Heinrich Density corrections and "Christmas Star"

I've updated my previous post about cane density, thanks to some helpful corrections from Jean-Marie Heinrich. Some of the terminology I used was incorrect or inaccurate and he also provided more information on his methods.

Since this post got (is getting) a lot of views, I thought I would update it to show these corrections. If you've already read it, go back and have a look again. I think it will make more sense now.

Heinrich also sent me this discovery from under his microscope.

Bassoon Cane Christmas Omen?

Cane microscopy

I recently received a wonderful email from researcher, Jean-Marie Heinrich. He is the one who wrote the article, "The Bassoon Reed", published in the Journal of the International Double Reed Society. Required reading for all serious reed makers!

Jean-Marie shared with me some photos of cane taken at the microscopic level. He has added a level of artistry through use of different dyes.

Most notable are his comparisons of cane of different densities. Here is scientific evidence of why reeds feel different from one to the next, although the construction may be nearly identical.

In the photos, the background material is cellulose, the triangular or teardrop shaped objects are lignified cellulose or vascular bundles.  A lignin is: "A complex organic compound that binds to cellulose fibers and hardens and strengthens the cell walls of plants."  - American Heritage Science Dictionary.

The vascular bundles surround two tubular structures called the  xylem. They function as a circulatory system for nutrients in Arundo donax.

More and/or thicker vascular bundles = dense cane.

A split piece of tube cane showing high density. Cellulose is the white background, vascular bundles,  brown/yellow "teardrops". The more important difference between this photo and the one below is the thicker bark in the photo above. (no dye or reagent used)

Another piece showing low density. Vascular bundles thinner and less numerous. Bark is thinner. (no dye or reagent used)

 High density with cellulose appearing blue, lignified cells appear green. High lignification, thick bark. These two samples were not stained, but the colors are the result of chemical reaction to the reagent Toluidine blue. Cellulose and lignified cells react differently to the reagent, thus resulting in different colors.

Low density with blue staining. Cell wall structure immature. Almost no lignification.

Oboe cane microscopy -- high density. The vascular bundles look like little aliens floating in cellulose!

Oboe cane (same magnification) - low density.

1000 sections of oboe cane tube sorted by density. Lowest density on the left, highest on right. Each reed maker must draw his/her own conclusions about what density is best for use in reed making. A sample of not less than 1000pcs is large enough for accurate and repeatable results.

Phyllis McGinley Song Cycle

It's been a year since the bassoon world lost one of its leading figures; K. David Van Hoesen. I thought it would be fitting to upload the wonderful recording he made with Jan DeGaetani

and his daughter, Gretchen Van Hoesen

of Alec Wilder's Phyllis McGinley Song Cycle. Listen here:

Here are the poems he set:

Malambo, Nostalgica and Wilder videos

I've just uploaded some videos to YouTube.

Malambo, Op.115 by Miguel del Aguila. This is my live performance from May of this year with the MOSA quartet.

Nostalgica for Bassoon and String Quartet, also from May performance. Miguel revised this piece for our performance. 

And, continuing my homage to my former teacher, K. David Van Hoesen, here is his recording of Alec Wilder's Sonata #3 for Bassoon and Piano with Bill Dobbins.

Bozza Recit, Sicilienne et Rondo

Recit, Sicilienne et Rondo by Eugene Bozza is one of the best Paris Conservatory pieces out there. I have just posted my live performance at the University of Arkansas from this past April on YouTube .

Anyone performing this piece will notice that the edition contains several obvious errors. I'll list them below.


BASSOON PART

• In the first line above, the second turn should end in an E eighth note, not a C.
• At the Lent indication, the 32nds should be in BASS CLEF, not tenor. This is from K. David Van Hoesen who told me that in an earlier edition, the clef change happened only at the beginning of the next line. The Bb (instead of F) start to the Lent makes more sense harmonically, since it fits with the quasi diminished 7th arpeggios just before it. An F would not fit. Also, the F gives an implied V-I cadence in a place where there is no functional harmony.

•   Anyone playing through this page with a pianist will quickly discover that the measures rest tally at #5 is long by a measure. Also the rests in the fourth bar of #5 give that bar too much value.
• A slur and tie are missing from the second measure before #10. Compare to 5 before #10.

PIANO PART 
  
There are errors in the piano part as well.

This is not an omission or error, but simply a way of making the opening more dramatic. This is what Van Hoesen added to the piano part. Try it! It sounds really great!

In the above, the 3/4 bars with the septuplets in them need a quarter rest, not an eighth. Perhaps the original had the old-fashioned French quarter rests that look like reversed eighth rests?

In the above, the rolled chords in the first two measures should be half notes, not quarters.

Alborada del Gracioso

We're performing Ravel's Alborada del Gracioso this weekend. Originally composed as a piece for piano solo, Ravel himself orchestrated it. In doing so, he gave the four short solo lines about a third of the way through the piece to the bassoon.

 Beginning at 9, the bassoon has four short unaccompanied solos joined by shorter and shorter impressionistic interludes by the strings and percussion.

Prior to the first solo there is a massive orchestral chord. Wait a beat or two before starting to let the air clear!

All grace note groups in these solos should start with a light articulation. Tongue single grace notes and the first of a group of grace notes. Accented notes and notes with tenutos under big slurs should also receive a light articulation. This will help bring them out and give them the necessary tonal weight required by the recitativo indication. Don't stop the air prior to articulation under the big slurs, simply give the note in question a gentle nudge!

Notice the rhythmic accelerandos in the first and last solos. These should be executed with some freedom. Play them a bit as if notated as an accelerando on the SAME repeated note value ("basketball bouncing by itself on the gym floor" effect). Don't let them sound like a musical math problem!

The middle two solos, being shorter and smaller in pitch compass, should be more mellow and understated than the outer two.

Notice the combination of "faster" (pressez) and "softer" during the triplets in the fourth solo!  These two indications do not often go together -- louder/faster is more common.

Tempo for these solos should be slower than the interludes and can vary. Try them at roughly half the tempo of the interludes ( ♩=♪).

Sestak 5 Inventions

I've just uploaded my performance of Zdenek Sestak's 5 Virtuoso Inventions for Bassoon to YouTube

This live performance is part of a recital I gave at the University of Arkansas on April 12th of this year.

I will be uploading other performances in the coming weeks, so subscribe to my channel for notifications. You may also subscribe to this blog to get notifications of postings.

A little help

Last week was quite busy. On Wednesday, I performed the Villa-Lobos Duo and Willard Elliot's Six French Songs from the 15th Century with Frank Rosenwein and Jerry Wong, piano. The day of the performance I had a double rehearsal of Schumann Symphony #3 with the Orchestra.

The weekend contained two concerts with heavy programs. In addition to the Schumann program, the other concert had Mozart Piano Concerto in c minor, No. 24 and Rachmaninov's Symphony #2.

In the weeks leading up to the performances, I was beginning to feel some pain in my left hand and thumb. I should note that we rehearsed and played the Villa-Lobos standing up, partly due to the lack of good places to turn pages. This added to the weight on my left hand.

Using a balance hanger when standing up is helpful to redistribute the weight because it relocates the fulcrum of balance so that the left hand carries less of it.

However, I was also looking for a way to take some of the weight off the left hand when sitting down. Using a neck strap in concert with a seat strap can work. The neck strap is tied to the back of the chair and hooked in the ring on the boot.

I wanted to show you something even better.

Chicago Symphony bassoonist, Dennis Michel gave this to me when we meet on our tour this January.

It consists of a clamp (available at any hardware store) with two holes drilled in it for an elastic band. The two holes are in addition to the factory drilled hole, which is in an inconvenient spot.The clamp fastens to the back of a chair.

Below is the clamp with the band itself with S-hook with snaps and a small cord lock on the other end.

The length/tension on the band can be adjusted by opening the lock and pulling or pushing the band through.

This is available from REI.

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"