Care and Maintenance Seminar

Get your bassoon quiet and clean for the Fall!

I will be conducting a 3-day Bassoon Care and Maintenance Seminar over Zoom.

Dates: July 26th-28th

Times: 7:00-9:00pm (Eastern Time, United States)

Fee: $100 total for 3 two-hour sessions

What you get:

1. Handbook with tips for care and maintenance, including sequence for key removal and replacement for all joints. Safety tips and simple fixes for your bassoon you can do yourself. This is not a DIY guide for bassoon repair!

2. List of supplies for care and maintenance.

3. Live trouble shooting in the sessions.

Spaces are filling up, so reserve soon by contacting me: steesbassoon@gmail.com 

Dial indicator

The new Steesbassoon Dial Indicator.

I'm making this dial indicator now and have it available for sale on my website. Go here to learn why this is the best, most accurate dial available.

I've also uploaded a YouTube video outlining its features.

To purchase, visit my website.

For tips on how to best use a dial indicator, watch this:

13-yr old Phenom!

Like this video of a performance of the Weber Concerto 1st movement by 13-year old Kevin
Zephyrin.

He is competing in a competition and can win if enough of you “like” his video. Kevin plans to use any prize money he receives to buy a better bassoon.

Let’s help Kevin out! Listen here:

https://youtu.be/Z0q2dDwNfx8

Guided Imagery at the Olympics

The New York Times has a wonderful video series detailing the use of Guided Imagery by Olympic Athletes.

I use techniques like these for my self and recommend them for my students to help them perform  their best in auditions and other situations when they're under pressure.

Each time the Olympics are on, I try to catch any interviews or stories about the athletes' preparation and use them in my approach and in my teaching.

Check these out!

The Only Reed Test

THE ONLY REED TEST YOU MAY EVER NEED!

There are as many ways to test a new reed as there are bassoonists, but so many of them don't tell you much. I'm always looking for ways to save time in reed making.

Here is the one test that I think tells you a lot about a reed's potential for success:

Choose three notes for trial; one each in the low, middle and high register. For new reeds, I don't test the highest part of the bassoon range, though. Just up to high G or so.

Play the "hairpin" long tone above on each of the three notes. A well balanced reed will allow both a pp ending and beginning as well as a good FF in the middle.  Be sure you can bring the pp down to a "clarinet" style diminuendo in particular.

The pitch and tone quality should remain consistent from beginning to end. 

If the reed passes this test, I think you will notice that it also does a lot of other things well. It will articulate easily, "problem" notes will be stable, it will slur large intervals smoothly, etc.

Why does this one test predict success in other areas so well? Because it tests how symmetrical the reed's tip opening remains under more or less lip and air pressure during the hairpin.

It's all about the tip opening, folks!!

A reed whose tip cannot be closed or reopened symmetrically during a dynamic change will fail in other areas as well. There is either something faulty about its construction or the cane is of poor quality.

Try this test for yourself! It will save you time. 

Over the Break

While many of us are enjoying a Christmas or winter break, I'd like to talk about a different break.

A reader who is an adult beginner requested advice on successfully navigating slurs that bridge the register break on the bassoon. That would be any note from open F (F2) or below to any note above open F. This break occurs due to a lack of a true octave key on the bassoon.

Coordinating the movement of many fingers on both hands can make this difficult. Another issue is the half hole used when slurring to F#, G or G# -- also made necessary by the lack of a proper octave key or vent.

A few things to check if slurring to these notes is problematic.

1. Reed tip opening needs to be sufficient (1 mm at least at widest point between blades) to accommodate the change in air speed from the primary octave to the overblown (second) octave.
2. Reed needs to be strong enough to handle the change in airspeed without closing up. Softer reeds make this difficult.
3. Embouchure should remain relaxed while increasing air speed. No biting!
4. When removing fingers from the body of the bassoon, keep them as close as possible. Lift them straight off the bassoon just a few millimeters, not at an angle. This way, you have a greater chance of covering the tone holes completely when you return them. Use the mirror to check for excess motion.
5. Half hole technique needs to be secure.

Regarding the half hole technique, opening different amounts for each of the three notes (F#, G, G#) helps. F# = 3/4 open, G = 1/2 open, G# 1/4 open.

To refine the half hole technique:

1. Use a mirror to see what your index finger is doing. 
2. Pretend the tip of your index finger is glued to the tone hole. It can be rotated down towards the E tone hole, but not lifted off because of the "glue". 
3. Practice half holing with your finger and thumb on a pencil. Rotate the index finger without lifting it.
4. Or practice by making the "OK" sign with your thumb and index finger. Rotate the index finger left and right without losing contact with the thumb. Keep the thumb steady and don't let it move.

The Weissenborn Method introduces slurs over the register break in a pedagogically solid sequence.

Note that Weissenborn starts with a G-F slur in the top exercise. It's easier to form the half hole G fingering and then remove fingers slur to F, than it is to start with open F and slur to G. After this action is mastered the student can then move on to the second exercise in which an F-G slur is added to the G-F slur.

Inside of a Reed

Outside of a dog, a book is a man's best friend. Inside of a dog it's too dark to read.

 - Groucho Marx -

Instead of the inside of a dog, I'd like to discuss the inside of a reed in this post!

The taper of the space inside the reed from tip to butt end constitutes a continuation of the taper of the bassoon bore.

Therefore, it stands to reason that any change of the dimensions of this space changes the bore of the bassoon at that point and, thus, changes the way the reed responds and sounds.

Yet, after an initial reaming and adjustment of wire roundness, few bassoonists examine this aspect of the reed.

However, the photos below demonstrate how much change can occur on its own inside the reed during its lifetime.

Reed next to mandrel pin for comparison.

Note that the tip of  the mandrel pin, when inserted, would extend well under the blade. The pin has a collar stop for consistent reaming depth. Forming and drying blanks using a mandrel pin like this ensure a consistent interior taper from tip to butt end from reed to reed.

Reamer with reed.

Using a reamer like this gives a consistent taper to each reed from butt to throat. Many other reamers are shorter and do not size the throat of the reed.

A reed after proper reaming with butt end at collar stop of the mandrel pin.

Mature reed fitted on mandrel pin.

 

 

 

 

Note that the reed no longer fits all the way on the pin. During soaking, the cane in the tube area expands inward, taking up some of the space inside.

Change of taper in throat after repeated soaking and drying due to continuous use.

In the two photos above, you can see that the reed's interior dimensions have greatly changed as the reed has been soaked, played on and dried over time. The above is an extreme example, but I have found that this happens to some degree to EVERY reed. 

Aside from the fact that the reed in the above photos doesn't fit on the bocal as far or as securely as when it was reamed new, is there a problem here?

Many have noticed that reeds, as they age and are played in tend to rise in pitch and loose vibrancy. Some of this is due to embouchure pressure and finishing scrapes and adjustments made to the exterior of the reed.

However, I have found that these deleterious effects can be lessened and the reed's performance can be improved and even extended by re-sizing the taper inside the reed.

The two easiest ways to do this are:

1. Re-ream the reed periodically. You must use a reamer that reaches into the throat of the reed, however. Most reamers are shorter and do not address this part of the reed.

2. Push the soaked reed on the mandrel pin to nudge the reed back to original dimensions.

Re-reaming the reed is most effective. However, if the original ream is pretty aggressive, due to bevel and shape (amount of backflair), you may not want to thin the reed at that point by repeated re-reamings. Also, reaming can be messy, with lots of reamed fibers accumulating inside the reed throat.

I usually re-ream a reed just once or twice during its lifespan.

Re-sizing the reed tube and throat with a mandrel pin is quicker and not messy at all. If you need to twist to get the reed tube up to the collar stop, twist as little as possible and twist in both directions.

However, re-sizing this way is temporary. It lasts a short while and then the cane relaxes back to its collapsed position again.

Re-sizing the reed a few times over use is helpful in maintaining the opening dimensions.  Initially, dry the reed out outside of the case by placing it on your drying rack with it fully inserted into the mandrel pin. You can even soak the reed with it on the mandrel pin before playing on it. Doing this a few times is sufficient. After a week or so, the reed will stabilize and no longer shrink in the tube and throat.

I've found that reeds maintained this way preserve resonance and steady pitch longer and are just generally usable longer.

Try these ideas and see what you find!

If you don't have a reamer that shapes the throat as well as the tube (most are shorter than mine), or don't have a mandrel pin that extends past under the first wire of your reeds, check out these products on my website.

If you are concerned about cracking your reeds using these tools, just be sure the first wire is round enough to accept the tips of these tools before inserting. A normal first wire opening works fine for me resulting in about 1mm between blades at tip's widest opening. No problem! 

As usual, most of these ideas are not my original, so I'd like to credit friend and bassoonist, James Roberson for his idea about using the mandrel to re-size the reed's interior.

Also, check out the fixed chamber reed of Mark Eubanks of Arundo Research Corporation.

There is also very interesting research done by British bassoonist, Thomas Palmer. A Study of the Air Gap Between Blades of a Reed.

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"