Favorite blog posts, December 2019

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Review: Duets for the ‘Double-Reed Doubler’ by Gene Kaplan

A few years ago I reviewed Gene Kaplan’s Duos for Doublers, a set of duets for woodwind doublers playing flute, clarinet, and saxophone. I was pleased to hear from Gene again recently about his new Duets for the ‘Double-Reed Doubler.’ It contains seven duets in a variety of styles, with one doubler playing oboe, clarinet, and alto saxophone, and the other playing clarinet, bassoon, and tenor saxophone. (No flute in either part.)

The books (a set of two, one for each player) are neat and easy to read, with well-placed page turns and spiral binding. Like the Duos for Doublers, this set currently costs $30.

I’m pleased to see more materials making their way into the world that address the growing pressure on woodwind doublers to be skilled double reed players. The idea of “doubling” meaning just flute, clarinet, and saxophone is increasingly a thing of the past. Working on doubling in a chamber music setting, like these duets, is a useful way to improve your skills as a soloist-level player of multiple instruments.

Here’s a demo of one of the duets, called “Machinations:”

I wouldn’t call these duets easy, exactly, but they aren’t overwhelming for doublers with a little background in each instrument. All the instruments stay mostly in their lower and middle registers. The oboe rarely ventures outside the staff, and the bassoon stays squarely in bass-clef range. There are some fast switches (catch me trying to play bassoon with the tenor in my lap in the demo video), some tricky navigation of the clarinet’s throat-to-clarion break, some articulated low notes in the saxophones, and other real but not unusual challenges.

These duets are a fun an interesting challenge if you have a doubler friend to practice with. Head over to Gene’s website to get your copy.

Favorite blog posts, October 2019

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Favorite blog posts, September 2019

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Recital videos, August 2019

Here are videos from my recent faculty recital at Delta State University. I performed the Saint-Saëns oboe, bassoon, and clarinet sonatas, plus the flute Romance and “The Swan” from The Carnival of the Animals as a baritone saxophone transcription.

“The Swan” is originally for cello, so I assumed it might work well as a baritone saxophone transcription. It turns out it really fits quite comfortably in the alto saxophone’s range, but I decided to take it on as a baritone piece anyway as a personal challenge.

Favorite blog posts, May 2019

And, as always, this is an excellent way to get your blog post selected as a favorite:

See the woodwind blogs I’m following, and suggest others!

Favorite blog posts, April 2019

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Favorite blog posts, February 2019

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Favorite blog posts, January 2019

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Bassoon jaw movement: survey of published opinions

photo, Indiana Public Media

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, BassoonYehudi 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 Playingboth 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.