROH8LusUBwmH-ypKUndZqt1mBAiP1III1ucHla8-0fcjA1OP6/s1600/IMG_4438+%25282%2529.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="528" data-original-width="1600" height="105" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3NvC7wYV1yscRWc1RbcddM2SaFmogeQafex4_d1730Dpo8xS4JceT1QhffTrJ9gr0vZASqDiUUyrOli5j0iswWcCNUOCROH8LusUBwmH-ypKUndZqt1mBAiP1III1ucHla8-0fcjA1OP6/s320/IMG_4438+%25282%2529.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> Eb1, (Eb2), G2, E3 and all notes above E3</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdjpQKVg45k95m7WruXkBGdrFWO9LOjlivJ_py71LlninjePy_F6bEpFaRsUJE2YCbRaZys22Dcv3_pQ2cFcB40A1hzrZfvqcGteKsQtcUAQ24PR8vBgP9WGM78zQ-nEf69tLmRTMvYOCL/s1600/IMG_4418_LI.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdjpQKVg45k95m7WruXkBGdrFWO9LOjlivJ_py71LlninjePy_F6bEpFaRsUJE2YCbRaZys22Dcv3_pQ2cFcB40A1hzrZfvqcGteKsQtcUAQ24PR8vBgP9WGM78zQ-nEf69tLmRTMvYOCL/s320/IMG_4418_LI.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Eb or upper auxiliary key</td></tr>
</tbody></table>
Eb2 has many different fingerings, some of which
require the Eb (auxiliary) key. My preferred fingering for Eb2 does not
require the Eb key, but sometimes I use one of the fingerings which
does require it. It's very important for students to remember that as a
rule, the Eb (upper auxiliary) key is required for all of the high
notes beginning with E3.<br />
<br />
These are the few fingering
rules which apply to the bassoon, and hopefully memorizing these rules
will help students begin to master the vast fingering chart for our
instrument.<br />
<br />
<b><span style="font-size: large;">Air and embouchure</span></b><br />
<br />
The two factors which bassoonists use to
change pitch and dynamics are air and embouchure, as follows:<br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><b><span style="color: #351c75;">Using more air results in higher pitch and louder dynamics. </span></b></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><b><span style="color: #351c75;">Using less air results in lower pitch and lower dynamics. </span></b></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><b><span style="color: #351c75;">Tightening the embouchure results in higher pitch and lower dynamics. </span></b></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><b><span style="color: #351c75;">Loosening the embouchure results in lower pitch and louder dynamics.</span></b></span><br />
<h2>
Breathing</h2>
A good way to practice abdominal breathing is to lie on
the floor belly up with a book placed on the lower abdomen. The goal is to make the book rise upon inhaling and sink down upon exhaling. Then the abdominal
breathing may be used to practice steady, controlled long tones on the bassoon, producing straight tones at first and later adding crescendos and
diminuendos.<br />
<h2>
Developing a concept of sound and musicianship</h2>
It's a good idea
for bassoon students to have a goal of playing with a desirable tone.
There are many YouTube videos of superstar bassoonists such as Sophie
Dartigalongue, Nadina Mackie Jackson, Arthur Weisberg, Klaus Thunemann,
Min-Ho Lee, Judith LeClair and Gilbert Audin. Musicianship may be
learned from performances and recording of any great musician, and a student's exposure to great musicians should certainly not be limited to bassoonists! It's
advisable to spend considerable time listening to recordings of world
class string players, singers and pianists in order to develop a sense
of musicianship.<br />
<br />
<iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/97xlBipnzG8" width="560"></iframe> <br />
<h2>
Vibrato</h2>
Once the student has good control of long tones, it's
time to begin developing vibrato, which may be thought of as a regular
pulsation in the sound caused by bursts of air. These pulsations are best practiced in strict
rhythm in order to build the abdominal muscles involved in vibrato
production. There are many ways to think of producing beginning
vibrato, such as imitating the sound of a dying car battery, or using a
"Ha!Ha!Ha!Ha!" or panting or laughing. Bassoon students often benefit
from watching string players produce vibrato with the left hand; vibrato
obviously cannot be seen when produced by a wind player.<br />
<br />
In
general, the speed of vibrato in general varies from 4 beats per second
to 7 beats per second, with 5 or 6 per second falling into the normal
range. Lower pitched voices and instruments often tend to use a
somewhat slower vibrato than higher pitched instruments. Advanced
musicians are able to vary the speed and intensity of the vibrato.<br />
<br />
To
learn vibrato on the bassoon, set the metronome at 60 and begin
pulsating 2 times per beat. Gradually, over the course of weeks or
months, increase the pulsations up to 7 per beat (which is quite fast).<br />
<h2>
Rhythm</h2>
Accurate rhythm and a steady pulse are essential for a
strong musical performance on any instrument. Rhythm should never be neglected during
practicing, and regular use of a metronome is recommended.<br />
<br />
For more advanced musicians, <i>rubato </i>is
used to create musically interesting phrases. Within the context of a
steady pulse, some notes are stretched while others are compressed in
order to fit into the steady pulse framework, allowing emphasis of
certain parts of the phrase - that's what the term <i>rubato</i> refers to.<br />
<br />
For sight-reading, rhythm should always be top priority; other flaws may be overlooked, but rhythmic accuracy is essential.<br />
<h2>
Practicing effectively</h2>
It's important to avoid practicing mistakes! That means stopping and addressing any problems as they arise during practice sessions. The most basic rule of practicing is to<b><i> slow it down</i></b>. Sometimes a technical problem is resolved simply by slowing down the tempo and playing the passage a few times slowly.<br />
<br />
If a note is out of tune,
the embouchure, air or fingering may be manipulated to resolve the problem. Tuning apps make it easy to identify issues. If the rhythm is inaccurate, a metronome app might come in handy. Subdividing is a very helpful technique for improving rhythmic accuracy.<br />
<br />
If the fingerings are sloppy, which is
so often the case for bassoonists, it's very helpful to listen closely so that the exact notes causing the problem may be identified. The problem intervals may benefit from being played slowly (and accurately) many times before adding the surrounding notes.<br />
<br />
Unless the passage in question is written all slurred, I recommend eliminating all articulations so that the passage is all slurred. Once the passage can be played evenly all slurred, then add the articulations as printed. It's very common for students to blame the tongue for problems which are actually caused by uneven fingerings. <br />
<br />
Another approach is to play the entire passage until reaching the first problem note. Then that note is held with a fermata. Next, with great
conviction, the fingers are clicked into the correct fingering for the next
note, with a fermata also on that one, and so on
throughout the problematic part of the passage. After the problem notes are finished, the passage is completed as written (so that only the problematic notes have fermatas). This approach should be repeated several times.<br />
<br />
Afterwards, the passage is played as written. It's possible that there will be a new problem created by the corrections which just took place, and the same technique using fermatas and clicking fingerings may be applied again to the new problem notes.<br />
<br />
How do you know when a passage is mastered? If you can play it perfectly 10 times in a row, then you're in good shape! <br />
<h2>
What to practice</h2>
<i><b>Scales and arpeggios</b> </i>are the building blocks of all of the music we're called upon to perform, and that's why it's so important to familiarize ourselves with all of the major and minor scales and arpeggios.<b><i> Long tones</i></b> are essential for developing control of the air and embouchure (which control the pitch and dynamics as well as sound). Bassoon students usually work on etudes also such as those by Weissenborn and Milde.<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMS9drMYuf3wOfKfHOgg_IWxbKLPoqwv8eVmPLWlf4QRUPTRGBWoimIwR3Rr0VIQcX8BeykDE8Q1OSdiyN41aierhyphenhyphenpwMAR83vMBSqr5pObapxQ-jr3_oZ9jo-2B8vxelIJX2_Tn3TQaQe/s1600/IMG_4384+%25282%2529.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1208" data-original-width="1492" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMS9drMYuf3wOfKfHOgg_IWxbKLPoqwv8eVmPLWlf4QRUPTRGBWoimIwR3Rr0VIQcX8BeykDE8Q1OSdiyN41aierhyphenhyphenpwMAR83vMBSqr5pObapxQ-jr3_oZ9jo-2B8vxelIJX2_Tn3TQaQe/s320/IMG_4384+%25282%2529.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bassoon etude books</td></tr>
</tbody></table>
<h2>
Tonguing</h2>
In order to begin a note on the bassoon with a graceful
and clean "attack", it's necessary to have the embouchure and air set up
in advance. Think of the tongue as a valve which starts and stops the
flow of air. The player sets up the air and embouchure with the tongue
against the reed so that it doesn't yet vibrate. When, with the correct
embouchure and air in place for the note being played, the tongue is
pulled back, allowing the air to vibrate the reed. That technique
results in a very desirable attack. Then when the tongue is again placed against the reed, the note ends. <br />
<br />
Many bassoonists also employ
the technique known as double tonguing, and some begin learning it as
early as high school. Basically, double tonguing requires the player to
begin the first note with the tongue in front as usual, but the second
note is articulated with the tongue in the back of the mouth. The spoken syllables would be
"TaKaTaKa......etc." or "DuGuDuGu....etc.". Here's a blog post I wrote about <a href="https://bassoonblog.blogspot.com/2016/01/double-tonguing-on-bassoon.html">learning to double tongue on the bassoon.</a><br />
<h2>
Flicking </h2>
Flicking is a technique, unique to bassoon playing,
which improves or enables the response of certain notes (A2, Bb3, B3, C3 and D3.....see below), especially
when the note is being slurred to from a note in the lower range. The
left thumb briefly swipes open one of the left thumb keys (the high A,
high C or high D key) at the beginning of the flicked note.
These are the flick notes and the thumb key used to flick each note (Bb3 can use either the A key or the C key):<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU602bORc20-YSEOQ1YzzZIRVuNdjIg62bOY44pu4ksZHdL7IIeO4fy3kWPinxVHnv9LbV4XK7IjbWCg6l1Id1m0biNZGQPbAcB4stsRE_DoHnhLTqi9obiD_M_VZ6QJRX2E7v4-Mz_a-z/s1600/IMG_3639+%25282%2529.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU602bORc20-YSEOQ1YzzZIRVuNdjIg62bOY44pu4ksZHdL7IIeO4fy3kWPinxVHnv9LbV4XK7IjbWCg6l1Id1m0biNZGQPbAcB4stsRE_DoHnhLTqi9obiD_M_VZ6QJRX2E7v4-Mz_a-z/s320/IMG_3639+%25282%2529.JPG" width="320" /></a></div>
<h2>
Recommended reading</h2>
<i>The Art of Wind Playing</i> by Arthur Weisberg (currently out of print but available from Amazon and various other sources).<br />
<div id="widthPreserver">
</div>
<div id="centerPlus">
<div id="sx-top-slot">
</div>
<div class="sx-nav-top" id="navlayout-top-1">
</div>
<div class="sx-nav-top" id="navlayout-top-2">
</div>
<div class="sx-nav-top" id="navlayout-top-3">
</div>
</div>
<div id="rhsAjax">
</div>
<br />
<div id="widthPreserver">
</div>
<div id="centerPlus">
<div id="sx-top-slot">
</div>
<div class="sx-nav-top" id="navlayout-top-1">
</div>
<div class="sx-nav-top" id="navlayout-top-2">
</div>
<div class="sx-nav-top" id="navlayout-top-3">
</div>
</div>
<div id="rhsAjax">
</div>
<a class="a-link-normal a-text-normal" href="https://www.amazon.com/Art-Wind-Playing-Arthur-Weisberg/dp/1574630849/ref=sr_1_1?ie=UTF8&qid=1528134298&sr=8-1&keywords=the+art+of+wind+playing"><img alt="The Art of Wind Playing" class="s-access-image cfMarker" data-search-image-load="" height="218" src="https://images-na.ssl-images-amazon.com/images/I/51s4MLSw8HL._AC_US218_.jpg" width="218" /></a> <br />
<br />
.<br />
<br />
.<span class="mw_t_it"></span><br />
<a class="a2a_dd" href="http://www.addtoany.com/share_save#url=http%3A%2F%2Fbassoonblog.blogspot.com%2Fsearch%3Fupdated-max%3D2013-12-18T18%3A58%3A00-08%3A00%26max-results%3D7&title=bassoon%20blog&description=" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="Share" border="0" height="16" src="https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" width="171" /></a>
<!-- Blogger automated replacement: "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" --><!-- Blogger automated replacement: "https://images-blogger-opensocial.googleusercontent.com/gadgets/proxy?url=http://static.addtoany.com/buttons/share_save_171_16.png&container=blogger&gadget=a&rewriteMime=image/*" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" -->B.S.http://www.blogger.com/profile/08724883690591213622noreply@blogger.com1tag:blogger.com,1999:blog-4115433326707838301.post-30697769281371025462018-04-25T15:25:00.000-07:002018-04-25T15:26:54.450-07:00Berlioz: Symphonie FantastiqueBerlioz's epic masterpiece <i>Symphonie Fantastique</i>, written in 1830, radically expanded the realm of symphonic music. Beethoven had just died three years earlier (in 1827) after dramatically pushing the boundaries himself. While Beethoven's influence is evident in <i>Symphonie Fantastique</i>, there is no question that Berlioz also veered off the path, marching to a very different drummer.<br />
<br />
It's all about Harriet Smithson, the Irish actress with whom Berlioz was obsessed. Inspired by the programmatic nature of Beethoven's Pastorale Symphony (no. 6), the actual title of Berlioz's work is <i>An Episode in the Life of an Artist</i> <i>(Symphonie Fantastique</i> was a subtitle). Of course, the artist was Berlioz, and the episode portrayed his self-destructive love for Harriet.<br />
<br />
Apparently Berlioz was highly emotional, to the point some might consider unstable. He used opium in the attempt to calm his nerves, which was a fairly common approach at the time. I'll never forget the reaction of my music history class at Eastman when we found out that Berlioz had composed this work while on opium.....it wasn't just a story about someone who turned to opium due to romantic frustrations....Berlioz actually wrote the piece (or at least parts of the piece) while on opium! It left such an impression that every time I think of<i> Symphonie Fantastique</i> I immediately think of opium.<br />
<br />
Berlioz described his love for Harriet as "that rage, that fury, that delirium which takes possession of all one’s faculties, which renders one capable of anything". He fell in love with her while watching her act onstage, and subsequently he wrote impassioned letters which she summarily ignored. <i>Symphonie Fantastique</i> was the perfect outlet for his wild emotions. And it was successful....once she realized the piece was about her, she agreed to receive him, whereupon he threatened to overdose on opium if she wouldn't marry him. He proceeded to ingest the opium in front of her, at which point she became hysterical and agreed to the marriage. He then pulled an antidote out of his pocket and ingested that, ensuring his survival from the overdose. They married once he recovered. (Why has no one in Hollywood made a movie out of this story? The film score has already been written!)<br />
<iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/W9CYLAuKdtU" width="560"></iframe><br />
Bassoon players generally think of <i>Symphonie Fantastique</i> as a huge bassoon piece. It stands out in the
bassoon orchestral repertoire in that it features all four bassoonists
in unison <i>soli</i> passages. Why did <span class="mw_t_it">Berlioz score
this piece for 4 bassoons, while only 2 flutes (2nd doubling on
piccolo), 2 oboes (2nd doubling on English horn) and 2 clarinets (second
doubling on Eb clarinet) made it into the score? The explanation may
be found in the typical structure of a Parisian orchestra during the<i> </i>1800s. Due to the nature of the French <i>basson</i>, 4 bassoons were used in Parisian orchestras while there were only 2 of each of the other woodwind instruments (2 flutes, 2 oboes, 2 clarinets). The French <i>basson </i>had
a narrower bore than the German bassoon and its sound was decidedly
lighter, drier and sweeter than the German bassoon. Its delicate sound was probably easily overpowered by other instruments. One can only imagine what Berlioz would
think of today's more muscular bassoons. Might he be tempted to re-orchestrate for
only 2 bassoons?</span><br />
<br />
There are only a couple of exposed passages for the first bassoon alone, one at the very opening:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2BWBncFfwlHPXudTUI1IASYmg2KD49H8O4XiSEmnhZk3qk4Twrrj2R4DhzhseO6AOwJKfum8shHnJ-aMUchdBHum2yTpITOXySUrmCo4wg8CYueQsSjK5RThlPe7IuV5DhZch9_ccakK1/s1600/IMG_4347+%25283%2529.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="474" data-original-width="1600" height="117" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2BWBncFfwlHPXudTUI1IASYmg2KD49H8O4XiSEmnhZk3qk4Twrrj2R4DhzhseO6AOwJKfum8shHnJ-aMUchdBHum2yTpITOXySUrmCo4wg8CYueQsSjK5RThlPe7IuV5DhZch9_ccakK1/s400/IMG_4347+%25283%2529.JPG" width="400" /></a></div>
<br />
The first bassoonist will know exactly where to place the triplet notes after observing the score (below). Also it should be noted that the second measure (<i>ppp</i>) is softer than the first measure (<i>p</i>). And Berlioz, the inveterate extremist, asks for a diminuendo once the<i> ppp</i> dynamic is attained!<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL3RJcAefTsBewagLAIFpQJVSfVccmHWdPA47jAVUeglghTFOCZuu0cMhiufW3qZYxLvrazkEbNFB_owKVQ7_gcn880UYaoxQmF6e7_xuZZ1KUd38XY20vWIuiesPaiNpbnyQkSQxo-hdt/s1600/IMG_4362+%25282%2529.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="865" data-original-width="1600" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL3RJcAefTsBewagLAIFpQJVSfVccmHWdPA47jAVUeglghTFOCZuu0cMhiufW3qZYxLvrazkEbNFB_owKVQ7_gcn880UYaoxQmF6e7_xuZZ1KUd38XY20vWIuiesPaiNpbnyQkSQxo-hdt/s400/IMG_4362+%25282%2529.JPG" width="400" /></a></div>
<br />
A little further into the movement, all four bassoons are called upon to slur a succession of G octave triplets:<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhANuRZ3APOc8s4Uiyt0MCn5fitFvJrYUUtrSZ-CNJEXs2t67OIl9Rf2MzmLEyZ_CIEBRDsIeI0glcYZ3PtyFcn3h8ruq3wfWLuooYovh7JMTVX-0NHGCw5sJ_SNJwX8k4jXekV4irtnWx/s1600/IMG_4348+%25283%2529.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="212" data-original-width="1600" height="52" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhANuRZ3APOc8s4Uiyt0MCn5fitFvJrYUUtrSZ-CNJEXs2t67OIl9Rf2MzmLEyZ_CIEBRDsIeI0glcYZ3PtyFcn3h8ruq3wfWLuooYovh7JMTVX-0NHGCw5sJ_SNJwX8k4jXekV4irtnWx/s400/IMG_4348+%25283%2529.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">from mvt. 1 of <i>Symphonie Fantastique</i></td></tr>
</tbody></table>
Earlier in the movement (measure 10 to be exact) the cellos slur similar triplets (from D down to G) and it might be a good idea for the bassoonists to listen carefully and later attempt to match that sound, which is quite calm and even. To accomplish this, I think it's best <b><i>not</i></b> to attempt to slur the downward G octaves. Some of the low Gs might speak on time, but what about the ones which don't? And what about the fact that 4 bassoonists, all of whom struggle with that slur, are doing this at once, thereby quadrupling the potential for awkward squawks and late arrivals of the lower G? Although the cellos and basses are also playing along on the above passage, they're so quiet that the bassoonists usually can't hear them while playing. I advise lightly tonguing the low Gs so that it sounds as legato as possible, while eliminating the risk of balking low Gs. Don't be a hero! In other words, don't sacrifice the musical outcome for the sake of "heroically" playing exactly what's printed in your part. (This advice also applies to missed attacks.....rather than jump in at random with your missed note, it's preferable to either leave the note out or re-attempt to enter at a musically sensible moment.) This passage is a good example of a situation where it may be more beneficial to the ensemble if the bassoonists lightly tongue the problematic slurred notes. If the tonguing is discreet enough, no one will know the difference. In the words of the great French<i> </i>bassoonist Maurice Allard, when it comes to this type of downward slur, the bassoonist should "Cheat, but cheat sweetly, like when you lie to your wife!".<br />
<iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/xPmwA0fKvLU" width="560"></iframe><br />
<br />
There is another "solo" later in the first movement in which the 1st bassoon plays the <span class="mw_t_it">recurring</span><i class="mw_t_it"> idée fixe</i> theme (which represents Harriet) with the flute and clarinet:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEOoOnws4-atLEHbvl8esprQ6Du2ixRRnaeEoiB6tav8duUSac5sM-5F1kkJEgDbOz94gQT0t0S0VAGTKlkwAy8bYMN1yWLuD56iQ-v4eVlpCubujdL0ESZP1D4723GcJgSc-aIbvyPBrG/s1600/IMG_4349+%25282%2529.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1051" data-original-width="1600" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEOoOnws4-atLEHbvl8esprQ6Du2ixRRnaeEoiB6tav8duUSac5sM-5F1kkJEgDbOz94gQT0t0S0VAGTKlkwAy8bYMN1yWLuD56iQ-v4eVlpCubujdL0ESZP1D4723GcJgSc-aIbvyPBrG/s400/IMG_4349+%25282%2529.JPG" width="400" /></a></div>
<br />
It's important to add to the drama by honoring Berlioz's markings assiduously. Of course, it's also the bassoonist's responsibility to provide a solid pitch foundation in the lower octave to support the flute and clarinet throughout the passage. The <i class="mw_t_it">idée fixe </i><span class="mw_t_it">ends at bar 12 above. At that point, the first and third bassoon in unison join the low strings in a somewhat exposed passage. Intonation may be an issue here, especially for the lower notes. Accurate intonation may require dramatic manipulation of the embouchure and position of the reed in the mouth - we bassoonists learn to do whatever it takes to keep the pitch down. </span><br />
<span class="mw_t_it"><span class="mw_t_it"></span></span><br />
<span class="mw_t_it">This is the only passage in the entire piece which might be considered a true bassoon solo, albeit a brief one:</span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg440ZKV4XYd9VYY8zUqQK83_BQ1Pl03RSVqRV85UzclO_FsK_ED-k-cY-qTxxl2H9nBtN-bmipGXL_b10N4cMWieOWFhrlRSrVYMMOm3Zc3R_fz6ZKKnKiMX25TT2im-cyELCNrUNGGxbW/s1600/IMG_4350+%25282%2529.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="472" data-original-width="1524" height="123" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg440ZKV4XYd9VYY8zUqQK83_BQ1Pl03RSVqRV85UzclO_FsK_ED-k-cY-qTxxl2H9nBtN-bmipGXL_b10N4cMWieOWFhrlRSrVYMMOm3Zc3R_fz6ZKKnKiMX25TT2im-cyELCNrUNGGxbW/s400/IMG_4350+%25282%2529.JPG" width="400" /></a></div>
<span class="mw_t_it"><br /></span>
<span class="mw_t_it">It occurs near the end of the first movement. Again, the crescendos must be brought out as requested by Berlioz, although the solo is generally calm in character. </span><br />
<span class="mw_t_it"><br /></span>
<span class="mw_t_it">The first movement ends with a serene chorale: </span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHt5NP5yNIW4HLX0ChdDUgzRCsCSlYJ0B6xmgLLpyA-m_muh4ZFclSRkowoMwFuTA4gZ8AQqfeG12q0jhQ30TYwkLD7uXSKq6W6CBvN1kH77Gq_v-JLWJsyrthVa0mA-gncHIPVRNQZ5EY/s1600/IMG_4363+%25282%2529.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1229" data-original-width="1600" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHt5NP5yNIW4HLX0ChdDUgzRCsCSlYJ0B6xmgLLpyA-m_muh4ZFclSRkowoMwFuTA4gZ8AQqfeG12q0jhQ30TYwkLD7uXSKq6W6CBvN1kH77Gq_v-JLWJsyrthVa0mA-gncHIPVRNQZ5EY/s400/IMG_4363+%25282%2529.JPG" width="400" /></a></div>
<span class="mw_t_it"><br /></span>
<span class="mw_t_it">This is a prime example of why we practice long tones. The bassoons are in octaves here, with the two lower parts being clearly more difficult considering the challenges of control and intonation on low Fs and low Cs.</span><br />
<br />
<span class="mw_t_it">For the second movement Berlioz trades the 4 bassoons for 2 harps.....the 4 bassoons are <i>tacet </i>while the 2 harps come to life for this movement only. That means that the bassoon section gets to kick back and enjoy listening to the exciting whirlwind of a waltz while conserving energy for the heaving lifting of the remaining 3 movements.</span><br />
<br />
<span class="mw_t_it">Berlioz calls upon all 4 bassoons for many of the semi-exposed tutti passages of the 3rd movement. </span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<span class="mw_t_it"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgwlZs9vYrKiMixKlp9yHWN1p1JNkIgSh4xAZ9Od3ZUVCDX_fiIPKano694OWqPjzM7OK2LUMWnQvNNlu5dUGeFW3nVfcDkQXiE5QLjjdzoi2O_3Bw7c7yijBxk4wshRPnfp7TmOCq-GpP/s1600/IMG_4352+%25282%2529.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="991" data-original-width="1600" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgwlZs9vYrKiMixKlp9yHWN1p1JNkIgSh4xAZ9Od3ZUVCDX_fiIPKano694OWqPjzM7OK2LUMWnQvNNlu5dUGeFW3nVfcDkQXiE5QLjjdzoi2O_3Bw7c7yijBxk4wshRPnfp7TmOCq-GpP/s400/IMG_4352+%25282%2529.JPG" width="400" /></a></span></div>
<br />
The 4 bassoons are in unison with the low strings. As always, attention must be paid to Berlioz's details of dynamics and articulation. Only some of the notes are to be played staccato, and the rest should be noticeably more legato. Be alert for tempo changes such as the <i>poco animato</i> beginning 3 before 42. Playing softly enough to be able to hear the cellos is advised, if acoustics allow. <br />
<br />
The truly heavy-duty bassoon<i> soli</i> passages begin in movement 4, the March to the Scaffold. In this movement Berlioz, convinced that his love will be forever unrequited, poisons himself with opium. The desperation of the situation is expressed by the 4 bassoons in unison:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiITSjuysoQ7tINCUv9Lo_UvfQjwtda9TWCw3gB3ROHc8lCVqJB68QtukcbDTdktyN-BHY9m20_AxN0gqHHP_tb9FjnSPNq9xNxbHnrT7ns4SoxmGBCFcraC5KqxfuBJ_wiSDcJpoujC95f/s1600/IMG_4353+%25284%2529_LI.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="445" data-original-width="1600" height="110" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiITSjuysoQ7tINCUv9Lo_UvfQjwtda9TWCw3gB3ROHc8lCVqJB68QtukcbDTdktyN-BHY9m20_AxN0gqHHP_tb9FjnSPNq9xNxbHnrT7ns4SoxmGBCFcraC5KqxfuBJ_wiSDcJpoujC95f/s400/IMG_4353+%25284%2529_LI.jpg" width="400" /></a></div>
<br />
The review of the Columbus Symphony's recent performance of Symphonie Fantastique mentioned the "shrieking bassoons". I believe the reviewer was referring to the above passage, which benefits from being played with the strength which was surely lacking in the French<i> basson</i> of Berlioz's day. After the first <i>mf </i>phrase, there is a crescendo to the high A and the next phrase. Of course it's important for the 4 bassoons to play these notes with matching intonation. The pickups at the beginning of each phrase (the sixteenth followed by dotted eighth followed by sixteenth) should be very incisive, almost forceful. I suggest adding a crescendo in the first phrase up to the high G, and using vibrato on the quarter notes to add emphasis and intensity. The final quarter note of each phrase (except the third phrase, which dies down at the end) should be held for full value or even longer for extended resonance. This is a very exciting passage, especially when the conductor gives the bassoons free rein to shriek.<br />
<br />
Soon after that, the 4 bassoons engage in a progression (a march, as it were) of eighth notes. This is one of the two most famous bassoon excerpts in the piece, and is sometimes featured on auditions.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZGKVz7zBH1Ok75VADvDVFXjeaGxcWlKGDSznDK3U8dPLlfkzePu5_hYQ_B1o3PI0Bo9Fkw8r9CA4Ab-Lw24cdeERlfy3PKnYtu_gEkzQz40_SGGCCx3bk2LXT_kpkrGBRIFvX5NliAoIC/s1600/IMG_4353+%25285%2529_LI.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="654" data-original-width="1600" height="162" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZGKVz7zBH1Ok75VADvDVFXjeaGxcWlKGDSznDK3U8dPLlfkzePu5_hYQ_B1o3PI0Bo9Fkw8r9CA4Ab-Lw24cdeERlfy3PKnYtu_gEkzQz40_SGGCCx3bk2LXT_kpkrGBRIFvX5NliAoIC/s400/IMG_4353+%25285%2529_LI.jpg" width="400" /></a></div>
Notice that the dynamic is <i>piano</i>. It's common to hear this passage played rather aggressively, almost angrily. Would Berlioz have requested the soft dynamic, especially from the French <i>basson</i>, if he wanted this passage to sound aggressive? Probably not. I asked the Columbus Symphony bassoon section to adhere to the <i>p</i> dynamic, and I was pleased with the result. One benefit of playing at that dynamic level is that each bassoonist can hear the other bassoonists better, and the ensemble benefits. Rushing is perhaps less likely to occur. Also, there's no doubt that the softer sound imitates the French <i>basson</i> sound to which which Berlioz was accustomed. I will admit that during the concerts I did add crescendos as the line ascended and vice versa, as my teacher K. David Van Hoesen recommended, to add a bit of spice.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<span class="mw_t_it">The division of the bassoon parts varies from one edition to another. In some editions, the
first and second bassoon parts are coupled and in other editions, the
first and third parts are coupled. The two pairs of bassoons play
basically two parts, which join together in unison for the important
bassoon ensemble <i>soli</i>. At the moment in history when Berlioz
composed this work, the orchestra's 4 bassoonists doubled two
parts. Berlioz was breaking the mold when he decided to make harmonic
use of the fact that he had 4 bassoon players at his disposal, for
example near the beginning of the 5th movements of <i>Symphonie Fantastique</i> where he took the bold and historic step of writing 4 individual bassoon parts: </span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfH57WqIDvqVLeMiyD7rfgjdv0cPIudalOCG_8Su4lVzVasO6hJzDRpDdDh6-D3sVqodpJiQsc-JRVEASx1llAxcRr3hkyRRdTktRzvQTI0T7SaVXs-BIdTSbVyMy9GN8Y7L4tnywHx21q/s1600/IMG_4365+%25282%2529_LI.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1429" data-original-width="1600" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfH57WqIDvqVLeMiyD7rfgjdv0cPIudalOCG_8Su4lVzVasO6hJzDRpDdDh6-D3sVqodpJiQsc-JRVEASx1llAxcRr3hkyRRdTktRzvQTI0T7SaVXs-BIdTSbVyMy9GN8Y7L4tnywHx21q/s400/IMG_4365+%25282%2529_LI.jpg" width="400" /></a></div>
<br />
A little later in the fifth movement lies the second of the two major bassoon audition excerpts:<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYzFLDqTAYF7rCA3kLsH2WqJK60_yv5HyWHFS6CSOcc4NK_oeA5byL0fVSkkgQ8Cy6EzKGXCJvJySgA4vGwuu5v3kvpNkKl8oy7G6krCbeg0FUBg_HdP9zYBOIy8pIHtDqCrYtp-QqelEp/s1600/IMG_4354+%25282%2529_LI.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="795" data-original-width="1600" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYzFLDqTAYF7rCA3kLsH2WqJK60_yv5HyWHFS6CSOcc4NK_oeA5byL0fVSkkgQ8Cy6EzKGXCJvJySgA4vGwuu5v3kvpNkKl8oy7G6krCbeg0FUBg_HdP9zYBOIy8pIHtDqCrYtp-QqelEp/s400/IMG_4354+%25282%2529_LI.jpg" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
Here the bassoons accompany the Eb clarinet solo. The tempo varies, and so does the type of tonguing used. It's possible to single tongue if the tempo is on the moderate side. Often, however, double tonguing is necessary. Some musicians believe that it's important to think of the sixteenths as 3 sets of <b><i>duplets</i></b> per beat rather than as 2 sets of <i><b>triplets</b></i> per beat. The rhythm is identical, but the emphasis is different. In the duplet version, emphasis is on the first and third sixteenth note of each set. In the triplet version, emphasis is on the first and fourth sixteenth of each group of sixteenths. Most bassoonists think in triplets, as far as I know, even though it appears that Berlioz preferred the duplet approach, since he did not write a "3" above the first 3 sixteenths of each group to indicate a triplet approach. This is a minor detail, perhaps, but one never knows when it might be significant to an audition committee or a conductor.<br />
<br />
I recommend practicing this excerpt with a metronome. It's particularly challenging to keep the tempo steady from one before 64 to the end of the excerpt. There is sometimes a tendency to slow down at 64 when the rhythm changes. <br />
<br />
Soon after the above sixteenths is a long-winded exposed passage for all 4 bassoons:<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB_EAAcNJS2c4ixGqIGE5eIII0ihclrP9uhv3ivPJge-CvVWktmQHPj6VaKE8Egog9I8B2Wbh458q-SvLBzbJOpmvSFDlX0Jl9gFo9sr50atWT01obOSb2LT7jpwHY25UxH_OuYCXmYaJh/s1600/IMG_4355+%25283%2529.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="347" data-original-width="1600" height="86" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB_EAAcNJS2c4ixGqIGE5eIII0ihclrP9uhv3ivPJge-CvVWktmQHPj6VaKE8Egog9I8B2Wbh458q-SvLBzbJOpmvSFDlX0Jl9gFo9sr50atWT01obOSb2LT7jpwHY25UxH_OuYCXmYaJh/s400/IMG_4355+%25283%2529.JPG" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
This passage is doubled in the cellos and basses. Once again, intonation is critical, and a good way to practice this is with a sound drone producing a C. Many of the notes in this passage are troublesome pitch-wise for bassoonists, but that's no excuse. With a good reed and flexible embouchure, it's very possible to play all notes on the bassoon well in tune. The passage diminuendos to<i> ppp</i>. That means using less air and a loose, open embouchure (while taking less of the reed into your mouth) to bring the pitch down where it belongs. If you check the score you'll see that the cellos hold the low C one measure longer than the bassoons and basses. That sometimes causes bassoonists to hang on to the C too long. It's better to allow the cellos to finish the passage, as Berlioz requested.<br />
<br />
The Dies Irae theme comes next, played by all 4 bassoons and 2 tubas:<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcm6UImxLqgnMHUDW9o1UaW67m8IjeOphsoNBFqYVGZngedYG5vxtrGW687q9rOjUjy9WryyVJ7jy-4DRSpK5G-2agUPI9nQa_DJee4W8I5ghh12yN4vfkpcwaGGN6munNcoH_BfywyxEP/s1600/IMG_4356+%25282%2529.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="895" data-original-width="1600" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcm6UImxLqgnMHUDW9o1UaW67m8IjeOphsoNBFqYVGZngedYG5vxtrGW687q9rOjUjy9WryyVJ7jy-4DRSpK5G-2agUPI9nQa_DJee4W8I5ghh12yN4vfkpcwaGGN6munNcoH_BfywyxEP/s400/IMG_4356+%25282%2529.JPG" width="400" /></a></div>
<br />
Each note has an accent, and that's the most important aspect of these Dies Irae passages other than intonation. As I've said before in this blog, I do not like to change reeds in the middle of a piece. However, this is one of those passages which really might call for a special reed, one that plays loudly and in tune in the extreme low range. I did not change reeds during our recent performances, but I used this passage to test new reeds for the piece, and the reed I chose was strong in the low range so that switching reeds was unnecessary.<br />
<br />
Although the tubas may easily outblast the bassoons, the bassoons do have the physical advantage of being located closer to the front of the stage, so we probably can be heard somewhat. Is it OK to allow a bit of buzz to creep into one's sound for this passage for extra "edge" and projection? Maybe.<br />
<br />
The bassoons participate enthusiastically in the Witches' Round Dance: <br />
<span class="mw_t_it"></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYaKP75-ePbf9LK8MRONkJQ1EF8Pry-Uoe3jaRbLMj5gERIU9EjcEQ2x1LptA32X_52yjV5k09mB8c9BgY4KEX4YARo7QbcP5PjsmRrDgcJMJEzOmqbpNXiw990TChL416_FVPKXu9hmwW/s1600/IMG_4357+%25282%2529.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1208" data-original-width="1600" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYaKP75-ePbf9LK8MRONkJQ1EF8Pry-Uoe3jaRbLMj5gERIU9EjcEQ2x1LptA32X_52yjV5k09mB8c9BgY4KEX4YARo7QbcP5PjsmRrDgcJMJEzOmqbpNXiw990TChL416_FVPKXu9hmwW/s400/IMG_4357+%25282%2529.JPG" width="400" /></a></div>
<br />
This excerpt was my sight-reading for my Performer's jury (the junior year jury which determines candidacy for the Performer's Certificate) at Eastman, interestingly. It's easy to become entangled in the eighth notes after 72, so some wood-shedding helps (if it's not sight-reading, that is).<br />
<br />
Shortly thereafter the bassoon section engages in a round with the cellos. The cellos begin two measures before the bassoons enter at 3 after 76:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiivewt02Nq_vFq2Y5d69oPPx9c4cNFgrVGTRn90yPOtkxW-SEQ4GG1MnxrmdA-h2BcfketmbFuycL7YoR3C4pyeMYlzdMk32dWFZioUfALc60Bgd1ecFPqbt4DOacSMFkbw_5i5dFQrJfr/s1600/IMG_4358+%25282%2529.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="510" data-original-width="1600" height="127" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiivewt02Nq_vFq2Y5d69oPPx9c4cNFgrVGTRn90yPOtkxW-SEQ4GG1MnxrmdA-h2BcfketmbFuycL7YoR3C4pyeMYlzdMk32dWFZioUfALc60Bgd1ecFPqbt4DOacSMFkbw_5i5dFQrJfr/s400/IMG_4358+%25282%2529.JPG" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<span class="mw_t_it"><br /></span>
<span class="mw_t_it">Clarity and incisiveness, even as the passage diminuendos to an eventual <i>ppp,</i> seem appropriate here as the whirlwind winds down. </span><br />
<span class="mw_t_it"><br /></span>
<span class="mw_t_it">The following trill passage which begins in the fourth bar of 83 has been known to make an appearance on an audition or two:</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVAYV87UDODxO_hx6ilDJgNQq9eDvYX18OPmre5mspSHD7DYOLluh9Nscer65j0vl1tRKvjipCu7982YAz2fCZW0BEANBqJ3mBSnQB-ITKgzAo0YW9L0svaYsh4QYqZ3GVUlbmu9jrI3gb/s1600/IMG_4359+%25283%2529.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="797" data-original-width="1600" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVAYV87UDODxO_hx6ilDJgNQq9eDvYX18OPmre5mspSHD7DYOLluh9Nscer65j0vl1tRKvjipCu7982YAz2fCZW0BEANBqJ3mBSnQB-ITKgzAo0YW9L0svaYsh4QYqZ3GVUlbmu9jrI3gb/s400/IMG_4359+%25283%2529.JPG" width="400" /></a></div>
<span class="mw_t_it">One very common mistake that woodwind players make on this passage is to make the eighth note trills (which begin on the fifth full bar of the passage, or 9 bars after 83) sound as though the trills are actually grace notes before the beat. Yes, it's easier to play it that way, but that's not what Berlioz wrote. He wanted the trills on the beat. I think it's helpful to think of those eighth note trills as triplets so that the "trill" (which really is just a triplet at this fast tempo) falls on the beat. Also keep in mind that the seven bars before 84 are marked <i>p leggiero</i>. Those eighth notes often sound a little too frantic for<i> p leggiero</i>.</span><br />
<br />
<span class="mw_t_it">With <i>Symphonie Fantastique</i> Berlioz managed to revolutionize not just orchestral music, but also orchestral bassoon playing. It's so hard to believe that it was written 188 years ago, on the cusp of the Romantic era!</span><br />
<span class="mw_t_it"><br /></span>
<span class="mw_t_it"><br /></span>
<span class="mw_t_it">.</span><br />
<a class="a2a_dd" href="http://www.addtoany.com/share_save#url=http%3A%2F%2Fbassoonblog.blogspot.com%2Fsearch%3Fupdated-max%3D2013-12-18T18%3A58%3A00-08%3A00%26max-results%3D7&title=bassoon%20blog&description=" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="Share" border="0" height="16" src="https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" width="171" /></a>
<!-- Blogger automated replacement: "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" --><!-- Blogger automated replacement: "https://images-blogger-opensocial.googleusercontent.com/gadgets/proxy?url=http://static.addtoany.com/buttons/share_save_171_16.png&container=blogger&gadget=a&rewriteMime=image/*" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" -->B.S.http://www.blogger.com/profile/08724883690591213622noreply@blogger.com3tag:blogger.com,1999:blog-4115433326707838301.post-25138787203800256852018-04-16T08:23:00.000-07:002018-04-30T07:53:09.263-07:00Debussy Nocturnes and La Mer This weekend's Columbus Symphony program was varied and exciting, to say the least, combining French impressionism with a world premier and a Mozart masterpiece:<br />
<br />
DEBUSSY: <i>Nocturnes</i><br />
MOZART: Concerto No. 23 in A Major for Piano and Orchestra, K. 488<br />
HADDAD: <i>Risala</i><br />
DEBUSSY: <i>La mer </i><br />
<i>encore: RAVEL: Pavane pour une enfant defunte</i><br />
<i><br /></i>
Interestingly, the most hair-raising passage for me on the entire program was this (from the encore, the Ravel <i>Pavane</i>):<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-5NwVlELGoiMn1UTV73nwXmtu91UE8JlvqTJYm3P64KM8rbGKIMzHpV4-59V9yWTMcJR2ycuRoV6Xh5fJPnith5DSqUHdAkBNLeXKYJj1GJN-AN3PhPSms7PspyeJ6jhQ7elrCZnQI-ub/s1600/IMG_4291+%25282%2529_LI.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1166" data-original-width="1600" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-5NwVlELGoiMn1UTV73nwXmtu91UE8JlvqTJYm3P64KM8rbGKIMzHpV4-59V9yWTMcJR2ycuRoV6Xh5fJPnith5DSqUHdAkBNLeXKYJj1GJN-AN3PhPSms7PspyeJ6jhQ7elrCZnQI-ub/s400/IMG_4291+%25282%2529_LI.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">from Ravel: <i>Pavane</i></td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
At first glance this passage looks innocuous, except for that<i> ppp</i> dynamic marking. (We never know whether or not to take such a dynamic marking seriously, especially as players of the bassoon, an instrument famous for its limited dynamic range. But in this program full of French impressionism, yes, the dynamics are to be taken very literally!) Oftentimes a <i>ppp</i> dynamic implies the absence of vibrato, since vibrato tends to make a passage stand out more. Upon close observation, it may become clear that there is no time to breathe at letter B before beginning the <i>ppp</i> passage, especially if the player's goal is to linger as long as possible on the taper of the A2 at the end of the phrase before B. Not being able to breathe certainly doesn't help matters! By the time I reached the end of the E3 one measure after letter B (with a slow tempo) I had no choice but to breathe before the next note (A2). Snatching a quick, desperate breathe right before a <i>ppp</i> A2 is somewhat less than ideal! The calmness required for controlling the bassoon at ultra soft dynamic levels does <i>not</i> go hand-in-hand with gasping for the air required to sustain life! (And it wasn't quite that simple; as bassoonists often do, I had to<i> expel</i> air before inhaling, and as you can see by looking at the part, there is really no time allowed in the music to accomplish any of this!)<br />
<br />
This reminds me of one of the most significant concepts I learned from my teacher K. David Van Hoesen. During my freshman year at Eastman he constantly stressed the importance of being relaxed in order to produce the best results on the bassoon. As in the above-described passage, we are often <i>anything</i> <i>but </i>relaxed when the proverbial chips are down! We are most likely to be sweating, tense, and so overcome with worry that our brains shut down! Bassoonists often tighten the embouchure inadvertently in such situations, sending the pitch skyward. Playing sharp is all too common among bassoonists under pressure. The instrument reacts very easily to the slightest changes in embouchure and air, which is both our blessing and our curse.<br />
<br />
For the above passage, the soft dynamic actually requires a tighter embouchure. However, that must be coupled with a significant decrease of air in order to produce the desired dynamic at the proper pitch. If the bassoonist is a nervous wreck, the embouchure often tightens but the player fails to decrease the air, thus raising the pitch. But, as K. David Van Hoesen taught me, being a nervous wreck is not allowed! Playing the bassoon requires relaxation. Perhaps this is one of the most difficult lessons to learn.<br />
<br />
What most bassoonists would think of when faced with this program, though, is probably the "triple-tonguing" in La Mer. Is there really any such thing as triple tonguing? As far as I know, what we call "triple tonguing" is really just double tonguing with some of the accents falling on the "ka" (or "ga") syllable.<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFxwsqKtkFcH0_xr4f_EW-S-Pr19-elJbGbRXwL5gPWaV69ToKLvNnTh1OxC8VW7e_4TwJCWB8mC6dJYeOxN45070QIaL2mY-KMJ_czY-L7opYIBdZqpmkcY6RWo_6GQYHHrjPJDwDxXo5/s1600/IMG_4273+%25282%2529_LI.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="937" data-original-width="1600" height="372" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFxwsqKtkFcH0_xr4f_EW-S-Pr19-elJbGbRXwL5gPWaV69ToKLvNnTh1OxC8VW7e_4TwJCWB8mC6dJYeOxN45070QIaL2mY-KMJ_czY-L7opYIBdZqpmkcY6RWo_6GQYHHrjPJDwDxXo5/s640/IMG_4273+%25282%2529_LI.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">from Debussy: <i>La Mer (tempo ~ 105 per beat; 3 beats per measure)</i></td></tr>
</tbody></table>
The sixteenth note triplets one measure before 25 above may be articulated like this, with emphasis as indicated: <b>"TA</b> ka ta <b>KA</b> ta ka<b> TA</b> ka ta<b> KA</b> ta ka <b>TA</b> ka ta <b>KA</b> ta ka<b> TA</b>". The only difference between double-tonguing and triple tonguing is that in double-tonguing, the emphasis is on the first note, the third note, the fifth note, the seventh note, etc., with the dominant <b>TA</b> syllable being used for all emphasized notes. In so-called triple-tonguing, the first, the fourth, the seventh, the tenth, etc. notes are emphasized, and the first is the <b>TA</b> syllable while the fourth is the <b>KA </b>syllable. The reason some bassoonists consider triple tonguing to be more difficult is because of the challenge of emphasizing the <b>KA</b> syllable which, for many double-tonguers, is considerably weaker than the <b>TA</b> syllable.<br />
<br />
It's easy to resolve that problem. Just spend as much time practicing "<b>Ka</b>-ta-ka-ta-ka-ta......" as you spend practicing "<b>Ta</b>-ka-ta-ka-ta-ka........". Sometimes I even practice (slowly) beginning ALL notes with the <b>Ka</b> syllable, just because the <b>Ka</b> is so much weaker than the <b>Ta</b> which we use all the time. The<b> Ka</b> syllable needs considerable attention to make up for its neglect relative to the <b>Ta</b> syllable.<br />
<br />
Bassoonists tend to spend a great deal of time fretting over those triple tongued passages. Yet it's nearly impossible to actually hear those passages on recordings. Perhaps there are other passages more exposed and therefore more deserving of our attention, like this one:<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCb-6BTjLGc2qtxOSgfJKUtdGtr85C4uZicOkloLS0qN1n5awwgMa8m6jGoXEwnrwR1weT5Zu7KFK2sJHTAMSmlnQSPNWc8TyoL_3b7jvFxfLbG5nJd14QFqBWBd3FlLhhlUEGcq8vGkZR/s1600/IMG_4288+%25282%2529.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="575" data-original-width="1189" height="154" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCb-6BTjLGc2qtxOSgfJKUtdGtr85C4uZicOkloLS0qN1n5awwgMa8m6jGoXEwnrwR1weT5Zu7KFK2sJHTAMSmlnQSPNWc8TyoL_3b7jvFxfLbG5nJd14QFqBWBd3FlLhhlUEGcq8vGkZR/s320/IMG_4288+%25282%2529.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From Debussy: <i>La Mer</i></td></tr>
</tbody></table>
This is in a slow 6/8 tempo with 6 beats per measure. I think it's challenging to project on this solo, especially while attempting to honor Debussy's dynamic marking of <i>p</i> and leaving plenty of room for crescendo on the last 3 beats of the solo. This solo is rarely prominent enough on recordings, partially due to the orchestration in which the bassoon seems to be easily buried underneath strings and harps. My recommendation is to focus on the expressive quality of the solo rather than worrying too much about the<i> p</i> dynamic. (That's not what I did, however. I worried too much about the<i> p</i> dynamic.)<br />
<br />
Basssoonists vary regarding reed usage during a concert. I much prefer to use one reed for an entire concert, but in the real world that's not always possible or reasonable. For this program I used two reeds.....a "normal" one and an easier-to-control one. For the Mozart Piano Concerto No. 23 with its marvelous bassoon writing, I used the more soloistic (normal) reed. For the Debussy Nocturnes I used the easier-to-control reed. This is why:<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJRO9EXYBuCGWk5iGiXF0WmxdTR8O5CaoC0WykTLHbo1lJjY-ERk71d5_HCDFa1WvZ62ByexXxg-0KusmbI9h9qSnVL6dGLm-Fdck2ZhjyMrUZ9wFhQR41CegswdcqpqkVftKooqBLf_MJ/s1600/IMG_4279+%25282%2529.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="533" data-original-width="1600" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJRO9EXYBuCGWk5iGiXF0WmxdTR8O5CaoC0WykTLHbo1lJjY-ERk71d5_HCDFa1WvZ62ByexXxg-0KusmbI9h9qSnVL6dGLm-Fdck2ZhjyMrUZ9wFhQR41CegswdcqpqkVftKooqBLf_MJ/s400/IMG_4279+%25282%2529.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From Debussy: <i>Nocturnes</i></td></tr>
</tbody></table>
There's nothing worse than an uncooperative reed for this type of passage, which must fade into nothing. I'll admit that I spent considerable time figuring out which reed to use for this. Also, I recommend using the whisper key lock here to avoid any possible issues having to do with a wayward whisper key. Moving the fingers in a calm, relaxed fashion also helps.<br />
<br />
Here's another reason for the easier-to-control reed:<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5Zykk2aawGW13JGa98rlub2lEWXtD7xdP62yZBDaToH2k3Cp2BLtSkbHFw6loJg5FKXdDOkCnzyaNtXlW2iE7rMNfEyU1FTVrZzVr7bavX0-MxCpQEeaJ4TZXat_YLwUEIv5yp5VqmIw4/s1600/IMG_4287+%25282%2529_LI.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="635" data-original-width="1600" height="157" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5Zykk2aawGW13JGa98rlub2lEWXtD7xdP62yZBDaToH2k3Cp2BLtSkbHFw6loJg5FKXdDOkCnzyaNtXlW2iE7rMNfEyU1FTVrZzVr7bavX0-MxCpQEeaJ4TZXat_YLwUEIv5yp5VqmIw4/s400/IMG_4287+%25282%2529_LI.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From Debussy: <i>Nocturnes</i></td></tr>
</tbody></table>
The bassoon imitates the oboe in the two identical passages before 21 above, with the second one marked<i> piu p</i> with a decrescendo. It's very quiet, and the diminuendo fades to nothing. Although it <i>might </i>work with a "normal" reed, it could be risky.<br />
<br />
The very opening also benefits from an easier-to-control reed:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcOfoeJIYBhEMTTZfnZXNcYUuCDjvNEQoorRdp0HrGxsueluxnCSeqVvJOyrIUu2Ch6oBzJwpcy1eFqZvKleroxa6WPdDhuBJxIRlI5aYrJrDl9JWglpjXFMeJzbU9ODTVhB2GGKrchh4z/s1600/IMG_4278+%25283%2529.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1050" data-original-width="1600" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcOfoeJIYBhEMTTZfnZXNcYUuCDjvNEQoorRdp0HrGxsueluxnCSeqVvJOyrIUu2Ch6oBzJwpcy1eFqZvKleroxa6WPdDhuBJxIRlI5aYrJrDl9JWglpjXFMeJzbU9ODTVhB2GGKrchh4z/s400/IMG_4278+%25283%2529.JPG" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
Calmness is especially called for here, with ultra smooth transitions from one note to the next. I debated which fingering to use for G#2 and finally decided to use the alternate (thumb) fingering. It was really a toss-up, and that interval (from C#3 down to G#2) was the one I was most concerned about sounding smooth enough.<br />
<br />
And here's yet another reason for that reed:<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEile_5pxh9cOYgVSNpCELbtzVhjHE-CsgmPNLsH1WEiQRhIeUTQrWxEZ7tE7hBvRV0CRnx1BvM8RuUtXUuguwMvhJq6L6ssBZYUb_ooyxxUC7Z_Y3gUA2kXjs41yIAwTpr_DUx4w2jdy9sQ/s1600/IMG_4284+%25282%2529_LI.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="894" data-original-width="1600" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEile_5pxh9cOYgVSNpCELbtzVhjHE-CsgmPNLsH1WEiQRhIeUTQrWxEZ7tE7hBvRV0CRnx1BvM8RuUtXUuguwMvhJq6L6ssBZYUb_ooyxxUC7Z_Y3gUA2kXjs41yIAwTpr_DUx4w2jdy9sQ/s400/IMG_4284+%25282%2529_LI.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From Debussy: <i>Nocturnes</i></td></tr>
</tbody></table>
Each of these measure-and-a-half long solos has a dynamic marking ranging from <i>p</i> to<i> piu p</i> to <i>pp diminuendo</i>. Notably, the highest dynamic is <i>p</i>. Only a superb reed is capable of producing these dynamic variations. The bassoonist has a decision to make here about how to finger the grace note G#. It's possible to use the standard fingering, but to me that usually sounds awkward, and I don't use it because there are better options. I used the whisper key lock and the high A key with the F# trill key for the G#. This sounded easy and it was easiest to control. It was in tune but required careful listening because the pitch was easily thrown off. My second choice would have been to use the high A key and the high C key for the G#, but its pitch tended to be a bit flat on my bassoon.<br />
<br />
For decisions like this, I record myself using my phone's recording app. Lately I've been recording orchestral passages using different reeds to make reed choices. In fact, I now make sure my phone is nearby for recording whenever I practice. This was inspired by a blog post I read entitled <a href="https://jasonhaaheim.com/practicing-without-feedback-is-like-bowling-through-a-curtain/">Practicing without feedback is like bowling through a curtain </a>by Jason Haaheim, principal tympanist of the Metropolitan Opera Orchestra. Even though we THINK we hear ourselves accurately when we play our instruments, we actually lack the ability to provide ourselves with the informative and useful feedback offered by recordings, teachers, and mock audition committees. I've always heralded the value of recording oneself, and throughout my life I've recorded my practicing from time to time. Now I do it constantly.<br />
<br />
One thing that I've noticed as I progress through my career is that if I feel that I've left no stone unturned in my preparation.......in other words, if I've recorded my practicing, if I've used a tuning drone, if I've listened to recordings of the rep I'm learning and studied the scores as needed, if I've made and tested plenty of reeds, if I've woodshedded the technical passages, if I've done everything I know of to do to prepare......then that calmness which my teacher insisted upon has a chance to prevail.<br />
<br />
<br />
<br />
<a class="a2a_dd" href="http://www.addtoany.com/share_save#url=http%3A%2F%2Fbassoonblog.blogspot.com%2Fsearch%3Fupdated-max%3D2013-12-18T18%3A58%3A00-08%3A00%26max-results%3D7&title=bassoon%20blog&description=" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="Share" border="0" height="16" src="https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" width="171" /></a>
<!-- Blogger automated replacement: "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" --><!-- Blogger automated replacement: "https://images-blogger-opensocial.googleusercontent.com/gadgets/proxy?url=http://static.addtoany.com/buttons/share_save_171_16.png&container=blogger&gadget=a&rewriteMime=image/*" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" -->B.S.http://www.blogger.com/profile/08724883690591213622noreply@blogger.com3tag:blogger.com,1999:blog-4115433326707838301.post-68692640479508351892018-03-30T09:20:00.000-07:002018-03-30T09:45:34.530-07:00Saved by the blog<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZtfhrHJNeCM2zvCJ852bFzlQeuIXjPIPKHZuoSrk6Pux_cyLpueGBIMvbue9NrIgdFmQ6BDxpvi0-eHC1aFecR1EfhX0Yx7ankWsV5AlcCbAtvwkobA8dnLkQl1C5wHgnjChLNBBmL0Vx/s1600/IMG_4346.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZtfhrHJNeCM2zvCJ852bFzlQeuIXjPIPKHZuoSrk6Pux_cyLpueGBIMvbue9NrIgdFmQ6BDxpvi0-eHC1aFecR1EfhX0Yx7ankWsV5AlcCbAtvwkobA8dnLkQl1C5wHgnjChLNBBmL0Vx/s320/IMG_4346.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">reed #89 made on March 30, 2018 (the 89th day of the year) </td></tr>
</tbody></table>
For some reason I feel compelled to strictly adhere to my "Reed-a-Day" rule. This harkens back to my college days when an oboe-playing friend informed me of his famous teacher's instructions to make two reeds a day. My friend ended up in one of the world's top orchestras. Was it because he made two reeds every day? We'll never know, but we do know that making two reeds a day was what he was doing when he won the audition (and beyond).<br />
<br />
When I was in high school I wrote to a world famous bassoonist who, in his reply, advised me to become an ace at reed-making. And that was the extent of his advice! The best way to become an ace is to make a lot of reeds, assuming your method and tools are sufficient. Making a lot of reeds also ensures that you'll always have many reeds to choose from rather than being stuck with whatever you happen to have.<br />
<br />
Since bassoon reeds last a lot longer than oboe reeds (and take a lot longer to make) I adjusted the requirement for a bassoonist to ONE reed a day. <br />
<br />
For regular classical concert weeks, each of my reeds lasts barely one week. The reed still plays after a week and can be used for things like pops concerts if there are no solos, but the reed no longer has the degree of control it had when it was brand new. This may vary for other bassoonists. (I seem to have a component in my saliva which very rapidly breaks down bassoon reeds.)<br />
<br />
This week I had a lot of catching up to do, since I had fallen behind on my Reed-a-Day rule due to the demands of my symphony schedule. Yesterday I made seven reeds at once. The reason I try to avoid that is because after the first couple of reeds I become impatient and therefore less <i>careful.</i> As I progressed through the seven reeds I became increasingly aware of how long it had been since I had sharpened my profiler blade. Those who reed this blog regularly already know that I have an <a href="https://bassoonblog.blogspot.com/2017/12/top-10-reasons-to-avoid-sharpening-your.html">aversion to sharpening the profiler blade.</a> But I'm reasonable enough, during rare moments of lucidity, to realize that it's in my best interests to sharpen it.<br />
<br />
So I did it; I sharpened my profiler blade without my usual preceding fretting. However, perhaps because I was so cavalier about this particular blade-sharpening event, I ran into a snag. Something was not quite right when I re-installed the blade, but I could<i> not</i> for the life of me figure out what was wrong.<br />
<br />
I re-read my notes from my reed lessons with Norman Herzberg, hoping for a clue. I double checked the drawings I had made when I first learned to sharpen the blade. I looked at the photo I had taken with my phone right before I took the blade assembly apart (to be used as a reference) and realized I needed a photo of a different angle.<br />
<br />
Finally it dawned on me that I had written about blade sharpening several times on my blog, with photos and in-depth explanations. So I consulted my blog. (I had always hoped that this blog would prove to be useful for something.) Sure enough, I found the exact photo I needed to solve my problem. This is it:<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWyDKy-9pJ_EMn6YBp5cUdIk31ne1Bq_RfuGE7AkTGzvXFs4LQfu5rDyu5ggZ_rhf8cI0MYy6gM8RSVZVW5b5SD2Z6hYoywTBqgbuWh44Rh7APUscNvl2mbsT6aLe8bLRQ_Vfxx8P9acp-/s1600/jan2010+045.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWyDKy-9pJ_EMn6YBp5cUdIk31ne1Bq_RfuGE7AkTGzvXFs4LQfu5rDyu5ggZ_rhf8cI0MYy6gM8RSVZVW5b5SD2Z6hYoywTBqgbuWh44Rh7APUscNvl2mbsT6aLe8bLRQ_Vfxx8P9acp-/s320/jan2010+045.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Using the blue pie-shaped shim to check the blade height</td></tr>
</tbody></table>
In case you're curious, my mistake was that I had placed the cutting shaft as far back as it would go instead of as far forward as it would go. It's a good thing I had plenty of photographic instruction to refer to. If your reed-making equipment requires similar maintenance, I highly recommend taking copious notes and photos to be used later. I also learned a lesson......if I sharpened the blade as often as I'm supposed to, I'd never forget how to do it! <br />
<br />
<br />
<br />
<br />
<a class="a2a_dd" href="http://www.addtoany.com/share_save#url=http%3A%2F%2Fbassoonblog.blogspot.com%2Fsearch%3Fupdated-max%3D2013-12-18T18%3A58%3A00-08%3A00%26max-results%3D7&title=bassoon%20blog&description=" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="Share" border="0" height="16" src="https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" width="171" /></a>
<!-- Blogger automated replacement: "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" --><!-- Blogger automated replacement: "https://images-blogger-opensocial.googleusercontent.com/gadgets/proxy?url=http://static.addtoany.com/buttons/share_save_171_16.png&container=blogger&gadget=a&rewriteMime=image/*" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" -->B.S.http://www.blogger.com/profile/08724883690591213622noreply@blogger.com1tag:blogger.com,1999:blog-4115433326707838301.post-71736387598174466592017-12-31T12:43:00.000-08:002017-12-31T12:43:45.070-08:008 highly efective ways to improve your bassoon playing<h3>
1. Practice with a drone.</h3>
Playing in tune is a constant goal of all conscientious musicians. If a bassoonist just sits back and allows the notes on the bassoon to fall where they may, inaccurate intonation will surely result due to the inherent imperfections of the instrument. In order to play in tune, bassoonists must constantly adjust the embouchure and the air stream (this is often done subconsciously). Using an electronic tuner to check the pitches of individual notes may be effective, but the problem with using a visual tuner is that the player's <b><i>eyes</i></b> are used to assess whether or not the player is in tune. On the other hand, using a drone forces the player to use the <i><b>ears</b></i>. There are several online drone sources <a href="http://faculty.washington.edu/brockman/TuningDrones/TuningDrones.htm">such as this one.</a> If you haven't used a drone before, just begin by matching the pitch of the drone. Then practice scales, arpeggios and melodies while the drone is producing the pitch of the tonic (the first note of the scale).<br />
<h4>
</h4>
<h3>
2. Practice long tones (ALWAYS with a drone or tuner).</h3>
Long tones are essential for the development of control over the embouchure and the air stream. There is quite simply no other way to develop the steady air stream necessary for mastery of the bassoon. At first, practice steady, controlled long tones using straight tones, and later add crescendos and diminuendos, always with a drone or tuner to ensure accurate intonation. <br />
<h4>
</h4>
<h3>
3. Practice with a metronome. </h3>
A steady pulse provides the foundation for rhythmic accuracy. When playing in an ensemble with other musicians, it's easy to go with the flow, allowing the conductor and/or the ensemble to provide the pulse. When each musician in the ensemble is also tuned in to his or her own internal pulse, the result can be a very tight and impressive ensemble. However, for auditions and other types of solo performances, the player has no choice but to rely upon his or her own internal pulse. This can be daunting if steadiness of pulse and rhythm has been neglected.<br />
<br />
The metronome is the obvious tool to use in strengthening (and testing) your internal pulse. To test your internal pulse, use the metronome to provide the<i> <b>offbeats</b></i> so that you must provide the downbeats, or set the metronome to <b>one beat per measure</b> so that you must provide accurate subdivisions within each measure. Once the metronome is turned off, many musicians find it helpful to move slightly to the beat (such as with discreet foot tapping, for example). It's harder to ignore one's internal metronome when there is a physical component to it (such as foot tapping).<br />
<h3>
4. <i> </i>Practice scales and arpeggios.</h3>
The practicing of scales and arpeggios develops the fundamental building blocks of a musician's technique. Listen acutely for clean transitions from one note to the next while thinking of each scale as a beautiful melody with the notes matching one another in tone quality. This enables development as a technician <b><i>and</i></b> as a musician simultaneously. The careful practice of scales and arpeggios pays huge dividends, resulting in the smoothness which is often elusive to bassoonists. Move your fingers as little as possible (always keeping them as close as possible to the holes and keys of the bassoon) for efficiency. Play your scales and arpeggios with a drone to ensure accurate intonation.<br />
<h4>
</h4>
<h3>
5. Record your playing. </h3>
If you record your playing and then listen to the recording, much will be revealed. The way you sound to yourself while playing is NOT the same as the way you sound to a listener other than yourself. Think of listening to a recording of your own voice speaking.....it sounds very different from the way it sounds to you while you are speaking. If you really want to discover the flaws in your playing, then recording yourself is the key to thorough self-evaluation.<br />
<br />
Recordings can make it easy to measure your progress. Make an initial recording, then listen to it to decide what improvements to make. Practice the improvement, then record again. Since it's unlikely that this will be your final product, decide what further changes to make and repeat the process. Do this a few times (maybe over the course of a few days, or maybe in one day) and you'll be able to listen to the recordings of your progress. This may seem time consuming, but it's very effective.<br />
<br />
Also, recordings can be helpful in choosing the best reed for a passage. <br />
<h3>
<b>6. Become a master reed maker.</b></h3>
It goes without saying that the quality of a bassoonist's reeds can make or break a performance (or even a career, if that performance happens to be an audition!). A successful bassoonist needs a steady supply of good reeds to choose from. If you want to become a better reed maker, then make more reeds. Each reed you make teaches you more about how to deal with the temperamental vegetable which controls our outcomes.<br />
<br />
Unless you have a reliable and satisfactory reed source which you know is going to outlive you, it's advisable to become your own reedmaker and to make tons of reeds.<br />
<h3>
7.<i> Practice</i> vibrato.</h3>
Yes, all advanced bassoonists <i>use</i> vibrato, but how many of us actually<i> practice</i>
it? Although used for musical expression, vibrato is a technique which
benefits from development (even though we like to think of it as a
naturally occurring phenomenon). To begin, set the metronome on 60,
pick a note, and begin pulsating the air stream with sudden steady
bursts of air once on each beat. Then produce two steady pulses for
each beat, then three, then four, then five per beat. Next set the
metronome on 72, and practice slow scales in whole notes or half notes with 4
pulsations per beat.<br />
<br />
The long tones (see number 2 above) are to be practiced at first without vibrato, since it's essential for
the bassoonist to learn to control the straight tone before adding
vibrato. Once the straight tones are mastered, practice long tones with
vibrato.....sometimes with a steady pulsation of vibrato and other times beginning
with no vibrato or minimal vibrato and gradually increasing and then
decreasing its intensity and pulse.<br />
<br />
You'll notice that the notes on the bassoon vary regarding ease of producing vibrato. Some notes on the bassoon are
actually easier to control<i> with</i> vibrato than without. The goal, of course, is to gain control of each note on the instrument with and without vibrato, and to be able to modify the vibrato according to musical requirements.....sometimes the music calls for intense, earth-shaking vibrato, while the opposite extreme calls for barely perceptible vibrato (or none at all). Methodical practice of vibrato will ensure that the player has control of vibrato on each note of the instrument.<br />
<br />
How
is bassoon vibrato produced? Some say it's produced in the abdomen and
some say it's produced in the larynx. Even when it is produced abominably, there are sympathetic vibrations which appear higher, such as in the neck, and sometimes the bassoon itself moves with the vibrato. The source seems to vary
depending upon the speed of the vibrato.....the faster the vibrato, the
higher the source (faster vibrato seems to be coming more from the
larynx than the abdomen). <br />
<h3>
8. Listen to great musicians.</h3>
In order to learn to be a fine musician, it's necessary to expose yourself to many examples of world class musicianship as expressed by vocalists, pianists, string players, etc. Whenever possible, attend live performances. The rest of the time, make use of YouTube and other sources.....there's no excuse these days for musical ignorance. The finest musical examples imaginable are available 24 hours a day, free of charge. Each time we listen to a great performance, our musical intuition is bolstered subconsciously. The bassoon can be a challenging instrument to play at times, but that's no excuse to allow musical standards to fall by the wayside. The inspiration derived from great instrumentalists and vocalists helps keep us on the right track.<br />
<br />
Remember......you are a musician first, a bassoonist second. <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH4gLdw_vCJriH_JZSiJDsW4dQYyI2cWcgyYTPr_Zif3LpmyeZBkt_KcF8mQsLSq-6k-P1YyjXjdBYMJueepzAmsgSMkc_F3hVXK_fqUq7qKVrPiGUCHe0jNroVP2X0CQVEJ22JQhle2dl/s1600/get-attachment.aspx.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="851" data-original-width="1280" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH4gLdw_vCJriH_JZSiJDsW4dQYyI2cWcgyYTPr_Zif3LpmyeZBkt_KcF8mQsLSq-6k-P1YyjXjdBYMJueepzAmsgSMkc_F3hVXK_fqUq7qKVrPiGUCHe0jNroVP2X0CQVEJ22JQhle2dl/s320/get-attachment.aspx.jpg" width="320" /></a></div>
<br />
<br />
<a class="a2a_dd" href="http://www.addtoany.com/share_save#url=http%3A%2F%2Fbassoonblog.blogspot.com%2Fsearch%3Fupdated-max%3D2013-12-18T18%3A58%3A00-08%3A00%26max-results%3D7&title=bassoon%20blog&description=" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="Share" border="0" height="16" src="https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" width="171" /></a>
<!-- Blogger automated replacement: "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" --><!-- Blogger automated replacement: "https://images-blogger-opensocial.googleusercontent.com/gadgets/proxy?url=http://static.addtoany.com/buttons/share_save_171_16.png&container=blogger&gadget=a&rewriteMime=image/*" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" -->B.S.http://www.blogger.com/profile/08724883690591213622noreply@blogger.com2tag:blogger.com,1999:blog-4115433326707838301.post-38179819526936391902017-12-21T21:51:00.001-08:002017-12-22T09:10:31.793-08:00Bassoon playing position (sitting)The optimal bassoon playing position is established <i>without </i>the bassoon. Many musicians are familiar with the <a href="http://www.alexandertechnique.com/">Alexander Technique</a> which basically teaches people to release unwanted muscle tension while sitting, standing or moving. Problems such as carpal tunnel syndrome and repetitive strain injuries, all too common among musicians, are often alleviated using the Alexander Technique.<br />
<br />
This is an example of what it looks like to apply the Alexander Technique to the act of sitting:<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHmkQQ7eWLpvwhOsx2vINKfD_vZSWHbv-YSsM7Z9560IUtnGeYZFSX706Ub4ZbE8qglJbTRTWV1b_Irx_Xrq3vmxWIwHYsk_l0vFl9mnNfaV9aQzJVE1VjXrn15Y2s9Bpls2641bdFG-E/s320/alexander-technique-sitting-chair.jpg" width="234" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">This is the ideal bassoon playing position.....now all that remains is adding the bassoon and then placing the arms in playing position.</td></tr>
</tbody></table>
<br />
<br />
The above sitting posture should be absolutely unaffected by the introduction of the bassoon and the insertion of the reed into the mouth. Obviously the arms must be moved in order to accommodate the instrument, and the positioning of the arms should be as natural and relaxed as possible. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjixK-nGIWqgRX_9segyOJEpLiuC12YAmnwz0jmXX164jUHCtor6B1g37b3Y1TTz6qkr_usZWz72Btux2S2XRNn2tcdwGD4ixLNgLU9ZlpHH2fY477zHprZ5Pt1pNRNEDoWItXGpinWvChE/s1600/IMG_3912.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjixK-nGIWqgRX_9segyOJEpLiuC12YAmnwz0jmXX164jUHCtor6B1g37b3Y1TTz6qkr_usZWz72Btux2S2XRNn2tcdwGD4ixLNgLU9ZlpHH2fY477zHprZ5Pt1pNRNEDoWItXGpinWvChE/s320/IMG_3912.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">the posture should NOT be affected by the bassoon</td></tr>
</tbody></table>
<br />
I'm no expert on Alexander Technique, but I've had a few lessons and found them to be immensely beneficial. I've spent a lot of time working with students on playing position since I'm convinced that it makes a difference. I begin by asking the student to sit comfortably in the chair with good posture as indicated by the photo at the top of this post. Then the bassoon is brought into that playing position. It's challenging to talk students into<b><i> not</i></b> moving the body to accommodate the bassoon! The goal is to adjust the bassoon, not the player. The seat strap may be manipulated up and down as well as backward and forward in the chair to place the bassoon in the right position. <br />
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/prN9kbDtedc" width="560"></iframe><br />
<br />
Additionally, I advise my students to position the bassoon high enough so that when the reed is inserted into the mouth, all of the pressure on the reed is applied from above. The jaw should be dropped and prevented from pushing up on the reed. If the bassoon is positioned too low, the jaw will automatically push up on the reed, constricting the sound and raising the pitch. The lower lip supports and surrounds the reed, but the pressure on the reed is felt in the top lip and the top front teeth.<br />
<br />
.<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3YRO-yOiIGubfOfZsBx5C2muJ2jJj0aSIKpOgnYGHwe6q8j1LLEyJsW5Tc0KdTNJw-yRGQf2uv5r4aoUAUpD-PeqpgmOlVk2KZ-wu-2jW3H8haE014a4ePHfI_Is3MzH95tuG9P1Zv6sK/s1600/IMG_4317_LI.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3YRO-yOiIGubfOfZsBx5C2muJ2jJj0aSIKpOgnYGHwe6q8j1LLEyJsW5Tc0KdTNJw-yRGQf2uv5r4aoUAUpD-PeqpgmOlVk2KZ-wu-2jW3H8haE014a4ePHfI_Is3MzH95tuG9P1Zv6sK/s640/IMG_4317_LI.jpg" width="640" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
To me the playing position includes the position of the reed as it enters the mouth. If I see a student's reed entering at the lower lip, I can be sure that the student will be inadvertently pushing up on the reed. (It's better, I think, if the reed hits the top lip as it enters the mouth.) I often demonstrate (or ask the student to demonstrate) how the sound improves when the pressure is applied only from above. This is accomplished by raising the bassoon, dropping the jaw, and applying pressure only on top of the reed. This is the intersection of embouchure and playing position.....it's impossible for me to talk about embouchure without also discussing the point of entry of the reed into the mouth, which is also part of the playing position. (When teaching bassoon embouchure specifically, I instruct students to wrap their lips over their teeth and drop the jaw back as far as it will go, creating an overbite. Pressure is applied to the top of the reed, and pushing up with the jaw is best avoided.)<br />
<br />
This is the playing position and embouchure which I think enables a desirable bassoon sound. The abdomen is free to expand for breathing and vibrato and the reed is allowed to vibrate while being dampened on top for a robust yet round sound. The lack of tension in the playing position will most likely prevent any performance-related injuries.<br />
<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a class="a2a_dd" href="http://www.addtoany.com/share_save#url=http%3A%2F%2Fbassoonblog.blogspot.com%2Fsearch%3Fupdated-max%3D2013-12-18T18%3A58%3A00-08%3A00%26max-results%3D7&title=bassoon%20blog&description=" style="margin-left: 1em; margin-right: 1em;"><img alt="Share" border="0" height="16" src="https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" width="171" /></a></div>
<br />
<!-- Blogger automated replacement: "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" --><!-- Blogger automated replacement: "https://images-blogger-opensocial.googleusercontent.com/gadgets/proxy?url=http://static.addtoany.com/buttons/share_save_171_16.png&container=blogger&gadget=a&rewriteMime=image/*" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" -->B.S.http://www.blogger.com/profile/08724883690591213622noreply@blogger.com8tag:blogger.com,1999:blog-4115433326707838301.post-72419274398523136322017-12-18T08:39:00.003-08:002017-12-21T10:29:40.251-08:00Top 10 reasons to avoid sharpening your bassoon profiler blade<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5ElTXdFBVqb56nMooLw7y1wlIz23ih6AqM3LVfoSaWedVxdOfZJnukDvIjFt7XYzxCDmGTl6MtQJaFQ2pvBAmsYom9QdFuXBTZ13D9v5qO8iqWDee-PDERc4ZKmEZlfPpE4hYyecY6zP5/s320/IMG_3079.JPG" width="320" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">blade from Herzberg bassoon reed profiler</td></tr>
</tbody></table>
<br />
10. You've laid the groundwork to make the task as daunting as it can possibly be. You've hidden your notes about how to sharpen the blade, you've stashed your diamond sharpening stone in an unknown location, and you have no idea what you did with the photos you took of each step last time you sharpened........ <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFPvLV-WKpJmx2276xx0E65tm2BcRR4o8aNQo_5bGbAjnHdHa8uq4idpWqTSDFFehFSsMEbEzV5smZ-V7QYiRWiyZx-Dz4YxCvj97Zsa4SoVq_qe4aBlTCVNA2hCD-NwrXYnXKvaO58xWJ/s200/jan2010+039.jpg" style="margin-left: auto; margin-right: auto;" width="200" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">diamond sharpening stone and its leather sheath</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
9. You know that you're supposed to sharpen the blade after 50 pieces of cane have been profiled, but you pretend you've lost count.... even though you number each reed. The guilt can be paralyzing.<br />
<br />
8. Since you don't sharpen the blade very often, you<i> know</i> you're not very good at it. In fact, it's entirely possible that you suck at blade sharpening even more than you realize.<br />
<br />
7. You are never really sure if the burr is there (and if it IS there, it certainly isn't very obvious).<br />
<br />
6. Since you aren't sure you actually have a burr, you sure as heck also don't know when it's been successfully removed.<br />
<br />
5. A newly sharpened profiler blade could very well result in reeds which are too thin.<br />
<br />
4. If you sharpen the blade often enough, eventually there will be nothing left of it.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHivSG6nAQUDZgq70SfiDlYUChSBanMcjeSfzeYq3y787GJyh7IjRS0Mt8iOayb8MoT4UqcAz77FXpqWrNBw-8RhV7FcvNMPFawjFQBz8itgVJ7Kw1kKEdsHSfa-Qw94iRMaoTnp9KO1hM/s200/IMG_3063.JPG" style="margin-left: auto; margin-right: auto;" width="200" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Keep doing this, and eventually there'll be nothing left!</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
3. Blade sharpening takes too much time, so your schedule won't allow it.<br />
<br />
2. It's unlikely that your colleagues are whispering behind your back about your neglect of your profiler blade.<br />
<br />
1. Most people don't go around sharpening profiler blades<b><i> ever</i></b>.......geez. It's not fair.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj59-b0OMWGHAPnFtDN2dDRNfsRa5wS3ywgrmYb1ebUUklp4ILJXphnFMh8JESS4dVs86luGJOp4Hco4iOlJReC4q1wvMZhC7-Mczjs2Yh-C0266fa2xZj9z5vF9zVK0PBYz06A0KEHbWOZ/s320/jan2010+084.jpg" style="margin-left: auto; margin-right: auto;" width="320" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">the blade installed in the profiler, where it belongs</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<br />
And by the way, I'm gearing up to sharpen my profiler blade. This post will hopefully result in action, now that I've exposed my excuses.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a class="a2a_dd" href="http://www.addtoany.com/share_save#url=http%3A%2F%2Fbassoonblog.blogspot.com%2Fsearch%3Fupdated-max%3D2013-12-18T18%3A58%3A00-08%3A00%26max-results%3D7&title=bassoon%20blog&description=" style="margin-left: 1em; margin-right: 1em;"><img alt="Share" border="0" height="16" src="https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" width="171" /></a></div>
.
<!-- Blogger automated replacement: "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" --><!-- Blogger automated replacement: "https://images-blogger-opensocial.googleusercontent.com/gadgets/proxy?url=http://static.addtoany.com/buttons/share_save_171_16.png&container=blogger&gadget=a&rewriteMime=image/*" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEhyOszrKkDMKv9FW3W1awKnG1eijc1BkseZTisUuWxhx61olF8CSzdi4tcv2J055M-pDWfpeTXgfh27qxM7YbNaoUTaL76SD2SZYxECKlFCLKXSFohyU0780gCWBYwQ8IyZgTQ29acVopuxnBLcrGOoSDMaAWm3iUU=" -->B.S.http://www.blogger.com/profile/08724883690591213622noreply@blogger.com3