Quick Guide To Reed Tuning [PDF]

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by Mark G. Eubanks

Arundo Research Company

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INTRODUCTION

l.tqendarv Lrassoonist irnd teacher Sol schoenbach or.rce saicl that there .r. pi".., on the bassoon reed to tutre everv note (but admitted that he hadnt lourt.l their locations). It has taken ovcr 40 )'ears ofresearch and ri.rousands of reeds to utlcover the elusive solutions to Sol's intuitive vision. Centcring er.ery note's pitch to equal temperament ls possible rvhile also allos'ing pitch flexibilitl'through precision runing of a b:rssoon reed' For p..L p.ilo.-r.ce the reed should also be "tuned" to the Rs'ords: re\?oilse' ',.r':istarrc /tnd resontlnce. It must be responsive to all 1'our needs rvhether it is rluick rrticulatiott and soli attacks in a// reqisters, slulrirlg up or clorvt.t ..r,,r,..qirt..r, e,rse ofvibrato,rncl nrtance or plavirlg el,sily atflfor ppp' .\ r"..1,,i,-,st l-rave "goocl" resist:rttce to stabilize pritch, "sing in pianissinro" ,urd Lre responsive in the middle and high regisrer. vet not be hindered bv ''Lad'' resistance causit-tg the reed to be hard to blot', inflexible, tiring to plar-, or lacking vibranqr A reed should har.e balanced tonål resonance ,h.t i, .qual fio- no.. to note and in tune in its overtones; it should Lr. cap"ble of tonal shilts bright to dark and should produce a bler-rding rorle (x a solo fbcus. Matching resistat-rce and resonance lrom note to note requires more thxn reecl runing: it also reqr-Lires a good reed design and .r,,.,rtr.,ctio,,, a well clesiqr-red atld maintiritled bassoott and rl-ratching bocll ih,tt rrre compatillle rvith yottr trceds, r'vherher orchestra' ch;rmbe I r.t'tttsic' .()rlrinLro or solo recital plaving. Getring the pitch centered rvhile acl-rieYing L.elance olthe three Rs is the challet-rge ibr all bassoonists'

The Golden Reed. Cat one reed do it all? If ''so1c1en

reed," that one in a hundred,

it

1'ou are luckv

to find

a

is possible to have a gem rhat needs

.,1,1. or rto adiustment to plav cornfbrtabll'. Of course, rvhat is golden to depends on your skill lcYel and nceds. If r.ou har,e the tin're or means to u, ,rr"ke l-t.,,r.1r.ds of recds vou rnight find a golden reecl that does it all'

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:,,i rht rest,rf tts, crarl"'worthli' .".,1 rvill rcqr-rirc sotrc tttning acljustments :!, :'n(ct tlenta;tcis. For profession:rl players:r reed r:rtio ofusable rceds can :]. .r. high as 1 in i from carelully

selected cane and well crafted reeds. hardness, s,vmmetn'atld

B.;r it c:rn be i in 20 or \Yorse if lactors olcane :-.iiiince are not considered.

Waf m Up! Er.erv bassoonist should warm up the reed and bassoon belbre can take 20 minutes ... :.ll.ars,rl or perlorrnance, and check reed tuning' It :'r: -r cold bassoott to conle up to playing temPcriItLIre A cold bassoon $'ill :...r-' tl.rt l'hilc :rn overhcated bassootl n'ill play sherp The perlormance .;:.iirottlrtettt rvill eflecr the reed's ttlllillgi tr'mPer;lttlre iLncl hunlicliry r.nav "]t -.:.rrirc cliilercnt th,rn at home. Hotv ntanv tit.nes have lve hearcl,

'-- ....1 gr.., rt honte"? Ot.rce the basic tests presented here are learned' it is '-'-.,ib1.1 to run through them it.r less thtn tt tt'titutta and quicldY target an! bc alraid to adjust the reed minutes belore performance'

- ::;ctions. Dont

. -r- iissured that it "RRRoars." As a reed ages and changes, its tuning to lail is -::::r{es too. To knos'ahead of time that vour reed is 'al going

' ,,i.,h. ffirtirwill rake to master reed tuning techniques The more .,--r:i.n!e ,o., Ira". rhe rnore you want the reed to do the ruotk rarher rhan .. ,,::t;tlittS

tlr

Method. thc

rccd

rhrotgh thc music.

is a first-of-its-kind Qrrn'å Guide to Bassoon Reed Tining

:.- -:::;Iillt nlethod fbr complete tuning of bassoon reeds By lYorking

::-:--:qh rLote-br-note tesrs, a new reed can be quick-ly evaluated and ,.:,1.i. For eacir test, several solutions are presented for the best :::.,mr. \\'irh experieitce "ou u'ill learn rvhich solution is the best choice j : .:',..rrticular reecl. Bv keeping rhe guide in 1'our case, you can easily spor-:..-i in.lir.iclual notes or.r perfbrmance reeds and make quick irdiustments :. ::::Jccl. Notcs call c\'!'11 Lle tenl;ror:rrilv "stintuLtted'by scrirping in their to boost tottc itncl resPonse' No kidding!

-- '

ri irh ;r lirrqe

rlttil

-:: ,.. :tcN rt, thesc recd tuning mcthods mav 6nd the rlrernate' harmot]ic

"Vh)' docs it have to ancl trill fingerings e new challcnge. Somc will ask' be so contplicated?" Ansrver: it rakes tinte ancl precrice to devckrp 1t/1)t ne\\' t".hr1iq,.,., iust as it takes mant'r'ears to develop techtliquc fbr all our scales 'Ihe unrulY bassoot] reed is ,r and intcn,als, 6tudes, sonatas and concertos. complicated beast rvith numerous reed design variables along with oth''r' critical issues that allict the player's success' The time and effort to learn all rhe testfngerings and tuning methods rvill be worth itl

Those rvho lrar.e rvorked wirh Aduanced Reed Design and Tbst Procedure Jöt B/tssoln \\'ill firtd nerv techniqr-Les ir-r this expanded tcstinq method' Onc "c,rr plug ttLning tesrs"' A notc mtu' be not,rble nerr elettteut is the use of in tlrnc accordirrg to itlt clcctrorlic tllller yet "lecl" off pitch or sottncl oltt of tune ro o,1.,.,.. ]t ca,n be ftlsa in its or.ertones as a result of incot.rlplete is ttot reecl tuning :rnd/or tone producrion problenrs. Ihis phenon-renotr unique to il-t. b"rroo,.,. Earplug tests reveal that rvhat others are hearing "open ears'"'W'hen the ear can't be -"rj.to, be *'hatlauz are hearirlg rvith noteis true, comparison of rrill, alrernate' harmonic

pltrgged to

ch.cklf

"

.rp..i"l test fingerings

",rJ "true

assist

in

achievir-rg ar-rd

maintaining

accLlrare

tone tur.ring."

Jhis n-rerhocl bcsins with checkinq thc reccl's crou'and vibrancy' lollorietl 'ltsts 1-5 This path is tl-re best u'rv to by the "Big i" ln Fundar-nental ,-',.ru t..d plaving and to determine quicklv viable nc\\' r'cLi g., "t.r, ir: Ia,-rdl.1"i.s. Afte. tl.,"r. fir.t,rot.s are adjusted, the reed should ple' all registers, but will not 1'et be ftrllv re{ined' For the novice' tiris mav Ee ,.rffiJ.,-t, until greater musical dernat-rds present thenrsel'es But fbr tl:novice ar pro it.-n-rav be a godsend to go directlv to a tuning tetr f'r ' troublctotre Itore itl .rnr regi5rer.

The Break-ln Process. with all

nerv reeds

it is essential to

Lr\.

...

bre:rk-in process ro ltclp :t:r[.ilizc recd: Ptior to testing, saving time, ard preventing t.nistakes in e:rrlv rutring,rciittstments After a newly formed reecl h:rs aged and settled rvitl-r the

tip closed,

squeeze/massage euery netvl.t' opened reecl (or ne*. reed purchase) to "break dorvn the back." See Example 1. Alter a short soak in warnt \vater, squeeze the blades frmll betrveen vour thumb and lorefinger *'orking brck frorn the tip to the collar Ilattening the blades

tmtil

tyarvnir-rg rip opening st,rys

shut

Example

1

or nearlv shut. Set the reed aside to drv out' Rep.at so"k and. squeeze cycle over several davs lvith rhe reed drr i:- ' -:: u I'':: .on-,p1.t.11., until the iust-rvetted tip does not spring open idr tip profiling and ad.just loose or slipped u'ires during the bretrk-i:: :':' : ,h.-6r,r1 bocal fit (dry) b1'reaming. The binding should i:':: '

",rddo in place prior to clipping the tip open Repeating the break-in cr:--' ,rr)rol d^r', i, .rr..tti"l. Plavirrg " reed to break it in is a \\'a\re Lri : - ':

::

-fhose

reeds rh'lr : ' '- '' There is an advantage to using this n-retl-rod ti'' : '' easily at the back of the blade between the fingers ri'ill likelr' bc fo. r'i"bl. reeds, wl-rile those that resist collapse ri'ill be betrcr ''r::J:'--: -: Here is a first chance to reiect reeds. In some cases å sironqcr r--'-- : opening ri,ill require a r'vire adiustment if larger than 1l lb incl-' ': All rrett' reeds c]:-'':::' ':' --, bi, allor, fiue soak and squeeze cycles first' the blade arch (rvarp) relaxes its shape memory through dn'ir-rq slL:r:'rr: :--: ::and aging. E .ry r..d also continues to change as cat-re is remo\i'l ,..d il tif profilecl, scraped, and sanded and as the reed is aclius:'.: :-:: ::'

tl-r. ,r,-rirrj process. This is especially the case rvith shapcd 'lt .",-,. ,h", lrioo thick and heary ir-r the blade profile' rcQ'':Lr'' :rdjustt-nents.

' --- '

:: Ort the other hand, reed cane that is r"scttl;tn::: -

reed climer-rsiotts or contains comPuter cut change, usually becornit.tg too lveak or unplalablt

"'::::

-

-

- ::

Copyright @ZOl5,2OI7 by Mark Eubanks, Arundo Publications. All rights reserved' A? 101 Second Printing 2017. ISBN 978-0-692-94830-9 published by Arunclo Research Company, PO Box 380, Enterprise, Oreson 9-8lS -

I,i.r..:,r..r...1 .lr,r*ingsL^-\f:rrkEubanks:rndSirrahPeniston.PublicationdesignbvSirrahPenisron'(':'1"":

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.r --§--

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standard

standard

F'3

13 oA

-8r Alternate Fi3

Repeat the tcsr tirr c.rch Itore.

lF FLAT on alternate fingerings:

.

for each note.

iorth comparing the

\s

long

a) a. i(> o ---) o

nr-rqe rings to each othe r. lie;reat thc test (for Cfl and D).

and

13.1: Alternate Fingering Tunings

Harmonic Tuning

\\-hile rvarching the tuner, slur back irnd tbrrh tior.r.r the standard hngering (Short Cfl and D) to the harmonic hngering comparing pitch. Note: When slurring to h:rrmonic E2 take care not to ;rccider.rtally half-hole the lst finser 1r',f h.rncl.

- 7;E:X. :-rrr:::::F :" 'J^"å ^\\drlt a \-Q .^

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Harmonic

i.

^ " -!-'e

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1 2.2: Long Cil and D Tuning : ,. \\ hile ri'atching the tuner, slur back

ar-rd

shorr), harmonic, then

i.

lt

^or

C'3

Long

. o

For E: Scr,r;re tn the ttotcs ch.tnn.'l zolle :rnd/or into the spine zone (Fig. Å). Back ,rnd iortl'r adiustrncnts mav be necessary benveen the note's channel, spine, ar-rd rail zones. For F and Ff,: File at the F/F! zor.res along the rails (Fig. B). For Fl: If alternate is €xtem€l! flat, clip tip.

tF SHARP on standard or alternate fingerings: o For F and Ffl: Scrape in the note's channel zone and/or into the spine zone (Fig. A). For fine tuning, back and fortl.r adiustments necessary between the note's channel' spir.re, and rail

;;iLrb.

Long D3

12.3: Ear PIug Test (Short Cil & D) - \\-hile x'atching the tuner, hold the test note exactly in tune. l. Plue the right ear-fap r'vith your finger, noting if the pitch or ione shifts sharp/bright or flat/dull. lF FLAT on ear or harmonic tests;

'

Pitch Tendency: The "French E" Test fingering tends to be flat but when corrected it will increase response and resonance for standard E. The F Test fingering tends to be sharp. When corrected, the standard F u'il1 be more resonant. When comparing 1[6 Fil fingerings, the standard fingering is usr-rally sharper than the alternate (6ngerings shown above)'

\.1j ust u'ires: 2S/ 1 S.

lF SHARP on harmonic or long fingering:

. Rcnro\'!' c,rne by usir-rg a forlvard scrape deepening the note's -i:.rnnel zorre (Fig. A) until the pitch of the harmonicilong note .iio;.s ibr a closer match to the standard fingering. lF SHARP on harmonic but flot on standard fingering (D and E'):

.

S::'.rpe

in the note's channel zone, and into the adjacent

spine

r.:r. i1s u'ell as the note's zone at the rails. This also brightens ..::l adcls resonance to the tone. Back and forth adiustn'rcr-rts ..:; r.i:urlllv uecessirt)' benveen the note's .

char-rnel, spine, and rail

Test 14: Slur-ups 14.1: Slurring Across Break 1. Slur up to C from

F,

E, and D as in the example without

ficking the register/ speaker

ke1..

2. (lheck fbr quick

and

cleat'r respouse.

,r:l-:.

. For D. lor.'er pancake (Low E) pad height. ' 1:i 1" ri ide tape inside the long joir.rt's small

Picking a Reed: tenon in lavers

D

Reeds

that

pass

this test (14.1) are better

candidates for good middle-register reeds: quick response with clear articulation. An additional indicator for a good reed is Test 18.1, slurring up to High C. The very best reeds do well on both slur up tests.

of the bore.

.:-,,-1.-L rhe circumference

Pitch Tendency: Standard fingerings fo. Cfl and

(and Er)

:.rJ r.. be ilar in pitch and dull in tone. The Cf,/D harmonic ..::: ions tingerinss tend to be sharp. The goal for Cfl and D is ::, :.: :he standard, harmonic, and long fingerings to match -.-...'.' .r pirch. Cross Check D2lD3 Ear PlugTest 2.2' \ore: ,:,..'..rins :he pitch of the harmonic frngering wll| mise :,:. :.-,: ,.,::-:- s::.ndard finqering and add resonance to the

14.2: Slurring Minor 6ths 1. Slur up a minor 6th to each of the notes in the exan.rple. 2. Check for solid pitch and resonance on the upper notes. s'itl-t enough pitch flexibiliw to allorv for "just intonation," a lorvered pitch for the bottom note.

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t4 Test 1 7: A, Bt, B, and C 'l 7.1 : One-Handed Slurs 1. Plav A to C and back

(slurred) using the short fir-rgerings. These notes shoulcl speak.

2. Make adjustnrents fbr.u'rd Solutiorrs ltor Upper

in

Register Tunings.

fr-

,,-

o!th-=

-J)E-{+ä--

+:

ta?a

t

13 .jiä:. a? q)

'.ilJ "a i1-. 1ct

z 1

l-:)

Short 84

Short A

.'

^:.

2^) dl Short C4

Pitch Tendency: A and Bb can be sharp, ur.rstable or unfocused if the thumb Cf tone hole is too large. Sorne bassoonists use a bridge key from the A/Bb register ke1, to rhe rvl.risper key to stabilize and focus these notes.

Test 18: C,Cfr,D,ES,and

Solutions for Upper Register Tunings IF SHARP: . Ensure complete tunin I of Test 16 (Harmonic G and Ab) and Test 13 (especiallv F). . Increase air speed and pressure on upper blade. . Move embouchure to*'ard first wire. . ljse a more open vo*el shape ("who"). lF FLAT, doesn't slur up, or has a grace note:

. . . .

.

!§

Use harder cane er.rrl or ed just wires 25/1S. Increase the rrir speed ,rnd roll lip ir-rward. Use a rnore closed .or.el shape (eek) inside mouth. Narros the reed shape and increase rail thickness near tip by sandinq or 61ir.rg tion-r d to f (Fig. 1A).

holes. Check for clogged High E'IE, tone holes. Use an initial blade profile ri,ith a thicker back third than your normal measurement. More reed in mouth, or engage more "oblique" embouchure (R-L shift) ä.Ia"Pezzi Tivist."

Use the highest possible "eek" vowel, as

F

. .

:" 'z

.$\dd

::

-!§

-t

a'

.\!?

å,

\u -Q ,a:-

(.>

" o-

(Å t

:O

[67

a o

na

o a

f e

f e

Fig. 194

if

19B

singing the target note in falsetto. I L\e Thicken the rail and/or cut a steeper taper from 22e to f (Rail ChiselTiim) Fig. 19A and 198. Fig. 19C Narrorv the tip aperture, with a more drirmatic corner cut, moving f closer to the center (Fig. 1 9C). Fig.rl.?Q' For extreme high register: Dri1l a very small vent hole using drill size #76 to #67 (0.020-0.030 .'.rry ffi inches or 0.5-0.8mm) in middle of tube next to the 2nd wire. Drill on the side of the reed that you *Fl*t plav up (Fig. 19D). You can also drill a vent hole in t:i.l.t:,''..- :,:a'i t. .j: ,:,: the top of t1-re bocal, just beyond the reed.

-*

r.

G4

§o

short "o" D4

Short c4

Clip the tip to shorren the vibrating length.

Articulation/Response Solutions lF ATTACKORSLUR UP is unresponsive or unclear: . Cl.reck fbr closged High A/B', B/C, and D register key vent

. -ofio -bolo 9 ll9115- -- - --

E

18.1: Slur Up to C,D,Eb and Slur up to the short fir-rgering for these r-rotes checking fbr pirch and ease of response. Do not try to force or push the o$dd note to speak.

2. Make adjustments

/') a. llc:

ara

a) P-

1(>

found in Solutions for Upper Register

Short Eb4

.a

Ti-rnings.

Test 20:The FinalTests

Pitch Tendency: The upper notes are often sharp due to biting the middle of the blade, too much lorver lip pressure, and reed weakness. Flatness can be due to insufficient air speed and r-ou'el too open. Tip: Sing the target note in falsetto then immediateh' play using the same push point and vorvel shape.

\(ith the reed in the corner of your mouth, can you play the entire range of the bassoon? The follorving tests may also prove helpful to evaluate balanced tunir-rg and response in all registers. Test A:

Tendencies: Slur-ups to "short" D and Eb (and "lor.rg" E end F ) are good measures of a "high register" reed. Hieh nores rr rll be more responsive using a dedicated high-note bocel. Sonre

Do not

use

whisper

key ar.rd lift 2nd firrger R.H. for

bocals such as the Heckel CC are rypically not as respon:i\c above High C. For extreme high-register notes (E and ,rbo.e ,. specialry high-note bocais (e.g., Allgood) mustbe considered.

t

ri

ll.

Test B: Use Bare fork Bl ,rnd E2. Do nor r-Lse

Test 19: Upper Register Articulation

s'l-risper key or

il ick.

#

(liom Ab)

2W no rvhisper key hare l'ork

pw

no llick

Test C:

19.1 : Articulation

Finser Å2

1. Playchromaticallyfrom High

with

F

key R.H. Slur to 82 s'ithout register ker'. No whisper

)2 iD

)a aC

G up to High E with soft andl or repeated articulation, checking for ease ofresponse.

r.h. F

no whisper

gw

no

kev on G. See also Final Response Test 13), and Articulation Test 19.

2. Make adjustments found in Solutions for Upper Register Tunings.

for Level 1 (p. ')r .rnd

Ler-el

2

(p.

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