Bassoon Embouchure and Tone Production
One would think that the oboe embouchure is just like the bassoon embouchure, however, there are several differences. This is mainly because the oboists needs to learn to relax the embouchure more so than they have been used to. They must also get used to taking in much more air. The vibrations from the bassoon reed is much more present than on an oboe reed. It is suggested that oboists practice long tones on the lower end of the bassoon to get used to this.
Basson Embouchure
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Oboe Embouchure
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Steps to forming the proper bassoon embouchure
Bassoon Embouchure "No No's"
- Start by lowering your jaw as if you are going to yawn
- Next, purse your lips as if you are going to produce a low pitched whistle
- Then, purse your lips in even more as if you are going to make a kiss sound
- Now lets start to place the reed in the mouth - place the reed on your lower lip
- Then, roll the bottom lip inward taking the reed into the mouth and form the embouchure discussed before
- Make sure that you take in enough reed so that the top lip is almost touching the first wire on the reed
Bassoon Embouchure "No No's"
- Make sure that your lips are in front of your teeth. Don't Bite down on the reed
- Never let teeth touch the reed
- Don't close your throat or tense up the neck. Keep throat open and neck/shoulders relaxed
Attack and Release
The Attack - The key to articulation on bassoon starts with preparing the air with the abdominals, placing the tongue on the reed, and then releasing the tongue to allow the air to flow. The air should always be pressurized and ready, and the tongue should act as a valve that opens the flow of the already pressurized air. Weisberg compares the function of the tongue to a water faucet—when the tongue is released from the reed, the air should begin flowing immediately, just like when you open a faucet.
The Release - One of the biggest problems that wind players face is how to release the note without it sounding clipped off. The best way to accomplish this natural resonance is to use a combination of the airstream and embouchure to give a slight taper to the ending of the note. Weisberg describes this type of note release as a “resonant ending,” and describes it as “an extension of the technique of making a diminuendo.” To create a resonant ending, the air must quickly taper while the embouchure simultaneously tightens to compensate for the inevitable drop in pitch.
The Release - One of the biggest problems that wind players face is how to release the note without it sounding clipped off. The best way to accomplish this natural resonance is to use a combination of the airstream and embouchure to give a slight taper to the ending of the note. Weisberg describes this type of note release as a “resonant ending,” and describes it as “an extension of the technique of making a diminuendo.” To create a resonant ending, the air must quickly taper while the embouchure simultaneously tightens to compensate for the inevitable drop in pitch.
This image shows how the tongue should be placed on the reed before releasing the tongue to allow the air to flow.
BE SURE TO REVISIT THIS SECTION AFTER YOU HAVE STARTED PLAYING SOME OF THE EXERCISES LATER!