- The bassoon's high register requires distinctly different sensations for each range. Above middle C, use a falsetto-like sensation; above F, adopt a focused airstream sensation; above B-flat, maintain a feeling as if the air has nearly stopped
- To make the high register easier to produce, it is important that the reed throat (the part closest to the wire) retains sufficient thickness. If the throat is thinly scraped, the reed becomes biased toward the low register, making high notes difficult to produce
- Squeezing the second wire from top and bottom makes the high register come out more smoothly. The second wire can effectively cover the high register
- When playing pieces that require the high register, choosing a reed where the throat area appears yellowish and the bark has not been peeled away indicates that it is relatively unscraped
The bassoon's high register is characterized by distinctly different sensations required for each range. Understanding the appropriate sensation for each range is the key to reliably producing high notes. This article provides a detailed guide from concept to physical execution, covering the concept behind producing high notes, the specific sensations for each range, and practical reed adjustment methods.
How to Play in the High Register: Understanding the Different Sensations for Each Range
The bassoon's high register is characterized by distinctly different sensations required for each range. This is not simply a matter of "playing high notes" as a single technique, but rather requires understanding the appropriate sensation for each range.
From the octave above middle C and higher, it is important to cultivate a falsetto-like sensation. Imagine the inside of your mouth being very open and resonant, with the air feeling as though it escapes toward the back of your head. From F above middle C and higher, the sensation of bringing your lips closer to the reed and focusing the airstream becomes essential. Make the space inside your mouth compact so the airflow becomes smooth, and thin out the sound leaving only the core, relying on the surrounding space for resonance.
From B-natural above B-flat and higher, you play with a feeling as if almost no air is coming out. Just enough air emerges to keep the reed vibrating, with an image of not overblowing, leaving only the core and letting the space resonate. From around D and above, the sensation reverses, as if the air is flowing back inside your body. It feels like producing a very thick chest voice and picking up the high overtones from it.
Building Physical Awareness: Practicing by Ascending in Octaves
To internalize the sensations for the high register, practicing long tones ascending in octaves is highly effective. This makes changes in airflow and embouchure much more noticeable. Also, fingerings become increasingly irregular in the higher register and vary depending on the instrument, reed, and individual physiology, so it is best to explore and develop your own fingerings rather than relying too strictly on fingering charts.
Causes and Solutions
Here we discuss the causes of difficulty producing high notes and their solutions. We introduce specific approaches to resolve issues such as the reed throat being thinly scraped, improper wire adjustment, and incorrect reed selection.
Problem 1: The Reed Throat Is Thinly Scraped
When you want to make the high register easier to produce, conversely, a reed that makes the low register harder to play tends to favor the high register. The throat, the part closest to the wire, is the area that governs the register, and the thinner it becomes, the less resistance there is, allowing air to rush in more easily. Conversely, for high notes, the throat should retain significant thickness, being virtually unscraped, and a sensation of the airstream being tightly focused is essential.
Problem 2: Improper Wire Adjustment
How the wires are shaped is also important. Pressing the first wire from the sides allows more air to enter, but adjusting the second wire can cover a great deal of the high register. Solution: Squeezing the second wire from top and bottom makes the high register come out more smoothly.
Problem 3: Incorrect Reed Selection
Those who purchase finished reeds online often receive reeds adjusted for ease of playing in the middle register, and the throat may already be scraped down in many cases. Solution: When playing pieces that require the high register, visit a shop and compare several reeds, choosing one where the throat area appears yellowish and close in color to areas where the bark has not been peeled away, which indicates it is relatively unscraped.
- ① Understand the sensation for each range: Understand that above middle C requires a falsetto-like sensation, above F requires a focused airstream sensation, above B-flat requires a feeling as if the air has nearly stopped, and above D requires a sensation of the air flowing back inside your body.
- ② Practice ascending in octaves: By ascending in octaves using long tones, changes in airflow and embouchure become much more noticeable.
- ③ Check the reed throat: Since the throat, the part closest to the wire, governs the register, ensuring the throat retains sufficient thickness is important for producing high notes.
- ④ Adjust the second wire: Squeezing the second wire from top and bottom makes the high register come out more smoothly.
- ⑤ Select the appropriate reed: When playing pieces that require the high register, choose a reed where the throat area appears yellowish and close in color to areas where the bark has not been peeled away.
The bassoon's high register is characterized by distinctly different sensations required for each range. By understanding that above middle C requires a falsetto-like sensation, above F requires a focused airstream sensation, above B-flat requires a feeling as if the air has nearly stopped, and above D requires a sensation of the air flowing back inside your body, you can reliably produce notes in the high register. It is important that the reed throat (the part closest to the wire) retains sufficient thickness, and squeezing the second wire from top and bottom makes the high register come out more smoothly. When playing pieces that require the high register, choosing a reed where the throat area appears yellowish and close in color to areas where the bark has not been peeled away indicates it is relatively unscraped. Practicing ascending in octaves and exploring your own fingerings rather than relying too strictly on fingering charts are also important approaches to mastering the high register. Understanding the appropriate sensation for each range is the key to mastering the high register.
