Introduction
The '"Sport" of Playing...
Posture and Playing Position...
Tummy and Breath...
Lips/Jaw and Embouchure...
Tongue and Articulation...
Fingers and Technique...
Reeds...
Warm-up Routine...
Waterhouse Warm-up Routine
I. Breath | Breath cont.
II. Tongue | Tongue cont., III. Embouchure
IV. Fingers

Again this year, the marvelous Wildacres Retreat in North Carolina attracted a delightful group of bassoonists, assembled for the Glickman/Popkin Bassoon Camp. In addition to the always informative sessions with Loren Glickman and Mark Popkin, the tireless work of Jim Laslie and Paul Nordby, and many talented recitalists, this year's camp was fortunate to host distinguished artists Don Christlieb and William Waterhouse. Each generously shared their unique knowledge of bassoon, reeds, and pedagogy through well received lectures and demonstrations. As a former student of Mr. Waterhouse, I particularly enjoyed his evening lecture which presented a very rational approach to playing and teaching the bassoon. The evening provided a stimulating review for me, and seemingly for others in attendance. With Mr. Waterhouse's permission, I thought a summary of that session might prove interesting for I.D.R.S. readers.

The '"Sport" of Playing...

Mr. Waterhouse began his discussion with the assumption that we, as players, are potentially our own best teachers. Unfortunately, with the rigors of busy schedules, many players neglect to apportion time for daily, self-aware attention to the rudiments of playing. Mr. Waterhouse maintained that the ability to rationalize specific elements of bassoon technique and provide respective training during each practice session encourages efficient strength, and enhances technical style. With proper "tools" in place, the demands of repertoire can be confidently approached.

Mr. Waterhouse suggested the analogy of playing bassoon with a "sporting activity". The athlete is concerned with developing style and strength. For example, a swimmer relies on certain strengths, but must develop good style for best result. A weight-lifter trains for great strength, but cannot perform to potential without attention to style. Mr. Waterhouse said, "in sport, there is a consensus of agreement that the most efficient technique is equalled by the best style." "The task of the trainer is to: (1) encourage good style, eradicating faults for maximum efficiency, and (2) build strength". For the bassoonist or teacher, "practice should be aimed towards improvement of style and development of resources".

The discussion proceeded to address the bassoonist's specific physical resources, and their stylistic application to playing. His considerations were divided into the following topics: (1) Posture and Playing Position; (2) "Tummy" and Breath; (3) Lips, jaw and Embouchure; (4) Tongue and Articulation; (5) Fingers and Agility or Technique; and (6) Reeds.

Posture and Playing Position...

Acknowledging the standing position as the most natural for wind playing, Mr. Waterhouse examined the details of posture which facilitate blowing an instrument. We should notice our own particular alignment, (i.e., not distorting the natural spinal contour), but assuming a relaxed, erect position. Also, while breathing in and out, observe lower back involvement with the "blowing" musculature. In sitting to play, the challenge is to transfer the naturalness of standing into a chair. Due to the weight of modern instruments, and subsequent stress on the body, Mr. Waterhouse stated a preference for the seated position when playing modern bassoons.

Illustrating a proper seated position, Mr. Waterhouse suggested the image of a puppet being lowered into a chair with a string attached to its head. Care is taken to preserve a lengthened spine and neck, relaxed shoulders, and involvement of the lower back for support, rather than resting on the chair back. Further, a proper balance can be determined by slowly rocking at the pelvis, and feeling the effects of gravity. The "center" is achieved at the balance point between being pulled forward or backward. He cautioned against the hazards of modern, contoured chairs which prevent easy balance. The use of a flat-bottomed chair at suitable height was encouraged.

With bassoon in hand, Mr. Waterhouse demonstrated the importance of a comfortable entry of the reed into the mouth, usually at a slightly upward angle. While allowing for each player's unique physique, "the head/neck position should remain aligned in a relaxed, upright posture". As he demonstrated, hands and arms should remain relaxed with wrists fairly straight for ease of finger motion.

His personal choice of a spike or end-pin to support the bassoon, and the straightened crook resulted from his attempts to determine an efficient playing posture. Furthermore, it virtually eliminated physical stress posed by alternative methods of holding the bassoon.

Tummy and Breath...

Mr. Waterhouse advocated the development of strength and flexibility in the lower abdominal or "tummy" muscles. As a group, he had the class "feel" normal "sleep breathing" while noticing chest, shoulder and abdominal motion. He said that under normal playing circumstances, an average inhalation (as when making conversation) is the most manageable when used completely. From an "average" inhalation, the class was asked to slightly force the exhalation with the resistance of pursed lips, noticing the rate of descent of the abdomen and quietness of the chest. Panting exercises (see warm-up 1, 1) were introduced as a means of enhancing tummy control and resiliency. These exercises seemed particularly appropriate for observing lower abdominal expansion during inhalation, and a quick "return" after exhalation.

Lips/Jaw and Embouchure...

Mr. Waterhouse reinforced the necessity of discovering an optimal approach of the reed/bocal into the mouth. "Correct" position should facilitate the ease of forming and maintaining a relaxed embouchure without distorting the natural jaw alignment. The stylistic details of a bassoonist's embouchure result from: (1) developing sufficient strength in circumferential musculature for a good seal around the reed; (2) the ability to control, but not alter the reed's vibration, and; (3) the degree to which the embouchure can remain relaxed.

Mr. Waterhouse continued discussion on the latter point of a relaxed embouchure. He had the class grasp their lower jaw and move it up and down freely as if it were skeletal without muscle tension. To the surprise of many, this was a rather difficult task; oftentimes, resistence or tightness was persistent. Another exercise involved wedging open the high C or D key, and trying to blow a descending chromatic scale, avoiding breakage of the sound to the upper partials. This could only be achieved with a very relaxed embouchure and good breath.

Mr. Waterhouse's concept of embouchure style was probably best illustrated through watching him play. He has a constantly relaxed lip/jaw configuration; remaining motionless during all aspects of playing (i.e., fast tonguing, extended range and large interval skips).

Tongue and Articulation...

Discussion of this topic principally concerned the development of a quick tongue without manifestations of sympathetic tension, or overdone tongue motion. Considering his previous observations, it was clear that the stylistic efficiency of the tongue is proportional to good breathing habits, and a relaxed embouchure.

In training tongue quickness, exercises should be undertaken specifically addressing that facet of technique. Again, the player should remain aware of any tension produced during the activity. Included as a warm-up, Mr. Waterhouse suggested repetitions of tongued sixteenth-note patterns of gradually more notes at successive increments of tempo (i.e., four sixteenths at quarter note = 152, to sixteen at quarter note= 120, Example 2). This exercise trains agility and strength without undue fatigue or the complication of other musical details.

Fingers and Technique...

Simply put, Mr. Waterhouse stressed scales as most important. He suggested playing scales in extended position; always from the lowest note available, played legato in triplet or sixteenth-note patterns, pulsated in tempo with breath accents. Further, he mentioned scaled interval studies (diatonic and chromatic), exploring all intervals through the octave. Similar work with arpeggios was implied. Mr. Waterhouse prefers his students develop further technique through the study of complete pieces rather than studies or etudes.

Reeds...

The unstated feeling received from this portion of the lecture was that the reed is a means to an end - a value rather than a filter - and hopefully should not occupy too much of one's time. (Easily said!) Free vibration with a "triple crow" is a basic criteria. As a warm-up, repetition of a sustained crow for a complete breath was offered as indication of a reed's sufficiency. He said a reed should have the capability of every dynamic without giving in. He stated a preference for a style of reed, whereby the finishing scrape is accomplished from the inside of each blade preserving the hardest surface fibers nearest the bark. In his experience, such reeds have greater longevity and stability.

Warm-up Routine...

Implicit throughout Mr. Waterhouse's lecture was the efficacy of studying and training specific aspects of bassoon technique independently. A well thought out warm-up routine should address each concern; training maximum result with a minimum of time spent. Continuing his earlier analogy, the trainer or trainee can learn much through a disciplined routine. Mr. Waterhouse provided a few examples from his routine (which may be tailored to individual requirement):

Dog Panting

Standing position; slightly bent at knees and hips; spine and head aligned to achieve maximum back involvement. Involve only tummy muscles! In and Out at speeds of 6, 7, 8, and 9 per two beats; each cycle four times.

I. BREATH - "Routines to promote support, scope and suppleness, maintaining good posture without undue chest participation. To metronome set throughout to audible beat of quarter note = 60.

1. Dog-panting:

a. Standing position; slightly bent at the knees and hips; spine and head aligned to achieve maximum involvement of back muscles. In and out at speeds of 6, 7, 8, and 9 times per two beats (Example 1).

b. Repeat at sixfold tempo, (Example I), this time increasing the amount of air involved. Place left hand on chest to check for non-involvement here.

2. Reed Crowing: Obtaining and maintaining a stable "triple -crow". Sustain each for maximum duration, with timed-in breaths. Count off beats in units of five, aiming to achieve progressive involvement (Example 1, 2).

3. Long notes:

a. low c-sharp played forte sostenuto for as long as possible. This is for self-appraisal, keeping all noninvolved members free. (Example 1, 3 a).

b. 'sons files' for evenness: moving in whole tone steps away from the centre of range (d or d sharp) - poco forte, senza vibrato, sustaining each note for four beats. (Example 1, 3 b).

4. Extremes of dynamic:

a. loud; progressively increasing intensity in terraced increments. (Example 1, 4 a).

b. soft; aiming for minimum intensity through minimum effort. Reach point of least expenditure of effort as rapidly as possible, avoiding all unnecessary improvement elsewhere (chest, jaw, etc.). Example 1, 4 b).

c. following increase with decrease of
intensity. (Example 1, 4 c).

5. Vibrato:

a. dog pants 8 times in and out per 2 beats

b. playing same (pulsing 4 sixteenths per quarter with tummy) (Example 1, 5 b)

c. dog pants 9

d. play 9 (Example 1, 5 d)

e. dog pants 10

f. play 10 (Example 1, 5)

g. dog pants II

h. play II (Example 1, 5 h)

6. Support: Playing without embouchure - lips on turk's head beyond wires. (Example 1, 6)

II. TONGUE

1. Reed only quarter note = 100

a. tonelessly (Example 11, 1 a)

b. lightly crowed (Example 11, 1 b)

2. Progressive speed/repetition routines (as described above) Example 2)

III. EMBOUCHURE

1. Broken octave patterns (Example 111, 1 a, 1 b, 1 c)

2. Descending chromatic from d with high c key wedged open. (Example 111, 2)

IV. FINGERS

1. Loosening up

a. holding instrument, finger low E-flat and trill each digit alone in turn

b. Play (Example IV, 1 a, b)

c. Upper register routine: one octave range, c1-C2 and Cl sharp - C2 sharp in all twelve major keys, supplying appropriate key signatures. (Example IV, 1 c)

d. Rapid speed at quarter note = 132. Two fold cycles of harmonic minor followed by major scales, up and down in turn over a range of three octaves plus one note, starting and finishing on the lowest key notes in a rising sequence of keys. Maintain (tummy) pulse throughout twelve-fold cycle. (Example IV, 1 d)

Arpeggios - similar pattern of major/minor ascending from lowest key note over a range of three octaves.

Waterhouse Practice Warm-up Routine
I. Breath | Breath cont.
II. Tongue | Tongue cont., III. Embouchure
IV. Fingers

There is much to be gained from Mr. Waterhouse's very organized approach to practice and pedagogy. Thanks to him for sharing his ideas, and to Mark Popkin and Loren Glickman for hosting Mr. Waterhouse in the U.S.

[Douglas E. Kehlenbrink is an Assistant Professor of Music at James Madison University, Harrisonburg, Virginia. Ed.]

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