Tasting Tutorial Would you like to be initiated into the wine culture and easily learn how to taste it?
What is tasting? Tasting, also called organoleptic or sensorial analysis, consists of the examination of a product, in our case wine, by means of the sense organs. It consists of carefully tasting a product whose quality we wish to appreciate, submitting it to our senses and getting to know it by seeking out its different defects and qualities with a view to expressing them. The most difficult aspect of wine tasting corresponds to translating sensations into words, that’s why it has a simple, understandable tasting vocabulary.
The whole world wants to be a taster, all you need is technique and a lot of practice which is within the reach of anyone. You learn to taste in the same way as learning to read. “There’s a great difference between drinking and tasting; good wines, great wines, are not drinks which you just swallow. You have to savour them; they are not drunk in large gulps as you do with a refreshing drink, simply looking for the tactile sensation of the liquid which pleasantly refreshes the throat. What interest you wine is not the gentle pungency that accompanies the intake of an alcoholic beverage”.
( E. Peynaud. The taste of wine)
Psychophysiological aspect of tasting Definitions: • Stimulation: whatever can
excite a receptor (organ).
• Sensation: subjective reaction
which involves the reflection which results from the stimulation of the sensory organ. As sensations are subjective, tasting is too.
• Perception: Raising of awareness
owing to the effect of a simple or complex sensory stimulation. The memory and experience are used. If you know the sensation, what is called interpretation occurs. The sensation is unconscious and only perception is conscious.
• Memory: The brain integrates,
decodes all information, comparing it with the information stored in the memory, turning it into a perception, consciously identifying it.
• Threshold: minimum value of a
sensory stimulation required to give rise to a closure sensation which must only be used alongside a qualifier.
- Detection threshold: Minimum stimulation quantity required to bring about a sensation. - Identification threshold: Value as from which the effects of stimulation start being perceptible. A minimum amount of sugar is required to appreciate the sweet flavour. - Saturation threshold: Maximum quantity of stimulation above which sensation intensity differences are not perceived.
• Flavour: Complex combination of taste, smelling and trigeminal sensations: (Bitter-Burning- SpicyRefreshing-Metallic).
Wines > Stimulation> Sensory organ> Perception
Sensory tasting moments • Observation: Stimulations (colours,
aromas, tastes and touch) are received by the senses, detected by nerve endings and transmitted to the brain which orders, analyses and compares these stimulations and sensations. This appreciation via the senses requires appropriate methodology and prior training of the senses.
• Description: of the perceptions
received by means of descriptors which clearly, specifically express their characteristics and it is necessary to have the command of an exact, specific vocabulary which allows sensations to be transmitted from one person to another.
• Comparison: of the perceptions
based on testimonies which are remembered: sensory experience, standards and/or quality models.
• Judgment: value judgment of the
wine which depends on the objectives facing the tasting.
Memory habits are created Tasting boldness meaning that a taster is created in line with a considerable accumulation of information received when tasting every day. It is said that the wine culture is what falls to the taster when he has already spat out many wines.
Tasting Conditions: Ø 46 ± 2
• AFNOR WINE TASTING.
0,8 ± 0,1
Ø9±1 Ø 65 ± 2
Ø 65 ± 2
55 ± 3
There are many forms, sizes and materials, though that which is most appreciated for its manufacture is fine, transparent and colourless glass; the purer the better as it is inert and allows the wine colour to be evaluated and enjoyed. The deposit from which the wine is poured is domed at its base, closing slightly to the edges so the aromas can be concentrated better. Wide mouth and thick glass must be avoided as well as carved with reliefs. The stem allows the glass to be held between the thumb and the index finger without affecting the wine serving temperature and turning it, causing the greatest emission and concentration of aromatic compounds. When tasting the wine it is recommended to only wash the glass in water.
100 ± 2
A tool of the taster and vehicle for presenting the wine to sensory analysis. Special glass for tasting wine with long stem and narrow mouth. In particular, that standardised in accordance with ISO (3591:1977, Afnor).
sparkling wines
still wines
For still wines the shape and dimensions of the glass, by changing the wine surface/ volume ratio, impact the concentration of odorous elements in the empty part and we should thus distinguish between the tasting glass used by the professional and a table glass. In this case, it is sufficient for it to be convenient for handling and pleasant on the upper edge which comes into contact with the lips as the table is not exactly the most ideal place for carrying out professional tasting. The glass must not be completely filled as it is necessary for volatile substances to be contained in the free space before carrying out the olfactory test. You have to fill it with 50 ml of wine which allows several tests to be carried out with the same sample.
For sparkling wines a longer, straight, flute type glass has been used which proves ideal for observing detachment and the string of bubbles as well as their effervescence. Owing to its small upper surface, this prevents removing the liquid properly without spilling to better appreciate the aromas. To this end, the champagne type glass has been required which, as it is similar to the flute one, has a light cup. It may also be worth a good glass of still wine tasting. Under no circumstances must such open, small bottom glasses be used, called Pompadour (legend has it that they have the shape of the breast of that important lady). This glass and other flatter ones can still be seen in toasts. They are not recommended as they contribute to the bubbles escaping, the string is not tasted, the capturing of aromas is hard and they have a very open mouth arc, with the liquid escaping the corners of his mouth at the slightest smile.
Environmental conditions: THE PLACE FOR The correct implementation of the sensory analysis requires its development under well defined, practically constant environmental conditions with a view to minimizing stimulations external to the. Tasting in places with habitual smells (winery, analysis laboratory …) tire the senses and it is not appropriate, just like when a place smells of a certain scent, you end up not perceiving it. When a defective wine is drunk regularly, you end up not recognising its defect. In actual fact, what happens is that the taster’s senses. There are also contrast effects such as, for example, dry white wine seems more acidic after sweet wine or tannic red wine seems fresher after a light wine, once again changing judgment.
Wine temperature is a factor to be borne in mind. A red wine seems less tannic at a slightly high temperature, 18 to 20ºC, but it seems more alcoholic. A white wine seems less acidic at a lower temperature. Room temperature must also be comfortable and ideally said temperature should be regulated by heating or cooling at 20 ± 2ºC. Without requiring absolute silence, hard to obtain in a group, it is necessary to avoid a noise level which is too high and which entails losses in concentration in the individual work of the taster. Sufficient lighting is between 200 and 400 lux and daylight is always preferable. If you have to resort to artificial lighting, this must be as uniform and distributed as possible. To enable better lighting, it is best for there to be an orientable light beam at the
tasting station to observe the wine colour and limpidity.
cleaning products do not communicate any environmental scent.
The colour of the dominant tasting room Influences our perceptions and they may influence the final result. There are colours which foster certain characteristics of the wines. Walls painted in bright colours and shiny surfaces should be avoided, accommodating colours in light, neutral tones (where possible, white) which also exerts tranquility in terms of the taster’s mood.
As regards the environment, Pierre Poupen said: “When you taste, don’t look at the bottle nor the label or the surroundings; immerse into yourself to see how your sensations arise and how your impressions are formed. Close your eyes and observe with your nose, tongue and taste”. The blind wine tasting is more objective.
As regards environmental humidity, a relative air humidity of between 60 and 70% is recommended. The aeration of the room must eliminate any smells which may occur. Great attention must also be paid to the furniture, wall paint, remains of tasted products or
The taster’s work must be individual and to avoid subjectivities in more precise tastings (control sessions, wine or taster competitions), individual standardized tasting cabins are used.
Tasting vocabulary and data By way of consultation there is vast vocabulary relating to tasting and wine characteristics at this website. The tasting data sheet is the document used by the professional to note down the sensations perceived during the course thereof. As regards the tasting data sheets, there are various types and they are designed in line with the purpose or type of tasting. They can be grouped into two groups:
• Descriptive data sheets:
They are used to describe the main organoleptic characteristics of a wine.
• Classification and assessment data sheets:
These describe the characteristics of wine, Providing them with a score and establishment of a classification or
order of various wines as regards its quality. The standard format for the data sheet we have designed and we are proposing is descriptive, and we have included a standard format for the official data sheet of the OIV t h e r e i n in order to be able to grant them a score and they thus serve to establish a classification or order for different wines in line with their quality. What’s more, we have included on our data sheet an affective appraisal (Hedonic) so that the taster can evaluate the degree of dislike or liking of a wine with a view to determining consumers’ preference for a type or series of wines in line with a concept or a specific feature.
Tasting protocol (Modus operandi): Habitual steps and sequencing 1. Serve the wine at the right
6. Finally, it is judged, described and
2. Holding the taster by the stem, look
7. it must be sought to carry out an
temperature, filling less than a third of the wine tasters.
at it from above and then at eye level to appreciate the colour and appearance of the wine. 3. After shaking, push your nose up close to detect the scents of the volatile compounds.
4. Once the wine is in the mouth, it is
washed around the tongue as far as the most internal part in order to be able to capture all the sensations, without swallowing it. 5. It is spat out (recommendable) or, if there is no experience, it is swallowed.
classified, properly recalling all the sensations.
expressive summary of the wine.
Wine serving temperature: The wine serving temperature is indicated by two limits: - One higher, characterised by the acidic taste which is more pronounced at high temperatures. - And another lower one, characterised by the bitter taste and sensation of the polifenoles which is increased at low temperatures.
* Sweet Wines.......................................................5 - 6ºC * Champagne and chamomile fine........................7 - 8ºC * Dry lacquers............………................................ 8-10ºC * Rosés and whites with body........................... 8-9-10ºC * Aging white wines..............................................10-12ºC * Clarets and young reds..................................... 12-16ºC * Bodied red (Foster and Reserves)............. > 15ºC- 20ºC Today, a bottle of wine can be chilled and kept cold with a mere bracelet with coolant liquid and a low economic cost.
The view (Visual phase) First approach to the wine - It is not too influent. - It can help to determine the “age� and lifecycle time.
Attributes which are - - - - -
Limpidity/cloudiness (more apreciable in white wines) Viscosity or fluidity. The color and nuance The color intensity The effervescence
Visual Stage Tasting Data
Clear:
Does not contain any suspension or precipitate.
Shiny:
Perfectly clear, transparent wine. Does not contain any suspension or precipitate. When hit by the light, it seems to.
Crystal clear:
Clear wine in maximum degree. Shines like glass.
Opalescent:
Clouded, slightly altered in terms of its limpidity,
Cloudy:
Contains considerable amount of suspended material. Slightly cloudy is taken to mean when it contains material in suspension which is easily appreciated in the meniscous.
Meniscous/Reflexes/Tones:
Meniscous is the interface between the wine and the air. It is curved and depends on the surface tension of the wine. In the majority of cases, this term is not used but rather that of tones where the wine reflexes are appreciated, indicating their age and/or state of repair. Purple tones, the youngest ones are more violet and those which tend to tile, bricks, amber are the oldest.
Meniscus
Cover:
Measurement of the quantity or intensity of the color in red wines which depends on the content in anthocyanins and, hence, on the grapes it was made of, of the area, vinification process etc. It must be put into context When we put glass in peak position flute on white background, we find differentiated colour areas in accordance with the thickness of the liquid in the glass. In the glass enclosed depicted in zone 1 and 3 reflexes layer, being the transition zone 2 nil in most wines. To the extent that these areas are covered 3 we talk of:
- Low layer when we can easily see
through the wine. Central zone 3 is not covered.
- Middle layer if only central zone 3 is covered.
1
(very covered, Intense). In major wines charged with colour by a perfect maturing of the grape and aging evolution. Sometimes, if the colour is opaque we cannot see through the wine. It’s enough to cover up in zone 2 cup figure.
2
3
3
- High cover
How covered a red wine is depends on the grape varieties, their maturity and the greater or lesser proportion of skins with which red wines are fermented (Bleeding, double cover, ‌).
Colour: Whites:
RosĂŠs:
Reds:
40 - 50 cm
Tears, curtains, legs:
Carbonic wines (Effervescence):
After stirring the wine in the glass, The drops form which slip through the walls thereof which get names like “tears”, “legs” or “curtains”, though they don’t affect the sensory characteristics of the wine. This phenomenon derives from wine viscosity and its nature esentially depends on the alcoholic content, appearing after shakng the wine in the glass.
Bubbles/Foam: Sparkling wines contain over 1 g/l CO endogeneous and in 2 a bottle closed at 20°C, the CO is at a pressure of over 3 bars. In these wines the size, association and duration of the bubbles (persistence) are regarded as important quality parameters. Gaseous detachmentand foam are produced at the same time, with the latter being the consequence of the former and changing notably from one wine to another. The walls and the serving temperature are decisive for the development of these phenomena.
Although this phenomenon does not affect the sensory characteristics of the wine, if you can not predict roughly, the possible content of wine compared with others. • The more numerous, long and persistent the tears are, the more body, volume and strength the wine will have. • Very separated tears is indicative of abundant, dense and short tears correspond to old, mature or evolved wines.
• Formation of bubbles: The fall in wine pressure in the bottle from 6 atm to 1 atm when it is opened reduces the solubility of the carbon from 14 to 2 g/l, with a ¾ bottle causing a release of 5 litres of gas which bring about the slow, continuous release of microbubbles (rosaries) and the formation of foam. Their colour depends on the wine which contains them and they may be anything from colourless to shiny for white wines, almost pink or purple for red or rosé wines. The detachment of bubbles is procured from the glass walls or, more rarely, in the wine heart, from very small particles where the surface tension of the wine breaks in a process called the “nucleous” of the bubble. These go one after the other the wine surface, forming rows or “rosaries” and slightly increasing in size as they rise. The quality is to be found in the abundance of beads, in their fineness and, ultimately, in their persistence. The sudden, explosive release of carbon by effusive mechanical agitation or rapid pouring of the wine into the glass provide enough energy for the bubbles to attain the critical size and they incorporate more carbon than is lost and they go up increasing the size. • Foam formation: This is an organoleptic factor which is highly sought after by wine makers and which it is hard to achieve. It seems to be the case that the foam depends first and foremost on the quantity of certain compounds which have wine with a tensoactive nature, especially nitrogenated compounds, pectins etc. which either derive from the base wine or yeast of the second fermentation. The foam structure or texture as well as the fineness of the bubbles depend on many factors: preparation methods, the quality of the base wine, serving conditions etc.
The slow refermentation conditions and at low temperatures (2 to 3 months at 10º to 12º C) followed by a long stay by the wine on yeast, may help to improve these characters. When assessing the foam, we must bear in mind the percentage covered, the color and the appearance as well as their persistence.
Laces: This is the name given to the islets of bubbles which are formed on the surface of the wine in the glass. It is greatly related with persistence. Rosaries/laces: a continuous thread of bubbles, one after another, as if they were rosary beads. The thinner and longer the string, the better. Crown: group of bubbles which reach the surface of the glass. Foam. (See bubbles).
Sense of (The nose) The olfactory analysis derives from a great Physiologicalcomplexity owing to the fact that in men it is the least developed sense (or the most atrophied) compared with other animals and the sensitivity and specific nature of the receptors is very weak; in addition to the fact that the stimulations are of such a varied nature that it has not even been. One of the basic characteristics of the sense of smell is concentration: • Olfactory threshold: minimum concentration of one perceived aroma by at least 50 per cent of the population.
• Difference threshold, quantity of aroma which must be added to a product which already contains said aroma so that a sensorial change is produced which is perceived by 50 per cent of a population. • Umbral de reconocimiento, concentración de aroma mínimo necesario para que su olor sea claramente reconocido como tal. • Recognition threshold, concentration of minimum aroma required for your sense of smell to be clearly recognized as such. The value of the aroma is the concentration of the compound
divided by the perception threshold. It gives us an idea of the sensory impact of the compound in the aroma of the wine. Olfactory analysis is undoubtedly hard because of the numerous aromatic components (over 800) and their interferences. In total, they go to make up 0.8-1.2 g/l. Theoretically speaking, they can all participate in the formation of the aroma thereof, though in reality there is a maximum number of 50 substances whose concentration is greater than the threshold value of perception, “active aromas” and it is solely the latter which take part in the olfactory stage of the wines. The greater the number of substances contained in the wines with a value exceeding the detection threshold, the more complex the perceived aromas. Appreciation of the aromas requires a certain methodology: specific tool, thewine temperature, environmental conditions, knowledge and origin of the aromas as well as a descriptive terminology. The intensity of perception varies over time, following a characteristic curve: a 1st stage or latency stage at which the aroma takes a while to be perceived, then growing rapidly and later starting a soft descent until ceasing to be perceived by a saturation of the olfactory organ. El olfato tiene cualidades afectivas de agrado o de desagrado, siendo más importante que el gusto en la selección de los alimentos. Los olores que hayan resultado desagradables en el pasado, pueden provocar sensaciones molestas e incluso de nauseas, mientras que un aroma adecuado puede resultar todo lo contrario, agradable y placentero. En algunos animales inferiores los olores constituyen su principal estímulo sexual. The sense of smell has emotional qualities of pleasure or dislike and it is more important than taste when choosing food.
The smells which have proven unpleasant in the taste may bring about annoying sensations and even nausea, whilst an appropriate aroma may be quite the opposite, pleasant and pleasurable. In some inferior animals smells constitute their main sexual stimulation When carrying out an olfactory analysis, maximum concentration is required and attention at the olfactory stage as they are sensations which are fleeting and subtle. What’s more, there are numerous volatile substances belonging to different chemical families: • Their smells are more or less intense, more or less pleasant. • Sensations are added or reinforced mutually or they are disguised or remain intact next to each other in the mixture of they are immiscible. The actual smell of alcohol may disguise other smells as is the case of ethyl acetate. An olfactory analysis is carried out in two ways: direct sense of smell and after smell or aromas in the mouth. The olfactory sensations appear together and inevitably
with the taste sensations, known as melltaste sensations where the taste strengthens/attenuates the smell and the smell strengthens/attenuates the taste. - Smells and “aromas”: - Smell is a more general term than aroma, in reality aroma can only e used for the smell in the mouth. However, we call pleasant olfactory sensations aromas and we use the term smell for unpleasant, defective sensations. - Smells/aromas characterise the profile of wine and depend on: • The grape • Variety • Age of the • Stock, etc. - Attributes to be assessed. During the olfactory analysis of a wine the following attributes must be assessed:
- Cleanliness or frankness. Lack of defects or strange smells. - Typical nature. Correspondence with the wine type, geographic and/or. - The aromatic intensity. This will depend on the variety, the grape maturity, the ecosystem etc. Persistence of smells or aromas - Elegance. Diversity of smells or aromas. (clearness and fineness, quality of the aromas.). Important attribute. - Direct olfactory stage methodology: With the wine taster’s glass full with a volume of 1/3 or 1/4 capacity (50 ml), we breathe in the air from the wine taster’s glass for no more than two seconds so that it circulates in the nose and does not go to the lungs; you can breathe in various times so as to better capture the aromatic hues, leaving a short time
interval between them. The most appropriate thing is to carry out an initial smelling of the still glass and we will notice the most volatile and characteristic compounds of the stock. Afterwards, shake the glass and smell it again. At this second stage aromas appear which with the still, glass were difficult to make out and many others that are volatilized due to the agitation.. - There are numerous classifications of the aromatic sensations, being the most used: - Depending on the nature of the aromas: 1. Primary, of the fruit. They have their origin in the wine though “they appear� during fermentation. 2. Secondary, their origin is clearly fermentative. (yeast, breadcrumbs, brioche, biscuit, pastries; milk, yoghourt, fresh butter, fresh cheese, yeast; banana, acid caramel, nail lacquer, varnish).
3. Tertiary, they are formed during aging in Wood and in the bottle. (Vegetal, fruit, spicy, wood, empyreumatic and animal). - The most acceptable is that of aromatic series: fruit, flowery and vegetal (indicative of a young wine), there are many references. Whilst the wood and spices series are characteristic of aged wines. The prevalence or existence of chemical or pharmacy series in a wine are indicative of clear imbalances as well as a lack of hygiene in preparation or storage.
(Aroma Wheel of A.C. Noble et al.)
Aromatic descriptors of the wine • Flowery: Rose, violet, jazmin, magnolia, acacia. • Fruit: Cherry, apricot, orange, lemon, apple, banana, tropical fruit, red or black fruits of the forest, melon, dried fruits, nuts, almonds, raisins. • Spices: peppers, nutmeg, cinnamon, clove, vanilla. • Animal: beef or game meat, feathers, wet feathers, wool, cat urine, meaty, leather, wet leather, honey. • Plant: Bale of straw, grass, mushrooms, tea, grass, morning dew countryside, wood (usually
• • • •
oak), green pepper, garlic, herbs, truffles, cooked beets, mint, eucalyptus.. Mineral: Chalk, volcanic, earthy. Balsamic: Resinous pine sweetness of vanilla syrup. Chemical: fermentation aromas, yeast, sulphide, acetic acid (nail polish remover), carbon aroma. Empyreumatic: Fire and heat related aromas, burnt and roasted, smoked and caramelised.
Common fruity odors In white wines. Stone fruits
Peach, apricot, paraguay, etc.
Other fruits
Quince, medlar, pear
Citric fruits Lemon, grapefruit, lime, etc.
Exotic fruits Pineapple, passion fruit, solid.
Very Green apple Grape symptom of immaturity - Young strain - High efficiency - Very early vintage
White flowers Jasmine, orange blossom, almond,honeysuckle, celinda, acacia, etc.
Other flowers Rose, melissa, verbena.
Herbaceous Freshly cut grass, laural, fig leaf, mint, eucalyptus, hay, ferns, watercress, fennel, etc.
In red wines White flowers
Jasmine, orange blossom, almond, honeysuckle, Celinda, acacia, etc...
Other flowers Rose, melissa, verbena..
Herbaceous Freshly cut grass, Laural, fig leaf, mint, eucalyptus, hay, ferns, watercress, fennel...
Aging Spices Vanilla, cinnamon, cloves, pepper, nutmeg,
Ecosystem Underwood, garrigue, etc.
Infusions Tea, lime, coffee, etc.
Dried fruits Hazelnuts, almonds, etc.
Balsamic Licorice, Eucalyptus
Animals Leather, horse
Empyreumatic Caramel, toasted bread, etc.
Flowers
Violet, lila, etc.
Greens Mostly green peppers Mature, confit tomato Eucalyptus, pine, etc.
Others Black olives
Training aroma references The wine tasters training in the recognition and identification of different flavors is based on the use of a number of references that tasters evaluate regularly. In any cases these references can be easily prepared from natural products. The use of fruits, juices, spices, vegetables, etc.. is useful to illustrate the aroma of a large number of descriptors in the wine easily recognisable. However, on the market there are collections of “artificial” aromas which faithfully reproduce many flavorings that can be found in commonly wine. Specifically, the collection “ La nariz del Vino “ by Jean Lenoir has specialized in
various chests aromas of white wines, red wines, and even defects that may eventually appear in some wines. The advantage of these artificial references compared with the natural is that they are more stable over time and do not require advance preparation. Below there is a proposal of aromatic references (natural and artificial) as regards the terms of flavor of our profile sheet.
REFERENCE TABLE Descriptor
Reference
Quantity/Concentration
Citric fruits
Lemon extract, Vahine
20 drops en 30ml
Apple
Apple Flavored Water, Font Vella
40ml
Peach
Peach juice, Granini
40ml
Fresh quince
Quince jelly, Bon Maman
A coffee spoon
Pear
Pear juice, Hacendado
40ml
Banana 1
Nº 5, Le Nez du Vin
Banana 2
Banana juice, Hacendado
40ml
Cherry
Cherry juice, Granini
30ml
Raspberry
Nº 13, Le Nez du Vin
20ml
Strawberry
Strawberry Jam, Helios
Strawberry-Creme Caramel
Strawberry-Creme Caramel Solano
Blueberry
Nº 16, Le Nez du Vin
Cassis
Cassis licor of Borgoña
Blackberry
Nº 17, Le Nez du Vin
Blackberry 2
Berries Juice, The Berry Company
20ml
Passion fruit
Passion fruit juice, Don Simón
40ml
Lychee
Lychee Syrup, AROY-D
30ml
Mango
Mango juice, Granini
30 ml
Pineapple
Pineapple juice, Granini
30ml
Prune
Prune
2 units
Dry fig
Dry fig, Seeberger
1 unit
Orejón
Orejón
1 unit
Raisin
Uvas pasas
5 raisins in 30ml of water
Quince, El Quijote
Quince, El Quijote
1 spoon
1 caramel
20 ml
Fruit syrup, Del Monte Fruit syrup, Del Monte
20ml
Moscatel Gran Ducay Moscatel wine, Gran Ducay
½ Dilution
Almond
Nº 21, Le Nez du Vin
Hazelnut
Nº 50, Le Nez du Vin
Nut shells
Peel and skin of crushed peanut
2 units each
Walnut
Walnuts
2 chopped units
White flowers
Nº 25, Le Nez du Vin
Flower’s honey
Flower’s honey, Carrefour
2ml
Rose
Rose water, Ynsadiet
1ml
Violet
Nº 29, Le Nez du Vin
Cinnamon
Powered Cinnamon, Carmencita
5 grams
Clove
Clove, Carmencita
3 grains
Black pepper 1
Granos de Pimienta, Carmencita
5 grains
Black pepper 2
Nº 43, Le Nez du Vin
Vanilla
Vanilla extract, Vahiné
1ml
Anise / Fennel
Anise candies
3 units
Eucalyptus
Eucalyptus Leaf
1 leaf cut into pieces
Aromatic herbs
Herbes de Provence, Carrefour
5 grains
Laurel
Natural Laurel
1 leaf
Licorice
Licorice
stick, 2cmx1cm
Smoked
Nº 54, Le Nez du Vin
Coke
Instantaneous Chocolate, Nestlé Gold
1 spoon
Coffee/Roasted
Roasted coffee, Marcilla
1 spoon
Caramel (toffe)
Caramel (toffe), Vahiné
2 spoons
Tobaco leaf
Marlboro cigarrettes
1/2 cigarrette
Oakwood
Chips Infusion
1 gr in 60ml of hot water
Toasted bread
Toasted bread, Súper
1 crushed piece
Boxwood
Natural Boxwood
Asparagus
Asparagus Juice, Aliada
Hay / Fresh grass
Nº 38, Le Nez du Vin
Pepper 1
Nº 30, Le Nez du Vin
Pepper 2
Roasted pepper, Martínez
Diluted with paraffin 1/10
Soil
Natural soil moist
5 grams
Understory / Moss
Firmenich dissolution
1 ml
Truffle
Nº 32, Le Nez du Vin
Leather
Nº 45, Le Nez du Vin
Yeast / breadcrumbs
yeast, Vahiné
5 g in 50 ml of hot water
Butter / Lactic
Natural butter, Arias
1 spoon
Mineral
No reference, it is illustrated with wines examples
Resin
Nº 35, Le Nez du Vin
Paint
Indian ink, Pelikan
1ml
Vinous, alcoholic
Etanol, Merck
Diluted 1/2
Dilution1/10
Acetic / Vinegar / Agrio
Nº 3, Le Nez du Vin, “Les Défauts”
Corrupted water / Dirty
Nº7, Le Nez du Vin, “Les Défauts”
Animal/Barn
Nº10, Le Nez du Vin, “Les Défauts”
Sulphuretted
Nº 6, Le Nez du Vin, “Les Défauts”
Onion
Nº 8, Le Nez du Vin, “Les Défauts”
Varnish / Glue / Solvent
Liquid glue
1 drop
Olive Broth
Olive juice
Diluted 1/3
Rubber / Oil / Gas
Tire rubber
1 trozo 2cmx2cm
Cork Disease (TCA)
Nº 12, Le Nez du Vin, “Les Défauts”
Humidity
Nº 11, Le Nez du Vin, “Les Défauts”
Crushed Apple (Acetaldehyde / Oxidation)
Nº 2, Le Nez du Vin, “Les Défauts”
Cooked vegetables
Juice of cooked green beans
Diluted 1/2
Taste and touch (the mouth) Complex analysis involving several senses in the mouth, taste buds, tactile, etc.. Taste buds having tiny pores in its upper part, through which the substances we eat (dissolved in saliva) reach the receptor cells. These are attached to sensory neurons that form the nerves which reach to the brain. Although every taste bud can detect all tastes, some areas of the tongue recognise certain flavors better than others.
SENSATIONS IN THE MOUTH: We evaluate different feelings:
Buds: Highly developed sense in humans. Located in the “taste buds” in the tongue, specialized tastes: • Sweet, ephemeral (Wine entry, tip of tongue). • Acid, then (sides and base of the tongue), more persistent.
• Salad. Not frequent. (2/3 front area). • Bitter, the end (15s). Center rear of the tongue. • Umami, meat flavor (monosodium glutamate). The ability to taste is very variable according to individuals and health status, existing people with “taste blindness” of varying intensity called “ageusia” (permanent or temporary). In the taste sensations we are to assess the intensity, persistence and balance sensation.
Balance of flavors: • Sugary and fatty flavors are masked • The bitter and sweet flavors are masked • The flavors are masked sugary and salty • Sugar reduces the sensation of astringency • Alcohol softens the sugar sensation • The sugar and the alcohol mask acidity • Carbon dioxide enhances the acidity and sweetness diminishes • The sweet taste must have an appropriate balance with other flavors
• Tactile and pseudotáctiles in
the oral cavity include tactile surface, deep, and perceptions of pain and temperature. They are trigeminal nerve sensations. These receivers are used to receive the texture of food, ie the set of mechanical, geometrical and
sweetness <> acidity +bitterness
surface, being able to assess the following: hardness, cohesiveness, elasticity, adhesion, roughness or smoothness and viscosity. - Touch: Reactions with mucous membranes.
• Softness / astringency:: Feeling of dryness, roughness and harshness. Feeling brought almost exclusively by red wines from the solid parts of the grape cluster (scratch, nuggets) and especially from tannins of the grape itself and those provided by the timber during aging. A wine with marked astringency, that is tannic, muscular, even scratchy, while balancing a wine tannic defined as solid, well structured, sustained, etc.. If there is too much tannin, the wine will be harsh, severe, rough, rustic, rough. Tannin is combined with time and becomes less aggressive, more sweet and aromatic, and is a sign of longevity in red wines.
• Greasiness, • Freshness, Spicy: Carbónico (0,3g/100ml); • Caustic, chemical sensation rather than touch • Burning / warmth, • Metallic • Volume, structure, roundness, volume, etc.. - Tactile-Thermal: perceived in lips, tongue and palate (hot and cold). - Aromatic: retronasal and aftertaste. The aromatic compounds released into the oral cavity into the nasal cavity amount causing retronasal olfaction, which combined with the taste and tactile sensations in the mouth results in flavor.
• Balance smell taste: The importance in the flavor retronasal can easily check closing the nose to limit the passage from the mouth to the nose..
Some tasters end evaluation with a long, aromatic aspiration before taking the wine to slowly ascend the vapors released into the nasal cavity. Interestingly, very aromatic wine (Porto, ....).
remaining as a particular moment in their life cycle
• Wine Harmony. A good wine is one in which excels not any specific flavor but is balanced as a whole, leaving an aromatic taste and a prolonged pleasant flavor. Considering that in the mouth we perceive taste, tactile and olfactory (retronasal) sensations, is at this stage where we get an opinion about the balance and harmony of the wine..
For example, polishing tannic edges or acid..
• Harmony future: Often the wine needs time in bottle, to round
We can distinguish: • Real Harmony: It’s the one presented by the wine - Wine round without edges. (Tannins, acidity, etc.). - Refers to the flavors and sensations
EVOLUTION OF PERCEPTIONS IN THE MOUTH Attack. (less than 3 seconds). Feeling after the first seconds of the wine in the mouth. It is usually expressed as the wine is sweet or dry, although sweet flavors predominate. • Evolution, the mouth progress. After taste which last 5 to 10 seconds. Decrease of sweet flavors except in the sweet wines, and increase in the acid and bitter. The increase in the acid, which is expressed according to the freshness of the wine. Appreciation of texture, presence, roughness smoothness.. • Final feeling. 5 and more seconds depending on the type of wine. Acids
and flavors predominate and to a greater extent, the bitter flavour. Dryness due to grape and wood tannins. It’s where the warmth usually reinforces wine, either as a result of alcohol, or lack of acidity in a wine without too much alcohol..
• The retronasal. Because the mouth is connected to the nose, exalts the aromatic phase. They are the scents. It can (should) appear more aromas on the nose. With increasing temperature the volatiles are better appreciated. Complement the flavors of the one: Flavor (flavour).
• The aftertaste is persistence of fast, aromatic sensations after swallowing or ejecting the wine From the mouth. It is a quality indicator highly valued. Also called wine length: “long” or “short” wines. It is related to persistence. It is higher for higher quality wines.
BALANCES / IMBALANCES TASTE AND VOCABULARY • Acidity is the sensation directly related to freshness, it is an important component in its balance and longevity. To talk about the goodness of acidity, which is the feeling of freshness, liveliness, joy, etc. If the wine is too acidic it will be aggressive, angular, green, sharp, biting, sharp, pointed, etc.. But if it is scarce it will be soft, flat, loose, thin, warm, hot, etc. • Body, is the set of tactile sensations that wine produced on the palate, mainly due to their fleshiness and alcohol content, and also consistency of the liquid and intensity of its palatal taste, is the feeling of weight and
•
consistency on the palate, not to be confused with the texture. Balance is achieved when weighing the conflicting feelings and in turn they all enhance each other. Alcohol increases the sweetness and astringency of red wines, but decreases the sensation of bitterness. The salt enhances all flavors and in turn reinforces the sweet taste, but also acidity, bitterness and astringency. Carbon dioxide accentuates the sensation of acidity and astringency of wines, but decreases the sweet feeling, this means that a wine with high acidity will endure better a high alcohol content, a wine
with a tannic richness is supported better with low acidity and high alcohol content. The temperature of the wine can also mask its balance, the colder it is the alcohol heat and the sweetness is less noticed, the acidity is better expressed, but its aroma will decrease and the tannic feeling and bitterness will increase.. â&#x20AC;˘ Meaty: Is the wine which is dense and full-bodied in the mouth, making it a feature related to touch more than taste. There are certain wines and areas that traditionally, grapes or wine features, usually are more fleshy than others. A wine does not require a degree of meatiness to be good, weâ&#x20AC;&#x2122;re just talking about a feature, not a quality, so it will depend on your own taste, if you like more or less fleshy wine..
Read more definitions in our vocabulary section. Many of these adjectives are not included in the profile sheet, because they have a certain degree of subjectivity, something that we have tried to eliminate. But at the end of the palate stage find a blank box where you can list the adjectives that you consider appropriate in accordance with your experience and knowledge, such terms shall not be taken into account in assessing the tasting.
Calidad Global/SĂntesis expresiva Overall quality is the integration of all the sensations perceived in accordance with the traditional qualities of quality demanded by consumers and the market: evolution, persistence, complexity, balance (harmony) and uniqueness (interest, power and elegance). Sensory evaluation of food products is becoming one of the most important aspects of quality in the food industry and in studies of consumer acceptance. The quality of a wine is a very broad concept that depends on many factors: - The â&#x20AC;&#x153;terroirâ&#x20AC;? (plant, soil, climate, cultivation of vines, ...) as the organoleptic sensations obviously depend on the components of the wine, which in turn depends on the grapes, maturity and development processes in cellar. - The assessment of the consumer or professional taster, which does not necessarily have to match. - Hygienic and Sanitary quality, i.e. it is in such conditions that their consumption, in moderation, does not pose a health risk. - Commercial quality, one that consumers appreciate and which is willing to pay more. In this sense not only involve organoleptic qualities, but due to various marketing and purchasing reasons, two virtually identical wines may be listed at very different prices. Quality should be compared between ines of the same class or type of making, and on the other hand we must bear in mind that similar wines, with comparable makings of the same variety, and with similar characteristics may have different valuation tasting according to their origin or designation of origin, where in each
Designation of Origin taste panel rating, can appreciate or value more certain characteristics, more other areas, ie, and taking things to the extreme, an attribute in an area that can be considered a defect in another or for other types of wine can be a virtue. We can state in general that the quality parameters of wine are: - The health and grapes - The intensity / aromatic complexity of the nose, depending on the variety, climate, culture and system of production and aging. - The intensity / balance / complexity of the taste. - The structure, length and aftertaste. (special atention), characterized by the concentration of polyphenols (anthocyanins and tannins) from the grape itself or wood, and its degree of polymerization, and provided they are in balance with the other components. In short, a wine is to be considered of higher quality to the extent that has no defects and is healthy, balanced, and its very complex aroma and flavor, depending on factors aspects with which the grower / winemaker can play, and combined in many ways, resulting in a wide variety of different wines that do not have to be considered better or worse but different.
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