ATUVIRTUAL

DIRECTORSACADEMYJUNE2020

TuningtheDoubleReedsKenFutterer

ProfessorofSaxophoneandDoubleReedsArkansasTechUniversity

ktfutterer@atu.edu

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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.

•  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).

?Simpleenough?12

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

BassoonReedRange

•  Thebassoonreedrangeisalmostanoctave,frommiddleC4uptoBb4orpossiblyevenaC5,withF4beingtheprimarypitchcreatedattheneutralposition.

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BassoonReedAlone

Tone,Tone,Too?•  Youcanalsopracticetoneasyoupracticepitch.

•  Toneiseasy(sortof).Youarelookingforapuresound,notfuzzy/airyorsplitpitch–especiallythe“Crow”.

•  Ifthereedslipsthroughthelips,theusualresultisthe“Crow”.•  GIGOistheoperationalprinciplewithTone.•  Ifthereedsoundsgood,sowilltheinstrument.

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Remember,GarbageIn,GarbageOut

TuningWithAnotherInstrument•  Tuningisatechniquethatmustbepracticedfromtheverybeginningwiththedoublereeds.Iteachthisconcepttobeginnerswithoutissue.

•  Tomatchpitch,thedoublereedmustbeveryflexibleatmovingthereedaround,asthereedisinconstantmotion.Wemoveforoctaves,wemoveformicro-pitchadjustments.

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AFluteandOboetuning

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

•  ktfutterer@atu.edu•  Text:479-970-1871

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