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WoodwindInstruments
and theirHistory(London, 1967), p. 268.
342
3 Reeds, andpirouettesfor
staples soprano andintegral
(separate
pommer
Renaissance European shawms
First let me lay down the law concerning the use of types),altpommer andbassett
pommer.
pirouettes on renaissance shawms. All sizes except the without pirouette, either make one, or use an oboe/cor
bass and great bass had pirouettes (there were some
anglais embouchure (see, for example, Rothwell's Oboe
exceptions to this but these were real exceptions and Technique,etc). Again, do not grip the reed as tightly as
should not be copied mistakenly as the general rule),
a modern player or the tone will be strangled. I will
and it is a great pity that several modern shawm-
now deal in some detail with the basic technique of
makers do not supply them. However, if you lack one,
playing a shawm with pirouette as I know of no other
they can be made (for small sizes at least) out of bottle account of it.
corks or cotton reels if you do not have access to a
woodworking lathe. Some pirouettes are shown in Reed and pirouette adjustment
illustration 3. The pirouette actually helps, rather than
1. Remove reed from case. Always keep your reeds in
hinders, the formation of an embouchure and helps a safe box as they are fragile, expensive and a nuisance
the player to keep going over long playing stretches,
to make in a hurry. If the 'case' is a plastic tube, I
e.g. at banquets and fairs. I hope to show why this is advise punching a hole in the lid of the tube to
SO.
ventilate, or the damp reed may easily go mouldy.
The largest sizes, great bass and bass, do not have a
Never leave a reed and crook on an instrument when
pirouette but are played with a bassoon player's not in use. It is very easy to knock over or brush a
embouchure with the top lip encroaching further
sleeve against it and ruin both crook and reed.
down the reed than the lower (fig. 1). Ensure that the
2. Soak the reed up to the adjustingwire or bottom of
Teeth
Lips
the scraped part of the blade in clean water. Always do
this before use and after playing, if possible, wash it
through with clean water and blow out excess
""~ -
moisture. They can be sterilized in an unsweetened
Fig. 1 spirit, e.g. vodka!
reed enters the mouth perpendicular to the plane of 3. Examine the reed for leakages down the sides of the
the lips (fig. 2) or you will have difficultyin forming an blade. There should not be an air or light gap down
the side, especially lower than half-way down the
scraped part of the blade. If there is, it can often be
sealed by wrapping a small piece of gold beater's skin
NOT
round the reed. The transparent 'Cling Wrap' food
wrapping foil can often be used for this purpose.
4. See illus. 3. Assemble reed, staple and pirouette and
NOT fit on the shawm. The separate reed and staple type is
the authentic one, even for small shawms, although
nowadays oboe-type reeds (reeds permanently fixed to
Fig. 2
staple) are supplied. Try not to grip the blades of the
reed too hard when fitting the assembly together. The
embouchure. I advise you to consult a book on separate type of reed is at an advantage here in that the
bassoon technique, but perhaps use a slacker staple or crook and pirouette can be put together on to
embouchure than modern players. The basset size can the shawm before the reed is added. I have made a
be played without pirouette like this especially in 17th- small reed like this for a soprano pommer but it is
century church music. For smaller sizes supplied trickierto make than the integral oboe-type.
345
Tongue
here
Fig.3
shawm (to raise the pitch), or is so short that the staple To open gap To close gap
comes further up the reed than the wire, then a shorter Fig.4
pirouette may be required. Mersenne gives for an alto adjustment causes a large change. The gap should be
shawm a pirouette total length of 6.5cm (2 inch 5 lines adjusted for optimum tone and response whereas
in the old Brunswick system) and Talbot (about 1696) pitch should be adjusted using crook and pirouette
gives detail for a treble (Shalmei)reed as: 4" wide at tip, settings as in step 7 above. The gap may close up
1l" long and 1" inside pirouette, i.e. 1" exposed (in during a long playing session, especially after much
mouth). second-octave work, causing a sharpening in pitch and
The pirouette on a Nicolo or basset shawm can be weaker tone. To remedy, open the gap using the
reamed out to sit further down the crook and hence adjusting wire. Remember that you may have to
reveal more reed. Different reed designs may require reverse this when you next come to use the reed, so it is
different pirouette lengths (to play at the right pitch, preferable to change to a fresh reed. If a reed gives a
etc.), so unless you have settled on a particular design, poor tonal response at any gap setting, if new, it prob-
a collection of different pirouettes may be useful. I ably needs scraping (see any text-book on the oboe for
have five (made from corks) for my soprano pommer. the general principles of reed-making technique-
On a Nicolo, or basset, the pirouette may need to Moeck supply a good introductory pamphlet on the
encroach further down towards the top of the reed subject). If the reed is old there are four levels of treat-
than on soprano and alto instruments. This may need ment of increasing severity: internal cleaning, re-
to be determined by personal experiment. scraping, softening in peroxide, and throwing away.
7. To adjust pitch. (a) If flat, push the staple or crook Do not forget to check for and cure gaps down the side
further into its socket or push the reed further on to of the reed first!
the crook. (b) Try a different length of pirouette. The 9. In general, fan (V) shaped reeds give bright tone
nearer your lips are to the top of the reed the flatter but can be less stable, cigar butt (U) shaped reeds give
will be the pitch (at constant breath pressure, etc.). fatter but softer tone (more plummy), and are easier to
Remember that, to sharpen, push in and/or use control on some makes of shawms (e.g. German
shorter pirouette; to flatten, pull out and/or use a makes, Moeck and K6rber).
longer pirouette.
8. Reed-gap adjustment. Step 7 assumes that the reed Embouchure
is itself adjusted correctly. The opening of the gap at Having soaked the reed, adjusted its gap, assembled
the top should be adjusted for best tone rather than the crook, reed and pirouette, you are ready to play.
pitch,. although it does have an effect on pitch. If the There are two basic embouchures: uncontrolled and
gap is very open, the sound will be loud, bright, flat in controlled. Both have their uses, so I will deal with the
pitch and will require high breath pressure to play. If simplest first.
347
Fingering
Several matters and tips for fingering can be listed as
follows: (I refer to shawm pitched in C).
1) Renaissance shawms are designed to be held left or
right hand uppermost by the use of dummy holes or
swallowtail keys for the seventh finger. RobertKindred
2) Renaissance shawms did NOT have double holes
for chromatics (like baroque oboes), as supplied by
some modern makers.
351