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I mentioned in a previous post that I wanted to examine a “controversial” aspect of bassoon playing: the movement of the jaw during articulation.
I was already aware of Terry Ewell’s well-reasoned article from The Double Reed journal, which concludes that jaw movement is unnecessary and inefficient. But I was also under the impression that there were advocates of jaw movement. A skimming of some pedagogical materials at hand seems to debunk this—I couldn’t find a single author strongly and clearly in favor of jaw movement.
The Ewell article should be the go-to for anyone interested in the topic. In a different article, Ewell summarizes:
Chewing motions with the jaw should not be used during the tonguing because the tongue should function independently of the jaw.
Terry Ewell: “Basic Bassoon Articulations,” in Woodwind Anthology, Volume II, 1999 edition. Northfield, Illinois: The Instrumentalist, 1999, p. 951. Article originally printed in The Instrumentalist
Here are the other anti-jaw-movement examples I could find:
One of the worst possible habits is to tongue in a “chewing” fashion. The movement of the jaw and lips not only distorts the tone each time they move, but actually slows down the action of the tongue.
William Spencer, rev. Frederick A Mueller: The Art of Bassoon Playing. Princeton, New Jersey: Summy-Birchard Music, 1958, p. 54.
In staccato passages, the collapse of pressure can produce a ‘gobbling’ reaction in the jaw. As a result the quality of tone and attack may suffer. … As we tongue more rapidly, we must try to involve only the tongue and not allow the jaw and throat to become involved… The momentary opening and closing of our lower jaw may be in response to the change of pressure inside the mouth once the support is switched off; however it is more likely to betray and involuntary ‘gobbling’ with the jaw in sympathy with the activity of the tongue.
William Waterhouse, Bassoon. Yehudi Menuhin Music Guides. London: Kahn & Averill, 2003, p. 116-123.
Needless to say, there should be minimum outward movement of the lip or jaw, as this will hinder the tongue’s freedom of motion.
Homer Pence, Teacher’s Guide to the Bassoon. Elkhart, Indiana: H. & A. Selmer, Inc., 1963, p. 2-3.
The following refers to the woodwinds in general:
Jaw should not move during articulation
H. Gene Griswold: Teaching Woodwinds. Upper Saddle River, New Jersey: Pearson Education, Inc., 2008, p. 31.
Movement of the jaw in tonguing. This is the result of too large or too violent movement of the tongue, frequently accompanied by changes in pitch of the tone. … Jaw movements can occur with all methods of correct tongue placement, as well as with incorrect tongue placement, and these prevent the development of speed in articulation.
Frederick W. Westphal, Guide to Teaching Woodwinds, Fifth Edition. Boston: McGraw Hill, 1990, p. 227.
This may include the jaw:
The goal on all wind instruments, and particularly the bassoon, is to maintain an open mouth and throat position while playing. The bassoon tone is very sensitive to this positioning.
William Dietz: Teaching Woodwinds: A method and resource handbook for music educators. Belmont, California: Schirmer, 1998, p. 14.
Here is the closest I could find to advocacy for jaw movement, though it’s not 100% clear that that is what the author intends:
On both double reeds, embouchure pressure on the reed will vary to control the ends of notes. Increasing pressure on the reed will keep the pitch from dropping. For this reason, you will see embouchure movement while articulating, which will be more pronounced with bassoonists…
Charles West: Woodwind Methods: An essential resource for educators, conductors, and students. Delray Beach, Florida: Meredith Music, 2015, p. 68.
I also turned to Christopher Weait’s Bassoon Strategies for the Next Level and Arthur Weisberg’s The Art of Wind Playing, both of which seemed like likely sources on information, but could not locate passages in either that directly addressed the issue.
In summary, there seems to be little support for the idea of jaw movement in bassoon articulation. If you are aware of sources that encourage this technique, I would be curious to hear about them.
Great post! I think there’s probably a lot of flutists out there who have tried saxophone briefly and noticed that their flute tone would diminish right after playing saxophone so they dropped the saxophone and are left with the impression that the instruments are not compatible. Coming from a flute background originally, I have discovered this could not be more false. Initially I had similar issues, but as I developed better saxophone technique the effect lessened substantially. At this point there is very little impact on my flute tone, even if I’m playing flute immediately after the saxophone. And of course given some time between instruments there is absolutely no negative effect. I actually believe there are some great benefits to doubling. I often liken it to athletes cross training. It works the same concepts in different ways and prevents overuse of muscles. My lungs are getting the same workout but my arms, hands, and facial muscles move differently for each instrument which prevents fatigue from overuse.