tag:blogger.com,1999:blog-4157026828398818599.post787935635997551099..comments2023-12-26T04:39:19.373-08:00Comments on Barry Blogs: The Reed As a Miniature InstrumentBarry Steeshttp://www.blogger.com/profile/10736336953457008419noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-4157026828398818599.post-83658712741148904872012-05-19T07:16:16.217-07:002012-05-19T07:16:16.217-07:00Hi, Derek,
As you'll see in a later post, I a...Hi, Derek,<br /><br />As you'll see in a later post, I agree with Cooper's approach -- starting with a reed that is a little bright or rough in sound often yields a reed that has a good complement of highs, middle and low when mature.<br /><br />It's also important to reiterate that a reed should have a little roughness in the sound right around the player. In a concert hall this sound will have the proper beauty, focus and carrying power.<br /><br />Many of us have little opportunity to play in good acoustical spaces without other musicians around so it's tough for us to develop this sense about the reed. I used to sneak into recital halls, churches, etc. just to get the correct feel for how my sound was coming off. Now I'm spoiled to have regular access to Severance Hall. I wish everyone had this opportunity!<br /><br />It's easy to go overboard with the bright reed thing, however. Remember, times have changed and the majority of players (at least in the U.S.) don't prefer the once mainstream brighter sounds of Sherman Walt and other East Coast mid-century bassoonists. I would put Cooper in that category, by the way.<br /><br />Through any edge in the sound, you should always be able to hear a solid, focused core -- a definite pitch.<br /><br />I stick with the near parallel scrape. I posted my blade measurements in a previous blog. There two tapers to my blade -- 1.) a very gradual slight taper (almost parallel) from collar to about 3/8" from the tip and then 2.) a more drastic taper to the tip.<br /><br />I believe this is pretty common amongst most American reed makers.<br /><br />I don't believe in playing on heavy equipment -- reeds, bocals, bassoons. I think the results are counterproductive.<br /><br />I'll say more about this in a later blog.Barry Steeshttps://www.blogger.com/profile/10736336953457008419noreply@blogger.comtag:blogger.com,1999:blog-4157026828398818599.post-31358906506675712352012-05-17T12:44:15.518-07:002012-05-17T12:44:15.518-07:00I remember learning that Cooper taught that what a...I remember learning that Cooper taught that what a reed sounds like up close (ie, to the performer) and what it sounded like to the listener were totally different. Didn't he teach that at around 30 feet, the "buzz" disappeared and you were left with the middle, pleasing vibrations. <br /><br />He also was adamant that trying to create the "dark" sound too soon in a new reed led to prematurely collapsed reeds, which were inevitably sharp and unresponsive. Better rather, to start off with a bright, buzzy reed and let it calm down over time due to the hardening of the blades and other factors. <br /><br />I think Mr. Herzberg was after something similar when he advocated scraping for pitch and response rather than tone. <br /><br />I'm really enjoying this series of articles. I'll be really curious if you have any thoughts on the parallel vs wedge scrape debate. I've pretty much always made a parallel scrape reed with pretty thin blades, but I've been studying with a German teacher who plays on big, heavy reeds, but uses an immense amount of air to make them vibrate. He says it takes more work, but gives a rounder, more flexible sound than on a parallel scrape. <br /><br />DerekAnonymousnoreply@blogger.com