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From: ken@ihuxq.UUCP (ken perlow)
Newsgroups: net.music.classical
Subject: Re: Beware: Old Instruments aren't performed traditionally
Message-ID: <934@ihuxq.UUCP>
Date: Tue, 15-May-84 17:38:06 EDT
Article-I.D.: ihuxq.934
Posted: Tue May 15 17:38:06 1984
Date-Received: Wed, 16-May-84 04:29:43 EDT
References: <872@eosp1.UUCP>, <421@trwspp.UUCP>
Organization: AT&T Bell Labs, Naperville, IL
Lines: 51

--
>> >> Methods of making reeds may have changed.  Shawms always seem to have a
>> >> shwoopsy attack below pitch for every note.  I have heard the alto and
>> >> tenor shawm played with a clean attack on every note.  It can be
>> >> done, but WAS it traditionally done?

>> I've been playing soprano shawm for all of six weeks, so I'm a real
>> expert by Usenet standards :-) ...  Generally I find that the
>> "shwoopsy" attack on a note is the result of my own inexperience
>> with the instrument.  It's a matter of attacking underpitch
>> and then immediately correcting the note.  Like an oboe, a
>> given fingering on the shawm can provide a whole host of notes
>> depending on air pressure, reed pressure, and reed position.  Lots
>> of variables to play with.  Then there's atmospheric condition.
>> In any case, the more experienced shawm players I know always
>> attack their notes dead on.

>> But the pictures of Renaissance musicians don't show them playing
>> the instrument like an oboe at all!  Instead, they seem to have
>> placed their mouth way down the reed to the mouthpiece (accounts
>> for the cup-shaped mouthpiece) and blown with their cheeks puffed
>> out instead of the tight-cheeked oboe-like embouchure...

I've been playing Renaissance reeds for years, though since I picked
up the viol 3 years ago it's been hard to go back to the unrefined
sound.  Yes, historic (including iconographic) evidence on shawm
embouchure is as stated above, and it sounds like hell when we ex-
oboists try it.  On the other hand, we have only sketchy evidence about
Renaissance reed-making.  I suspect that poor sound and wavering
attack are caused by bad reeds.  (All oboists blame their reeds.)

A research summary in a recent Chicago Area Early Music Assn newsletter
maintained that krumhorn reeds were quite square and thick, and played
absolutely dry!  The author found an obscure treatise, followed the
directions, and claimed to get a secure, sweet sound.

I can get sure attacks on my soprano shawm because I can keep the
steady pressure required--and you have to learn the subtleties of
your particular instrument to do so.  I also have played with the
reeds to give myself the best advantage--I recommend not shaving them
thin more than 1/4" back, and especially leave a good center ridge.
Better to have a stiff reed that sounds square on when you reach its
hard pressure than a kazoo-type object you could play through your
nose.
-- 
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JE MAINTIENDRAI   ***** *****
                 ****** ******    15 May 84 [26 Floreal An CXCII]
ken perlow       *****   *****
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