Bassoon by Rohr Bars and Michel Jmpol is the ungainly sie of dhe basioon that causes directors co ssume incorrectly that it is difficult for students c0 play Hlowerer, the bassoon embouchure ie relatively ea to fora, aed a seat strap wll make this large instrument managenbe, Start or Switch Some oustanding bascon players stared on the bastoon while others swcched 19 bascon afer starting on another instrument ‘Smaller students should probably begin with anther instrument and leam many general kills before coping with an unwieldy instar tment, Changing ffom saxophone to basoon is one of the easiest suitches because the saxophone embouchute i sounded and loose, ‘uch like the tassoon embouchure. With the abundance of sexo phone scadents in most bands che prospec of maving several ever to play bassoon should delighe moss dzcerors. Both the clarinet and fluceembouchures are substantially diferent foam that wed on bes son and often cause problems for sents who make this switch, ‘Many directors wll want to stare Bassoons ina beginning band toquin che depth ofsound in an ensemble Iedocent work very well to give group lessons to beginning besoonist along with seudents ‘on other instruments because most mathod books war with dificult Picches for young Bassoons, suchas the F3, This note uses no fi {ers and causes a new basconist eo fel insecure holding the instar iment. Then methods often move an to notes that go ove he beak and we halfhole fingerings. The bastoon method by Julius ‘esse ods ted ook wen peceal ‘assoon. The Art of Basoon Playing by William Spencer (Sammy. Bircherd) and Teachers Guide wo she Bassoon by Homer Pence (Selmer) are good reference books for director. Reeds and Embouchure Tris unnecessary fora beginner wo havea professional reed, but the quality of the reed directly influences tone production. Beginners ‘can use cane or plastic ree, each of which reduces @ good sound when played comet. Cane reeds are delicate and easy for carcess beginners to break. Plastic reed call for mare embouchure contrat than cane reds, so snadents using them are more susceptible 28 embouchure problems. By-the end of the fst year all sudents should use cane reads. disecror should have the tools on hand #0 Fepair and acjusc cane reas, sncdng 220 or 400 prade wet andy sandpaper, a mandel, a plague, and a eed knife Cane reeds have tobe sosked before playing bur soaking takes less time if warm water is used. A red is sufficiently soaked when the ‘wires can n0 longer be wiggled. An older reed wil shrink and cause the wires to loosen, soit wil take longer to sak. Do not tighten loose wires, ue simply soa che reed for longe tie, ‘The frat step is for a seadent eo play on the red alone, called rowing, which should produce a busing sound, nota steady pitch. ‘There is nothing dificult about forming a proper basen embou- chure: simply put the rood inthe mouth and form e relaxed cele around ic with the lips A student who cannot produce a crow should whistle or purse his lips asi ising. In whistling the jaw Grops and the eeeth are separated into a good portion for playing the bastoon. The eed shouldbe inserted inca the mouth with the lips almost bue noe quite touching the wires. Students may bite down on the reed, which cuts off the sound and makes the pitch sharp. Ie may even jump the pitch an octave higher. The tembouchure should seal the reed 0 n0 ai leaks ost- Beginning ec ents often do not have the lip muscles co control che red, 20 they incorrectly use aw muscles instead with the lips acting as a cushion, ‘This isan incorrect embouchure. The teeth should not bite down fon the eed. The mouth should be open, a8 when yaoming. [fast dent has dimples while playing, this indicate an embouchure that pulls the comers ofthe mouth back too far into a srl Poseure Bascooniss should sic up straight and far back i the chair with the fet flat on the floor. A fat-borcmed chair works beet, while contoured seat makes i dificule wo portion che body correctly, Seat seas ae a necessity for beginning bastoonists. Neck straps put too ‘much weight oa the neck and hands and cause the insument co fall ac an awkward angle. A eat strap tanaers the weight of the Instrument from the neck and hands fo the etap. Even if the only avalable strap isa neck strap, ie can be used ap a seat sap bY ‘potting a leg through i and actaching the end of the strap tothe Foe that is ac the Bottoms of most instruments. Cup straps and ring stags ic around the hottom ofan instrament that does not have & hole »“The sta srap shouldbe a che font of the chai o put distance ‘between the player and instrument and position the instrument at ‘he corect angle. When the seat sp fe moved back, the inst ‘ment is too close to the body and has vo be leaned forvatd so the vveight falls on the [eft hand. Light-weight students tend to move the strap back under their bottoms to put more weight an the rap, ‘bur this causes che intrumers to lean forward asf does with a neck scrap Fr light-weight stents the veat tap should be long enough {ovwrap around thes lg or wide enough so thee is ition betwee ‘the strap and chair co Keep the lnstument from slipping. Another Solution ito run the sap fom the let rear ro cha righ front of he chaie In gon plying potion the Pao shoud en lh aon the players bod ei imporane for a player to bring the instrument tobis mouth, noe the mouth co the instrument. The reed should hit just below che lp at the small of the chin, so the player has tole, the ead slightly downward to meet ie Fag Baer Nae ‘Young players should begin with pitches using only the lft hand, such as C3 and D3. For C3 the fie thre fingers cover the holes on the wing join andthe thumb gees on the whisper or plana key. At ‘his point che right hand remaine off the instrament. All fingers should be in a rounded position, never collapsed. Ifthe wrist ‘sraight, the fingers will go stalghe seros the insmament rather than approaching the kes from below or above. A common error i to ach the lehand thumb, which should be fat and sonighe ‘Students wich very shor of long fingers wil find this position if cult and may not be suited ro hassoon. An instrument witha closed plate over dhe left-hand ring finger key help to accommodate small hands Gengrally «C3 will ea fla pic, and the solution eto use more sic rather shan eighter ips. Ifa suet is noe flat on C3, he shoul ‘relax che lps and lower the pitch a half stp co match & BY2 with the C3 fingering. Afersusalning tha pitch abalf sep lower, blow fhe times as hard to drive the pitch up to the C. This exercise fecces players to relax the mouth muscles and blow correct. The ‘ound may be roucous, ue it easier eo contal a raucous sound han itso relax a pinched sound, To move fom C3 0 D3, simply lie he thied finger ofthe left hand ‘Add the right hand on a B2. With the fie finger pushing down the appropriae ke, lean che right hand against the instrament =o 30 thatthe bottom Imuckle ofthe fist fager touches ity che spor at ‘which the knuckle hits the bassoon i the cermanenr pint af came ‘et forthe right hand. Immediately corecesuadents who rest the entire palm on the insrument Hand ervtches are available, but they may cause tension in the hand. The mose common rghr-hand problem iso rest che thumb on the instroment for added stability, ucts oo ads tension in the hands. When the thumb rests on che bassoon ic is out of position ro press a Key untl an extra movernent brings ic back each time. Sadents will keep che thumb off the bas soon i they ace comforcable holding the instrament with «propor ly positioned seat stap. This is augmented by beginning vith just, the left hand. Stadents often respond wo images, and i may help if they pretend co hold aeipe blvebery in each hand without squeer- ing hard enough to cause juices eo ran out. The fingertips should never become white from the pressure of depresing keys. The ‘elbows should bein a relaxed position, neither out like wings not ‘dug ino the sides of che Body. uring the fis few months of playing, begining bessoonis should not play stor above open F3. Because higher pisches entail ‘more embouchure strength than young sudents have they use the ‘wrong muscles and develop a eight embouchure. In adaition, the pitches over the break of the bassoon use hal hole techniques that se uncamorable for beginners ‘Sradents who prefr low voices and don't mind playing accompa: iment parts in band make the bese bassoonist. Deore can help "hese students progress quickly by approaching the Bascon ina wey ‘that makes tc easy to handle Robere Bas eared bachel's and maser’ degrees atthe Univers of ‘Michigan and a former member of he Dallas an Dest He gig Conn Mien Unie and Ion Ar “Academy before oning the acy at Nordasester Univer as aoe: at profesor of bassoon and assltanedeparman chara 1985. Michael Jampele has 25 years of experience teaching inserted music ‘nthe Wire, Iino publ schol, uhere be coven dc nae ‘Eparamen:chatman and band directo ae Higheest Mile Saco He ‘eid a bachelor’s deme from Nonhuestem University anda mace dare fom Northem Ina University. Jampoeplyebastoon withthe Waskegan (Mines) Mucpel Bent 3Adjusting the Bassoon Reed by Hee Shier ‘Basic Principles of Reed Adjustment ‘Soak che reed well before attempting co week of play oni. “Always use a plague when working on the red blade. ‘Adjust reeds as closely as posible to normal measurements. + ‘Albay shave reed blades rom back to tp and from centr to Side, co maincain che even taper ofthe reeds back (het). + Be sue red fits on the boca propely and does not leak ‘Necessary Tools can be purchosed ata good muse store or through companies that deal in reed equpient ‘+A reed knife chat is eouipped with an excellent see blade that will mainrain a fine edge Alva keep the knife sharpened, Long and chorecipped mandrels to adjust the reed, ‘A plague thats complerly flat and made of a good steel ‘Soll srulb-nosed pliers witha wie-curing edge Emery boards and a small availed file ‘Accol obras wie in eave the wire beaks when adjusted ‘Waterproof sandpaper to nish the reed blades. A botle of elear lacquer or nal plith A illo (cutting blocs) of very hard wood. ‘Adjustments ofthe Reed 1. Before soaking the rod be sre i ts che bocal proper. W nos, colarge the reed end (butt) with» rectal ile oe a seamen 2, When adjusting che reed, stay as close as posible to the mea- surements given inthe accompanying sketches 53. The wires must be propely positioned to produce good resus. If ‘hey are lose because the red dried out, reposition hem: rise and tighten che knce with plies. Dab a small amount of clear lacquee ot sal polish on che wire to secure i 4. The reed blades ay be adjsced in elation to tone, response, and pitch: Ifthe reed blows too easy it may produce a mal or seedy fone ot ply or fla (especially om middle E), Cut Y32" oles fom the blade tp using a sharp Ene. Be sue the ead blades are fat sganst the center of the cutting Bock. After cuting the tip make ‘vo very small 40" angle cus ar the extreme edges ofthe Bade ip. 3 wits mek yoo blow (expecially in he low egiter), sbave the real Hades fom che Tk of he bac to che fone Scrape every i fle with each roe Hold the Laie perpen dicular ode re tades Hades and scage area Din che cation. Say away fam fhe her ofthe en Ty to maintain an even ticks ofthe blades Throughout the seeping procs keep the Hades wet fers. ing the Dido andthe ene blade ret with wateoot tndpe- ‘pet The sides of the reed blades tay be thinned down wih'on ‘bey boa ‘The tip opening should be about 116" at the widest point. For a snore open bp, sete the tp af che wie fora ler opening suena che sides of heat Todo etn ote: loner wee ache sorte ie wie athe op Opening the op wll aren the sound and eke he eed tore dhouero Sow Clsng he eed wil bight he sun sad te che rel easier to blow Reed Cave ‘Never eep che sed in an si sgh container; his makes the reed seggyand wl rae ‘Bove of eed eats in which the seed ie placed ona wie sing holder which may ease leas inthe butt opening e he teed ean the ed aperoimately once every ht Saye by fing the reed with cold water ot by pling a sal eather through the read om bck to fone ‘Area A ~The tip area, the thin- nest portion af che reed Slade ‘Area B~ Where the horeshoe- shape arf the ved blade begins. “Acea C= The blade gradually thickens and tapers ~ and may Be ‘uch thiskee at this point “Area D= Mose scraping her. ‘Area E The thick cane spine. ‘oes de Re Be 5 deena 3