Doubling reed tip from Lawrie Bloom

Lawrie Bloom, solo bass clarinetist of the Chicago Symphony Orchestra, starts this video talking about his reed break-in process, but spends some time toward the end (start at about 2:45 to cut to the chase) talking about his strategy for doubling clarinet and bass clarinet in a symphonic setting.

Mr. Bloom recommends using slightly softer reeds than usual to compensate for the fact that the reeds will be somewhat drier than optimal, and using a mouthpiece cap whenever possible.

This is one of a large number of videos produced by Rico Reeds, featuring their endorsing artists. Check out the videos on YouTube or on Rico’s video site, The Stage.

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  • Woodwinds in Art

    Here are some paintings and drawings by significant artists that feature woodwind instruments. Click the images to buy posters from Art.com!

    Know of another work that should be included here? Email me.

    Read More “Woodwinds in Art”

  • Bassoon jaw movement: survey of published opinions

    Disclosure: As an Amazon Associate I earn from qualifying purchases, at no cost to you.

    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.

  • Factors in woodwind instrument response

    Response is how readily the equipment/player combination produces sound. “Good” response generally means that the player-plus-instrument are able to produce a sound that starts precisely when intended, with clarity and with no unwanted additional noise. Many factors affect the quality and reliability of the response:

    • Instrument condition. An instrument with leaks, cracks, problematic dents, etc. will often respond in a delayed or unpredictable way.
    • Instrument quality. The instrument’s design and manufacture also play a role—an instrument of inferior design/build may respond inconsistently.
    • Setup. Mouthpieces and reeds are similarly subject to design and manufacturing flaws, and must also be well-matched to each other and the instrument. A common issue with single-reed instruments, for example, is using a “strength” of reed that isn’t a good fit for the mouthpiece.
    • Breath support. One of the most immediate and effective ways to improve response, even when other factors are less than ideal, is to use powerful, consistent breath support.
    • Embouchure. Any embouchure problem can affect response, but by far the most common is embouchure tightness or tension. Remember that all woodwind embouchures should be relaxed.
    • Voicing. This is one of the least-taught and least-understood, but one of the most crucial aspects of good woodwind playing. Properly-calibrated, steady voicing improves response (and just about everything else).
    • Finger accuracy and timing. Fingers that arrive on their keys or toneholes out of sync, or that fail to form proper seals, impede response like the leaks that they are.
    • Inherent acoustical problems. Even the best-made instruments have some built-in compromises that might make certain notes less responsive even under the best circumstances. A common example is the lowest notes on the flute, the oboe, and the saxophone, which may tend toward slight sluggishness even for the best players and equipment. Players may need to compensate in various ways.
    • Musical context. Related to the acoustical problems of the various woodwinds, certain musical contexts may exacerbate issues. For example, the bassoon has some specific intervals that are hard to slur smoothly, and skilled bassoonists might use special fingerings to improve these.

    For your best response on every note, be sure to address each of the many factors involved.

  • “Starting” notes with the tongue

    There’s a common misconception about woodwind articulation, that notes somehow “start” with the tongue. So, how do you start notes with your tongue? Does your tongue somehow strike the reed, making it vibrate? Try it, I’ll wait.

    Hit that reed with your tongue as hard as you like, but I suspect nothing will happen until you add air. The truth of the matter is that air starts the vibration—the tongue actually stops it.

    photo, Evan Long

    So why use the tongue at the beginning of a note—why not just start the air? Try it as an experiment. Starting from zero air pressure, very gradually add air. You will probably hear air noise first, and then tone. Can you predict precisely when the tone will kick in? Using the tongue allows the note to be “released” after sufficient air pressure is in place, avoiding the airy and unpredictable note beginning.

    Thinking in terms of the tongue releasing the note rather than kickstarting it leads to more efficient, controlled, and subtle articulation.

  • A minimal Little-Jake electric bassoon setup

    Disclosure: As an Amazon Associate I earn from qualifying purchases, at no cost to you.

    Be sure to check out my recent interview with Trent Jacobs, the inventor of the Little-Jake bassoon/woodwind pickup.

    During the past year I got myself a Little-Jake to experiment with some electrified bassoon playing. I didn’t know much about using electronics in this way, and it took some research and trial-and-error to figure out exactly what I needed to use the Little-Jake with my bassoon. I thought others might find it useful to see that information all in one place. Here’s a kind of minimum setup:

    • A bocal that you’re willing to have altered. I had an old one that I liked but wasn’t using much.
    • The bocal needs a small hole drilled in it and an adapter soldered to it. A skilled instrument technician can probably make you an adapter from scratch, or you can buy one pre-made. Forrests Music has one, and so does Midwest Musical Imports. I bought Forrests’s (cheaper) version, plus the threaded plug in case I want to use the bocal without the Little-Jake. I shipped my bocal to Forrests and they installed the adapter for a very reasonable fee.
      Brass adapter visible just above whisper key pip

      Adapter with plug
    • The Little-Jake pickup. It’s a thin cable with a 1/4″ plug on one end, and a little threaded connector on the other. The threaded end connects to the adapter on your bocal.
    • A preamp. The 1/4″ end of the Little-Jake connects to the preamp’s input jack. The preamp works some electrical magic to get the electronic “signal” ready for amplification. You can buy an inexpensive one made from an Altoids tin, or this L. R. Baggs one that Trent recommends, or there are other options if you know what you’re doing. The L. R. Baggs is handy because it clips to your belt and provides a volume control.
    • An audio cable, like the ones used for electric guitars. One end plugs into your preamp’s output jack.
    • An amplifier. The other end of the audio cable plugs into an input jack on the amplifier. There are many options at many price points. I use a small Mackie PA system for practicing or small venues, or a keyboard amplifier if I need more volume. Keyboard amps and PA systems are usually designed for a relatively “clean,” unaltered sound, whereas guitar amps tend to add their own character. This is a personal choice depending on what you want to sound like, but for me the keyboard/PA-type amp seemed to make sense as a starting point.
    Assembled system: bocal → Little-Jake → preamp → audio cable → amplifier (in this case, a small PA system)

    That’s enough to start making some fun sounds, but refer to Trent’s interview and an article on his website for some thoughts on adding effects pedals, which really make things interesting.

    My current pedalboard setup

    The Little-Jake can be used for some other instruments, as well, with the same setup (except the adapter must be attached to a saxophone or bass clarinet neck, clarinet barrel, etc.).

  • Creating fingering charts with diagrams from the Fingering Diagram Builder

    My Fingering Diagram Builder has been around for a little over five years now. I was careful to name it the Fingering Diagram Builder instead of the Fingering Chart Builder because it is a tool for creating individual diagrams, not for assembling them into comprehensive fingering charts. But the difference can be a little confusing, so I get frequent questions from users who complain that they can’t figure out how to create and download a “chart” with multiple fingerings on it.

    The reason I didn’t try to build a complete system for creating fingering charts is that I assumed users would have widely-varying needs, and would do better to assemble charts using some other kind of software. Here are a few examples of how that might be done, using music notation software, using a word processor, and using a text editor to create HTML code (such as for a website). All the software I’m using here is free to download on Windows, Mac OS, and Linux, but whatever free or commercial programs you are already using probably have similar features. You’re on your own to work out the details (and feel free to share them in the comments if you are feeling helpful).

    Creating a fingering chart in music notation software

    I am using MuseScore here, but commercial software like Finale and Sibelius and other free software like LilyPond could be used in similar ways.

    First I set up a musical “score” with the notes for the chart. I used whole notes, separated by double bar lines, but that’s up to you.

    MuseScore setup

    Next I created my fingering diagrams in the FDB. I sized the diagrams “tiny” with “thick” lines.

    Adding the diagrams to the score is very simple in MuseScore—I just dragged the downloaded diagrams from my file manager right onto the score. If I drag the diagram and hover it on top of a note, that note gets highlighted. Then I can release the diagram and it attaches to the note.

    musescore-drop

    Initially the diagrams are placed right on top of the note. I selected the diagrams and used the Inspector panel to give them a horizontal offset of -2.5sp and a vertical offset of -10.5 sp, which moved them above the staff, more or less centered above the noteheads. I adjusted the A and tenor B-flat fingerings’ horizontal offsets a bit more to make them look just right.

    Here is the finished product, a small chart with a few bassoon fingerings:

    bassoon-fingering-chart-sample

    Creating a fingering chart in word processing software

    I am using LibreOffice Writer, but something like Microsoft Word or Apple Pages would work just as well.

    First I opened a new document and inserted a table. My table has three rows and seven columns.
    writer-table

    Then I dragged the downloaded diagrams from my file manager into the bottom row of the table.

    writer-diagrams

    I merged some cells together, dragged in some images of notes on staves, and added some text.

    writer-complete

    A few more little tweaks and here is the finished chart:

    clarinet-fingering-chart-sample

    Creating an HTML fingering chart in text editing software

    This code be used in any text editor or HTML source editor, and of course similar results could be accomplished with a visual/WYSIWYG editor. I’m not showing complete code here, just the most relevant parts.

    I started with a framework for a table that I could use to show a note with two alternate fingerings. (This is a flute fingering chart with horizontally-oriented diagrams. For an instrument with vertically-oriented diagrams, you may want to rearrange things a bit.)

    <table>
      <tr>
        <th rowspan=2><!— note image here —></th>
        <td><!— first fingering image here —></td>
        <td><!— first fingering text here —></td>
      </tr>
      <tr>
        <td><!— second fingering image here —></td>
        <td><!— second fingering text here —></td>
      </tr>
    </table>
    

    Then I plugged in <img> tags and text:

    <table>
      <tr>
        <th rowspan=2><img src="images/f-sharp-note.png" /></th>
        <td><img src="images/f-sharp-standard.png"</td>
        <td>Standard</td>
      </tr>
      <tr>
        <td><img src="images/f-sharp-trill.png"</td>
        <td>Trill from E</td>
      </tr>
    </table>

    I duplicated that code for additional notes. Since this is a sample alternate/trill fingering chart, each note has at least two fingerings. For notes with more fingerings, I added <tr>s and changed the rowspan values accordingly.

    I also added a little CSS to spruce things up:

    <style>
      table {
        display: inline-block; /* make tables wrap gracefully depending on screen width */
        margin: 1em; /* put some space between tables for legibility/clarity */
      }
      th img {
        max-width: 8em; /* manage size of note images */
      }
    </style>

    Here is the result:

    flute-fingering-chart-sample

    I hope that sparks a few ideas for you if you are considering putting together a fingering chart. If you have other methods or tips, please share in the comments section!

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