THE DOUBLE REED 35

Teaching the Beginning Bassoonist

By Terry B. Ewell
Towson University, Maryland

M
any music educators see the need to
start students on the bassoon, yet
hesitate to do so because of their lack of
expertise on the instrument. Even willing
music educators have difficulty dealing with the
complexity of the bassoon, its double reed, and its
fingering system. The paucity of books and articles
on the pedagogy of the instrument—particularly
on teaching the young bassoonist—no doubt FIG. 2. Position of the Left Hand.
compounds their frustrations.1 In response to this
need, this article serves as a primer for starting consideration for the student of the bassoon.
young bassoonists. Below you will find information Bassoon reeds are rather expensive ($6.00 or
on criteria for selecting who should play the more) and the instrument itself is costly to
bassoon, the care of the instrument, lesson plans, purchase. Ready access to a playable instrument
and suggestions for ten model bassoon lessons. and bassoon reeds are essential for a student’s
This article is written for the educator who does progress. Third, a student with an independent
not play the bassoon or who has only encountered nature should be given preference. The bassoon is
the bassoon briefly in a pedagogy course. viewed as an oddity by most secondary school
students, and if peer pressure is keenly felt by the
I. Selecting a Bassoon Student student then playing the bassoon will more likely
There are several factors which contribute to a be a source of embarrassment than a positive
student’s success on the bassoon. First, the experience. Last of all teachers should consider
student’s hands should be large enough to play the student’s motivation, musical aptitude, and
the instrument. Check to see if the student is able maturity.
to cover the C hole with the left ring finger (third The bassoon is an excellent instrument for
hole) and comfortably reach the whisper key and students with braces. When the bassoon reed is
the speaker keys (A key, C key, and D key) with the played properly, very little pressure is exerted on
left thumb. Figure 1 provides the names of the the teeth. Thus, playing the instrument does not
exacerbate orthodontic problems nor is it as
uncomfortable to perform as other instruments
after one’s orthodontic hardware has been
tightened or changed. In addition, bassoonists
with braces don’t suffer as many problems with
tone production as students of the flute and brass
instruments encounter when they have
orthodontic hardware.

II. Ten Model Lesson Plans and Comments

There are several method books that provide
effective instruction for beginning students. The
lesson plans below refer to four readily available
studies:
FIG. 1. Names of the Bassoon Keys J. E. Skornicka’s Rubank Elementary Method for
Bassoon (Hal Leonard Publishing Corporation),
bassoon keys and holes, and Figure 2 illustrates Henry Paine’s Studies and Melodious Etudes for
the placement of the left hand thumb and fingers Bassoon, Level 1 (Elementary) (Miami: Belwin
to play C3 (C below open F). Several bassoon Mills, 1969), C. Paul Herfurth and Hugh M. Stuart’s
manufacturers produce bassoons which feature a A Tune a Day (Boston: Boston Music Company,
covered C hole that reduces the stretch for 1964), and Julius Weissenborn’s Bassoon Studies
smaller hands. Second, finances are a Opus 8, Vol. I (Frankfurt and New York: Edition
36 TEACHING THE BEGINNING BASSOONIST

Peters). In this article the four methods are for playing is to soak it in tepid water for a minute
abbreviated as Rubank, Studies, A Tune, and Opus or two. Many players also rinse the reed off after
8. The material in these study methods vary each practice session in order to prolong the life of
widely, and all of them may not be appropriate for the reed. When not in use, the reed should be
your beginning student or your method of placed in a container which allows air circulation
instruction. Beginners come in all different ages, or it will be prone to mold, especially in humid
aptitudes, and abilities, so the method of climates. Bassoon reeds do change from day to
instruction must be tailored to each student. day and week to week so teachers may wish to
Please see the annotated bibliography at the end consult Robert Barris and Michael Jampole’s
of the article to determine the appropriate method article in The Instrumentalist 52/2 (September 1997)
book. on reed adjustments.
Students should realize the necessity of
Lesson 1:
swabbing the instrument after each practice or
A. Care of the bassoon and reed
performance session. Most bassoons come
1. Proper assembling
supplied with wool-haired swabs that can create
2. Soaking the bassoon reed
problems for the bassoonist if used on a regular
3. Pull-through bassoon swabs
basis. The swabs frequently shed fibers which
B. Holding the Bassoon
then become lodged in tone holes and pad seats. If
1. Seat strap
these swabs are used, they should be covered
2. Hand position
with a non-shedding cloth material such as cotton
C. New Fingerings
or linen sheets. A better solution, however, is to
1. F3-C3 (Open F down to C)
purchase or make pull-through swabs: one for the
2. Use of the whisper key
boot joint and a smaller one for the tenor joint.2
D. Embouchure basics
Some silk swabs are suitable for swabbing both
E. Lesson materials
joints. These swabs will need to be attached to a
1. Rubank lesson 1, Studies pp. 4-5,
weighted cord which can be dropped through the
A Tune lessons 1-3, or Opus 8 lesson 1.
joints before the swab is pulled through.
The bassoon is an expensive instrument; even Most American bassoonists hold their instru-
the lowest priced models costs thousands of ment with the aid of a seat strap. The strap is
dollars. From the start, the teacher needs to either hooked into a hole on the metal cap of the
impress upon students the importance of proper boot joint or has a metal band or cup into which
care of the instrument. The joints on the the metal cap is inserted. The strap is laid on the
instrument should fit snugly, but not tightly. seat and the student sits on the strap with the
Overly tight fitting joints can result in damage to bassoon resting on the right thigh. As an
the key work as the student tries to force the alternative, students may employ a neck strap,
instrument together or apart. The parts of the which hooks into a ring at the top of the boot joint.
bassoon should be assembled in the following Younger students, and most professional players,
order: the tenor joint fits into the boot joint, the however, find that balancing the instrument with
long joint then fits just a neck strap is rather awkward.
FIG. 3. Parts of a bassoon.
into the boot joint, The fingerings introduced in the ten lessons are
the bell fits onto found in fingering charts accompanying the
the long joint, and method books. In some instances, however,
finally the bocal is standard American bassoon fingering practices
inserted into the differ with those in some of the fingering charts.
tenor joint (see Please see Figure 4 for eight preferred fingerings.
Figure 3). Special For this lesson, however, the fingerings for F3
care should be (open F) and the three diatonic notes below it do
taken when the not differ in the method books from conventional
bocal is inserted so American fingerings. You may also refer to
that the whisper standard bassoon fingerings given at the IDRS Web
key pad is not torn. in the Bassoon-Family Fingering Companion:
The bassoon is http://idrs.colorado.edu/BSNFING/FINGHOME.HT
disassembled in M. The student should have the whisper key
the reverse order. engaged by the left thumb for the four pitches in
The best way to this lesson. The whisper key is analogous to an
prepare the reed octave key except that it is depressed for the
 THE DOUBLE REED 37

FIG. 4. Standard American bassoon fingerings. 3. Breathe by dropping lower jaw

4. “Diaphragmatic breathing”
B. New Fingerings
1. B2 (B below open F), A2, and G2.
C. Lesson materials
1. Rubank Lesson 2, Studies p. 6,
A Tune lessons 4-7, or Opus 8 lesson 2.

Seek to start off your students with a proper

and comfortable posture. The best and most
relaxed way to play the bassoon in a seated
position is with the student’s back against the
back of a chair, and the instrument positioned in
such a manner that the reed enters straight into
the mouth—not at an angle. Some bassoon bocals
are bent at such an angle that this straight-in
positioning of the reed may not be possible with a
seat strap. These bocals are intended to be played
with neck-strap support only. A repairman may be
able to alter the angle of the bocal, or you may
wish to search for another bocal instead. The
student’s head and torso should be straight and
upright when playing the bassoon, not tilted to
one side or the other. The music stand should be
placed so that the student is reading to the right
side of the bassoon bell from their vantage point.
Encourage students to breathe by dropping the
jaw. Too often bassoonists breathe by raising the
upper lip off the bassoon reed and pivoting the
head up and backwards. Breathing above the reed
is not as efficient or as quick as breathing below
the reed, that is by dropping the jaw.
lower registers and left open for the upper Much has been written in the literature about
register. The left hand fingers cover the holes on proper breathing, so we will not labor the point
the tenor joint. here.3 Students should breathe comfortably by
The embouchure is much looser and more employing the diaphragmatic muscles to breathe
mobile on the bassoon reed than on the clarinet or in and the abdominal muscles to breathe out. The
saxophone mouthpiece. Students can simulate the concept of filling a glass often works with students:
feel of the bassoon embouchure by whistling a low the glass is filled with water from the bottom to
pitch, and then rolling in the lips slightly with a the top; similarly students should feel their
finger. It is a good idea to have students blow a few abdomen extending and “filling up with air” before
notes on the bassoon reed by itself before placing their chest cavity moves. Students with signs of
the reed on the instrument. A well adjusted strain and excessive shoulder movement during
bassoon reed with a properly loose embouchure inhalation may profit from relaxed breathing
and good breath support will produce a rattling exercises. One such exercise is to have students
sound—not a single pitch—that we often call “a lay flat with their backs on the floor. Most of them
crow.” If the student is not able to produce this immediately breathe in a relaxed and proper
sound at the first lesson do not labor over the manner in this prone position.
issue, it could be a problem with the bassoon reed, In these first lessons, students should play
rather try to encourage a loose, non-biting everything at a comfortable forte dynamic. Estab-
embouchure. lish a relaxed and rounded embouchure encircling
the reed before seeking embouchure adjustments
Lesson 2: needed for the quieter dynamics. At this early
A. Posture and breathing stage of development, the vast majority of bassoon
1. Sit up straight with back to the chair students play with an embouchure that is much
2. Reed should enter the mouth straight-on too tight. A “crocodile-bite” embouchure is
38 TEACHING THE BEGINNING BASSOONIST

difficult for former single-reed players to abandon. The air stream

To produce the best sound on the bassoon, there should not waiver
must be considerable space between the upper through this exer-
and lower molars. In other words, the jaw must be cise. The students’
dropped. chart of this exer-
cise should look
Lesson 3: similar to Figure
A. Articulation experiments 6—the pitch falls
1. Air and then rises.
2. Embouchure Next students FIG. 6. Embouchure articulation.
3. Tongue should experiment
B. The proper method to start a note on with the tongued start and stop. Place the tongue
bassoon on the reed, start the air pressure before the
1. Place tongue on the reed tongue releases, release the tongue without
2. Start breath support varying the air or embouchure, then finally place
3. Release the tongue the tongue back on the reed. Figure 7 presents a
C. The two proper methods to stop a chart of what should be a steady pitch in this
note on bassoon experiment.6
1. Tongue stop Our experi-
2. Balanced air/embouchure stop ments have yielded
D. Lesson materials interesting results.
1. Rubank lesson 3, Studies p. 7, Only one articu-
A Tune lessons 8-9, or Opus 8 lesson 3 lation when em-
ployed by itself
The third lesson on the instrument is an avoids pitch devia-
excellent time to introduce proper articulation.4 tions—the tongued
The method by which notes on the instrument are start and stop. This
started and stopped has great consequences for method of articu- FIG. 7. Tongue articulation.
proper tone production. Students can confirm for lation should be
themselves the effect of different types of articu- preferred for rapidly re-articulated notes. The
lation by experimenting with the articulations on a instability inherent in starting notes with the air or
bassoon reed placed solely on the bassoon bocal embouchure also brings us to a decision on how
(apart from the instrument). The pitch on the to start notes. Every note should be started with
bocal with the reed is rather unstable, thus the tongue on the reed. This alone will produce a
presenting an ideal forum in which to discover clean and accurate attack. Students may find it
pitch deviations. helpful to think of five steps to starting a tone: 1)
The bocal experiments could take the following exhale, 2) inhale, 3) place the tip of the tongue in
form: Have your students start a tone with the air, the opening of the reed and seal the embouchure
crescendo to about forte, and then decrescendo around the reed, 4) start the breath support, 5)
until the note stops. Through this whole exercise release the tongue.
the embouchure should remain steady with no The embouchure and air articulations may be
movement. Figure 5 gives a chart of the likely employed to end a note if the two are properly
result—the pitch will rise and then fall.5 Next your balanced. At this stage your students will begin to
students should pinch the reed with their discover that dynamic differences on the bassoon
embouchure, start the air stream with no sound at are made with the air stream. In order to avoid
this point, pitch deviations during dynamic changes, the
FIG. 5. Air articulation. slowly drop embouchure must be adjusted: for crescendos the
the jaw down- embouchure opens, for decrescendos the
ward until the embouchure closes. Thus, if a taper or
reed vibrates, diminuendo is desired at the end of a note— and
continue to time permits— the balanced combination of the
drop the jaw air and embouchure end to a pitch can and
further and should be used. However, even with a tongued
then raise the start and a combined air/embouchure release to
jaw until the notes, students should avoid excessive jaw
reed stops. movement.7
 THE DOUBLE REED 39

Lesson 4: second finger. In order to

A. Long tone exercises properly execute this
1. Sustained long tones technique the E hole
2. Articulated long tones should be covered only
B. New fingerings with the finger’s upper
FIG. 9. Position of E hole
1. G3 (G above open F), A3, B3, and C4. portion (see Figure 9). covered by the left index
For G3 see Figure 4. Slurring from A3 to G3 finger.
2. The half hole above open F provides
C. Lesson materials students an excellent opportunity to practice the
1. Rubank lesson 4, Studies p. 8, half-hole technique. Students finger A3 with the E
A Tune lessons 11-138, or Opus 8 lesson 4 hole fully closed and the whisper key not engaged.
When they proceed to G3 the students should roll
In the last lesson concepts of correct the left index finger downward, venting the E hole
articulation were introduced. This lesson presents slightly. The whisper key should also be
several exercises which focus on articulation. All depressed when the E hole is vented.
students should practice the exercises with a
metronome. Not only does a metronome develop Lesson 5:
solid metrical timing, but it gives a guide by which A. Review prior concepts
to judge the accurate timing of the beginnings and B. Lesson materials
endings of notes. 1. Rubank lesson 5, Studies p. 9,
Long tone exercises are very useful for the A Tune lesson 14, or Opus 8 lesson 5
beginning student. Students should practice
starting, sustaining, and stopping notes without The fifth lesson, midway through the ten
any wavered pitch. With the metronome set to 60 lessons, provides a suitable place at which the
have your students start a note exactly with the teacher should review the concepts taught in the
beat, sustain for four counts, and then stop the previous four lessons. Students should not
note exactly with the metronome. Various pitches progress to new techniques discussed in the later
on the instrument should be practiced, since every lessons until there is a consistent command of the
note on the bassoon responds differently. The two essentials taught above. If necessary the teacher
types of stops should be practiced: tongue and the may introduce new fingerings and even progress
combination of air and embouchure. Increase the further in the lesson materials, but the new
length of the note as students gain further techniques given below should not be taught until
mastery. the student is correctly supporting the sound at a
Figure 8 illustrates a modification on the long forte dynamic, properly employing the whisper
tone exercise. Again set the metronome for 60. key and half-hole technique, and gaining mastery
Students start the over the two tonguing methods.
note with the beat
then stop the note Lesson 6:
FIG. 8. Representation of an
with the next beat, A. Flick Keys
articulated long tone study.
repeating several B. New fingerings
times. Both methods of terminating the note 1. F2 (Low F), Bb2 (Bb below open F),
should be practiced. With the tongued stop, the and Bb3 (Bb above open F)
air pressure and embouchure setting remains C. Lesson materials
unchanged whether the reed is vibrating or not. 1. Rubank lesson 6, Studies p. 10,
Insist that your students keep up the air pressure A Tune lesson 15, or Opus 8 lesson 6
even when the tongue is on the reed. There should
be no “chewing” motion with the jaw during the The art of “flicking” is one of the most difficult
tonguing. In the tongued start and stop the tongue techniques for a young bassoonists to master.
functions independent of the jaw. With the air and Given the difficulty of the task, students often
embouchure stop, exhort your students to avoid question the necessity of mastering the flicking
any pitch deviations. technique. Take time in this lesson to carefully
The half hole is critical to the tone production explain the reason for flicking. Once the students
of the three chromatic notes above open F: F#3, understand the benefit, they will be much more
G3, and Ab3. The technique of “half-holing” likely to put in the necessary time to master the
requires the left index finger to vent the E hole technique.
with a downward rolling motion towards the The necessity of employing the flick keys, or
40 TEACHING THE BEGINNING BASSOONIST

speaker keys, can be demonstrated on the pitch Lesson 7:

A3 above open F. Have the students rapidly tongue A. Introduction to the “drive.”
the A several times at different dynamic levels. 1. Long tone exercise with dynamics
Listen carefully to the attack of each note. Several, 2. Discussion of musicality
if not all of them, will articulate indistinctly with a B. Lesson materials
cracking sound, or a bit similar to a double attack. 1. Rubank lesson 7, Studies p. 11,
Now have your students hold down the left thumb A Tune lesson 169, or Opus 8 lesson 7
A key while they repeat the rapid tonguing again.
Immediately it will be apparent that the attacks are This is the first point in the lesson plans that
crisp and clean. the student has been encouraged to play a
Although beginners may find it more convenient dynamic other than forte. By now the student
to leave the flick keys depressed the entire note, the should be accustomed to the feel of an open, forte
tone is generally improved with the release of the bassoon embouchure. Playing quieter dynamics
keys after the start of the note. For instance, the on the bassoon does require a tightening of the
sound quality of the A3 (the A above open F) is not as embouchure. Beware though, of the likelihood of
pleasant with the speaker key held down. Releasing an overly tight embouchure returning. Encourage
the key after the attack will greatly improved the students to memorize the feel of a well-supported
sound of the note. For this reason bassoonists forte sound. This becomes a reference point from
generally depress the A, C, and D flick keys (marked which to depart and return during the long tone
with an asterisk in Figure 1) for the start of the note exercises.
only. In other words, the keys are flicked. Figures 11 and 12 present two forms of the long
Besides A3, four other pitches are generally tone exercises with dynamics. Figure 11 gives a
flicked on the bassoon. Bb3 above open F is flicked long tone exercise in an inverted form, which
with either the A or C speaker key. Students students will
should hold down the A speaker key and then the find the easiest
C speaker key while tonguing the Bb. Use to begin with.
whichever produces the best tone on the The most stan-
instrument. Flick B3 and C4 above open F with the FIG. 11. Inverted long tone exercise. dard form of the
C speaker key. If necessary, flick the D above open long tone exer-
F with the D flick key. Usually there are few cises starts at a
problems with the attack of the D, so it is not as quiet dynamic
necessary to flick this note when tonguing it. Many level, crescen-
models of bassoons made for students do not dos to a loud
have this D speaker key. FIG. 12. Long tone exercise. dynamic level,
There are two situations in which the flick keys and then decre-
must be employed. We have covered the first scendos to a quiet dynamic level (Figure 12). For
situation—the articulation of select notes (A3, Bb3, the younger student, however, the initial piano or
B3, C4, D4). Slurs of a third or more to the selected pianissimo attack presents many problems.
pitches require the second instance of flicking. You may wish to have students work on several
Figure 10 gives an exercise which helps students variations of Figure 11. Set the metronome for 60.
to master the flicking technique during octave Start with four counts of diminuendo and four
slurs. In the first beat of each measure hold down counts of crescendo. Increase the length of the
exercise by adding more counts to the diminuendo
and crescendo. Students also may profit from the
insertion of “dynamic plateaus.” For instance, 3
FIG. 10. Slurred flicking exercise.
counts of forte (a dynamic plateau), 3 counts of
diminuendo, 3 counts of piano (another dynamic
the whisper key. On the second beat the whisper plateau), 3 counts of crescendo, and end with 3
key is released. During the third beat when the counts of forte. The object of the exercise is to
new pitch is sounded depress the appropriate attained control over the pitch at all dynamic
speaker key. On the fourth beat the speaker key is levels. Insist upon a steady tone with plenty of
released. As the students gain confidence they breath support through the entire exercise.
then should be encouraged to hold down the Naturally long tone exercises should be practiced
whisper key as long as possible. The speaker keys, on a variety of pitches; that is, low notes, middle
conversely, should be held down just at the start notes, and high notes.
of the new pitch. Even young students should be encouraged to
 THE DOUBLE REED 41

grasp the concept of musicality. When you discuss Lesson 9:

musicality it need not be ethereal and intangible, A. Refinement of pitch control
you can link musicality to the practice of long B. New fingerings
tones with dynamic shadings. Marcel Tabuteau, 1. D4 and Eb4 (above open F).
famed oboist with the Philadelphia Orchestra and For Eb4 see Figure 4.
teacher at the Curtis Institute of Music, coined a C. Lesson materials
term to depict motion in music—the “drive.” A 1. Rubank lesson 9, Studies p. 13, A
drive is the scaling of various components of Tune lesson 17 and supplementary
music. For our purposes here, the drive will mean material p. 26, or Opus 8 lesson 9.
gradations of dynamics. A drive with dynamics, for
instance, could include a crescendo towards a By this time students will be aware of at least
musical goal followed by a decrescendo. Tabuteau one way to control the pitch on the bassoon—
employed numbers to depict various levels of embouchure adjustments. If this is the only means
tension, or in the instance of dynamics various by which students can control the pitch, however,
tiers of loudness.10 their tone and dynamics will greatly suffer. The
In the lesson material choose a phrase to best sound on the bassoon requires the perfect
practice with a musical drive. Decide on the alignment of air, embouchure, a relaxed (or open)
musical goal in the phrase. Then employ a cres- throat, and the correct vowel in the mouth. In
cendo to the goal and a decrescendo away from lesson 3 we experimented with different types of
the goal. For instance: in Rubank lesson 7 number articulations. At this point it is a good idea to
1 make the downbeat of measure 2 the goal; in review the change of intonation with increases and
Studies p. 11 Etude No. 15 make the downbeat of decreases in air flow and embouchures tightening
measure 3 the goal; in A Tune lesson 16 number 3 or loosening. Figure 14 provides a table of the air
make the downbeat of measure 2 the goal; or in and embouchure effects on intonation already
Opus 8 lesson 7 first line make the downbeat of discussed. It also includes information on
the third measure the goal. The mastery of intonation changes due to the mouthed vowel.
dynamic levels gained during long tone study are
thus applied directly to the music, impressing
upon the student the importance of diligent
practice of the exercises.

Lesson 8: FIG. 14. Methods of pitch control.

A. Articulated long tones with varied dynamics
B. New Fingerings To demonstrate the effect of vowel formations
1. Eb3 (Eb below open F). See Figure 4. on the pitch and timbre of a bassoon sound have
C. Lesson materials students sustain G3 (G above open F) while slowly
1. Rubank lesson 8, Studies p. 12, alternating between the vowel sounds “ee” and
A Tune lesson 21, or Opus 8 lesson 8.11 “oh” in their mouth. The students do not actually
voice the vowels, rather they form these vowels in
Continue to stress the importance of long tone their oral cavity. You and your student will notice
exercises in your lessons with students. To keep a drop in pitch when the “ee” (long e as in peek) or
up the student’s interest and add a new element to “ih” (short I as in “pig”) sound is substituted by
master, one can introduce articulated stops and the “oh” or “ah” sound.
starts to Figures 11 and 12. Keeping in mind the In order to achieve the maximum resonance
same dynamic inflections introduced in Figure 11 and the best intonation on the bassoon there is a
and 12, have students alternately start and stop general progression of vowel sounds which need
the tone with the tongue. See Figure 13 for a to be followed through the bassoon registers.
depiction of this broken long tone exercise. Individual notes may depart from these
Remind students to stop and start the note with generalities, depending upon a chosen fingering or
the tongue while not changing the pitch or bassoons with poorer intonation. The first or
dynamics during articulation. fundamental register from Bb1(low Bb) to E3 (E
below open F) starts with “oh” or “ah” vowel on
Bb1, around Bb2 the vowel changes more to a “eh”
FIG. 13. sound, and by the time E3 is reached, the mouth
Representation
of a broken long cavity tends towards “ee.” See Figure 15. Starting
tone exercise. at the break on F3 (open F) the progression starts
42 TEACHING THE BEGINNING BASSOONIST

or bands. The time spent to master the material

presented here should pay handsome dividends
for student and teacher alike.
FIG. 15. The bassoon registers.
III. Studies, Solos, and Collections
over in the second register, although this time the
vowel shift is more rapid. F3 (open F) is back to A. Recommended method books for the
the “oh” sound, by A3 or Bb3 the vowel is close to beginning bassoonist
“eh,” from C4 to F4 the vowel is “ee” with the
possible exceptions of C#4 and D4. The third Herfurth, C. Paul, and Stuart, Hugh M. A Tune
register F#4 to C5 only loosely follows the a Day (Boston: Boston Music Company, 1961).
progression since fingering choices can widely This is a fine tutor for very young (age 9-12)
vary in pitch thus requiring a different vowel. students. It provides a practice record, ample
There is a hierarchy to methods of pitch pictures of finger positions, a good introduction
control which students must follow if they wish to to music notation, and duets with every lesson.
obtain the best possible sound at any dynamic. The fingering chart, unfortunately is rather
Breath support comes first. Always use as much cumbersome, containing non-standard fin-
air as possible at any dynamic level. Once the gerings for Eb3 (Eb in the staff), and Eb4 (Eb
breath support is in place then adjust the vowel in above the staff).
the mouth, and only at the end temper the
intonation with an embouchure adjustment. The Paine, Henry. Studies and Melodious Etudes for
most common mistake for beginners to make is to Bassoon (Miami: Belwin Mills, 1969). Best suited
adjust the pitch by embouchure movement alone. for a junior high or high school beginner. The
Often this adjustment is to the detriment of proper book contains no duets, and assumes some
breath support and a good tone. remedial knowledge of notation. The fingering
chart is concise and easy to read. Don’t have
Lesson 10: students use the second Eb3 (Eb in the staff) or
A. Review prior concepts the first Eb4 fingering (Eb above the staff).
B. New fingerings
1. C#3 (below open F), Ab2 and Ab3. Skornicka, J. E. Rubank Elementary Method for
For C#3 see Figure 4. Also note that the Bassoon (Milwaukee: Hal Leonard Publishing
Fingering for C#4 is in Figure 4 — Corporation, 1935). This is the classic work
for future use. many American bassoonists started with.
C. Lesson materials Lessons are well-suited for elementary, junior
1. Rubank lesson 10, Studies p. 14, A high, or even high school students. In general
Tune lessons 18-20, or Opus 8 lesson 10. the book progresses at a faster rate than A Tune
A Day. The work has no pictures, but contains
With the tenth lesson, we have completed our ample duets. The fingering chart is moderately
brief introduction to bassoon instruction. Obviously easy to read, but again be careful to select a
these ten lessons have been highly stylized; few, if proper Eb3 or Eb4 fingering.
any students will be suited to follow the lesson
format exactly as presented here. These ten lessons Weissenborn, Julius. Bassoon Studies Opus 8,
should not be viewed as rigid mandates. Rather, it is Vol. I (Frankfurt and New York: Editions Peters,
the author’s hope that material and explanations No.2277a). This is the venerable bassoon tutor.
contained in these lessons will be introduced at an The lessons become quite sophisticated in a
appropriate time at the teacher’s discretion. For short period of time, so it is recommended for
example, the concept of flicking (Lesson 6) may the adult beginner or a student with prior
take a student several months to master. In this musical background. This study might best
instance, it is best to continue with new lesson serve as a follow-up to any of the prior three
material and new fingerings. studies mentioned above.
Although the bassoon is a daunting instrument
to teach, the rewards for students who master the B. Recommended solo literature for
instrument are considerable. Students who master the beginning bassoonist12
the bassoon have exceptional opportunities in
summer music festivals, colleges and universities, Braun, Jean Daniel. Solos (1740) (Schott). A
and even professional positions with orchestras collection of varied movements.
 THE DOUBLE REED 43

7.
Jacob, Gordon. Four Sketches (Emerson A further discussion of jaw movement is
Edition). Easy and fun. contained in my article “Articulation on Bassoon:
Should the Jaw Move?” The Double Reed 17/3
Weissenborn, Julius. Arioso and Humoreske (Winter 1994): 83-85.
8.
(International). The Arioso is beautiful, the A Tune a Day introduces F# in these lessons.
9.
Humoreske is manageable. A Tune a Day introduces low E in this lesson.
10.
For further information on the drive including
Vaughan Williams, Ralph. A Winter’s Willow references to other writers see my article “A
(Medici Music Press). A folksong arrangement. Bassoonist’s Expansions upon Marcel Tabuteau’s
“Drive,” The Journal of the International Double
C. Recommended collections for Reed Society 20 (July 1992): 27-30.
the beginning bassoonist13 11.
Opus 8 Bassoon-School introduces low Ab in
this lesson.
12.
Das Fagott, vol. 5 (Deutscher Verlag for These works were recommended in Daryl
Musik). A selection of easy to moderately Durran’s “User Friendly Bassoon Tunes,” The
difficult works. Double Reed 22/1 (March 1999): 63-65.
13,
Ibid.
Fagottmuzika (Editio Musica Budapest). A
collection of 22 pieces of well-known songs and About the author …
dance movements. Terry B. Ewell is chair of the Department of
Music at Towson University. He has performed as
Going Solo (Faber Music). All short pieces principal bassoon of the Hong Kong Philharmonic,
including some orchestral bassoon solos. the Wheeling Symphony, and the West Virginia
Symphony Orchestra. Dr. Ewell has recorded for
New Pieces for Bassoon, 2 vols. (Associated Musical Heritage Society, Hong Kong Records,
Board of the Royal Schools of Music). Original Pickwick Records, and Cambria Records. His
works for bassoon commissioned by the Royal writings appear in nine journals principally The
Schools of Music, U. K. ❖ Double Reed, the International Double Reed
Journal, and Scrapes. In addition he is an author or
Endnotes editor of several publications on the International
1.
Notable exceptions are: Robert Barris and Double Reed Society World Wide Web Site: the
Michael Jampole, “Basics for Beginning Bassoon-Family Fingering Companion, the IDRS
Bassoonists,” The Instrumentalist 52-2 (Sept. 1997): MIDI site, IDRS Who’s Who, and the IDRS
28-31, 104; William Spencer, The Art of Bassoon Conference Publications. He is first vice president of
Playing (Summy-Birchard); and Homer Pence, the International Double Reed Society and will
Teacher’s Guide to the Bassoon (Selmer). serve as host of the International Double Reed
2.
Douglas M. Huff describes how to make bassoon Society 2001 conference at West Virginia University.
swabs in “The Pull-Thru Bassoon Swab: Its Dr. Ewell brings a unique perspective to the topic of
Components Construction and Use,” The Double “Teaching the Beginning Bassoonist,” having started
Reed 2/4 (April 1980): 21-23. the bassoon at age eight. He is currently teaching
3.
For one discussion of breathing please see his eleven-year old son the instrument.
Martin Schuring’s “Fundamentals of Oboe
Playing,” The Double Reed 32/1 (2000): 19-22.
4.
For a more detailed discussion of my views on
articulation please see my article, “Basic Bassoon
Articulations,” The Instrumentalist 53/8 (March
1999): 28-32.
5.
These pitch changes are also noted in Arthur
Weisberg, The Art of Wind Playing (New York:
Schirmer Books, 1975; Minneapolis; SATCO, 1993),
pp. 8 and 20.
6.
For a further discussion of pedagogy on the
bassoon bocal see my article “Using the Bassoon
Bocal as a Diagnostic and Pedagogical Tool”
Journal of the National Association of College Wind Terry and John Ewell performing
and Percussion Instructors 60/3 (Spring 1992): 4-7. in the WVU Double Reed Day.