(Editor's Note: This important article on reed making is part of Mr. Griswold's doctoral dissertation: "Etienne Ozi {1754-1813): Bassoonist, Teacher and Composer" Its inclusion in the pages of THE IDRS JOURNAL is excellent for two reasons: Mr. Griswold's research in France has provided us with a translation of much more material about the reed-making practices of Ozi's time than we have ever seen before (in English). Also, with Mr. Griswold's kind permission, this article on Ozi's Reed Making takes a place in the larger and continued "History of Bassoon Reed Making" begun by Lawrence Intravaia and continued by this Editor in the past three years. Many thanks again to Eugene Griswold for his exceptional work in this field: an area of importance to those who play modern bassoons {who can now better compare the reed-making techniques of today with those of the past and perhaps see some aspects of construction which have been "forgotten"), and of course of great practical importance to those who play on period bassoons and reproductions of early instruments)
Detailed instruction on late eighteenth-century reed making may be found in Ozi's Nouvelle méthode de basson and Fröhlich's Fagottschule. Fröhlich's reed-making instructions were found by the present writer to be German translations of Ozi's procedures described in the Nouvelle méthode de basson. Fröhlich did, however insert a few comments of his own which, in some instances, clarified Ozi's original instructions. Also, Fröhlich included illustrations of reed tools, some of which were not found in Ozi's method. Ozi's reedmaking instructions also appeared (without acknowledgment) in Bordogni's Méthode complète pour le basson published c. 1840. [78] Cugnier's article, Quantz's Versuch and Ozi's Méthode nouvelle et raisonnée pour le basson also contain information on eighteenth-century reed-making practices, but do not offer the step-by-step procedures found in the other two works.
It is interesting to note that Ozi placed his reed-making instructions in the back of his Nouvelle méthode as the last item to be learned by the bassoonist, whereas Fröhlich placed the instructions at the beginning of his Fagottschule. Ozi informs us that most bassoon reeds during his time were made and sold by bassoon makers ("lutherie du basson") and for that reason one would not expect to find reed-making instructions in a bassoon method. However, he noted that some bassoonists made better reeds than the manufacturers of the bassoon and for that reason he decided to include the instructions in his méthode:
. . . besides the independence which the artists will find by making them themselves, this task will teach them to know quickly the good and bad qualities of cane, and especially to make reeds which suit their embouchure. [79]
The fact that Fröhlich introduced reedmaking instructions before presenting any other instructions on bassoon performance seems to indicate a trend in Germany continued until the present day. According to Heinrich, most present-day German bassoonists make their own reeds whereas today's French players, for the most part, do not:
In France, the instrumentalists do not generally make their own reeds themselves. They buy them from specialized reed makers. By contrast, in Germany, those who make them themselves are much more numerous. And in France the oboists almost always make their own reeds. [80]
Sources for cane. Ozi indicated that bassoon cane was grown in the departements of Bouch-de Rhone, Var, and Alpes-Maritimes. However, he claimed that the best cane came from southern Italy where it was found to be drier and less spongy. Fröhlich also indicated that cane from Italy was best. Cugnier offered the following general information on the quality of cane:
As the reed is made with cane, the quality of sound which it produces, depends also on that of the cane which is used thus one cannot give for this part an invariable rule. All that can be done is to keep selecting until one has been found which easily produces the tone which we have just described. It is necessary to observe that the cane must not be too strong nor too weak; strong cane is very tiring to play, it demands more volume of air, and a stronger pressure between the lips; it also produces a hard and rarely beautiful sound. The one which would be too weak would make a meager sound, without the roundness which is appropriate to the sound of the bassoon, and which would therefore be disagreeable; one must take the best between the two extremes. [81]
Ozi and Fröhlich provided detailed information about this subject. They claimed that good cane had a yellow cast becoming more yellow when wetted with saliva. In order to better observe the color, Fröhlich advised removing a small piece of the bark. Both Ozi and Fröhlich recommended avoiding cane which absorbed saliva too quickly and cautioned the student against using cane which resulted in a greenish color when wet. According to Ozi's Article IV, "On the Quality of the Cane," in his Nouvelle méthode de basson cane with these faults "will produce low sounds only with difficulty, and because the more they are played the more muffled they become ("elles ne produisent les sons d'en bas qu'avec peine, et que plus elles vent jouées, plus elles deviennent sources"). As for the thickness of the cane, Fröhlich advised using cane whose thickness from the bark to the inner surface (before gouging) was as thin as possible. He claimed that thinner cane would make the reed more stable. One other factor in choosing good cane was cited by Ozi in his Méthode nouvelle et raisonnée. This was the necessity of choosing cane which was "not of big grain" ("ne soit pas d'un gros grain"). Ozi did not specify a preferred diameter of cane. Fröhlich, however, indicated that the diameter of the tube was to be exactly one inch ("zol"). He maintained that cane with a larger diameter caused the arch of the finished reed to be too flat. Fröhlich also gave us a drawing (see Fig. 1.) on how the tube of cane was to be split into four equal pieces:
However, he did not provide precise measurements for these four pieces of cane. He simply indicated that they were approximately the size shown in the above figure. Ozi did provide us with exact dimensions for the pieces of cane: each piece was to be four pouces, 9 lignes long (128 mm.) and 8 lignes (18 mm.) in width. [82]
Fröhlich also provided an illustration (see Fig. 2.) of this hand gouger:
Both writers indicated that the cane was to be placed in a mold or bed when gouging. Ozi indicated that his mold or bed was to be 6 pouces (162 mm.) long, 8 lignes (18.0 mm.) wide, and one and a half lignes (3.4 mm.) deep. He recommended making the mold with the hand gouger in a piece of wood 9 pouces (243 mm.) long, 2 pouces (54 mm.) wide, and one pouce (27 mm.) thick. (See Fig. 3.) Although Fröhlich did not provide dimensions, his gouging bed or mold was much more sophisticated than Ozi's. Fröhlich stated that it was to be made of strong wood and that it should have a tongue (see p in Fig. 4.) on the bottom so that it could be clamped to a vise. Also at the back of the bed there should be a movable wedge (see bb in Fig. 4.). Fröhlich used a wedge similar to the one on a joiners bench in that it could be raised or lowered to suit the stage of cutting.
As for the depth of the gouge, Ozi recommended gouging until a thickness of one half ligne (1.1 mm.) was reached. Fröhlich did not give an exact measurement for the thickness of the gouged cane but he advised gouging until a lighter color is observed in the cane. After gouging, Ozi recommended taking a round scraper ("gratoir rond") and smoothing out the uneven spots left by the gouger. He also used this round scraper to "weaken the middle of the piece intended to be bent in order to bring the two parts of the reed closer more strength must be left at the two ends of the cane so that they can support the binding." [83] Fröhlich was much more specific regarding this step. He recommended dividing the cane into four equal parts (see Figure 5.). He stated that the second and third parts were to be thinner than the first and fourth parts which support the wrapping.
Fröhlich was also more specific on the type of scraper to be used. He recommended a steel button sharpened on one side like the blade of a plane. It was to have a diameter of one inch, the same diameter of the tube of cane. (See Fig. 6.)
Fröhlich, like Ozi, also used this scraper to even out rough spots left by the gouger. For the final finishing of the gouge, Ozi used dampened Dutch rush ("La prele humectee doit achever d'nir et polir le roseau").
Folding and shaping. In preparation for folding the cane, Ozi recommended scoring the bark ("entailler l'encorce") of the cane in the middle. (See Fig. 7.) He then "wet the reed to make it more flexible" ("en-quite mouiller le roseau pour le rendre plus flexible"). It is noteworthy that this was the first time in the reed-making process in which Ozi mentions wetting the reed. Fröhlich did not score the cane before folding. Instead, he recommended making small notches in the middle of each side of the cane. (See I and II in Fig. 5 above.) Then he folded the cane over a dull knife or straight edge in order not to cut the bend (see Fig. 8.) which he claimed must remain closed. He also recommended wetting the cane again before folding. Both writers advised making certain that the fold was exactly in the middle, otherwise the ends of the cane would have to be cut again.
Shaping. Both writers shaped the cane after it was folded. Ozi gave exact dimensions for the shape in Article IV of his Nouvelle méthode de basson. [84] They are as follows:
Ozi stated, however, that "these measurements can vary according to the good or bad quality of the cane." ("ces mesures peuvent varier selon la bonne ou mauvaise qualite du roseau"). Cugnier spoke of "established proportions" for the dimensions of the bassoon reed. However, except for the length of the reed, he did not provide us with specific dimensions:
There are rules established which determine the proportions which a reed must have in order to be of the requisite quality, following those which a bassoon must have in its entirety, but in spite of all the precision which has been tried for a long time to execute all that is indicated for the manufacture of the reed, one cannot rely on the established principles on this matter; it often happens that the reed made in all proportions, is entirely bad, and another which is supposedly less well made, will be good, or at least passable. One must also be careful that the reed is neither too long nor too short; one or the other makes the bassoon out of tune; the longest must be at the most thirty-two lignes in length (71.5 mm.) and the shortest must be less than twenty-nine lignes (66 mm.); one will judge even better by trying them on the instrument than by these proportions. [85]
Fröhlich did not provide measurements for the shape of the reed, but he did offer the following information:
If the reed is too broad, the tone will be wild in that one is unable to control all the air and make the modifications necessary to produce a good tone. If it is too narrow it produces a thin, bad tone; therefore, it is better to use a reed a bit too wide than too narrow. To keep a uniform embouchure it is best to make a pattern from a good reed or of parchment, sheet brass, or cardboard. [86]
In 1752 Quantz had made similar statements regarding the shape of a good double reed:
As to the tone on both of these instruments (bassoon and oboe) much depends upon a good reed, that is, whether it is made of good and seasoned wood, whether it has the proper concavity, whether it is neither too wide nor too narrow, neither too long nor too short and whether, when shaved, it is made neither too thick nor too thin. If the front of the reed is too wide and too long, the high notes become too low in relation to the low ones, but if it is too narrow and too short, they become too high. [87]
Fröhlich gave us two illustrations of bassoon reeds, one representing the more narrow shape, and the other a wider shape, both of which were "according to the model of the Parisian Bassoon Tutor." (See Fig. 12 on page 304 of the present study.) There can be no doubt that Fröhlich was referring to Ozi's Nouvelle méthode de basson here since he not only used most of Ozi's musical illustrations and Articles but also included examples of Ozi's compositions.
Ring placement. After shaping the reed, Ozi and Fröhlich described the making of the metal rings. Ozi described the rings as "two rings or straps of iron wire, made on an iron mandrel oval in form and having the same proportions as the middle of the reed." [88] Fröhlich's description is the same except he indicated that the rings could be made from both brass or iron. Cugnier also noted that both iron ("ligature de fil") or brass ('ligature de laiton") were used for the rings. Ozi and Fröhlich recommended that the first ring be tight and advised using a polishing tool or dull knife (in order not to scratch the surface of the cane) to push it into place "about at the middle of the reed." Both writers indicated that the second ring must be a bit smaller than the first ring, and that it must be pushed in place at a point of three lignes (6.77 mm.) behind the first ring. This could possibly indicate that the shape of the reed at the second ring was slightly more narrow than at the first ring. The illustration of the three bassoon reeds provided by Ozi and Fröhlich all appear to bear this out. (See Figs. 12 and 13 on page 304.)
Forming and binding. Ozi and Fröhlich both advised making "several notches on that part of the reed which was to be wrapped." Both also advocated splitting the butt end of the reed five or six times to enable the reed to take on a round form for the bocal. In order to support the binding (neither Ozi nor Fröhlich used a third wire or ring), the reed was put on a mandrel, the end of which "must gradually diminish as it comes to the first ring and at this point give the lower part of the reed the circular form and a diameter of the part of the bocal to which it must adapt." [89] Fröhlich provided a drawing of the mandrel which he used (see Fig. 10).
Fröhlich's mandrel appears to be round and tapered in order to give the first ring the proper elevation and form a tube which would fit the bocal. [90] Fröhlich maintained that the arch of the reed created by the mandrel affected the quality of tone. In order to maintain this arch, he, unlike Ozi, advocated binding the reed with a string up to the first ring before inserting the mandrel. This string was to be removed before applying the "permanent wrapping." Ozi and Fröhlich both used a permanent or final wrapping made of well-waxed string. They attached the wrapping below the second ring and wrapped toward the butt of the reed. Both cautioned that the wrapping be pulled tightly and tied with "flat knots." The wrapping was to be done only when the reed was on the mandrel. In order to remove the mandrel from the reed, they both recommended tapping the wrapping very lightly, which also helped "flatten out uneven spots and flatten the knots."
Scraping instructions. After the reed had been removed from the mandrel, both writers recommended holding the reed in the "manner of a quill to be sharpened" while using a "pocketknife" ("canif') to remove the bark. An excellent illustration of this technique and the pocketknife used to sharpen a quill was found in Diderot's Encyclopédie:
On the manner of holding the quill and knife. The quill is held with the first three fingers of the left hand, and the pocketknife is held in the right hand. It is hardly possible to explain the position of both objects; it is necessary to comply with that which is exposed on the fourth plate. Nevertheless, one will note that the quill should be directly in front of the body in order to begin cutting, that the index and forefinger of the left hand hold it from above while the thumb on top control all the turnings which the cut demands. The blade of the pocketknife extends below the right hand in order to be able to cut the quill which rests on the right thumb. The pocketknife is moved by only the four last fingers of the right hand, which envelops the handle. [91]
In the following sentence, Ozi described the general scrape of the reed:
Once the reed is taken away from the mandrel, it must be turned over and held like a quill which one wants to sharpen and with a pocketknife take away the bark of the cane at a slant [biseau], that is that by beginning while falling away at five lignes [11.27 mm.] from the first ring, the penknife will notch more, as it descends to the embouchure [or tip] giving it this kind of slope which is noticeable in the upper part of the reed. [92]
Warner's interpretation of Ozi's sentence is as follows:
That more bark is removed from the sides of the reed, thus leaving a thicker center portion, is evident from Ozi's description of a beveled scrape. Apparently he favored a type of scrape similar to the modern German style which leaves a thicker spine down the middle than the contemporary French School. [93]
However, Fröhlich's interpretation of this significant information appeared to be in disagreement with Warner's statements regarding the general scrape of the reed:
The part of the reed which will be the blade is cut like a wedge, or in other words, one removes the bark from the reed on a slant with the pocketknife, beginning five lignes below the first ring, cutting deeper the closer one comes to the tip: whereby, it assumes the angle seen on the top part of the reed. [94]
Neither Fröhlich nor Ozi mentioned anything about leaving "a thicker center portion" and thinner sides. The three illustrations or reeds by the two writers (see Fig. 12 and 13) do not appear to support Warner's claim.
In fact, the illustration of Ozi's reed appears to support an opposite conclusion. The engraver of Ozi's reed made efforts to depict the contour of the reed blade by leaving the tip of the reed blank while inking in the sides thus creating a "V-shaped" tip. This could indicate that the sides were actually a bit thicker than the center in the tip area. The engravers of all three reeds did not depict the contour of reed blades as having "thicker spines down the middle." In fact, the scrapes appear to be consistent with "the contemporary French School," that is, without "thicker center portions."
While removing bark from the blades with the penknife, both Ozi and Fröhlich cautioned the reed maker to use care and precision because "one false stroke of the penknife can make one lose the fruits of the trouble which one has just taken." Fröhlich observed that some reed makers leave the mandrel in place for this operation to protect the arch of the reed from the pressure of the knife. He also advised cutting too little off the blades rather than too much, especially from the back of the reed.
Cutting the tip. In cutting the tip of the reed, both writers advised placing the reed on "hard and smooth wood" and making the cut by using "a mallet-blow on a sharp razor so that the tip is cut cleanly and without hesitation."
Finishing the reed. Both writers suggested using a well-sharpened penknife or razor to make the final scrapes in order to give the reed the necessary vibrations. The question arises as to whether the final scraping was to be done with a scraping or cutting motion of the knife. The words used by Ozi to describe the removal of the bark was "entaillera," which means to "notch," "slit," or "cut." However, for the final scraping Ozi used the word, "gratter," which means to "scrape" or "scratch."
To give it the necessary vibration, one scrapes ["gratera"] it lightly with the well-sharpened blade of a penknife or a razor and one finishes with a piece of glass. [95]
Ozi offered further advice on finishing the reed in his Méthode nouvelle et raisonnée:
When a reed has all the above qualities, when the upper and lower notes come out well, if it is too strong, it is necessary to scrape it delicately by the end and a little higher on the two sides; and if it is muted or does not vibrate enough, it is necessary to take away a little bark from the reed and scrape lightly everywhere up to the tip, it is also necessary before playing to be careful to wet the reed sufficiently so that moisture penetrates into the ligature; without this precaution one risks making the reed warp when turning it on the bocal to make it hold. [96]
The scraping "delicately on the tip and a little higher on the two sides" might imply that Ozi worked for a "half-moon" effect (see Fig. 14) on the tip of the reed:
Fröhlich offered further insight into the final adjustments:
If the high range is weak, remove cane from the front with a sharp knife, if the low range is weak, shave from the back but always with care. If it is too hard to blow it usually is because of too much arch, here it helps to press the first band together a little. If the reed produces dull tones, see if it has too much wood i.e., if it is not hollowed out enough. This is helped by shaving a little from both sides or if it is believed to be too thick remove some of the bark as already mentioned. [97]
Neither Fröhlich nor Ozi mentioned using a plaque for the final adjustments, nor did they mention "crowing" the reed. However they both recommended scraping the reed in order to "give it the necessary vibrations."
Wire adjustment. Both Ozi and Fröhlich used identical procedures on the wires in order to adjust the tip opening of the reed. If the tip was too closed, the first ring was squeezed on "both sides of the first bar" with a small pliers. If the tip was too open, the second wire was squeezed in the same manner.
Both writers recommended taking apart a well-made reed and "studying all of its parts" as well as consulting a completed reed to "compare all proportions." They recommended that the student make certain that: 1) the reed is not "too strong or too weak;" 2) the "first ring instead of being flattened, should be oval in order to give the reed a soft, round sound ;" 3) the bassoonist "choose well-bound reeds, otherwise they warp and lose their quality;" and 4) if a reed "grows weak as it ages, one can cut off one ligne from it "which gives it strength, prolongs its life, and often makes it better."
Regarding saliva accretion within the reed, Ozi made the following suggestion:
Saliva, thickened by the action of air in the use of the reed, produces a slime which alters the sound and causes it to be muffled; in this case one must clean the reed with the end of a small feather introduced at the side opposite the binding; this observation is all the more useful, because otherwise one would cause it [the reed] to lose its quality in destroying the form which the bocal would have given it. [98]
[78] J. Willent-Bordogni, Méthode complète pour le basson. (Paris: Maison Troupenas, 1844). [return]
[79] Ozi, Nouvelle méthode de basson, p. 142. . . . outre l'indépendance que les artistes trouveront en les faisant eux mêmes, ce travail leur apprendra à connoitre promptement les bonnes et les mauvaises qualités du roseau et surtout à faire des anches qui conviennent à leur embochure." [return]
[80] J. M. Heinrich, "L'Anche," Bulletin du Groupe d'Acoustique Musicale, Nos. 82 & 83 (December 1975 -January 1976), p. 108 "En France, les instrumentistes ne fabriquent pas leurs anches eux-mêmes en général. Ils les achêtent chez des fabricants spécialisés. Par contre en Allemagne, beaucoup plus nombreux vent ceux qui les fabriquent eux-mêmes. Et en France les hauboïstes les fabriquent presque toujours eux-mêmes." [return]
[81] Cugnier, p. 331. "Comme l'anche est faite avec du roseau, la qualité du son qu'elle produit dépend aussi de celle du roseau qu'on ye emploie ainsi on ne peut donner sur cette partie une régle invariable. Tout ce que l'on peut faire, c'est d'en choisir jusqu'à ce qu'on en ait trouvé une qui produise aisément le son tel qu'on vient de le designer. Il faut observer que 1'anche ne soit ni trop forte, ni trop foible; une anche trop forte fatique beaucoup à jouer, exige un plus grand volume de vent, & une pression plus forte entre les levres, elle produit aussi un son dur & rarement beau. Celle qui serait trop foible rendrait un son maigre, dénué de la rondeur qui convient au son du basson, & serait par conséquent désagréable il faut prendre le meilleur entre les deux extrémités." [return]
[82] According to Doursther, the Paris Ligne at this time was equivalent to 2.2558290623 millimeters. A ligne was 1/12th of a pouce or 1/144th of the foot ("pied") of the king. Therefore, a pouce was equivalent to 27 mm. See Horace Doursther, Dictionnaire universel des poids et mesures aiens et modernes (Bruxelles: M. Hayez, Imprimeur de l'Académie Royale, 1840), p. 211. [return]
[83] Ozi, Nouvelle méthode de basson, p. 142. ". . effaiblir le milieu de morceau destine a être ploye pour rapprocher les deux parties de l'anche, on doit laisser plus de force aux deux extremites du roseau afin qu'elles puissent supporter la ligature." [return]
[84] Heinrich provides a fascinating discussion on Ozi's measurements and their relationships to one another. He claimed that the ratio between the width of the tip (8 lignes) and the width at the first ring (5 lignes) was 8/5 which is equivalent to a mystical ratio dating back to 1509 and called the "golden number" ("nombre d'or"). According to Heinrich, this "divine proportion" used by Leonardo de Vinci and others is 1 + the square root of 5/2 or 1.6180339887. Through a myriad of geometric and mathematical relationships, Heinrich found all three of Ozi's measurements as well as the dimensions of other eighteenth-century reeds related to this "nombre d'or." See Heinrich, pp. 59-63. [return]
[85] Cugnier, pp. 331-32. "Il y a des régles établies qui déterminant les proportions que doit avoir une anche pour être de qualite requise, suivant celles que doit avoir le basson dans son entier, mais malgré toute la précision avec laquelle on a essayé depuis long-tems d'exécuter tout ce qui est indiqué pour la fracture de l'anche, on ne peut s'en rapporter aux principes établis à ce sujet il arrive souvent que l'anche la mieux faite dans toutes les proportions, est tout-à-fait mauvaise, & qu'une autre qui sera moins bien faite, sera bonne, ou du moins passable. On doit aussi faire attention que l'anche ne soit ni trop longue, ni trop course, l'une & l'autre rendent le basson faux, la plus longue doit avoir tout au plus trentedeux lignes, & la plus course ne peut être moindre de vingt-hunt ou vingt-neuf lignes; on en jugera encore mieux, en les essayant sur l'instrument; queApar les proportions cidessus." [return]
[87] Reilly, pp. 85-86. [return]
[88] Ozi, Nouvelle méthode de basson, p. 142. ". . . deux anneaux ou brides en fil de fer, les brides se font sur un mandrin en fer de forme ovale et ayant les mêmes proportions que le milieu de l'anche." [return]
[89] Ozi, Nouvelle méthode de basson, p. 143. ". . . doit arriver en diminuant à la première bride et a ce point donner à la partie inférieure de l'anche la forme circulaire et le diamètre de la partie du bocal auquel elle doit s'adapter." [return]
[90] Warner, in his article on eighteenth-century double-reed making where he discussed the reedmaking techniques of Ozi, apparently failed to note that Ozi discussed two mandrels: one for forming the rings and one for forming the reed tube: "After the folded cane has been shaped with the knife, it is placed upon an oval mandrel which has the same diameter as the middle of the reed, i.e., 12.5 mm." This happens to be the description of the mandrel upon which Ozi made the metal rings, not the mandrel with which the reed tube was formed. Not only was his measurement incorrect here (five lignes equal 11.27 mm., not 12.5 mm.), but a mandrel of this size could not possibly be pushed into the reed tube. See Thomas Warner, "Two Late Eighteenth-Century Instructions for Making Double Reeds," in Galpin Society Journal, XV (March 1962), pp. 25-33. [return]
[91] Denis Diderot and Jean L. d'Alembert "Ecritures," Encyclopédie ou dictionnaire raisonnée des sciences, des arts et des métiers, Nouvelle impression en facsimilé de la premiere edition de 1751-1780 (Stuttgart: Friedrich Frommann Verlag, 1967), XXIII, Planches IV. "Sur la maniere de tenir la plume & le canif. La plume se tient par les trots premiers doigts de la main gauche, & le canif se trouve dans la main droite. Il n'est guere possible d'expliquer la position de l'un & l'autre instrument; il faut se conformer à ce que la quatrieme planche expose à la vue. On observera poutant que la plume doit être droite vis-à-vis les corps pour commencer sa taille; que les doigts index & jamor de la main gauche la soutiennent par-dessus pendant que le pouce en-dessus lui fait faire tous les viremens que sac taille exige. La lame du canif déborde la main droite pour pouvoir couper la plume qui pose sur le pouce droit. Le canif ne se meut que par les quatre derniers doigts de la main droite, qui enveloppe le manche." [return]
[92] Ozi, Nouvelle méthode de basson, p. 143. "L'anche retirée due mandrin, il faut la renverser et la tenir comme une plume que l'on veut tailler, et avec un canif enlever en biseau l'écorce du roseau, c'est à dire qu'en commencant en mourant à cinq lignes de la première bride la canif entaillera davantage, à mesure qu'il descendra vers l'embouchure, pour lui donner cette espèce de talus que l'on remarque dans la partie supérieure de l'anche." [return]
[93] Warner, "Two Late Eighteenth-Century Instructions," p. 31. [return]
[95] Ozi, Nouvelle méthode de basson, p. 143. "Pour lui donner la vibration necessaire on la gratera legerement avec la lame bien affille d'un canif ou d'un rasoir et on terminera avec un morceau de verre." [return]
[96] Ozi, Méthode nouvelle et raisonnée, p. 3. "Quant une anche a toutes les bonnes qualités ce dessus, quand les tons d'en halt et d'en teas sortent bien, si elle est trop forte, il faut la gratter delicatement par le bout et un peu plus haut dans les deux côtés; et si elle est source, ou qu'elle ne vibre pas assez, il faut ôter un peu de l'écorce du roseau, et gratter legerement partout jusques au bout, il faut aussi avant de jouer, avoir l'attention de mouiller l'anche assez pour que l'humidité pénétre dans la ligature, sans cette precaution on est sujet à faire déjetter l'anche en la tournant dans le bocal pour la fait tenir." [return]
[97] Dagrade, pp. 17-18. [return]
[98] Ozi, Nouvelle méthode de basson, p. 4. "La salive épaissie par l'action de l'air dans l'usage de l'anche, y produit un limon qui altère le son et le rend sourd; dans ce ces il faut nétoyer l'anche avec l'extrémité d'une petite plume que l'on introduit du côté opposé à la ligature, cette observation est d'autant plus utile, qu'autrement on lui feront perdre sa qualité en détruisant la forme que le bocal lui auroit donnée." [return]