instruments in the bassoon family...

INSTRUMENTS IN THE BASSOON FAMILY

Bassoon ● A school-owned instrument in most normal circumstances ● Concert pitch ● Made up of four parts: wing, boot, long (bass), and bell ● Is typically accompanied with two different bocals ● Polypropylene body costs about $4000-$6000 MSRP for student models ● Maple body costs about $8000-$10000 MSRP for student models ● Plateau key/short reach style recommended for beginners

Contrabassoon ● A school-owned instrument; or possibly one per school district ● Sounds an octave lower than written ● Written in the same octave as the bassoon ● Fingerings are mostly the same ● Flick keys are used for venting ● No whisper key ● No forked fingerings ● Comes in one piece ● Is typically accompanied with two different bocals ● Not used in middle school ● Costs about $10,000-$30,000

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RECOMMENDED BASSOON BRANDS/MODELS

Student Bassoons Fox

Model 41 Polypropylene body; Renard student series; nickel water tubes; German bell; rollers for F and Ab, left pinky (Eb and Db); left hand short-reach (plateau key); long bore; MSRP $5,295.00

Model 51 Polypropylene body; Renard student series; nickel water tubes; German bell; rollers for F and Ab, left pinky (Eb and Db); both hands short-reach; long bore; MSRP $4,895.00 220 Black Maple body; Renard student series; nickel water tubes; French bell;

whisper key lock; high D and E keys; rollers for F and Ab, left pinky (Eb and Db), right thumb Bb and F#; long bore; MSRP $8,295.00

222 Black Maple body; Renard student series; nickel water tubes; German bell; rollers

for F and Ab, left pinky (Eb and Db); left hand short-reach (plateau key); long bore; designed after 220; MSRP $6,295.00; also available with high D key MSRP $6,395.00

240 Red Maple body; Renard student series; nickel water tubes; French bell; whisper

key lock; high D and E keys; crowned pancake key; rollers for F and Ab, left pinky (Eb and Db), right thumb Bb and F#; short bore; MSRP $9,495.00

Professional Bassoons Fox

Model III Polypropylene body; nickel water tubes; German bell; whisper key lock; high D key; reinforcing bands at joints; rollers for F and Ab, left hand pinky (Eb and Db); long bore; MSRP $7,395.00

Model IV Polypropylene body; nickel water tubes; German bell; high D key; rollers for F

and Ab, left hand pinky (Eb and Db); long bore; MSRP $6,295.00 Model II Mountain or Red Maple body; Hugo Fox model; nickel water tubes; German or

French bell; rotary whisper key lock; high D and E keys; high A bridge; rollers for F and Ab, left hand pinky (Eb and Db); five-piece compact model available; long bore; MSRP $25,000.00

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RECOMMENDED CONTRABASSOON BRANDS/MODELS

Amati

ABN 36 Mountain Maple body; silver plated keys; new case has extra-large bumpers and wheels for easier transportation; most common instrument used at HS level; MSRP $10,900

Fox

Model 900 Maple body; silver plated keys; front alternate Eb fingering; MSRP $29,000

Model 920 Mountain Maple body; silver plated keys; front alternate Eb fingering; divorced low E mechanism; developed in 2016

Mollenhauer

Professional model contrabassoon; found mostly at the college or professional levels; estimated cost $40,000-$60,000

Heckel

Professional model contrabassoon; found mostly at the professional level; estimated cost $50,000-$60,000

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BASSOON-THE BOCAL

Bocal Care ● The bocal is the most fragile part of the instrument. ● Students must be taught to be protective of the bocal. ● Many schools that have good bassoons also have bent or broken bocals � … which is

caused by students grabbing the straight part of the bocal during assembly/disassembly. Teachers should closely monitor students to make sure that bocals are not damaged.

● Most accidents cause bocals to become bent in the rounded part of the crook. ● If a bassoon must be set down for any reason, it should never be laid on a chair… no

matter the design of the chair. It is best to stand the bassoon up in a corner at a slight angle, whether the floor is carpeted or not. This is the absolute best way to place an unattended bassoon.

● A bassoon should never be left on the ground or in a chair with the bocal inserted up in the air.

● When a bassoon is left unattended or carried/moved from one place to another, the bocal should be placed in the bell… … NEVER IN THE WING JOINT OPENING!

● To clean the bocal, run hot soapy water and a bocal swab through the bocal on a monthly basis.

Pitch and the Bocal

● A common misconception is that the pitch on a bassoon can be controlled with the length of the bocal; however, pitch on the bassoon is primarily controlled by the embouchure, airstream, and the size/shape of the reed.

● There is no affect on pitch by pulling out or pushing in the bocal. ● Shorter bocals should not be used as a substitute for high notes not speaking. High note

bocals might be used by professional bassoonists in certain occasions; for example, a bassoonist may choose to use a Yamaha Super Bocal (estimated cost $506) to play specific sections of the Rite of Spring by Stravinsky.

● Some common reed manufacturers use a reed shape that is too long and wide, which creates a very flat and unfocused sound that no bocal can correct. If a student is having pitch problems, they should work towards better embouchure flexibility and correct airstream, as well as experimenting with different reed styles.

Bocal Markings ● Most bocals have descriptive markings engraved into the surface that indicate the brand

name and size. ● Fox bocals are only marked with “C”, “CVX”, or “CVC”……usually not with the name

Fox, but with the Fox logo/insignia. Double star is a higher quality Fox bocal (*CVX* or *CTC*); the letters are found on the crook of the bocals. R2 is the newest generation of Fox bocals; the R2 will be found near the number.

● Heckel and Puchner bocals are inscribed with the manufacturer’s name. There are several bassoon makers that do not put markings of any type on the bocal.

● On most, if not all, Fox, Puchner and Heckel bocal lengths are indicated by the numbers “1”, “2”, or “3.”

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● Heckel numbers are longer than Fox numbers. For example, a Heckel 2 is equal to a Fox 3.

● It is highly recommended that most, if not all students, use a #2 bocal. A #3 bocal would also be acceptable to be used if playing on a Fox bocal.

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BASSOON MAINTENANCE KIT - RECOMMENDED ITEMS

One of the following reed cases can be chosen depending on socio-economic environment,

availability or preference.

Fox Plastic Reed Case

Holds 4 - $20.00 @ wwbw.com

• Has holes in the back of the case to ensure ventilation for the reed to dry out and to avoid mold

• Reeds sit on pegs.

Wooden Bassoon Reed Case

MSRP $35.00 @ bocalmajoritystore.com

• Holds four reeds (larger available) • Reeds sit on pegs. • There are holes in the sides of the case

to ensure proper ventilation.

Metal Bassoon Reed Case

MSRP $20.00-$30.00 @ bocalmajoritystore.com

• Hold 4-6 reeds depending on case • Reeds are held with ribbons.

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Soaker Cup and Stand Clip


• Cups and clips can be bought

individually for $5.00 each. • Medicine bottles can be used as a

cheaper alternative.

Fox Leather Hook Seat Strap


• Basic leather seat strap with hook • Will fit all Fox bassoons and most

other bassoons • Cup version sold at $60.00 MSRP

One of the following can be chosen when assisting students with proper maintenance regarding

corks. NOTE: Cork grease should not be used on string wrapped joints.

Gulf Wax

MSRP $3.12 @ walmart.com

• Gulf wax is paraffin wax and should

be used on string wrapped joints. • Cork grease should not be used on

string wrapped tenons. • The wax is rubbed on the string until

the joint fits easily together. • String can also be removed if

necessary.

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Woodwind Cork Grease

MSRP $2.25 @ wwbw.com

• Must be stored in a Ziploc bag as it

may explode or melt. • Do not leave out at home unattended,

as younger children may actually use it as ChapStick.

• To apply, squeeze a tiny bit of the grease up and down onto the cork. Then making a ring with the thumb and forefinger, work the cork grease into the cork to create enough friction to properly lubricate the cork.

• Cork grease should be used on joints with cork.

All parts of the instrument must be swabbed. This takes multiple swabs. All students should purchase a bocal swab. Bocal brushes are not recommended.

Hodge Silk Bocal Swab


• Used to clean inside of bocal • Very absorbent and features a tapered

cut to limit the chance of getting stuck in the bocal

• The weighted chain is put in the side of the bocal with the cork. Do not yank or pull the swab side-to-side. Pull the swab straight through. Pulling the swab too forcefully or quickly may damage the bocal or cause dents.

• Hand wash the swab with dish soap or Woolite and warm water.

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Students have the choice between a Hodge swab or a set of Kolbl swabs for the rest of the instrument.

Hodge Silk Bassoon Swab


• Used to clean inside of wing and boot joint

• Weighted chain to aid in pulling through instrument

• Swab should be pulled through boot joint first.

• Swab should be pulled through wing joint 2-3 times.

• Swab is put in the larger side of both joints first.

Kolbl Microfiber Wing Joint Swab

MSRP $12.00 @ foxproducts.com

• Used to clean inside of wing

joint • Cords on both sides to aid in

removal if swab gets stuck in instrument.

• Cord with weight is put in the larger end of the joint and pulled through.

• Swab should be pulled through the wing joint 2-3 times.

Kolbl Microfiber Boot Joint Swab

MSRP $12.00 @ foxproducts.com

• Used to clean inside of boot

joint • Swab has weighted ball to aid

in moving around the U-tube. • The swab is inserted in the

larger hole (unlined side) of the boot joint.

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8x10 Plexiglass

Binswangerglass.com

• Roadman will not supply. • Prices vary depending on where

mirrors are purchased. • Mirrors purchased through

Binswanger can be purchased in bulk and cut to a desired size. They will also be made of plexiglass.

• Purchasing mirrors at a home improvement store is also an option; however, mirrors will have to be individually cut by a band parent or yourself.

• No matter where mirrors are purchased, it is vital that they are made of plexiglass and not glass. Students will not hurt themselves on the corners of the mirrors; nor will the mirrors shatter when dropped.

• To receive a better price, attempt to find other band directors who would be willing to place an order as well. Assuring the company that you will place annual orders may also result in a discount.

• Self-portrait mirrors from art supply stores are acceptable.

• Car clip-on mirrors are not recommended because they are too small and the hinges break easily.

• Makeup mirrors are not recommended because they are too small and oddly shaped.

• It would be best if there was a box for the mirrors in each separate class location. Students can then easily obtain a mirror out of the box before class and return the mirror after class.

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BASSOON MAINTENANCE KIT – OPTIONAL RECOMMENDED ITEMS

One of the following can be used depending on socio-economic environment, availability, or preference when selecting a suitable metronome.

Qwik Time QT-5 Metronome


● This metronome does not have a subdivision function.

● Credit card-sized ● A-440 tuning tone ● Low-battery indicator

Korg MA-1 Metronome


● Beat-Counting display makes it easier to practice rhythm and phrasing.

● Tap Tempo function makes it easier to quickly set the desired tempo.

● Beat display offers from 1 to 9 beats, plus 8 rhythm types to practice any style of music.

● Can tune any instrument using the 12-step (C4 – B4) chromatic reference pitch

● Adjustable calibration setting (410 – 480 Hz)

● Earphone jack with adjustable volume ● Memory backup function and auto

power-off function ● Up to approximately 290 hours of

continuous operation

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Korg TM-50 Digital Tuner/

Metronome


● Offers both a tuner and metronome, which function simultaneously or independently

● Contains 13 types of rhythms that cover 0-7 beats per measure as well as doublets, triplets, triplets with center beats omitted, quadruplets, and quadruplets with center beats omitted

● Tempo is easily adjustable in a range of 40—208BPM.

● Earphone jack with adjustable volume

One of the following music stands can be chosen depending on socio-economic environment,

availability, or preference.

Hamilton Folding Music Stand


● Collapsible and easy to transport

Selmer Music Stand with Bag


● Collapsible and easy to transport

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BASSOON MAINTENANCE AND CARE

• Carrying the bassoon should always be done with TWO hands--one on the boot joint and one around the wing and long joint. Never pick up the bassoon by the bell or the middle with one hand, because it could come apart and result in costly repair.

• Keep a supply of a dozen whisper key pads on hand. Students hit this pad with the bocal nub and they fall off frequently.

• Do not use clarinet or saxophone pads on the bassoon. They are made of different materials and are different heights and thicknesses and will drastically change the pitch of the instrument. It is easy to order pad replacement kits from the Fox factory or any online double reed supplier.

• Students who have wooden bassoons should keep a lint-free cloth between the wing and long joints when storing the bassoon in its case. The cloth should be placed over/around the wing joint when placing it in the case. This will prevent damage to the wood of the wing joint and help keep the instrument in good working condition.

• It is exceptionally important to swab wooden bassoons EVERY time they are played to prevent wood rot in the boot joint and keep the pads dry. Students should swab the wing joint and the boot joint with silk or microfiber swabs. Microfiber Kolbl swabs and the Hodge silk swab are common. Kolbl swabs come with all new Fox instruments. If possible, different sized swabs should be used for wing and boot joint. Fox sells both cotton and microfiber swabs in sizes for the wing joint and boot joint. The Hodge silk swab is one size for both joints.

• The long joint and bell joint should not be swabbed as moisture should not be coming into contact with the insides of these joints.

• Polyproylene bassoons do not need to be swabbed to protect the instrument, but swabbing should be required of all students to protect the pads and to build the habit of swabbing in case they have a wooden instrument in the future.

• Swabs should enter through the larger end of the joint, meaning the bottom of the wing joint (not where the bocal goes) and the unlined side of the boot joint.

• The boot joint should be emptied of water before swabbing. Do this by holding the boot joint upright and tilting it to the lined side until the joint is at an angle where water can come out. If there is any excess water, it will come out during this process.

• Extra water from the wing joint can be emptied by plugging the hole where the bocal is inserted, covering the three tone holes on the front of the joint, and blowing into the bottom of the wing joint. Press the flick keys to empty all water from the water tubes.

• If a swab is stuck in the instrument, DO NOT PULL IT OUT. If you can extract it from the same direction it entered the instrument you will be able to safely remove it. Remember, the wing joint is smaller at the top (where the bocal is inserted) and wider at the bottom (where it enters the boot joint). Double reed suppliers sell swab extractors for this emergency.

• Cork grease should only be used on cork joints. Paraffin wax should be used on thread joints. If a thread joint is consistently difficult to put together and take apart,

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thread should be removed. If a thread joint is too easy, thread should be added. Plumbing tape or non-mint dental floss can be used if thread is not available.

• Suggested Repair Supplies: o Complete replacement set of pads from the Fox factory o Whisper key pads (at least a dozen)--12 mm for Fox student model, Oval for

Fox pro model, 11 and 10 mm for some other brands § In an emergency, a folded up piece of paper or a cotton ball can be

taped in place of the whisper key; this will only work as a temporary fix.

o Plumbing tape and/or Bassoon Tenon Wrapping kit sold by Fox § Non-mint dental floss can also be used if needed.

o Swab extractor o Cork grease for bassoons with cork joints and bocals

§ Vaseline can also be used. o Paraffin wax for bassoons with thread joints

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BASSOON METHOD BOOKS

Essential Elements 2000 MSRP $9.99 @wwbw.com

Standard of Excellence MSRP $6.95 @wwbw.com

Best in Class MSRP $5.45

@ wwbw.com

Accent on Achievement MSRP $8.99 @wwbw.com

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SUPPLEMENTAL BASSOON BOOKS

Weissenborn Practical Method for the Bassoon by

Carl Fischer MSRP $26.99 @wwbw.com

Standard method book for beginning bassoonists; includes 50 advanced studies which may be

selected as All-State etudes

50 Concert Studies Vol. 1 by Ludwig Milde

International Music Company

MSRP $15.25 @mmimports.com

Etude book for upper level high school and college students; some All-State

etudes may be selected from this book

50 Concert Studies Vol. 2 by Ludwig Milde


MSRP $15.25 @mmimports.com

Second half of the 50 Concert Studies; for college students; All-State etudes are not selected from this

book

25 Studies in Scales and Chords by Ludwig Milde


MSRP $13.75 @ mmimports.com

Scale and chord studies in all keys; for upper level

high school students; All- State etudes are not selected

from this book

Beginner Class Boot Camp MSRP $40

@ bocalmajoritystore.com

Book for teaching beginning

bassoon and/or oboe; designed to teach bassoon

and oboe together; includes color pictures

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BASSOON CASES, IDENTIFYING AND REMOVING PARTS, ASSEMBLY AND

INSTRUMENT/BODY RATIO

General Information About Bassoon Cases • Most cases have distinguishing marks somewhere on the case. Identify these marks,

and their relationship to the top and bottom of the case. Most cases have the handles placed on the bottom section of each case. Check to make sure.

• Place all cases on the floor in front of the student. • Be sure the student understands where each part of the instrument belongs in the case.

Give detailed information on removing the parts from the case. Make sure the student waits for each instruction before performing the task. Be sure the parts of the instrument are returned to the case in the reverse order they were removed.

• All instruments must be assembled in a specific order. Follow this procedure explicitly every time.

• Never leave a closed case unlatched. Most latches open from the bottom up, but this is not always the case. Sometimes buttons slide from side to side, some latch up and down, some have zippers, etc. Check each opening mechanism carefully before presenting the information to your students.

• Cases should be protected at all times. Try to find a safe place in the classroom setup for each student’s case.

• The serial number for the instruments can be found written inside each of the joints if the instrument is new. The serial number can always be found etched into the U-tube beneath the endcap of the boot joint. Rocking endcap back and forth can aid in its removal.

Instrument Assembly • Place the open case on the floor in front of the student. Cases should never be put on

laps. • Pick up the boot joint with your left hand. Refer to the attached descriptive picture of

the parts of the bassoon. Place the endcap on the floor. The student’s feet can help stabilize the boot joint during assembly, especially when on a non-carpeted floor.

• Pick up the wing joint (the smaller of the two) at the bottom of the joint with your right hand.

• Insert the wing joint into the smaller hole (will be metal for a wooden bassoon) at the top of the boot joint. There may be slight markings (a white/etched line) at the top of the boot and the bottom of the wing, which can be aligned to insure the parts are together correctly (the rounded parts will match).

• Pick up the long joint at the top and insert into the large hole of the boot joint so that the metal block in the middle meets the protruding middle of the wing joint. The smaller end of the long joint should be inserted into the boot joint. Once the long joint is placed, push it in from the top. The long joint may have a body lock that can slide

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into the wing joint. The body lock is not necessary for the bassoon to play and some instruments may not have one.

• Push the low Bb key down and slide the bell onto the top of the bassoon so that the extensions of the Bb key meet each other.

• Students having trouble with assembling or disassembling the instrument should try twisting back and forth before they pull.

• The most fragile part of the bassoon is the bocal. Care must be taken to gently hold the bocal on top of the rounded part of the crook (not the long slender portion and not near the cork). Gently wrap left hand around top of wing joint and long joint to prevent instrument from moving. Gently wiggle the bocal back and forth to insert into the top of the wing joint but avoid colliding with the whisper key pad. Align the neb of the bocal with the whisper key pad. Refer to the handout regarding specific information about the bocal.

• If the student wishes to use a crutch (or hand rest), insert the crutch into the hole on the boot joint. The boot joint will likely have a set screw that will need to be loosened before inserting the hand rest.

• If the crutch causes the student’s hand position to be too high to activate the pinky keys, the student should learn to balance the instrument without using the crutch; otherwise, the crutch may be used at the discretion of the player. Direction of the crutch is also at the discretion of the player.

• Carefully insert the reed onto the end of the bocal. Instrument/Body Ratio

• Familiarize the student with the instrument/body ratio by using the instrument without the reed.

• The left hand should gently hold and eventually balance the long joint with the hand resting on wood.

• The right hand should not balance the instrument but should provide stability. The right hand will rest on the hand rest/crutch or will the palm will hover with the fingers in place.

• Familiarize the student in this manner for a few days before placing the fingers in their correct position.

Disassembly • Carefully remove the reed from the bocal. • Remove the bocal by holding the crook and gently moving it back and forth. Place it

in the case. • Remove the bell joint. Reinforce pushing the low Bb key down as the students

remove it. • Undo the body lock if the bassoon has one and remove the long joint by holding it

from the top and gently turning it until the joint is out. • Remove the wing joint by holding it from the bottom. Place the joint in the case. We

will swab this joint after the boot joint. • Empty excessive water from the boot joint. Then, swab the boot joint by placing the

weighted end of the swab in the unlined (larger) section of the boot joint. Turn the

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boot joint upside down and work the weight through until it falls through the lined section. Pull the swab through the joint and place the joint in the case.

• Remove the wing joint and hold it upside down. Place the weighted end of the swab in the bottom (larger) end of the wing joint and pull it through. This process should be repeated 2-3 times. Wrap the wing joint in a lint-free cloth before placing it back in the case.

• Make sure all swabs and the seat strap have been returned to the case before closing it and latching it. Make sure the case is latched before moving it.

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BALANCIN THE BASSOON

● Place the seat strap across the FR N of the chair Make sure that the cup or hook of the seat strap is on the right side

● Sit towards the back of the chair while holding the instrument Make sure the right side of the body is aligned with the right side of the chair

● ook for an indentation on the base of the spine above the belt line ● he height of the student should be ma imi ed ● Assuming the student s posture is correct, the shoulder blades should be

even (level) across the back ● o not let the students distort their torso ● Cases cannot be placed on the right side of the chair he case will

prevent the bassoon from being balanced properly Cases should be placed away from chairs if possible (or at the very least on the left side of the chair)

● ook the instrument to the seat strap and ad ust the strap until the bocal is entering straight into the mouth while seated in a rela ed position he hook will go in the hole on the long oint side of the instrument

● Place the left hand on the instrument, demonstrating the position of the fingers on the tone holes and with the thumb on the whisper key After the fingers have been positioned in the correct place, become aware of where the bassoon is balanced on the inde finger Allow the right hand to loosely position over the boot or on the crutch

● Ideally, the weight of the instrument should be balanced by the body and not leaning too heavily on the left hand Avoid holding the instrument at an angle like a sa ophone, because the weight of the instrument will cause the student to lean forward and the left hand will be strained under the pressure

● nce the teacher is comfortable with the student s posture, the student can walk around the room holding the bassoon old the seat strap in the right hand, which is holding the boot in place and the left hand should hold the wing/long oint he parts of the bassoon will not slip apart if students are holding it in this manner his will furthermore allow students to become more comfortable holding the bassoon Students can also hold the seat strap and rest the long and wing oints against their right shoulder

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BASSOON HAN OSITION

LEFT HAN OSITION

● he long oint will rest on the first knuckle of inde finger hat finger will move from the second knuckle to cover the hole

● he ring finger might have a hole or a key he key is called the plateau key and allows for students with smaller hands to play

● he rest of the fingers should move from the first knuckle ● he pinky should rest on the resonance key when not being used ● he thumb should rest on the whisper key when not being used ● When playing low notes, the thumb should glide down the key without moving left or

right he thumb then curls over the C, , and b keys as needed to create smoother transitions

RI HT HAN OSITION

● he right hand should rest on a hand rest/crutch for those with larger hands ● If a hand rest is not being used, the hand cannot be allowed to collapse or rest on any part

of the instrument ● he pinky should rest on the low F key when not being used ● he thumb should rest between the b key and the key (pancake key) when not being

used ● he remaining fingers should hover over their keys/holes when not in use ● he ring finger should be over the large key for he small key above it is the French

b key and is only used in rare circumstances

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BASSOON REE IA RAMS

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BASSOON REEDS AND REED PREPARATION

The Reed • The bassoon reed is a double reed made from cane called arundo donax which is

traditionally grown in the Var region of France. Other popular places cane can be grown are Spain and Argentina.

• Students should receive their reeds from a qualified bassoon instructor when possible. • Students will not begin making their own reeds until the instructor is sure they are

ready for the task. Most likely, students will not be able to play on reeds that they have made until they are in high school.

• Students will sound best if playing on reeds made by a qualified instructor. The quality of the reed will make a tremendous difference in the student’s ability to control the instrument. Pitch problems and response/release problems in the extreme high and low registers may be caused by an inadequate reed. Access to many great double reed suppliers can be found online, and these companies have employees who can provide competent advice regarding what kinds of reeds might be acceptable.

• The teacher must decide which vendor to use. • The reed on the bocal should produce a pitch near a C4.

Reed Preparation

• Reeds should be stored in a safe case or box that allows for ventilation. • Students should always have a pill bottle for water to use during class. The bottles

should be emptied at the end of each class. Do not allow students to put bottles with water inside their bassoon cases.

• The student will need to soak the reed in water for two to three minutes before playing (one to two minutes in humid climates). The water should cover the second wire, and it is ok for the whole reed to be submerged.

• Always soak the reed with the tip down, so students do not smash the tip of the reed with their fingers.

• Students should eliminate excess water by blowing through the reed backwards. • If the reed is too dry it will not vibrate correctly, and may crack. • Put it in the reed case while assembling the instrument. • Before playing, dip the reed into the water, blow through the end (butt) of the reed to

eliminate excess water. • The tip opening should resemble:

o Oval-shaped tips are not desired o If the tip is too open, students may close the tip with the pads of their fingers.

The reed must have been soaked before doing any slight adjustments. o Do not allow students to grab near the heart of the reed. This will damage

the reed. o Oil from the hands or nose can be rubbed on the reed to improve sound

quality. • If a reed is unbalanced, the more curved blade should be the top blade.

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• Student can blow on the reed with the lips to the first wire to check the quality. This is called “crowing.”

• Back-up reeds should not be left in water for extended periods of time. Keep this in mind in the UIL Sightreading room.

• Bassoon reed strengths are medium soft (MS), medium (M), and medium hard (MH).

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BASSOON EMBOUCHURE

• Students must be able to use air correctly before beginning to learn the bassoon embouchure.

• There should be no lines or dimples that do not appear in the natural face. The face essentially should be “zombie” - like.

• Keep the body and face calm and still while learning this embouchure. • The embouchure is non-structural and isaconstantworkinprogress. • The general formation of the mouth is such that the teeth and jaw are apart while

holding the lips in the shape of the word “mo.” The reed should be inserted in the mouth almost to the wire. If the blade is covered by the lips, you will hear less vibration of the reed or “buzz” in the sound; thus, the quality of the sound is controlled by combining the cushioning of the lips with STRONG AIR blown through the small opening of the reed.

• The following process should be taught to students: o Make a cushion with the bottom lip. Refrain from mentioning corners when

first teaching the embouchure. o The texture of the lips should be soft and relaxed. o The reed should rest on the cushion created by the lower lip. o The reed touches where the wet and dry part of the lips meet. There should be

no pressure on the bottom of the reed. o The upper lip moves “down and out” to meet the reed, which causes the jaw to

drop naturally. o The top lip should almost touch the wire.

• The embouchure energy comes from the upper lip. • A student with a flat/straight embouchure will lack control over their sound. The

embouchure should be a relaxed overbite. • After the teacher identifies a correct embouchure/sound, students need to remember

how it feels and sounds. • Be sure the student can control the air well enough to find the correct balance of

air and resistance to create the desired sound. • The bassoon embouchure is both internal and external. Many young players make the

mistake of forming their mouth so that it can look deceptively accurate from the outside without holding their jaw correctly. This can be addressed with an exercise called the “donkey game” (this is attributed to Cheryl Huddleston, former bassoon professor at the University of Houston). The “donkey game” is as follows:

o While fingering second space C, use the embouchure to drop the pitch down to second line B and back up the second space C.

o This means that internally the student is vocalizing “eee / aw / eee.” o “ooo / aw / ooo” can also be used if the eee vowel is causing a straight

embouchure. • The bassoon middle range resonates in the mask (the upper part of the face). • While learning the embouchure, the tongue should sit in the bottom of the mouth. • Most beginners play very flat because they do not know how to blow strong enough

air. The incorrect tendency is to raise the pitch by biting or using the teeth to

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strengthen the support of the lips. If the young bassoonist does not learn to blow strong air and raise the pitch with good breath support, they will mature into players who consistently play sharp and will have difficulty learning to play above the break. This will become obvious when they must learn to play above the bass clef staff E and F.

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BASSOON – EVEN EXERCISE

The “Even Exercise” is to instill even technique during the early stages of learning the instrument. ● Students must think “squeeze, release” throughout the exercise.

● This should be taught without using music at first and without a written rhythm.

Instead, use the phrase “I must do this exercise” to express the rhythm. ● As presented on this page, use note names before using notes in the staff. This

allows the student to easily think “squeeze, release” and perform correct finger movement.

BASSOON EVEN EXERCISE PATTERNS

1. E F E F E F E “I must do this ex- er- cise.”

2. D E D E D E D

3. C D C D C D C

4. Bb C Bb C Bb C Bb

5. Bb A Bb A Bb A Bb

6. G A G A G A G

7. F G F G F G F ● On the following page, the exercises are the same except for the fact that the

notes are on a musical staff.

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BASSOON – EVEN EXERCISE (continued)

The “Even Exercise” is to instill even technique during the early stages of learning the instrument. ● Students must think “squeeze, release” throughout the exercise.● This should be taught without using music at first and without a written rhythm.

Instead, use the phrase “I must do this exercise” to express the rhythm.● Use note names before using notes in the staff. This allows the student to easily

think “squeeze, release” and perform correct finger movement. After the previous steps have been completed, the student may then read the patterns dictated on the staff.

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BASSOON ARTICULATION

● o not attempt to teach articulation until all students are producing characteristic and consistent sounds on the instrument

● each articulation using the bassoon ● he tongue is down 8 and up of the time ● ave students say luh luh, without moving their corners Students should then

identify what part of the tongue actually moves he back of the tongue should stay in position (for voicing) se this method to touch the reed the lower blade and tip area

● When students articulate, start and continue doing it in s luh luh duh duh not moving their corners ocali e and then perform on the bassoon Repeat this process his e ercise emphasi es the second articulation and the resting placement of the tongue he luh luh articulation should not be attempted on the instrument

● ne taste bud of the student s tongue should touch the bottom blade where it meets the tip

● Remember the student must always touch and interrupt a brat n r ● he articulation does not sto the reed vibration ● All that moves when the student articulates is the air and part of the tongue ● he tongue must touch in the same spot with the same energy every time ● Start the vibration, and articulate as fast as the student is able in s ● Start the vibration, and then articulate with the snapped finger on command ● When pulse and foot pat are learned, articulate every time the foot touches the

floor ● hen articulate when the foot touches the floor and as it comes up ● nce the student is able to read music, call the articulation rhythmic

articulation ● very day articulate as fast as the student can, use the luh luh duh duh

method, articulate on command, articulate with foot pat and articulate rhythms ● When the tongue is moving correctly, begin to coordinate finger movement with

the articulation

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BASSOON—HALF-HOLE AND FLICKING INFORMATION

Half-Hole

• A half-hole fingering is when the left index finger splits the tone hole opening. This occurs by the pivoting or rocking the finger up and down, still keeping contact with the bottom rim of the opening (or water tube).

• Half-hole notes include the following:

• The lower the note, the less hole needs to be covered. This applies in both the middle and upper register.

. o The G#/Ab needs less of an opening than the F#/Gb (quarter-hole). This will

prevent cracks at the start of the notes.

• All half-hole fingerings must include the whisper key being used.

• There are two notes which have the option to half-hole the left middle finger: high F#/Gb (for intonation purposes) and super high D (part of the fingering). The same concept of achieving half-hole occurs. These fingerings do not include the whisper key.

Flicking

• Flicking refers to the addition of thumb keys while playing the following notes:

• Flicking keeps these notes from “cracking”.

• Flicking ensures a clean, quick and resonant attack.

• The “flick key” needs to be depressed at the exact same time that students articulate and position the note they are playing.

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• Students can either hold the flick key down (which affects the tone on most bassoons and therefore not recommended)….or release it right away (which is recommended).

• It is possible to play the aforementioned notes without flicking; it depends on the

passage. o If a quicker technical passage is descending, you may not need to flick.

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