- There are two types of staccato—"stopping immediately with the tongue" and "suspending the sound in the air with abdominal support"—and knowing when to use each one is essential
- A focused, sharp airstream, like "spitting a watermelon seed," is indispensable for producing a clear staccato attack
- Through specific examples such as Dukas's "The Sorcerer's Apprentice," develop the ability to choose the right articulation to match the character of each phrase
One of the greatest charms of the bassoon is its staccato, which showcases the instrument's unique character. In the orchestra, staccato is frequently employed when playing in unison with pizzicato strings or when depicting comical, clown-like movements. However, a pitfall that many beginner and intermediate players fall into is pressing the tongue too firmly against the reed in an attempt to shorten the notes, thereby cutting off the instrument's naturally rich resonance. A truly beautiful staccato does not simply mean "a short note"—it means "rich resonance condensed within a short note." To create vibrant, life-filled tones that leap out into the concert hall, one cannot rely on tongue movement alone; full-body breath control is essential. In this article, we will delve deeply into the technique of staccato—one of the true joys of bassoon playing—and offer insights to elevate your performance to an even more professional level.
The first thing to understand is that staccato can be broadly divided into two styles. The first is a very short, crisp staccato in which the tongue returns to the reed immediately after the attack to physically stop the vibration. This is suited for fast-tempo passages with continuous note patterns or when aiming for a very dry effect. However, overusing this technique risks making the performance mechanical and preventing the sound from projecting. This is where the second style becomes important: the "resonant staccato." Like a string player's pizzicato, this technique involves sending a sharp burst of energy from deep in the abdomen at the moment of attack, then controlling the decay so the resonance floats in the air. Rather than stopping the sound with the tongue, this approach completes each note through control of air pressure—making it ideal for maintaining the bassoon's characteristically warm tone. Being able to freely switch between these two weapons depending on the situation is the first step toward becoming a top-tier player.
Additionally, the way the tongue contacts the reed during staccato requires delicate attention. If the tongue lands flat against the tip of the reed, it can cause noise or make the attack feel heavy. The ideal is an extremely light touch, with just the tip of the tongue contacting a very small area at the tip of the reed. To achieve this light touch, a stable embouchure and an open throat are indispensable. When the throat is constricted, extra force is applied to the tongue to compensate for insufficient air pressure, resulting in a stiff staccato. It is important to maintain a relaxed state—as if taking a deep breath—and rather than blowing air into the instrument, to feel as though you are releasing the resonance within your body outward. This produces a musical staccato in which each note is independent yet connected by a thread of rich resonance. Now, let us examine specific methods for correcting your form and the checkpoints for synchronizing your airflow and tongue.
Correcting Your Tonguing Form: Coordinating Tongue Movement with Airflow
To dramatically improve the precision of your staccato, you need to correct your form so that your tongue movement (tonguing) and airflow are perfectly coordinated. Many players struggle with the airflow stopping the moment they move the tongue, or with the timing of the air release and tongue release being out of sync. An effective mental image for developing ideal form is the sensation of "spitting a watermelon seed as far as possible." You concentrate the energy stored in your mouth and expel it in a focused burst—"Pff!" At this moment, it is crucial to send a decisive, high-speed stream of air into the bassoon's narrow bocal. Keep the throat relaxed while maximizing abdominal support. Making these seemingly contradictory elements coexist is the key to producing a clear attack. In practice, prioritize "maintaining a continuous airstream" over "producing a sound," and repeatedly train yourself to gently yet sharply divide that flowing air with the tip of the tongue.
- During the staccato, is your abdomen (diaphragm) functioning properly as support, pushing the air outward?
- Is the speed at which you release your tongue from the reed fast enough so the onset of the note is not blurred?
- During rapid repeated notes, is excessive tongue movement causing your embouchure to lose its shape?
- Is the end of each note free of noise, with the resonance naturally released into the air?
- Is the quality of your staccato drastically different between the high and low registers?
Staccato practice can easily become monotonous, yet it encapsulates the intellect and sensitivity of a bassoon player. Try incorporating variety into your daily scale practice by deliberately mixing extremely short staccato with longer, near-tenuto staccato. You will come to experience the joy of controlling your body—your instrument—exactly as you intend. Listening to the staccato of other wind and string instruments and studying how their notes begin and fade is also tremendously instructive. Because the bassoon also serves as the "glue" of the orchestra, it must produce articulation that blends with surrounding timbres while remaining independently defined. Armed with proper form and a rich imagination, refine your own brilliant staccato. Each note you play will make the music richer and more colorful. Enjoy the journey of loving your sound and pursuing your ideal resonance.
Watch the Lesson Video
- Title: Mastering Bassoon Staccato: Two Approaches to Achieving Both Resonance and Clarity
- Instrument: fagott
- Level: Beginner
