Demystifying Double Reeds - UWSP
Demystifying DoubleReedsUniversity of Wisconsin – Stevens PointDouble Reed FacultyProf. Stacey Berk, OboeDr. Patricia Holland, Bassoon
UWSP Brass FestandWoodwindWorkshops DaySaturday November 12, 2016Noel Fine Arts CenterUW-Stevens Point9:00 - RegistraGon9:30 to 4:30 - Clinics, Ensembles, Master ClassesRegister at www.uwsp.edu/music
Don’t Myth Out Oboes and bassoons add more variety of Gmbres to your ensemble The students who play them can become your best “band geeks” Myths Difficult Double ReedsImpossible IntonaGonDeadly DynamicsRaucous Reeds
The MythsOboe and Bassoon are hard instruments to play
The MythsImpossible Intona5on Good (even excellent!) intonaGon is possible from double reeds Listen Adjust Vowel sounds Imagery Don’t ask double-reeders to “pull out” or “push in” as these changes will not impactintonaGon like they do on other wind instruments
The MythsDeadly Dynamics Okay, so dynamics are a liale hard on double reeds! The biggest variables for dynamics are the reed opening and air support If too loud, squeeze the reed more shutIf sGll too loud, use a li8le less airIf too sod, use faster airIf sGll too sod, pinch reed open
The MythsRaucous Reeds Decent commercial reeds DO exist! Try a variety from different businesses/makers Talk to professionals about supplying reeds See our websites for some suggesGons
Concepts for Double Reed SuccessEmbouchure Use a mirror Have student whistle Increase distance from upper to lowerteeth (mouth more open) Bring corners of mouth in Cushion reed, don’t grip
Concepts for Double Reed SuccessEmbouchure Bassoon Create distance between upper and lowerteeth, especially in the low register The top lip can sit farther forward on the reedthan the lower lip Roundness is essenGal! Cushion reed with lips
Concepts for Double Reed SuccessEmbouchure Oboe Pull the upper lip down (stretch the nostrils) Use the muscles just to the sides of the middle ofthe top lip to focus inward to the reed Keep the corners directed forward If the pitch allows, pull the lower lip down, awayfrom the reed Keep the sod palate high
Concepts for Double Reed SuccessBreathing and Air Use breathing concepts for all winds: Take low breaths Use abdominal muscles Bassoon and Oboe don't usually require a large volume of air They DO require lots of pressure to the air Pressurized air is needed for clean arGculaGon Good intonaGon and tone are only possible with pressurized air
Concepts for Double Reed SuccessArticulation Tongue contacts reed about 1/4” back from tongue GpThe tongue touches the boaom blade of the reedArGculaGon starts with the release of the tongue from the reedThe tongue should be free to arGculate at its Gp and move to different vowelposiGons in the back for tuning and tone adjustment
Oboe Concepts for Student SuccessPosture/Body & Head Position Head up!Elbows away from bodyRelaxed shouldersOboe about 45%
Oboe Concepts for Student SuccessThumb & Hand Issues Wrist issues are a real problem for oboists If oboists complain of pain in their right thumb/wrist, take it seriously Products to help support oboe differently (available at Forrests Music) Kooiman thumb restDutch and other thumb restsKickstandHarness or neck strap (take a liale pressure off, but not completely)English horn support peg
Bassoon Concepts for Student SuccessTips on Bassoon Posture Silng all the way back on chair Put seat strap all the way forward on chair (yes, always have students use a strap!) Have student bring the instrument to them, rather than leaning forward to reach theinstrument Tension is the enemy! Have students relax: NeckEmbouchureThroatArmsBack
Bassoon Concepts for Student SuccessFingerings and Thumb Issues Many variaGons on fingerings/fingering charts Have students develop criteria (with your guidance) on fingerings that “work” Does the note speak well?Is intonaGon good?Is a good tone possible with this fingering?Is a good legato possible? Hands may move and uncover holes for some fingerings Thumbs are very acGve!
All Thumbs This is just for the led thumb!
Bassoon Concepts for Student SuccessDifferences from Other Woodwinds While fingerings for oboe, flute, saxophone, and upper register of the clarinet allcorrespond to one another, bassoon fingerings correspond to the clarinet’s lowregister. This means bassoons must use advanced techniques (half-hole and overblow notes)very early. If possible, have bassoons start outside of class for a few weeks to prevent badhabits
Reeds
ReedsImportance of the Crow Indicates funcGonality of the reed before placing on the instrumentFullness of pitchesRange – high or lowRelaGve difficulty or ease of blowing
ReedsWhat to Look For in a Reed Bassoon MaterialGood taper from back of each blade to front (hold to bright light)Symmetry, led to right on each blade and one blade to the otherThin Gp (helps response)No abrupt differences in thickness except collar (connecGon of blades to tube)Tip opening of about 1-1.5 mm Oboe Total length 70 mm Symmetry Tip opening about 1 mm
ReedsSources OboeTristan from Midwest Musical Imports.comBlue Professional reed from Nielsen WoodwindsChicago Oboe Reeds - 17, made to orderAmerican Oboe Reeds - 12 for student (I haven’t tried these, but they are worth a try forthat price) Bocal Majority – band bundles for reduced prices Bassoon Forrests Music Reed ExperGse Woodwind/Brasswind
ReedsEasy Adjustments and FixesBassoon Use a pliers or pressure from your fingers to open (make harder) or close (makesoder) the reed Thin Gp to improve arGculaGon. Place some 320 grit wet-or-dry sandpaper on a table top and draw the reed across it withlight pressure from your finger Gp on reed Gp and cornersOboe Use pressure from your fingers to open or close the reed If the reed is flat in pitch and easy blowing, take a single edge razor blade and clipGny increments off the reed Gp unGl the pitch comes up and more resistance iscreated to blow against Refer to my reed fixing handout
Recruiting Strategies Establish their value: make it seem fun and special Make playing double reeds a reward When to start students
Retaining and Nurturing Double ReedPlayers Ensure instruments in good condiGon Help with reed sources Recordings
Not Enough Data? We’re happy to help with quesGons anyGme! Feel free to contact us at: sberk@uwsp.edu and pholland@uwsp.edu
Q&A
Tongue contacts reed about 1/4” back from tongue Gp The tongue touches the boaom blade of the reed ArGculaon starts with the release of the tongue from the reed The tongue should be free to arGculate at its Gp and move to different vowel posiGons in the back for tuning and tone adjustment
included. Please tell the Editors as soon as possible of any corrections to the Almanac(s) thought to be necessary, particularly as a result of experience at sea. 3. Contents Pages 2 Reeds Update Amendment Form 3–5 Reeds Nautical Almanac REEDS Tel 0207 632 5600 Fax 0207 6732 5800 www.reedsalmanacs.co.uk Adlard Coles Nautical 50 Bedford Square
Two reliable makes of bassoon reeds are Danzi Reeds, available through Miller Marketing Inc. (www.millermarketingco. com), and Paul Buttemer Reeds from Victoria, B.C. available at www.pbreeds.com. The tongue should be free and relaxed, not stiff or rigid. When tonguin
Saxophone mouthpiece comparison index Ligatures and caps OPTIMUM M/O Leather Klassik Accessories & Double Reeds www.vandoren.com reeds for saxophone and clarinet. REACH NEW HEIGHTS. NEW NEW. 4 5 CR1015/50 CR1035/50 CR101 CR1015 CR102 CR1025 CR103 CR1035 CR104 CR105 CR111 CR1
Reeds and Mouthpieces affect clarinet tone quality and pitch more that the instrument itself. Too soft or worn out reeds create flat pitch and eliminate focus. Too hard reeds create sharp pitch and a covered sound. Improper reed strength for a mouthpiece can create flat pitch, sh
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This textbook is designed for use on ten- or twelve-week introductory courses on English phonology of the sort taught in the first year of many English Language and Linguistics degrees, in British and American universities. Students on such courses can struggle with phonetics and phonology; it is sometimes difficult to see past the new .
