- Stopping the reed with the tongue tends to produce a hard attack. Create support from the abdomen and leave resonance
- Separate notes clearly, but eliminate unevenness within the beat so offbeats don't get too loud
- Hold the image of a continuous bass-line axis with staccato riding on top of it
- Keep the left elbow slightly high, avoid excessive force, and don't lift the fingers too far from the holes
- The final quarter note tends to come out too strong — work backward from the desired ending to plan air volume and speed
In bassoon staccato, the challenge is less about making even articulation and more about keeping the musical expression intact while riding the beat. This lesson covered the full design of performance: support without hard stopping, handling offbeats, the bass-line axis, and form (elbow and finger distance). Here we compare NG and OK examples and break it down into practice steps.
NG/OK: Hard Staccato vs. Soft Staccato
Beat unevenness can show up not only through loud offbeats but also through 'higher notes getting louder.' By placing weight on beats 1 and 3 and playing as if the bass line extends continuously, the staccato that rides on top is less likely to stick out. Even when expression markings (decrescendo, etc.) appear, the key is not to lose this axis.
Even when expression markings like decrescendo appear within the piece, the emphasis is on not losing the beat axis. Furthermore, when a slur appears for the first time after a repeat, rather than overarticulating the offbeat notes, the approach is to pack the three notes naturally within the curve of the airflow. When you decide the overall shape of the phrase first, not just how to stop notes, the staccato expression stabilizes.
Regarding finger movement, it is important not to open the fingers more than necessary. In this lesson, the sensation conveyed was 'it's fine even if the movement is only barely visible,' meaning the minimum distance that opens the hole is sufficient. The smaller the movement, the more stable the fingers remain during leaps and busy fingering passages, and the less unevenness appears in the beat.
Practice Steps
- Step 1: Create core support from the abdomen and line up short notes with the intention of leaving resonance (don't over-stop with the tongue)
- Step 2: Prevent offbeats from getting loud — be aware of the relationship between beats 1 and 4 and eliminate unevenness
- Step 3: Play through the whole passage with the image of a continuous bass line and staccato riding on top of it
- Step 4: Adjust the left elbow height and arm angle, finding a position where the fingers move without excessive force
- Step 5: Don't lift the fingers more than necessary. Check with a mirror or video that the distance isn't getting too large
- Step 6: Don't let the final quarter note come out too strong — work backward from the desired air volume and speed to end naturally
To shape soft bassoon staccato, support and beat design matter more than how you stop the notes. Create resonance from the abdomen, eliminate offbeat unevenness, and place each articulation on top of the bass-line axis. Refine your form and include a plan for ending naturally — build the overall 'gentle expression' as a whole. When in doubt, sing just the bass-line axis first, then play, and everything will fall into place.
