Bulletin Board
Notes of Interest from Visitors to This Site
BASSOONINTENSIVE!
Submitted on January 16, 2010 11:55:09 PM MST
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Name: Jesse Read
Email: jesse.read@ubc.ca
BASSOONINTENSIVE! A week-long bassoon experience with Jesse Read, and the Principal Bassoonists of the Vancouver Symphony, Julia Lockhart, Principal of the National Broadcast Orchestra of Canada, Sophie Dansereau, Contrabassoonist of the Vancouver Symphony.
Special guests: Harlequin-the Bassoon Quartet, and the Proart Ensemble, a professional 12-player bassoon ensemble from Taipei, Taiwan.
Orchestral audition preparation, solo repertoire, bassoon in ensemble, contra bassoon, baroque bassoon, extended techniques, private and group lessons, recitals, readings and gala concert and more.
School of Music, University of British Columbia, Vancouver, Canada July 13-19
Vancouver is one of the most beautiful cities in the world, with mountains, hiking, ocean exploration, sailing, and striking, magnificent scenery.
Information: http://summer.music.ubc.ca or jesse.read@ubc.ca
Puchner Serial Numbers
Submitted on Wednesday, July 15, 2009 at 7:06:36
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Name: Peg Weissbrod
Email:
Does anyone know how to determine the approximate age of a Puchner bassoon from its serial number? I saw a chart online years ago but can no longer find it. Any ideas would be appreciated. Thank you.
Response:
I am not familiar with the chart that you talked about in your email, but I have contacted a Puchner representative to see if the company has any information. I do have limited information about some of the serial numbers and when they were built but let me see if I get a response from Puchner. Hopefully, they will provide something that is more complete.
Update: After several emails back and forth and with Peg's help we have a chart that shows the year and corresponding serial numbers for Puchner instruments. A chart from Howarth of London has been posted here.
Many thanks to Peg for her help in finding and sending this information.
The Bassoon Can Play Higher
Submitted on Friday, May 29, 2009 at 12:41:23
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Name: steph
Email:
the bassoon can reach up to a treble F
Response:
You are absolutely correct in that the bassoon can go higher than normally called for in the repertoire. However, it requires special consideration to be able to play the higher notes - for instance, using a harder reed, changing the embouchure to incorporate the teeth, and in some cases, adding special keys to the instrument (although there are alternate fingerings for instruments without those keys). Also important is the condition and ability of the particular instrument itself. So anything written above the treble E is rare and requires advanced technique for the regular bassoonist.
There have been fingerings actually developed for the bassoon that go up to C#6 (a full octave above the solo written in Stravinsky's "Rite of Spring"). Here is a link to some of those fingerings as provided by the IDRS:
http://www.idrs.org/resources/BSNFING/fingnote.htm
Experimentation is also being done now to expand into the multiphonic range. Leslie Ross has captured some of those fingerings and they can be found at the link below along with sound clips for each one:
http://www.leslieross.net/multies1T.html
Keeping Reeds "Young"
Submitted on Friday, March 20, 2009 at 11:29:38
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Name: Joe McDaniel
Email:
Suggestion for keeping reeds "young:" I soak my reeds in a mixture of about 25% hydrogen peroxide and 75% water. This keeps the "gunk" build-up under control, stops all mold, and my reeds last for a very long time (I typically buy 10 and play them for a year or more. Only problem is that the liquid must be kept in a screw-top bottle or it will leak!
Reed Adjustment for Decrescendos and Pianissimos
Submitted on Thursday, May 08, 2008 at 23:03:58
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Name: Rachel
Email:
Hi,
I have only been making reeds for a relatively short while so I'm still learning the finer points. I have some reasonable reeds right now - nice tone, good intonation - but am finding that the sound stops too soon on decrescendos. Is there something I can do to help (adjust the wires in some way, more scrape in a particular place etc)?
Response:
Without playing the reeds, I can't be sure, but it sounds like the blades might be a little out of balance and the vibration of the reed when you blow is being blocked some how. One thing you can do is check to make sure both blades are balanced (equal thickness and lay in corresponding locations) and that there isn't a tiny bump or gouge somewhere. When you blow harder to make the louder sound you can unconsciously overcome such a small imperfection but as the wind flow decreases, it can become a problem. The fibers of either blade should be straight and uninterrupted from the tip to the wire so that the vibrations can flow easily down the lay as you blow.
Another reason could be that the cane (which is going to be different for every reed because it's an organic material - no two pieces alike in grain or hardness) might be harder or softer than on another reed that is working okay. Usually a reed won't play pianissimos because it is just a little too hard. This requires a little more carving to make the cane a little thinner. It can also mean just a little longer break-in period (playing it longer when it is brand new).
If you carve more to make it thinner, the best area to start that will get the most immediate result is what I think of as the "valleys" on either side of the center starting from the wire and going to the tip. Next, thin the tip.
Be sure that the edges on the side of each blade taper properly and aren't too thick. That's also an area that can cause a reed to play harder.
The most important thing after you make any cuts is to start just above the wire and, using your knife, "brush" all of the fibers on each blade from the wire all the way to the tip. You aren't actually taking off a lot of cane or any cane at all - just making sure the fibers are laying in a straight line and that there are no unintentional obstructions.
Finally, you can try to adjust the wires. If the reed is giving you good sound and response except when you play soft, then it is probably okay as to how open the tube and throat are and whether that relationship is balanced. It might just take a small wire adjustment to adjust for the softer sound.
To get the easier response for a softer sound by adjusting the wires, start with the wire just above the turban and squeeze it gently top and bottom. This will open the tip slightly. Then do the same thing on the top wire to adjust the tip's opening back to what it was before you squeezed the first wire.
Remember, if this doesn't get the desired result, you can reverse the process and put it back to what it was by squeezing the wires from the sides.
Whether you carve the cane or adjust the wires, take it slowly and play the reed frequently to see what effect each step has had so that you know when you've reached what you are looking for and when to stop.
College Audition Preparation Workshop
Submitted on Thursday, June 12, 2008 at 18:09:23
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Name: M. Dee Stewart
Hello,
With the high schools now out for the summer, I thought it would be timely to remind you about the College Audition Preparation workshop. I believe that CAP could be of great importance to your bassoon students as they get ready for the next step in their careers. CAP is a great program for aspiring musicians and we are dedicated to their development. You probably know of our positive involvement in student growth at the Indiana University Jacobs School of Music. Now that we have Bill Ludwig on board, we are especially happy to be able to share his expertise with students. Please share this email with appropriate students and you may forward it to anyone you like. CAP is for winds and percussion. Feel free to post this and/or the attachments. If you can help us get the word out about this important program, we would be very appreciative.
Thanks, Dee
M. Dee Stewart, Chair of the Brass Department
Professor of Trombones/Euphonium
Jacobs School of Music, Indiana University
812-855-4767
www.StewartSounds.com
www.music.indiana.edu/som/cap
(College Audition Preparation - July 20-26, 2008)
COLLEGE AUDITION PREPARATION WORKSHOP
AT INDIANA UNIVERSITY JACOBS SCHOOL OF MUSIC
M. Dee Stewart, Director
Elizabeth L. Pfaffle, Assistant Director
Workshop Dates: July 20-26, 2008- No Audition Required
Limited Space – Apply Now!
CAP Activities: Mock Auditions, Faculty Recital, Jacobs School of music Student Recital, Lessons with IU Faculty in Private and/or Group Settings.
CAP Presentations: Resumes, Financial Aid, Career Options, Audition Preparation, University Entrance Requirements CAP I Grades 10-12 - CAP II Post-high school students over the age of 18
CAP FACULTY
M. Dee Stewart-Trombone/Euphonium-Director
William Ludwig-Bassoon
Howard Klug-Clarinet
Daniel Perantoni-Tuba/Euphonium
Richard Seraphinoff-Horn
Kathryn Lukas-Flute
John Rommel-Trumpet
Thomas Walsh-Saxophone
Steve Houghton-Drums/Percussion
* These listings are for information purposes only and do not constitute an endorsement from the Bassoon Resource. Except where a response might be posted, the Bassoon Resource is not responsible in any way for the content.