atu virtual directors academy june 2020 futterer handout.pdfdesigned an elegant solution for the...
TRANSCRIPT
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ATUVIRTUAL
DIRECTORSACADEMYJUNE2020
TuningtheDoubleReedsKenFutterer
ProfessorofSaxophoneandDoubleReedsArkansasTechUniversity
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WindInstrumentBores• Anydiscussionoftuninginstrumentsmustbeginwithaclearunderstandingofthe
boreofwindinstruments.Ihaveincludedthisreviewwithfamiliarinstrumentstoestablishabaselineofwhatshouldbe,andwhatshouldn’tbedonetotuneconicalboreinstruments.
• Thereare2typesofbores:tubularandconical.• However,manyinstrumentshaveevolvedasahybridofbothbores.• Ahybridcouldbeatubewithacone/bellattheendlikeatrumpetorclarinet,ora
conewithtubingintheacousticpath,likethevalvesandslidesonahornortuba.
1)Theonlytruetubularboreisthemodernflute.(Interestingly,piccoloscanbetubularorconicalwithareversecone.)
• 2)Clarinets,trumpetsandtrombonesarehybridinstruments.
• 3)Doublereeds,saxophone,cornet,horn,euphonium
andthetubafamilyareconical.
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ChangingLengthChangesPitch
• Nomatterwhatthebore,inordertoaffecttheoverallpitchofawindinstrument,youmustchangethelengthofthatinstrument.Ifthatchangeoflengthaffectstheshapeofthebore,mildtoveryradicalintonationissuescanhappen,especiallyatthe1stovertoneabovethefundamental(usuallytheoctave).
• Weareallfamiliarwithtuningtubularinstruments.• Thefluteheadjoint,abrassinstrument’stuningslides.• Theseworkquitewellastheinsidediameterofthetubeisnotsignificantlyalteredwhenthelengthischanged.
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ClarinetIssues
• Tuningaclarinetismoreproblematic,forwhenthelengthofaclarinetisextended,theinsideborediameterissuddenlychangedwheretheexpansion“gap”iscreated.
• Usingtuningringscaneasilyrectifythisissue,byfillingthegap,whichthenrestorestheintegrityoftheclarinettubes’insidediameter.
• The“gap”issueonthelargerclarinetsissolvedbyincorporatingatuningtube,muchlikeaflute.
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BrassInstrumentsSolution• Conicalbrassinstrumentssolvethisproblemby
insertingshortlengthsoftubulartuningslides;sono“gap”iscreatedinthecone.
• Theoretically,thechangefromconicaltotubularbacktoconicalshouldcreateanomalies,butinpractice,thelengthofthetubularsectionissoshortinrelationshiptotheoveralllengthoftheinstrument,itisamildeffect.
• Also,rememberthatthoseanomaliesaffectthe1stovertoneabovethefundamentalsothenotesmostaffectedforbrassinstrumentsarenearthebottomofthepracticalrange.
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SaxophoneMostElegantSolution?
• AdolphSax,thecreatoroftheeuphonium,designedanelegantsolutionforthesaxophone.
• Theconeofthesaxophonestartsatthetipoftheneck,themouthpieceboreistubular.
• Nomatterhowlittleorhowmuchthesaxophoneisinsertedintothemouthpiece,thelengthoftheconeisneveraltered,makingtuningtheoveralllengthofthesaxophonesimpleandeffective.
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….Nowontotheproblemchildren….Oboe&Bassoon
• Unfortunately,thewaythattheoboereedandthebassoonbocalareattachedgivesthefalseimpressionthattheoverallpitchofadoublereedinstrumentcanbeadjustedthesamewayasotherwindinstrumentsareadjusted,byalteringthelengthoftheinstrument.
• Theactofpullingoutthereedorbocalconvertstheborefromconicaltotubular,andalsointroducesadramaticchangeinthesizeofbore,almost50%larger.Thisinternalchange,whichishiddenfromtheeye,introducesdramatictuningabnormalities,asnotedbefore,mostnoticeabilityatthe1stoctaveaboveafundamentalpitch.
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OboeSocket,BoreandReed
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Youcanseetheareathatthecorknormallyfillsup.
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• Allwoodwindinstrumentsoperatebychangingthelengthofthebore.Eachtimeyoupickupafinger,theinstrumentgetsshorter.
• Forourdiscussion,thismeansthatthecloserthenearestopenholeontheinstrumentgetstotheareaofinstability,whichisthereed/bocalsocket,themoreradicalthatinstabilitywillbe.
• Thisisbadnews,butalsoapredictableaction,whichmakesitpreventable.
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BassoonBocalandWildNotes• Theconicalboreofallbassoonsstartatthetipofthebocal.Bocalshave
preciseexpansionrates,whichareapparenttotheeye.• Thegoodnewshereisthatbocalsdocomeindifferinglengths,thelower
thenumber,theshorterthelength;#1theshortest,#5thelongest.• Ifyourbassoonisalwayssharp,nomatterwhatthereedis,usingalonger
bocalwillsolvethatissue.• Bassoonsareusuallyshippedwith#1and#2bocals.Thesearethe
shortest/sharpestandforthemostpart,unusable,bocals.• Itisdesirabletousea#3bocal,whichgivesmorestabilitytothethroat
(short)notesandstillworkswithmostcommercialreeds.• Forthebassoon,thewildnotesarefromBb2(2ndBbbelowmiddleC)until
openFbelowmiddleC.Beingtheshortestnotesonthebassoon,thesenotesarenotverystabletobeginwith,andareinaverypopularcompositionalrange,soaddingfueltothatfireisnotadvised.
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OboeBocalandWildNotes• Theconicalboreofalloboesstartswiththestaple,whichisthe
metalpartoftheoboereed,andishiddenbythecaneandcork.Allstaplesaremanufacturedtoprecisemathematicalconicalexpansionrates,andshouldbeconsideredthebocaloftheoboe.
• Reedmakershaveexperimentedwithdifferinglengths,andbeingabletopurchasereedswithdifferinglengthsofstapleswouldbegreat.Unfortunately,youcannoteasilyacquireoboereedswithdifferentlengthstaples,sothatisnotaviablesolution.
• Fortheoboe,notesmostaffectedarefromG4toC5,andthe2nd
octavenotesbetweenE5andC6.Thatissmackdabinthemostcomposedrangeoftheoboe,and,unfortunately,wheretheyhavetotunewithflutes90%ofthetime.So,thisisalsonotaverysmartareatoaddadditionaltuningcomplications.
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NeitherPushNorPullButthereisaSolution
• Ifwecan’tpushanythinginorpullanythingout,andtherearen’ttuningslides,howcanweweplaytheseinstrumentsintune?
• Thetonegenerator/doublereeditselfhasalotincommonwiththebrassinstrumenttonegenerator,whichisanotherdoublereed(lips).
• Buzzahigher/lowerpitchonatrumpet,andyouwillgetdifferingnote,anotherpartial.
• Buzzahigher/lowerpitchonadoublereed,andyouwillsharpenorflatthenoteyouareplaying.
• Forcethedoublereedreallyhighorlow,andyoumightgetthenextpartial,whichisusuallytheoctave.(evenhigherpartialsontheBassoon).
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Practice,Practice,Practice
• Theeasiestwaytolearntocontrolareed’spitchistopracticeonthereedasifitwereamusicalinstrument.
• Grossmovementscanproducealmostanoctaveofrangeonthereedaloneandassistwithachievingcontrolofdifferingoctaves.
• Microadjustmentsproduceveryslightpitchchanges(aslittleasonebeat,440to441),allowingforperfectfrequencymatching
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AFewWordsAboutEmbouchure• Theembouchure'sprimarypurposeistocreatethemuscularequivalentofa
trumpetmouthpiececup,byprovidingaminimallyflexibleCIRCULARsurroundthatcontrolsthereed’svibrations.Thefirmerthelipmusclesthebetter.Thereisnophysicalwaypossibletomakethelipmusclestoofirmorbunched.
• Theembouchureplacesthelipsbetweenandslightlyforwardoftheteeth,NOT
BEHINDTHETEETHORWITHINTHEMOUTH.Toallowenoughspaceforthebunchedlipmusclestofitbetweentheteeththejawwillnecessarilybeveryopen,theonlylimitsonthisopeningisifthelipscannottouch.
• Thebunchedlippadsareusedtogripthereedwiththecornersofthemouthpushingintowardsthecenter,creatingan“O”.Atthesametimethelipsarethrustingforwards,asifattemptingtopushthereedoutofthemouth,asthereedisattemptingtopushthelipsbackintothemouth.Thisdynamictensionisanimportantfeatureoftheembouchure.
• THERESHOULDBENOUNNATURALEXAGGERATIONOFTHEOVERBITEONOBOEORBASSOON.
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REEDPLACEMENT&THENEUTRALPOSITION
• Theneutralpositionisaphysicallymemorizedspotintheembouchurethatallsubsequentrange,toneandintonationcorrectionsarederivedfrom.
• Beforeanembouchureismade,thetipoftheTIPofthereedshouldbelocatedinthecenterandmiddleofthebottomlip,onthe"wet"line.
• Thetoplipthenclosesdownonthereed,arrivingwherevertheoverbitedictates.
• Duringtheformationoftheembouchureandduringplaying,thereedshouldbegrippedfirmlybythelipmuscles,stayingonthesameliplocation,andnotbeallowedtoslidepastthelipsintothemouth.
• Studentsmightoccasionallyneedtodrytheirlipsandreedtokeepthereedfromslippingoutofposition.
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NeutralPosition,Continued• Theanglethatthereedprotrudesfromthestudent's
mouthshouldfollowthenaturaloverbite.• Ifastudenthasnoover-bitethereedwillcomestraightout
ofthemouth,ifthestudenthasapronouncedover-bite,thereedwillprojectdownward,likeaclarinet,andifthestudenthasanunder-bite,thereedwillprojectupwards.
• Moststudentsaresomewhereinthemiddle,withanaveragedownwardprojectionof30to40degreesbelowthehorizon.
• Asimpletesttoseeiftheembouchureisprovidingthenecessarytensionandgripistogentlypushthereed1/4"inward,andthenreleaseitsuddenly.Thereedandlipsshouldspringbacktotheneutralposition.Ifthereedslipsthroughthelips,thelipsare toowetandshouldbedriedoff.Thisdrynesswillprovide thenecessaryfriction.Ifthereeddoesnotspringback,thelipsarestretchedtoothinlyovertheteeth,andtheteetharetooclosetogether,witheveryprobabilitythatthestudentisbitingonthereedratherthangrippingit.
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!52SpotsonaBassoonReed52!• Intheory,thereisanexactspotonthereedforeachnotetheoboeorbassoonplays(thatwouldbe52+spotsonabassoonreed!!).
• Inpractice,each½steponthereedcorrespondsroughlyto4or5notesontheinstrument.Ingeneral,thehigher(orlower)oneplaysontheinstrument,thehigher(orlower)oneshouldplayonthereed.
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OboeReedRange
• TherangeoftheoboereedshouldvaryfromF4toD5(abovemiddleC4)withA4(440)beingtheprimarypitchcreatedattheneutralposition,whichisamemorizedstartingpositiononthereed.
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OboeReedAlone
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BassoonReedRange
• Thebassoonreedrangeisalmostanoctave,frommiddleC4uptoBb4orpossiblyevenaC5,withF4beingtheprimarypitchcreatedattheneutralposition.
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BassoonReedAlone
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Tone,Tone,Too?• Youcanalsopracticetoneasyoupracticepitch.
• Toneiseasy(sortof).Youarelookingforapuresound,notfuzzy/airyorsplitpitch–especiallythe“Crow”.
• Ifthereedslipsthroughthelips,theusualresultisthe“Crow”.• GIGOistheoperationalprinciplewithTone.• Ifthereedsoundsgood,sowilltheinstrument.
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Remember,GarbageIn,GarbageOut
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TuningWithAnotherInstrument• Tuningisatechniquethatmustbepracticedfromtheverybeginningwiththedoublereeds.Iteachthisconcepttobeginnerswithoutissue.
• Tomatchpitch,thedoublereedmustbeveryflexibleatmovingthereedaround,asthereedisinconstantmotion.Wemoveforoctaves,wemoveformicro-pitchadjustments.
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AFluteandOboetuning
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TendencyTones• Ifthecircular“O”embouchureisused,thethroattoneson
doublereedswillbepredictablyflat.• (A–C,bothoctavesonoboe,D–openFonbassoon).• Typically,thehigheryoufingerapitchinthethroatarea,
theflatterthatpitchwillbewithoutanyadjustment.Thatisgood,asitispredictable.
• Thesolutionisto“rollin”fractionally(raisingthepitch)onthereednotebynoteforthroattones.
• Forhigheroctavesyoumighthavetomoveinasmuchas1wholesteponthereedabovethe1stoctaveposition.
NOTE:• Beawarethatifastudentisconsistentlysharponthese
notes,theyarebitingonthereed.
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AlwaysaSoloist,NeveraSection.
• Doublereedsarerareenoughthattheyarealmostalwaysasoloinstrument.Evenifyouhave2oboes,andtheyplayperfectlyintune,andatconcertpitch,theywillsoundoutoftunetoabiggersectionthatisnotasperfect!
• Sotheyhavetobetheinstrumentstoadjust.Learningthatindividualvoiceshavetomatchthegreaterensembleisanimportlesson,andshouldbestressedearlyon.
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TunedattheFactory?
• Eachdifferingdoublereedinstrument,nomatterifitisastudentlevelorpro,hasinconsistenciesinthebore,andthosedifferencesaretherefromoneserialnumbertotheverynext.
• Thoseinconsistenciescanbemapped,andalthougheachnewreedisaslightlydifferent“mouthpiece”,thetendenciesremainthesame.
• Onceastudentlearnstheirowninconsistencies,theycanthenapplythesolutionsatanypitchleveltheflutes(oranyoneelse)mightimpose.
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Conclusions:Confusing?BadNewsOrGood?
• Bynowitshouldbeapparentthatthedoublereedhasto
beinconsentmotionwithintheembouchure,bothfortuningandrangeconsiderations.
• Ifthisseemscomplicated,itis.However,itisnomorecomplicatedthanlearningtoplaymanynotesonasinglevalve,orholding3malletsineachhandandaligningthosemalletsfordifferingchords.
• Wemusiciansdothisstuffeveryday.Iask6thgraderstodothiswithinthatfirst,mostcriticalyear,andtheydoit.
• Thegoodnewsisthattheproblemsarepredictable,andassuch,onceyourstudentsarearmedwiththesolutions,theycanbeanticipatedandpracticed.
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……Finally……
…Callme…• KenFutterer
• [email protected]• Text:479-970-1871
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