Who Might Succeed on the Bassoon?

Who Might Succeed on the Bassoon?

While it is possible to begin upon many types of instruments when a child is younger and smaller the bassoon is not usually consider to be one of them. Until the advent of 'mini bassoons' pitched in G even the innovative 'Short Reach' models which helped make key work manageable for smaller sized hands by reducing the 'finger stretch' required were based upon full size, standard weight instruments. Thus, by default, most players coming to the bassoon have traditionally done so from other woodwind instruments or none, rather than having done their early musical training on the bassoon.

This brings up a relevant question - Who, or rather, what instrumental background, is most likely to be conducive to success on transferring to or adding the bassoon to their instrumental portfolio?

The Recorder can be an excellent preparation for the bassoon as its origin in the pre-Baroque period, its repertoire and the experience of open holes and crucially its basic fingering patterns have many elements in common with the bassoon. Even not withstanding the absence of experience of blowing a double reed, though this must of course be learned, picking up the bassoon may be less of a challenge than moving say from a single reed instrument, where a very different relationship of embouchures is a distinct difference. The bassoon also offers a recorder player an avenue into more modern ensembles.

The Flute may also be a fine preparation for the bassoon as the nimble finger technique and the wide range of the flute with its own tricky cross fingerings for higher register notes is not dissimilar to the challenges a player will face with the bassoon. Again, the lack of experience blowing a reed may actually be a benefit as the unlearning of an embouchure and the muscle shapes based upon mouthpieces can take time. The suppleness of flute embouchure and the natural aural cavity shape and focus of air are likely to make the learning of the bassoon both a bit quicker and more 'natural'. There will almost certainly be some disruption to ones optimal embouchure on the flute but this may be a small price to pay for the reward of playing an 'endangered species' instrument instead of trying to distinguish oneself amongst a crowd of other flautists.

The Clarinet is often considered as a good training instrument for the bassoon as it utilises a similar pattern of fingerings for much of its lower range and a clarinettist is already used to reading both below and above the stave. It also shares the open holes and thumb register key operation (albeit in reverse!) but a word of caution - the optimal aural cavity shape required for the clarinet as well as the fixed, taught muscle formation of the embouchure are very different than the ideal shape and embouchure for the bassoon. Coming to grips with this very fundamental difference is crucial, and usually requires much patience and careful guidance from a knowledgeable and sympathetic teacher. Failure to understand the differences between the instruments often makes for poor results and a genuine loss of good clarinet habits as well. Experience of playing the bass clarinet can be quite helpful as this larger instrument, with its more flexible embouchure and altered aural cavity, is at least a step closer to the bassoon and the 'role' of the instrument in the band or orchestra is also more similar to the bassoon than that of the Bb clarinet.

The Saxophone can also be a possible successful precursor to the bassoon as the more relaxed embouchure and aural cavity shape used on the sax, especially the tenor and baritone sax, bears a close resemblance to that used on the bassoon. The finger system, though simpler by comparison on the sax than the bassoon, does have a logic that transfers reasonably to the bassoon and, not unlike the potential experience of the recorder player, provides one with an introduction to a repertoire and to ensembles that the saxophone alone only rarely is allowed to entry.

Perhaps contrary to expectations the Oboe is possibly the least logical of the woodwind family to lead onto or share time with the bassoon. This is principally due to the very different experiences of blowing these two double reed instruments. The oboe is highly reliant on a high-pressure reservoir of air emitted in small quantities through the narrow aperture of its reed. The bassoon, while also requiring good air support, uses a larger volume of air more quickly. The relative tension of the oboe embouchure differs greatly compared with the more relaxed bassoon embouchure and the dramatically different amount of reed used beyond the lip in proper blowing position are significant differences that few players mange to accommodate successfully - certainly not without a great deal of practice!

A Pianist or String instrument player may have a decent chance of successfully learning the bassoon as their original instrument is so demanding of finger dexterity and reading (in the case of the piano) or discipline, precision finger action and tuning (in the case of string instruments) that the demands of the bassoon may not seem a great challenge - and they have a advantage of not having to unlearn anything in the way of embouchure! Such players can concentrate upon getting things right the first time.

Finally, if a Brass player, especially a low brass (trombone, euphonium or tuba) player is interested in playing the bassoon and is willing to learn take of the challenge of the fingering system, the foreign blowing feel with the reed inside the mouth (instead of the lips vibrating) and the very different sound production of relying upon a double reed, there is little danger of them doing harm to the playing of their original instrument. They will likely already have experience of reading the bass clef and the embouchure of the lower brass instruments is much less likely to be disturbed by the bassoon. Players of the more defined embouchure higher brass (trumpet/cornet, french horn, tenor and baritone horn) are only very rarely likely candidates for playing any woodwind instrument, including bassoon.

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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful.

Thomas Dryer-Beers

A Concept for Blowing - Jazz vs Classical

A Concept for Blowing - Jazz vs Classical Saxophone and More

In the shop environment, and throughout many years of teaching, I have frequently been asked to help players resolve their issues with sound and blowing in order that they may produce the type of tone, and gain the requisite control, for the style of music that they wish to play - or a multitude of styles if they are interested in many. Saxophonists are usually familiar with the dichotomy of Jazz versus Classical playing and often struggle with this. For many other wind and brass players it is matter of producing a personal sound that is appropriate for the style of playing desired.

While I certainly acknowledge that some players quite happily find a 'hybrid' personal approach that bridges the various established styles and may even build their careers from such a position, I believe that  most players are seeking to find how they can manage to separate their approaches and equipment to facilitate and to better define the differences between styles.

I suggest below a couple of concepts that I have developed and players have found helpful.

Since 'Classical' styles of playing are primarily concerned with:

• accuracy of pitch
• control of fine subtleties of tone
• a variety of articulation demands
• focus of the sound
• blend and the ability to balance dynamics

I therefore believe that a player should look for a set-up that allows them to 'blow up to'  a resistance that offers the stability and predictability to meet these criteria. For me this implies the creation of a reliable and manageable 'platform' where if I do 'my bit' to meet the tone generation requirements of the set-up I know that everything I desire to produce is achieveable with as little additional manipulation as possible.

Since 'Jazz' styles of playing are primarily concerned with:

• projection in loud environments
• excitement
• individuality of tone
• flexibility of control
• comfort of sound production

I therefore believe that a player should look for a set-up that allow them to 'blow through' a resistance and in doing so create the desired result. For me this implies a comfort and directness of response without unnecessary additional effort or restriction - where the mouthpiece is free to generate a sound 'propelled', as it were, by the player - while retaining maximum flexibility and ability to influence the tone.

These are concepts not just words

They imply finding the correct balance of resistance from the mouthpiece (and reed where present), the provision of a fundamentally correct and well supported air column, an understanding and application of focus in the oral cavity to the airstream itself, a well considered use of an appropriate embouchure and a choice of equipment that is designed to facilitate the achievement of the desired end result.

• Doing everything 'right' but on the wrong equipment will surely lead to dissatisfaction.
• Doing anything 'wrong', to varying degrees, will likely lead to disappointment with even the very best equipment.

In my opinion it is vital to view the choice of equipment and the player's readiness for physical/musical change as a whole, as ones abilities and requirements are constantly changing.
Furthermore, while there are undoubtedly many good and possibly excellent equipment suggestions to help meet the demands of a particular situation or stage of musical development there is almost never a 'magic mouthpiece' or perfect solution that will last forever.

Perhaps the best we teachers can seek to convey to our students is an understanding of the elements that go into the choice of equipment and their relationship to various playing styles. Players and pupils would do well to understand that what they 'bring to the party' (in terms of their ability to use the equipment and adapt their playing habits to suit the requirements of the desired style) is a very large part of the likely success to be found in any equipment choice - and this should be a continuing focus throughout anyone's playing career.

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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful.


Thomas Dryer-Beers

The Clarinet Intonation Learning Curve

The Clarinet Intonation Learning Curve


Perhaps you remember your first sounds on the clarinet? Mine remain fresh in my mind even after many years. They were frankly ugly, unpredictable and unrewarding - but I was determined to get better and of course, with practice, things did improve. Almost everyone who begins playing the clarinet will have some version of my experience and perhaps by sharing some of the usual stages of progression to playing well some benefit can be gained and some frustrations avoided.

Pre-Grade 1 to approximately Grade 2 standard -

When we begin the initial sounds, when they are produced at all, are often very spread in tone and flat in pitch. A combination of a yet to develop embouchure, often too great a quantity of air in use and a thin reed make such results predictable. Manufactures know this is likely to be the case and they design their student instruments to be able to correct for this when assembled completely 'pushed in'.

A helpful tip is to not worry too much (or not at all) about the higher (clarion) register and to concentrate upon making a good and predictable tone in the lower (chalumeau) register. As most beginners seem to be recommended to begin on a soft reed, strength 1.5 usually, this should work well for starting off but by the time one comes to play in the upper register it is probably best to have moved on to a slightly stronger strength. Strength 2 or 2.5 depending upon the brand would be my recommendation.

Whilst still concentrating on the low register it is possible to improve the tone quality by concentrating on using a well-supported, fast moving air stream that is delivered to the instrument in an appropriate quantity for the note(s) being played. It is worth checking that a Concert C can be sounded on the clarinet mouthpiece alone. This is the highest pitch sensibly available on the mouthpiece and the only correct pitch when the embouchure and air are in balance.

A useful concept that I have often shared is:

'The Two Q's': Quantity and Quality.

Players should always be aware of supplying the appropriate Quantity of air for whatever notes are being played, varying with the register, the volume being attempted, the type of attack and the timbre or expression sought.

They must always use the best Quality of air that they can produce - this never varies and is the foundation of all beautiful playing. The degree of success one has in musical performance at all stages of learning is usually a direct indication of how well this principle has been understood and incorporated.

Grade 3 to approximately Grade 6 standard -

So, after beginning to play and everything seem to be pitched flat one is improving, blowing better air, managing with a firmer reed and the embouchure is beginning to develop. The upper register is being attempted and expectations are rising. So often is pitch! It is time to consider pulling out the barrel from the top joint of the student clarinet (up to 3mm is not unusual) and even consider additional 'distributive tuning' at the middle tenon and at the bell if necessary. Often a willingness to play with too great an embouchure pressure has taken over the best practice on the supply of air. If this is the case a symptom may be that newly learned altissimo register notes (D3 above the staff and higher) will likely be thin sounding, unstable and 'brittle' as well as sharp. Keep working at The Two Q's and remember - high notes are not meant to be hard to play - they are just more demanding of accuracy in blowing.

Grade 7 and beyond -

You will hopefully have upgraded to a higher quality instrument and better mouthpiece by now. In addition your altissimo notes (high F, F#, G and above) have become an important focus and regular expectation for your playing, hopefully your overall tuning has begun to stabilise and the characteristics of your instrument, as designed by the manufacturer are beginning to be recognised. You should be aware that your lowest 'bell notes' (low E through low F#) are usually low in pitch so that the corresponding 12th above (middle B, through C#) are not uncomfortably sharp in their tuning. Left hand first first finger and thumb E and thumb F are often intentionally a bit low so that their overblown 12ths, the upper B and C, are not incorrect-ably sharp. Throat A and Bb, notes that once seemed very flat and ugly in tone now are much closer to true pitch and will actually benefit from the addition of combinations of right and left hand fingers, referred to as 'resonance fingerings' that will help to lower pitch and enrich the tone.

It is worth reminding oneself that the clarinet, as with all wind instruments, is an acoustical compromise with inherent challenges to be overcome. Once these known compromises are recognised and understood it is possible, with a well supported and appropriately shaped air stream and flexible embouchure control, to obtain predictable and very functional intonation - ultimately leaving one able to match and blend with other players, difficult performance conditions and ensembles where other players do not play as well 'in tune' as you do!

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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful. 

Thomas Dryer-Beers

The Saxophone Intonation Learning Curve

The Saxophone Intonation Learning Curve

When a player begins playing the saxophone it is natural to accept just about any sound and tuning as acceptable. After all there are some many other things to think about and the instrument is designed to blow easily and usually does - as long as we provide it with a reasonable air stream and allow the reed to vibrate.

As one slowly gets better and wishes to demonstrate more control over the tone quality a progression towards the use of stronger reeds begins and this is to be welcomed. As the embouchure and the ability to support the air column both develop there is frequently a perception that, in order to keep a reed from 'closing up', a still stiffer reed and possibly a more open tip mouthpiece must be used. While this might be true in some cases is is certainly questionable for many players.

Why is this important? Because the degree of effort required to produce the basic sound and the related embouchure strength used contribute very directly to the ability to play the saxophone in tune.

When beginning the middle range notes we first encounter are fairly predictable and our standards are lower. We do not know how to play 'up high' and are not often asked to do more than honk out low notes. The overall tuning is often rather flat and the tone unfocused. As progress is made and high notes are attempted they are usually found to be thin in tone and can be unreliable. It follows then that we are suggested to try a stronger reed to aid playing in this upper register. In the normal course of events this change makes the high palm key notes easier to produce and makes the playing of lower notes more challenging. With a bit more practice and progress a sensitivity to a more consistent tone and pitch begins to develop and, following tuning to a concert A (or Bb) as one will usually start out doing, comes the realisation that even in this 'in tune' position upper octave notes will often be quite sharp, lower register notes (low D and below) quite flat, middle D very sharp and, especially when played in close proximity to the middle D, the middle C# will be found to be very flat.

This realisation can be and often is very upsetting to the player and can be the beginning of a great deal of searching for answers to the problem of 'playing out of tune' including changes of equipment and much self doubt. What is missing is a simple realisation that all players and especially teachers should try to keep in mind at all times:

The design of all acoustic wind instruments is a compromise and best performance relies upon the player understanding the compromises made.

 

An octave key is only an aid, it is not a substitute for correct blowing and proper 'voicing' in the aural cavity for the register desired. An embouchure that is ill formed (too tight or too lose) can distort the tuning of any instrument. A poorly supported air column will cause response and tonal problems even with the finest of equipment available. An internal shape in the aural cavity will compromise the response and tuning despite the very best embouchure.

The best tuning position for the mouthpiece on the crook is where (with whatever skills the player has by that stage developed) the greatest portion of the instrument's range can be manipulated into an acceptable 'pattern' of tuning.

 

 Manufacturers try to anticipate what their customers will be able to manage and are of course taking advice on their designs from highly experienced performers. Each firm then decides how to accomplish the goal of creating instruments of character with stable intonation patterns.

The saxophone, with its two and one half octave standard range, relies upon two octave vents that are automatically linked to switch depending upon the fingering used (the exchange happens between upper G# and A). The first note that benefits from an octave key will always have a tendency to be sharp - on saxophones this is middle D and upper A.

NB - If for the player these two notes (middle D and upper A) are not able to be adjusted down ('lipped down') to pitch successfully then this is an indication of a deeper problem with air support and embouchure that must be rectified - this will benefit all notes on the sax. I suggest checking the pitch sounded playing on the mouthpiece alone. This should be no higher than a concert A, better an Ab, for the alto, for tenor concert G, better a Gb, for the soprano concert C and for baritone concert D.

The last notes prior to the engagement of an octave key will be weaker and have a tendency to be flat - on saxophones this is middle C# and upper G#. The upper G# in particular (and sometimes G) will often 'fall' or break downwards in the absence of a well supported air stream. The response and accuracy of all other notes within the range of the interval of the vent's use will vary proportionally with their position within the range of the vent. There will always be a 'stretch' between the octaves of the same fingered pitch.

The longest 'bell' notes will often be flatter not only because the instrument often does not 'warm-up' sufficiently for this end of the sax but they must not be tuned 'sharp' or the overall overtone characteristics of the instrument will be affected. High register palm key notes will often be sharp not only because they are at the mercy of a correct embouchure and air balance but also because that end of the instrument becomes very warm through constant playing and the last thing a player wishes to find is that they should have to 'lip up' a high note when so much effort is being made to achieve the best tone and tuning through relaxing the embouchure throughout the rest of the range.

Understanding and accepting that such compromises in designs are inescapable will hopefully prompt attention being given to achieving the best possible air/embouchure/aural cavity position while playing and lead on to anticipating the now much smaller corrections required to address the remaining subtleties of correct pitching.

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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful.
 

Thomas Dryer-Beers