From Figures 5(b) and 5(c), it can be seen that the fly ash particles get on well with epoxy. Additionally, wet ability is very high so the interface surface between fly ash and resin does not have any cracks.
Under the effect of stress, cracks in epoxy material will appear in the most critical areas and cracks will grow, when fly ash is dispersed evenly with nanometer size in epoxy, cracks can be effectively prevented, and cracks change direction as they pass through the surface of the fly ash (Figure 5(d)); the arrow shows the developing crack is prevented by fly ash) but have difficulties to spread out. Thus, the combination of epoxy and the fly ash can prevent the materials from cracking.
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Attacking a note on the bassoon with imprecise amounts of muscle or air pressure for the desired pitch will result in poor intonation, cracking or multiphonics, accidentally producing the incorrect partial, or the reed not speaking at all. These problems are compounded by the individual qualities of reeds, which are categorically inconsistent in behaviour for inherent and exherent reasons.
These elements have resulted in both "full" and alternate fingerings differing extensively between bassoonists, and are further informed by factors such as cultural difference in what sound is sought, how reeds are made, and regional variation in tuning frequencies (necessitating sharper or flatter fingerings). Regional enclaves of bassoonists tend to have some uniformity in technique, but on a global scale, technique differs such that two given bassoonists may share no fingerings for certain notes. Owing to these factors, ubiquitous bassoon technique can only be partially notated. 2ff7e9595c
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