Wednesday, July 19, 2017

Reed blade measurements





1st WIRE UP

Left Rail

Left Channel
Center
Right Channel
Right Rail
TIP
.004"
.004"
.008"
.008"
.005"
1/8"
.0065"
.009"
.016"
.012"
.006"
1/4"
.008"
.015"
.0205"
.016"
.009"
3/8"
.0095"
.0185"
.024"
.0185"
.0125"
1/2"
.011"
.021"
.027"
.0205"
.015"
5/8"
.020"
.0235"
.0285"
.0215"
.018"
3/4"
.0235"
.026"
.030"
.023"
.0205"
7/8"
.027"
.0275"
.031"
.026"
.0245"
1"
.030"
.032"
.034"
.031"
.0305"

1st WIRE DOWN

Left Rail
Left Channel
Center
Right Channel
Right Rail
TIP
.005"
.006"
.009"
.007"
.005"
1/8"
.007"
.011"
.016"
.0115"
.006"
1/4"
.009"
.015"
.020"
.016"
.010"
3/8"
.013"
.020"
.0235"
.020"
.012"
1/2"
.015"
.022"
.027"
.021"
.0145"
5/8"
.017"
.023"
.029"
.023"
.020"
3/4"
.019"
.023"
.030"
.023"
.023"
7/8"
.023"
.025"
.030"
.025"
.028"
1"
.030"
.030'
.034"
.030"
.035"

Wednesday, July 12, 2017

Reed Morgue again

In a previous post, I discussed the benefits of taking apart used reeds and measuring the blades. You can read about it here

What I didn't describe in the old post, was how to measure the blade. You can use a dial indicator to measure, but keep a few things in mind. Since the tip of the indicator is rounded, it's best to measure the gouged side of the blade, not the exterior. This is because the rounded tip will conform better to the curve of the gouge, especially in the back of the blade where the curve is greater.

To make the blade as flat as possible without cracking it, you'll need to soak the cane. If you're in a hurry, you can boil it. Flatten the blade out using a heavy object like a paperweight and apply some downward pressure. Even if you get a small crack or two, you can work around this. You could also chop off the tube to eliminate cracking.

Measure the blade at each 1/8" from tip to collar. Measurement must be as accurate as possible so the numbers you get will accurately reflect blade thickness at all points. Mark the spine first by finding the exact midpoint of the width of the tip and the midpoint of the width at the throat. Connect the centers with a line. Do the same for the channels and rails.

Friday, July 7, 2017

Van Hoesen Teaching, Part 3 -- Reading and Listening



David Van Hoesen was interested in the overall education of his students. He encouraged his students to seek out recordings of the best violinists, pianists, singers and orchestras. He believed that a fine bassoonist should also have knowledge of literature and art.

Here is his reading and listening list:


Sunday, July 2, 2017

Van Hoesen Teaching, Part 2, Scales and Arpeggios


Below is David Van Hoesen's Scale and Arpeggio routine. The goal is to become familiar with the different scale patterns and chords in a particular key during a week's worth of practicing (one key per week). All exercises except the Broken Arpeggio are to be done with a metronome for evenness and speed.

Along with perfecting the technique, the focus should be on playing with a beautiful sound, good intonation and a musical sense in all registers.

The Arpeggios in Sequence are taken directly from a violin exercise by Carl Flesch.

A word about the Broken Arpeggio exercise. It is to be done slowly working for a beautiful, smooth connection between notes. Pay attention to embouchure, breath support and smooth, gentle fingers to achieve a smooth, expressive slur for each interval. This is a great exercise for breaking in new reeds as well!

Here is another version of this that may print more clearly. It is also available on my website. Scroll nearly to the bottom to find it.








Thursday, June 29, 2017

K. David Van Hoesen - Teaching, Part 1


This is the first in a series of posts about the teaching of K. David Van Hoesen (1926-2015). He was the bassoon teacher at the Eastman School of Music from the mid-1950's through the 1980's. Former students of his populate the major orchestras of the United States and the faculties of many music schools across the country.

Van Hoesen passed on his teaching orally in lessons and master classes. Therefore, there's not a lot of written material to be had covering his teaching. However, I've collected a few things and his son-in-law, oboist Jim Gorton has shared some material with me.

The following must have been a set of notes he used for a class. He mentions the Saint-Sans Bassoon Sonata and must have taught that in the class. These are maxims we heard in our lessons on a regular basis.


Perhaps a few of these maxims require a bit of explanation. #4 and #5, "Slow notes go fast, fast notes go slow" doesn't mean to rush longer value notes and drag shorter value notes.

The idea here is to create motion during long notes so the phrase doesn't die. With faster notes, the idea is to make sure they take up all the space they're allowed so they are expressive, voiced with the same care as a long note and don't get compressed.


Tuesday, June 27, 2017

The Best Perspective

Last week at the International Double Reed Society Conference I had a memorable experience.

The Conference was held on the campus of Lawrence University. On the bottom level of its Warsh Center was a wonderful cafeteria where many of the attendees ate lunch.

One afternoon I bought lunch and sat down at a table of bassoonists. We were all discussing various technical matters related to the bassoon when an elderly woman came by and sat down next to me.

She started a familiar conversation with me. She is 81 years old and had never heard a bassoonist play a solo before. I had played on the concert the night before and she heard me. Her eyes lit up with excitement as she described the wonder she felt at hearing what a bassoon sounded like up close. She said she'd waited 81 years to hear the sound of a bassoon!

I noticed she was not wearing the lanyard we all wore as Conference participants. She must have been one of the very few people in the cafeteria not directly involved with the Conference.

Unlike the rest of us who were there to advance careers, perform new pieces, sell merchandise, etc., she was attending just to hear the instruments and our music.

After lunch, I walked across the campus to another venue. On my way, she passed me on her bike (!) and wished me a good day!  She was a local resident, just taking advantage of the unique opportunity to hear music for double reed instruments on a particular week in June in her town!

It occurs to me that it is really people like this woman for whom we perform. Many people have heard a violinist play a solo, but I'm sure many of you share the experience I've had when I say, that after 40 years of a career as a bassoonist, I still hear from audience members who have NEVER heard a bassoonist play a solo.

As we seek levels of ever rarefied perfection in our practicing, it's vital for us to rememberthat the audience member's perspective is often that of someone hearing our music and our instrument for the first time!

Sunday, June 25, 2017

Malambo at IDRS



Last Tuesday I performed Miguel del Aguila's Malambo with orchestra at the International Double Reed Society Conference in Appleton, Wisconsin. The concert was on the Lawrence University Campus in Memorial Chapel. 

Previously this spring I had performed the two other versions of this piece for bassoon and piano at the University of Arkansas and with string quartet here in Cleveland on the Arts Renaissance Cleveland concert series. Now I've performed all three versions!

The version for bassoon and string orchestra adds the bass section, of course. There is a wonderful soli for them accompanying the bassoon at the beginning!

Miguel was there and heard the performance. It was great to see him and spend time together.





Here we are with Scott Pool, the bassoonist who organized the commission. Scott performed the bassoon and piano version of the piece the next day at the Conference.

 Anyone considering performing this piece is welcome to contact me with any questions that arise about it.  I would be happy to help with further performances!