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That D above the staff and double tongue

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Home Forums Pedagogy Bassoon and Contra Bassoon Fingerings That D above the staff and double tongue

Viewing 4 posts - 1 through 4 (of 4 total)
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  • #96343
    Steve Harriswangler
    Participant

    First I want to say I wish I was with all of you in the conference! I had so much fun last year in Oxford. We are in the last week of the season with a Wagner gala, fun fun fun! I shouldn’t complain, at least we had a season and what looks like a great one with our new director next year, the Spanish economy has not been kind to its orchestras.

    Anyway, I saw a post from Vincent Ellin from 2006 about the overblown D. That is a serious problem note on Buffet system bassoons, I usually use the RH Ab key. On my Heckel the RH Ab does raise the pitch, but it is quite high, I like adding the RH 2 3 and F that Vincent mentions, for a reliable ppp attack, it is a good fingering. You can use the fingering in Haffner to raise the pitch of the staccato D C# bit, the RH works for both notes if you use long C#. RH 3 and F is yet higher in pitch and also helps raise the pitch further. I have also found adding the RH Bb key by itself also helps raise the pitch. This fingering is especially useful for double tongue passages, again, like in Haffner, and if you use the short C# fingering. I find the pitch way too flat on a double tongue D and the technique is easier with the Bb key and you can leave it pressed down for the short C# fingering. My students have had luck with adding the Bb. I actually had an audition committee member ask me why the fast staccato D and C# section is always so flat and why don’t we bassoonists just fix it.

    #116442
    Steve Harriswangler
    Participant

    Update, I have a friend that uses the LH pinky low C# key to raise the pitch of the double tongue D’s in Haffner,, ill have to try it.

    #116443
    Vincent Ellin
    Participant

    I have found that in general, the embouchure needs to be a bit different when tonguing quickly, and this affects the pitch, obviously. One of my teachers Stephen Maxym mention this in passing to me, and I never took it to heart until I noticed that my “A” in the overture to the Marriage of Figaro tended to be flat, even with an opened vent. Since that time I have been paying attention to stretching my embouchure SLIGHTLY whenever I am playing fast articulations. It really has made a difference in pitch. It has also helped speed as I can stay relaxed a lot more and I am NOT jawing any notes AT ALL. Just keep the support forward, and consistent.

    #116444
    Steve Harriswangler
    Participant

    Excellent point, nice to see another Maxym student out there. Support helps a lot and as you said, embouchure. I think ti-ki ti-ki, not ta-ka ta-ka helps reduce the size of the oral cavity and raises the flat notes.

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