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!


Sunday, May 21, 2017

Reed Tools for sale

A student of mine has recently had to quit the bassoon. His reed tools are for sale. Please contact me if you are interested in any of them.

Reedsnstuff tip cutter -- $150 

 Ken Potsic dial indicator (English) -- $100

 Forrests drying rack -- $10

 Double hollow ground knife -- $60

 Fox forming and holding mandrels (the pair) -- $30

steesbassoon reamer -- $60

Fox ST2 (Stees) straight shaper -- $120

Saturday, May 20, 2017

A Month of Extremes, Pt.3 -- Ligeti's Piano Concerto







Bassoonists reading this may want to print the above image. This is the opening of the second movement of Ligeti's Piano Concerto. A close look reveals writing for the bassoon in the extreme. Very soft attacks on high Eb and high E in a passage that constitutes a duet with the piccolo. The texture is very light and every note you play up to Letter F is a solo.

The rest of the piece is extremely difficult as well, but we'll just deal with the high register issues confronted by anyone playing the bassoon part.

Many bassoonists have a special bocal for high notes. Here is mine:



It's a Fox #2CVX bocal. The black band is a piece of aquarium tubing. In the second photo you can see a pinhole drilled into the bocal just below the band. The band can be slid over the hole or beside it depending upon whether or not you want the hole to be available. In the third photo you can see a black line I scribed on the bocal so you can look to see if the hole is covered while counting rests. Important when you have rests between passages that contain high notes and those that don't (see "A major drawback below).

The hole is drilled at 1" from the tip of the bocal to a diameter of .020". I've seen a few other dimensions for this hole, but this one works well for me. Do not attempt drilling yourself. Take the bocal to a repair technician!

When the hole is open, high E's, Eb's and even F's pop out much easier and at "pp". I don't even have to use a specialty reed!

A major drawback:

This hole drastically weakens the ability of the bassoon/reed to produce tones in the third harmonic (Eb3 up to Bb4)! Notes in that range may speak as a multi phonic or not at all! Therefore, having the slider on the bocal is important. Closing the hole restores security to notes in this range.

High F's!!

The Ligeti contains two high F's.


Note his instructions at the bottom of the page: "In this register, even if the note doesn't speak correctly!"

Here's the other:



I love the indication, "It's possible, don't transpose!"

Thursday, May 18, 2017

A Month of Extremes, Part 2 -- Miguel's colorful music


After finishing our run of performances of Debussy's Pelleas et Melisande on Saturday night, the very next day I played a concert with the MOSA String Quartet.

On the program were two pieces I commissioned 19 years apart from Miguel del Aguila.

Malambo is a one-movement piece I will be performing with orchestra at the International Double Reed Society Conference on June 20th in Appleton, Wisconsin. This will be my third performance of the work. In April, I performed the bassoon and piano version at the University of Arkansas, at the beginning of the month (mentioned above) I performed the version for bassoon and string quartet, and at the Conference, I'll perform the version with orchestra. I will have played all three versions over a two month span!

Nostalgica is a piece I commissioned in 1998. I recorded it, along with two other works and Miguel's Sunset Song on this CD. Play a clip by going here (Scroll to the bottom and click on the arrow in the CD art cover to play the "Blues" movement.)

Extremes:

The extremes were to be found that week on my bassoon and in my reed case.

Reed case:

On one side I had two soft low reeds, on the other were my solo reeds. These reeds had a full sound, with lots of color possibilities. It took many hours at the reed desk in the month prior to come up with viable candidates for both categories!

Bassoon:

During the week before my performances, I went back and forth between two different configurations of bocals, lefreQues, and pad heights on my bassoon depending upon what I was playing that hour. My solo #1cc prewar Heckel bocal, lefreQues and open pad for del Aguila, my #2cc prewar Heckel bocal, no lefreQues and lowered E pad height for Debussy.

Tuesday, May 16, 2017

A Month of Extremes

The repertoire I'm performing this month dwells in the extremes of bassoon playing. 90% of what bassoonists do consists of starting and stopping notes predictably at the proper dynamic, etc. Very little of orchestral repertoire consists of solo work and most of it is part of something else -- a bass line to a melody, a note in a chord, etc.

For this month, very little of what I'm playing contains the everyday, mundane job of playing the bassoon in an ensemble!  Here's a short list of the pieces I'm playing:

Debussy: Pelleas et Melisande, Bsn3
Miguel del Aguila: Nostalgica and Malambo -- both pieces I commissioned for bassoon and string quartet
Ligeti Piano Concerto
Bernstein: West Side Story soundtrack with film

The Cleveland Orchestra began May with 3 staged performances of Debussy's opera, Pelleas et Melisande. There are 3 bassoon parts, so I was assigned to play the 3rd bassoon part. The opera starts like this:

The first measure is Bassoon 3 alone with lower strings. Much of the opera is written at "pp" and "p". This is particularly true of the 2nd and 3rd bassoon parts. Oddly enough there are many passages in which the two bassoonists double a single soft low note. Not sure what Debussy was thinking when he wrote this kind of thing!

Anyway, in order to play the D (and other passages later in the opera) in tune and soft enough with a predictable start, I made some modifications to reeds and my bassoon.

Bassoon mods:

1. Play D with low Bb key down. This stabilizes the pitch of the D and keeps it from rising up, all the while muting the tone somewhat.

2. Here's another modification to Low D that just may change your life for this note.

3. I used a mute in the bell to further dampen the sound. I played with this mute in for much of the opera! This is a stronger mute than the cone shaped ones with holes cut in. Warning: it cannot be used for playing low Bb!


It's made from packing material foam. I put a rubber band through the center to give me something to grab onto when removing. About an inch thick. A set of instructions for making one can be found here.

4.Other general modifications I made to my bassoon to achieve a soft, mellow timbre: Remove all lefreQues, change bocals, place a few layers of tape on the top band of the boot joint under the low E to whisper bridge key. This lowers the E pad and takes some of the brilliance out of the sound.

Reed mods:

1. Cut back collar. My reeds have a 1/8" collar normally. I reduced the collars on a couple of my reeds for this opera to 1/16". Cane can also be removed from the area of the blade just in front of the collar.

2. Carefully slide 1st wire with fingernails back towards 2nd wire one wire's width (about .025"). This has the affect of lengthening the vibrating surface of the reed. It eases the response and weakens the reed. Do not expect easy high notes or even an E2 that doesn't sag! I like this adjustment because you can always slide the wire up back into its original position if you like.

3. Thin the last millimeter of the tip. Putting a micro bevel on the tip of the reed improves response. The tips of the reeds modified for the opera measured about .005" at the very tip. Usual for me is .008-.010".

 All of these modifications helped lower my blood pressure when playing this exposed, low part over a 3 hour time span each night!