Chapter 1: Systematic Approach to Tasting Wine

Question 1

Describe the ideal tasting environment

Answer 1

• Good natural lighting
• Odour free
• Sufficient space to lay out glasses and make notes
• Spittoons should be available near the tasting setup

Question 2

Describe how you should prepare yourself for a tasting

Answer 2

• Should have a clean palate (clear of strong flavours etc.)
• Be well hydrated (dehydration can dry out nasal receptors and cause them to lose sensitivity). It is easy to become dehydrated during tasting many wines, as saliva is lost every time you spit out a wine.
• Have somewhere to record notes e.g. notebook and pen, laptop, mobile phone with suitable software
• Suitable glassware which is odourless, colourless, free of residues e.g. detergent or dishwasher salts/dirt from unclean polishing cloths. Use ISO glass - rounded bowl to swirl wine and inward-sloping walls to capture aromas
• Consistently pour the same volume e.g. 5cL (enough to assess appearance, nose, palate while also being able to swirl sample in glass without spilling)

Question 3

When would you describe a wine as ‘hazy’?

Answer 3

Where there is an unusually high amount of suspended particles in the wine. It may indicate a fault, but cannot identify the nature of the fault on this alone (need nose and palate assessment). Note some wines are deliberately hazy.

Question 4

How do you assess intensity for red and white wines?

Answer 4

Hold the glass at a 45o angle, look through the liquid from above to see how far the colour extends from the core to the rim.
For red wines, can also assess intensity by looking straight down through an upright glass: assess how easily the stem where the glass is attached to the bowl can be seen through the liquid. If the wine is lightly pigmented from the rim to the core, then it is described as ‘pale’ and it should be easy to see the stem looking down through an upright glass. If wine is intensely pigmented all the way to the rim and the stem is impossible to see, it is ‘deep’.

For white wines, all appear colourless at the rim at a 45o angle (a broad watery rim is ‘pale’, while pigment that almost reaches the rim is ‘deep’)

Question 5

How do you assess colour for red and white wines?

Answer 5

Colour is the balance of blue, red, yellow, green, brown in a wine. It is independent of the level of intensity.

White and roses: colour can be too pale to assess at the rim, so best to assess it where there is sufficient volume and intensity i.e. at the core.
Lemon= most common colour
Lemon-green = if there is noticeable greenness
Gold = hint of orange or brown
Amber = noticeable level of browning, generally wines that have been deliberately oxidised.
Brown = noticeable level of browning, generally wines that have been deliberately oxidised.

Red wines: colour can be too intense/opaque at the core, so usually best to assess it at the rim
At the rim, the colour composition is the same as the core, just different intensities, and white and rose wine can appear almost colourless at the rim. Therefore it can be easier to assess colour at a greater intensity (at the core).
Ruby = most common colour
Purple = noticeable blue or purple colour
Garnet = noticeable orange or brown, but still more red than brown
Tawny = more brown than red - typically very old wines, or wines that are deliberately oxidised
Brown = no redness in colour - typically very old wines, or wines that are deliberately oxidised

Rose wines:
Pink = very pure pink colour, maybe a hint of purple
Salmon = pink-coloured but shows a hint of orange
Orange = orange is dominant colour, very rare wine

Question 6

What observations can be made about the legs of a wine?

Answer 6

More viscous; thicker and persistent legs = sugar or high alcohol content
Pigmentation in the legs - sometimes seen in intensely coloured reds

Question 7

What observations can be made about the deposit in a wine?

Answer 7

Can indicate that a wine is unfined and/or unfiltered

Question 8

What observations can be made about a slight carbon dioxide spritz or petillance in wine?

Answer 8

May be evidence of a fault e.g. refermentation or MLF in bottle, but some light-bodied unoaked white wines are bottled with some dissolved carbon dioxide as it can add desirable freshness and texture

Question 9

What affects the appearance of bubbles in a glass of sparkling wine? Can bubbles give any indication of quality?

Answer 9

Any number of factors can affect the appearance of bubbles in a glass of sparkling wine, for example the cleanliness of the glass. Therefore, their appearance are not a reliable indicator of quality.

Question 10

List the common wine faults identifiable on the nose (description comes in separate flash cards)

Answer 10

TCA (Trichloroanisole)
Oxidation
Reduction
Sulfur dioxide
Out of condition
Volatile Acidity (VA)
Brettanomyces ('Brett')

Question 11

Describe the origins of and how to recognise TCA

Answer 11

One of the main causes of TCA is cork taint, often referred to as being ‘corked’.
Gives wine aromas reminiscent of damp cardboard. Can be hard to identify at low levels.
Fruit flavours are muted, and wine appears less fresh.

Question 12

Describe how to recognise reduction

Answer 12

Gives wines a ‘stinky’ character, like rotten eggs and/or boiled cabbage, boiled onions or blocked drains.
Note very low levels of reduction can be surprisingly pleasant and can add character and complexity to a wine. Sometimes the stinky aromas dissipate once the bottle is open.

Question 13

Describe the origins of and how to recognise sulfur dioxide

Answer 13

SO2 is added to almost all wines as an antioxidant and antiseptic (note small amounts also produced naturally during fermentation), but levels are usually highest in sweet white wines.
At very high levels can give wine an acrid smell of recently extinguished matches.
At lower levels, can mask a wine’s fruitiness.
Insufficient SO2 levels can lead to oxidation.

Question 14

Describe the origins of and how to recognise oxidation

Answer 14

The opposite of reduction: typically caused by closure failure, allowing unwanted oxygen in contact with the wine.
Wine appears more deeply coloured and more brown than it should be.
May have aromas of toffee, honey, caramel, coffee and lacks freshness and fruitiness. Note that some wines are made deliberately in an oxidative style (e.g. Oloroso Sherry), and in this case oxidation is not a fault.

Question 15

Describe the origins of and how to recognise an out of condition wine

Answer 15

The wine is either too old or stored incorrectly (too hot, too bright, too variable conditions).
Wine has lost its vibrancy and freshness, tastes dull and stale. Can have elements of oxidation.

Question 16

Describe how to recognise volatile acidity (VA)

Answer 16

All wines have some VA, and at low levels can make wine seem more fragrant and complex.
Higher levels of VA can give wine aromas often described as vinegar or nail polish remover.

Question 17

Describe the origins of and how to recognise Brett

Answer 17

Brettanomyces is a yeast that can give plastic or animal aromas: like sticking plasters, hot vinyl, smoked meat, leather or sweaty horses. Note that some consumers enjoy these characters, and low levels of ‘Brett’ may not be considered to be a fault.

Question 18

How do you assess intensity on the nose?

Answer 18

Pronounced = If the aromas are immediately apparent when you insert your nose into the glass
Light = even after sniffing, the aromas are faint and hard to detect
Other Medium(-), Medium, Medium(+)

Question 19

Describe the origins of a primary aroma, and give examples of five primary aromas from five different clusters. What primary aroma characteristics might you expect from a simple wine as opposed to a more complex wine?

Answer 19

Aromas that exist after fermentation: some come directly from grapes, others from fermentation itself.
A simple wine may only show a very limited number of primary aromas, typically within the same aroma cluster. A complex wine may display many more primary aromas in a range of clusters.

Question 20

Describe the origins of a secondary aroma, and give examples of five secondary aromas and from where they are derived in the winemaking process.

Answer 20

Created by post-fermentation winemaking, most obvious are those extracted from oak e.g. vanilla and toast. Can also be derived from MLF, or lees contact/autolysis

Question 21

Describe the origins of a tertiary aroma, and give examples of five tertiary aromas and respective origins.

Answer 21

Ageing process: could be oxidative or due to long period in oak (caramel, toffee, coffee), or not oxidative i.e. a long period in bottle (mushroom, petrol, honey).
Note that in all cases the ageing process changes primary aromas, i.e. fruit aromas become less fresh and can take on dried or cooked character. Be careful not to mistake these characters with wines that are youthful but made using grapes that have been dried or grown in a hot climate.

Question 22

How do you assess wine development? Give examples of wines at each stage.

Answer 22

Development is a measure of the balance between primary, secondary, and tertiary aromas. Note that a wine may no longer be youthful when released for sale, based on ageing requirements. E.g. Red Rioja Reservas will have been aged for an extended period before release (min. 36 months total), and typically have tertiary aromas. Age indicated Tawny Ports and all Sherries have undergone extended ageing before being sold, and tertiary aromas predominate.
Youthful = dominated by primary or secondary aromas. Note that it is common for secondary aromas to e.g. oak to stand apart from primary aromas, as at this stage it is not fully integrated.
Developing = some tertiary aromas can be detected
Fully developed = predominant aromas are tertiary, even if secondary and primary aromas are still present. Often secondary aromas are fully integrated and difficult to tell apart from tertiary aromas.
Note that the period of time a wine takes to reach full development varies greatly i.e. some quickly reach development, others take decades e.g. Vintage Port. Once a wine is fully developed, how long it stays at this stage varies too.
Tired/past its best = Although some wines stay ‘fully developed’ for an extended period, ultimately all wines will deteriorate when attractive aromas fade and unpleasant aromas start to develop.
NOT ALL WINES BENEFIT FROM AGEING. Typically almost all roses, most inexpensive whites and inexpensive reds move very quickly from youthful to tired/past its best.

Question 23

Describe how to assess sweetness in a wine, give examples where relevant.

Answer 23

Dry = no perceptible sweetness
Off-dry = tiny amount of detectable sugar. Note that many ‘dry’ Alsace Gewurtzraminer and Brut Champagnes and inexpensive reds and whites are actually off-dry
Medium-dry, medium-sweet = distinct presence of sugar, but not sweet enough to partner most deserts (latter has more detectable sugar)
Sweet = presence of sugar is the dominant feature of the wine, i.e. most classic sweet wines such as Sauternes and Port
Luscious = very few sweet wines, i.e. wines are so sweet they feel viscous and sticky after swallowing or spitting. E.g. Rutherglen Muscats, PX Sherries, Tokaji Eszencia

Question 24

Describe how to assess acidity in a wine, give examples where relevant

Answer 24

Main acids are tartaric and malic (from the grape juice) and lactic (converted from malic in many whites and all reds). Acid can also be added (in the form of tartaric) in the winery.
Typically most strongly on the sides of the tongue, creating a sharp tingling sensation, makes mouth water (more watering means more acid).
Low acidity = feels broad, round, soft
High acidity = typically found in wines made from grapes grown in cool conditions (e.g. Chardonnay from Chablis)

High levels of sweetness can mask high acidity in a wine - but note that the high acidity serves to balance with high sugar levels. It will appear less obvious here than in a dry high-acid wine.

Question 25

Describe how to assess tannin in a wine, give examples where relevant

Answer 25

Tannins bind to your saliva and cause your mouth to dry up and feel rough, contribute to texture/mouthfeel of wine. Is felt most clearly on gums. Can also leave a bitter taste at the back of the throat.
Level of tannin only to be assessed for red wines, no need to comment on white.

Not all tannins have the same effect: unripe tannins are more aggressively astringent, ripe tannins contribute more to textural richness. It can be difficult without experience to distinguish between tannin ripeness and levels. E.g. basic quality Pinot Noir from barely-ripe grapes may only have medium tannins which taste particularly astringent, while high-quality Shiraz from hot region may have high levels of velvety-ripe tannins.

Always ask yourself how the body of the wine feels in the mouth: if they are astringent and harsh, does the wine body feel thin? = low tannin levels
If the tannins are smooth and velvety, but the wine feels full-bodied = high tannin levels

Question 26

Describe how to assess alcohol in a wine, give examples where relevant

Answer 26

Alcohol contributes to texture and body. It is more viscous than water so at higher levels can make a wine seem heavier in the mouth. At low levels makes a wine seem watery unless another component e.g. sugar gives body.
High levels of alcohol has a burning/hot sensation in mouth, noticeable after spitting or swallowing. Careful not to confuse with the tingling sensation of acidity.

Question 27

List the abv ranges associated with low to high alcohol levels in wine

Answer 27

Low: below 11% abv
Medium: 11%-13.9% abv
High: 14% abv and above

Question 28

List the abv ranges associated with low to high alcohol levels in fortified wine

Answer 28

Low: 15-16.4% abv
Medium: 16.5%-18.4% abv
High: 18.5% abv and above

Question 29

Describe how to assess the body of a wine, give examples where relevant

Answer 29

Can also be referred to as mouthfeel: the textural impression created by all the structural components in a wine.
Contributing factors:
Alcohol - main factor, adds
Sugar - adds
Acid - reduces feeling of body
Tannin - typically adds (low levels of astringent tannin makes a wine feel lighter bodied)

A full-bodied wine: high alcohol, ripe tannins, intense flavours
A light-bodied wine: low alcohol, high acidity, delicate flavours

More ambiguous: high acidity, sweet, low alcohol. Make decision on which of these factors contribute the most to the wine’s texture.

Question 30

Describe how to assess the mousse of a wine, give examples where relevant

Answer 30

Only relevant for sparkling wines.
Mostly are creamy, i.e. lively sparkle on palate without seeming too frothy or aggressive
‘Aggressive’ = some young sparkling wines which are extremely lively and explode on the palate, losing all bubbles in one quick blast.
‘Delicate’ = typically sparkling wines that have undergone extensive ageing or bottled at lower than typical pressure of dissolved CO2, bubbles are very soft.

Question 31

Describe how to assess the finish of a wine, give examples where relevant

Answer 31

The finish is the collection of sensations after you have swallowed or spat the wine out.
Assessing the length of the finish incorporates the persistence of desirable sensations in the mouth. Note this can vary per taster.

Short = fruit sensations disappear quickly (typical for basic quality wine)
Long = a very fine wine, desirable sensations can last for a minute or more.

Question 32

List the key criteria used in assessing wine quality

Answer 32

Balance
Intensity
Length
Complexity

Question 33

Describe how to assess the balance of a wine in the context of quality

Answer 33

Take into account all the wine’s components and how well integrated they are with each other. Ask yourself how the overall balance is achieved in the wine.
E.g. increased sugar or fruit can be brought into balance with increased acidity and tannin. If fruit is balanced by acidity however, acidity might seem harsh and aggressive i.e. badly integrated. Also consider alcohol integration, and aromatic components e.g. those derived from oak.

Question 34

Describe how to assess intensity of a wine in the context of quality

Answer 34

A wine with weak, dilute flavours is rarely high quality. However, beyond a certain level, more intensity doesn’t necessarily mean higher quality.
Can be referred to as ‘concentration’ by some people.

Question 35

Describe how to assess complexity of a wine in the context of quality

Answer 35

Complex aromas and flavours are desirable features in a wine. Complexity can come from primary aromas and flavours alone, or a combination of these with secondary and tertiary characteristics.
Note: simplicity is not always a negative, and not all premium wines are complex: e.g. purity and clarity of expression can make a wine great while presence of oak or tertiary characteristics might detract from quality. E.g. icewines

Question 36

List the descriptors in finally evaluating a wine’s quality, and how many categories they need to satisfy at each stage

Answer 36

Outstanding: shows positively against all four criteria
Very Good: shows positively against three of criteria, falls short on one
Good: shows positively against two of criteria, falls short on two
Acceptable: shows positively against one criterion, falls short on other three
Poor: shows problems when judged against all four criteria

Question 37

Describe how to assess readiness for drinking

Answer 37

First consider if the wine is made in a style that would benefit from ageing. If the wine has a firm structure of acid or tannin and sufficient flavour concentration, it may benefit from ageing. Always consider what will happen to the wine over time, thinking about how the aromas and flavours develop away from primary and into tertiary characteristics. Tannins will also soften. Alcohol levels do not change, acidity and sugar change very little.
‘Drink now: not suitable for further ageing’= typically a wine that shows mainly primary aromas/flavours, light acid or tannin structure. Note also if the wine has undergone ageing but is close to the end of drinkable life i.e. any further changes unlikely to me positive, or is already in decline.
‘too old’ = a wine that seems like it should have been fruity, with light tannin or acid structure.
‘Can drink now, but has potential for ageing’= Drinking pleasurable now, but will improve consistently over the next few years
‘Too young’ = will be so much better in a few years that it is a waste to drink now, e.g. some reds are very tannic when released and need a few years to soften and allow better integration into the wine/better balance.
‘Too old’=the wine has declined so far that the negative changes now dominate the wine.