Reed importance for soloist

Reed importance for soloist

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Reed can be your best friend or your worst enemy. If an average player has a right reed, according to the mouth position, breath pressure strength and especially according to the piece which performer will play, that average player will also sound more professional than s/he really is. But in contrary the best bassoon player with wrong or bad reed will sound as s/he is beginner or inexperienced.

All reed instruments can be regarded as pressure-controlled instruments, which consist of three components:
· A player
· Breath as a primary sound source generator
· Reed as a resonator
These three elements are interdependent to each other. This week I will show some examples of non-professional bassoonist and their performance on 1st movement of Mozart Bassoon Concerto.
1st example:
http://www.youtube.com/watch?v=SlQ90MEIul4

0, 19= at the very beginning of the piece performer used too much harsh tonguing. In my opinion her reed was scratched too much: We can understand that also from the sound which is uncontrolled. Tone should be flexible but this amount of flexibility is just unprofessional. Scratching the reed from both sides and the edge requires really fine work. In this recording she scratched too much especially from the edge of the reed because her tonguing is too harsh and at 00, 23 the reed is not vibrating so the low F cannot sound: We can just hear the air.

2, 22 and 4, 20= scratch sound of G at 2, 22 and F- B flat at 4,20again causes because of thin edges and thick back.
Besides the reed mistakes this performer also should gain more control on the mouth muscles to sound darker and cored. Also she has to control her dancing moves. Moving that much effects the quality of breath. It loosens the pressure.
2nd example:
http://www.youtube.com/watch?v=oCUzpUGissI

This performer is more controlled and has more appropriate reed for this concerto. Not scratched too much from the heart so the sound is darker and stable. But this performer has some intonation problems. Lowering second E and third D means that you scratched the area too thick than you should do. Max 1mm should be scratched otherwise the intonation (especially E and D) will not be stable.

1, 19: Like the first example she also cannot sound the low F but this time it is because of not right breathing that you can understand from the sound and she makes the F sound at the end of that beat.

4, 03: wrong intonation on E flat is usual for bassoon players but for a soloist it shouldn’t be a problem.

In my opinion she is playing too legato. Style of this Mozart Concerto should be more precise and sharp. In this video I cannot hear staccatos enough. It can be because of thinning the very back of the reed too much or performers preference.

As a conclusion, according to my perception of music and bassoon the most beautiful and hypercorrect recording belongs to Klaus Thunemann. If you like to understand the warmth of the bassoon sound you should listen to this concerto from Thunemann.

Paul Hindemith (1895 – 1963) bassoon sonata

Paul Hindemith (1895 – 1963)
This sonata was written in 1938.
http://www.youtube.com/watch?v=mIzIE1IcBng

This recording is performed by Rachel Gough (bassoon) and Susan Tomes (piano). In general this performance is good but I have to say one or two things. Firstly the tempo of the first movement is really good but in the first beats on 5th – 7th measures and other parallel passages which includes one quarter note and one eight note should be more characteristic and short. I like the tone but there is one problem. There is a great difference between doing crescendo and pushing the voice. This performer mostly pushes the voice. If the performer do not make crescendo equally (equal opening by the time or beat) she has to push the voice. doing a little vibrato may save you for better crescendo but vibrato should be at the end of the sound or beat and in my opinion vibrato should be like an cello vibrato. At 03.47 there is water sound in D note. This sound is not that important but it distracts attention while performing. Not a bad performance I really like this recording.

Camille Saint-Saëns – Sonata for bassoon and piano op. 168

Camille Saint-Saëns – Sonata for bassoon and piano op. 168
Ondřej Šindelář – bassoon, Dušan Holý – piano

http://www.youtube.com/watch?v=Nin9kFXy3Oc

First thing that stand out for me is the tone color of bassoon. The strength of tone is good but the color is thin. The reason of this problem might be the reed. Most of the performers prefer thinner reed in order to play easier but it changes tone really much. Tone color differs according to the mouth position also. Player should think like he is singing an aria and throat should be flexible, because tone color comes from the mouth, throat and diaphragm. That is my opinion of course. What I like about this recording is that the performer played very energetic and the intonation is good. First movement should be soft and played with darker sound but the performer’s color is great for the second movement. Energetic and sharp, but staccatos should be more determined and short. At 4:25 music should be floating, all the notes are important and performer should give importance to quavers. Dynamics are not clear in this recording but it can be because of the recording itself. However, in my opinion, in contemporary music dynamics are very important and they should have big differences among themselves.

Summary – Thoughts on my experience in Research Diary

Dear readers and dear instructor;

First of all, I would like to appreciate Yiğit Aydın for opening such an extremely beneficial course and accepting me to the class. Owing to his unusual but entertaining and beneficial course, I learnt plenty of things and had a chance to improve the skill of writing.

During this semester, I tried to show some important techniques related not only with violin literature but also with other instruments, including wind instruments (some techniques are also included in vocal music as well), and hopefully I could do so… All process started with Pioneer Countries and Musicians (composers) and conclusion was the apex of violin technique; double-stops. I wanted to introduce you important techniques which basically dominate the 19th and 20th century violin techniques within this period. Spiccato, staccato -including staccato volante ‘flying’-, ricochet saltanto, vibrato were some of the techniques I would sincerely like to introduce throughout the semester. You readers, may already know most of the techniques but my purpose towards this subject was to share some tricks and some details referring to these techniques with you all.

Generally I stuck to the source named as “Violin Playing as I Teach it” by Leopold Auer. Leopold Auer, as most of you know, was the great master of the 20th century and many virtuoso players were among his pupils; particularly Jascha Heifetz, Mischa Elman, Nathan Milstein, and so on…

Lastly; I would like to thank my instructor Yiğit Aydın and also Sertan İpek for giving me such a great opportunity to share my writings with the world…

Correct Breathing Techniques for Wind Instrument Players 12- Using Vocal Technique for Brass Instrument Players

Singers and brass players have so many common points. Both are air based instruments and body usage are similar each other.

Many brass players’ common problem is wrong posing their throat. Learning vocal technique and applying it is a best solution ever for brasses.

If you wrong posing your throat the sound you have will be not “a-o-ö” but will be “e- i even ı”. So, to have large and attractive sound you should pose your throat right. Also wrong technique gets you down; you get tired too early, could not be flexible enough and ability you have pretended.

Steven Mead advices some methods:

–      keep the aperture of the lips open and focused,

–      relax the neck and shoulder muscles

–      use the strong diaphragmatic muscle

–      sing a letter and get it bigger

–      try to have a vibration on your chest

–      get the voice bigger and feel your throat

–      pose your tong but do not execrate it

–       do not think complex make it easy

–      Support every tone with the right air

According to these techniques try to do it without instrument, then only with mouthpiece. After feeling the vibrations in your chest try to do it with mouthpiece. Think the sound and diaphragm at the same time. Then give a rest for 30 minutes and practice it every day and you will see the chancing about your tone color and musicality.

What Mr. Meads’ advices are so important and beneficial for brass players technically and musically. Many players encounter with wrong throat posing problem so, it is a big obstacle for wind instrument players.

 Reference: http://www.banddirector.com/article/pg-brasseuphonium-baritone-alto-horns/vocal-techniques-for-low-brass?productguide=318 

Correct Breathing Techniques for Wind Instrument 10- Active Playing Vs. Passive Playing

In any position a player can phrase, but in audiences perspective it may not be conceived what a player phrasing. In this issue posture and concentration is so important.

Posture is mostly thought as a visual item. But it is more than that. Posture should be used as a tool to play more attractive. For example; a player should be relaxed and comfortable. If he posed naturally then this reflects to his phrasing. But if he is nervous and uncomfortable then it will not be Okayed by audiences.

Posture should be correct the body should not be unshaped. It should be agile and reflections should be awaked. It is important that chest stands more forward and little bit looks at down. Two legs are equally stands and players should feel two feet holds the floor. If there is something prevent a player should get rid of it. In some techniques like Alexander Technique down and up parts of your body should be very relaxed like you will fell down but middle part of your body is very strict. In this technique it seems you use only needed part of your body. But, what I think is reflection is a mirror how you think so, some behavior could not be act consciously. But in an exception if players could use bodies consciously, more simplicity they will get. In this time what they are phrasing will be clearer, accepted by audiences and the sound will be always forward. What technique I call Active Playing.

Unlike a player could phrase using his or her body, then all the player, audience and accompanied players will not be encouraged. So, wrong phrasing, technique even anxiety comes minds. Player may obstacle himself own by own. This occurs when a player do not feel himself ready, when he is not relax or nervous. Also, lack of self-confidence is a big obstacle for a player. If players have any of those obstacles then they could first define the problem. Then they can solve trough it. Getting more information, knowledge what they are doing gets them wise in a speech or performing. Thinking and planning the concert or a performing gets them ready. Practicing much and in different places, time gets the anxiety controlled.

Briefly when a player is strict and decisive the less anxiety he has and more successful performing he has. He also controls his body and posture. Posture should be used as a tool to transfer the emotions and his music from inside to outside. Being active in playing makes a commenter more understandable.     

Correct Breathing Techniques for Wind Instrument 9 -Brass Instrument Playing Past and Today

Technology is developing in every time in our lives. And this is inevitable that in every part of our lives we are getting addicted to technology. In musical approach also technology added some simplicity to players and more flexible possibility for composers.

In the past composers used brasses for basso continue parts.  They had just a few solo section or solo pieces. Because technologically brass instruments had a few notes or it was too hard to play, composer did not have a chance to show the tone colors of them.

Horn had not any valve and even tonality. When time passed, they needed dissonance notes and also scales. So, this thinking pushed people to invent tonality pipes. So a horn player could have played 12 tonalities. Unfortunately, all tonalities could not be used in the same piece or players needed time to shift the pipes. So it shows still horn (what we call ‘natural horn’) was primitive. After ages, compositions got complex and difficult for brasses; less possibility and much expectation. Virtuoso playing trend was spread all over the world. So they should invent some simplicity to help brasses. The time was the valves were invented. Horn had two valves plus pipes, trumpet had one valve and trombone had none. So till in the early 19^th century brass players were used as fill in the blank instruments.

Today brasses are being used in every piece and bar. Because technology has improved so much more easy ways were found. Valves, Pipes, shapes, material, mouthpieces and the much modified the technique of playing. Shapes are still investigating by some brands. Pipes are useful. Material is so altered any player can choose own material because there are much more option then the past. (So the tone color chanced player to player). And the technique is the trickiest one to play the today’s composition. The usage in the past was only defined notes and long and did not have much risk. But new compositions have many solos and needed to use any ability of the instrument even knocking to the instrument. Technically a player should be more flexible; a player should player lower note F, for example and should player higher F in the same bar. And many categories were occurred based on the revolution.

Brass instruments have large tone color so instruments that we are using still sometimes could not satisfy us. Searching is still continuing.  

Summary – My experience in Research Diary

With the help of research diary, we take a step on our research subjects every week regularly, therefore can learn a lot of new information and write about it, when these small steps are summed up through the semester.  If I ask myself question in which way this course contributes to me, the answer is very clear: Thanks to this experience, beside I learned lots of things, one of the most important things among them is that I started to write comments on the performance practice of a work in general and also about my own performance specifically. I learned to think critically and to find negative as well as positive sides of a single performance. Another good aspect is that doing some research becomes not so difficult for me because of this regular research process and the experiences regarding it. Through the semester, every week I take some (small) steps  in my research which provide me, in the course of time, with means to understand in detail a huge pool of information about my topic. Research Diary is a necessary course for students’ development of an historical musical background. Also it is enriching, because we experience something about the research of other students, we can follow simultaneously our friends’ topics and share different experiences among ourselves. In other words, it gives us to be aware of the others’ topics and also we learn something from them. Doing analysis and comment, and searching for historical information regularly on my topic, make my mind always ready to learn something. This course is very significant in our personal development as a musician.

Entartete Musik (XII) – General View

Entartete Musik or Degenerate Music was so attractive for me from the very beginning to the end, that I researched on  this subject with pleasure. In my opinion, knowing this subject is important, because in musical life there are not just good things, unfortunately. With Entartete Musik, I learned dark sides of the music history. In addition to this, I learnt some information about composers whom I did not know before. Likewise, through the end of my research, I analyzed some viola pieces and this assisted me very much that now I have a huge knowledge about the viola repertory’s compositions. Because that I play viola, these analyses supported me in advantageous way. In this research, I handled Degenerate Music Composers and examined their life and compositions because I wanted to know under which conditions they sustained their life and wrote their compositions. I encountered with very awful situations and points.

Entartete Musik is a term that was used by the Nazis to insult the composers who written against their expectations. This term emerged with the rise of the Nazi regime and continued until the end of the World War II. Owing to this regime, many valuable composers like Hindemith, Webern, Schreker and Krenek, who rose in Germany, were forced to leave their country or to live under bad conditions in their homeland. Their compositions were banned from both radio broadcast and public performance. In addition to this, they were blacklisted and in Entartete Music Exhibition they were insulted brutally. Their crime was being modernist composers. However, in our contemporary life, these events were not forgotten and its repercussions still continue.

When all these are considered, as my view, each musician should have knowledge about this issue because it is related with the recent past. In addition to this, with knowledge, the works of Entartete Musik composers, their styles and characters can be understood perfectly. Related to this, their experiences about Entartete Musik give very important clues for understanding them as both musician and person. Because of that I suggest everyone to be informed about this historical term and period of musical composition.

Aspects of Baroque Style (XII)

I have started my research with J.S.Bach’s violin sonatas and how they should be interpreted by violinists. First, I wrote my ideas about the interpretation, how the sonatas should be played but I could not find any articles or performance recordings that are supporting my thoughts. This research helped me to refresh my knowledge about baroque era and also helped me to learn new things, not only just about music but also about philosophy or dance styles of the baroque period.

Baroque period was an important process in all fields; music, architecture, dance, sculpture, philosophy, science… So many exploration had been made by scientists, new ideas were born by philosophers, opera was born in music, etc. The most important phenomenon in the period was “contrast”. In all art branches, contrast had a huge role.

According to many musicians, baroque music is really hard to understand and perform. Not so many people might love it especially the performers because its intonation is hard to realize correctly whilst reflecting the music truly. As I defended in my writings, the baroque pieces should be interpreted as how they were in the baroque era. According to my research, as far as I understand, European musicians were never agreed with this idea. I know that instruments were really different, also the apprehension was different, but the music of all periods should never lose their originality.