Double Reeds Methods

Notebook
MUS 125B

By Rosy Turcios
 Table of Contents
Section A.​ Technique Report

Oboe Reflection………………………………………………………...……………….1

Section B.​ Journal Articles

Teaching the Beginning Bassoonist..…………………………………..……………..2

Bassoon Reed Tuning Basics…………………………...…………………………...11

How to buy an Oboe…………………………………………………………………..15

Section C.​ Clinic Handouts

Transitioning the Young Double Reed

Player…………………………....………....17

Planning a Successful Double-Reed Beginner Class……………………………..23

Demystifying Double-Reeds………………………………………………………….36

Section E.​ Beginning Single Reed Assignment

Bassoon Intonation…………….……………………...………………………..……..62

Oboe Rhythmic Scale Exercise……………………….……………………………..63

Turcios, Rosy

MUS 125B

Professor Mason

11 May 2020

Learning Oboe

Oboe was very fun to learn besides the technical difficulties I started off with the

instrument, which I had to exchange for another one. Going to office hours and learning how the

instrument was broken was a very interesting lesson in itself. The keys didn’t align between the

upper and lower sections properly, which was a hardware malfunction. We tried to adjust the

lower section just a bit to connect both sections but it ended up disconnecting other keys on the

oboe and making it unplayable.

Before getting right into the instrument, I did some assessments and comparisons with the

clarinet. I used to play the clarinet in high school so the oboe was a bit familiar in the way I held

and assembled it together. The embouchure for the reed was drastically different. At first I put

too much pressure on my bottom lip and made a lot of squeaks. But after going to office hours it

really did help with loosening my “grip” on the reed and making the corners of my mouth seal

the reed in.

Overall I thoroughly enjoyed oboe more than bassoon, mostly because I didn’t get to have that

hands on experience like I did with oboe. Nevertheless, it was a fun experience, not too

challenging at all.

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 THE DOUBLE REED no
35

Teaching the Beginning Bassoonist

By Terry B. Ewell
Towson University, Maryland

M
a n y m u s ic e d u c a t o r s s e e t h e n e e d t o
s t a r t s t u d e n t s o n t h e b a s s o o n , ye t
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
o n t e a c h in g t h e yo u n g b a s s o o n is t —n o d o u b t FIG. 2. Position of the Left Hand.
compounds their frustrations.1 In response to this
need, this article serves as a primer for starting c o n s id e r a t io n fo r t h e s t u d e n t o f t h e b a s s o o n .
young bassoonists. Below you will find information Ba s s o o n r e e d s a r e r a t h e r e xp e n s ive ($6.00 o r
o n c r it e r ia fo r s e le c t in g wh o s h o u ld p la y t h e m o r e ) a n d t h e in s t r u m e n t it s e lf is c o s t ly t o
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 p rogress. Th ird , a stud ent with an ind ep end ent
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 od d ity b y most second ary sch ool
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 b e a s our ce of emb ar r as s ment th an a p os itive
s t u d e n t ’s s u c c e s s o n t h e b a s s o o n . Fir s t , t h e experience. Last of all teachers should consider
student’s hands should be large enough to play th e stud ent’s motivation, musical ap titud e, and
the instrument. Check to see if the student is able maturity.
to cover the C hole with the left ring finger (third Th e b as s o o n is an excellen t in s t r u m en t fo r
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 th umb . Figure 1 p rovid es th e names of th e the teeth. Thus, playing the instrument does not
e xa c e r b a t e o r t h o d o n t ic p r o b le m s n o r is it a s
uncomfortable to perform as other instruments
a ft e r o n e ’s o r t h o d o n t ic h a r d wa r e h a s b e e n
tigh tened or ch anged . In ad d ition, b as s oonis ts
with braces don’t suffer as many problems with
tone production as students of the flute and brass
in s t r u m e n t s e n c o u n t e r wh e n t h e y h a ve
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 Pub lish ing Corp oration),
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, Le v e l 1 ( Ele m e ntary) (Mia m i: Be lwin
t o p lay C3 (C b elo w o p en F). Sever al b as s o o n Mills, 1969), C. Paul Herfurth and Hugh M. Stuart’s
manufacturers produce bassoons which feature a A Tune a Day (Boston: Boston Music Company,
c o ve r e d C h o le t h a t r e d u c e s t h e s t r e t c h fo r 1964), and Julius Weissenborn’s Bassoon Studies
s m a lle r h a n d s . Se c o n d , fin a n c e s a r e a Opus 8, Vol. I (Frankfurt and New York: Edition

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no
36 TEACHING THE BEGINNING BASSOONIST

Pe t e r s ) . In t h is a r t ic le t h e fo u r m e t h o d s a r e 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. Th e m a t e r ia l in t h e s e s t u d y m e t h o d s va r y each practice session in order to prolong the life of
widely, and all of them may not be appropriate for th e reed . Wh en not in us e, th e reed s h ould b e
yo u r b e gin n in g s t u d e n t o r yo u r m e t h o d o f 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
a p t it u d e s , a n d a b ilit ie s , s o t h e m e t h o d o f climates. Bassoon reeds do change from day to
in s t r u c t io n m u s t b e t a ilo r e d t o e a c h s t u d e n t . day and week to week so teachers may wish to
Please see the annotated bibliography at the end c o n s u lt Ro b e r t Ba r r is a n d Mic h a e l Ja m p o le ’s
of the article to determine the appropriate method article in The Instrumentalist 52/2 (September 1997)
book. on reed adjustments.
St u d e n t s s h o u ld r e a lize t h e n e c e s s it y o f
Lesson 1:
swab b ing th e instrument after each p ractice or
A. Care of the bassoon and reed
p e r fo r m a n c e s e s s io n . Mo s t b a s s o o n s c o m e
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
b as is . Th e s wab s freq uently s h ed fib ers wh ich
B. Holding the Bassoon
then become lodged in tone holes and pad seats. If
1. Seat strap
th es e s wab s are us ed , th ey s h ould b e 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-
t h e lo we s t p r ic e d m o d e ls c o s t s t h o u s a n d s o f ment with th e aid of a s eat s trap . Th e s trap is
d o lla r s . Fr o m t h e s t a r t , t h e t e a c h e r n e e d s t o 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
c a r e o f t h e in s t r u m e n t . Th e jo in t s o n t h e the metal cap is inserted. The strap is laid on the
in s t r u m e n t s h o u ld fit s n u gly, b u t n o t t igh t ly. seat and th e stud ent sits on th e strap with th e
Overly tight fitting joints can result in damage to b a s s o o n r e s t in g o n t h e r igh t t h igh . As a n
t h e key wor k as t h e s t ud ent t r ies t o for ce t h e alternative, stud ents may emp loy a neck strap ,
ins trument togeth er or ap art. Th e p arts of th e which hooks into a ring at the top of the boot joint.
b as s oon s h ould b e as s emb led in th e 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
t h e b e ll fit s o n t o fo u n d in fin ge r in g c h a r t s a c c o m p a n yin g t h e
the long joint, and m e t h o d b o o ks . In s o m e in s t a n c e s , h o we ve r ,
finally the bocal is stand ard American b assoon fingering p ractices
in s e r t e d in t o t h e differ with those in some of the fingering charts.
t e n o r jo in t ( s e e Please see Figure 4 for eight preferred fingerings.
Figu r e 3) . Sp e c ia l For th is les s on, h owever , th e finger ings for F3
c a r e s h o u ld b e (open F) and the three diatonic notes below it do
t a ke n wh e n t h e not differ in the method books from conventional
bocal is inserted so Am e r ic a n fin ge r in gs . Yo u m a y a ls o r e fe r t o
t h a t t h e wh is p e r standard bassoon fingerings given at the IDRS Web
key pad is not torn. in t h e Ba sso o n -Fa m ily Fin ge rin g Co m p a n io n :
Th e b a s s o o n is http://idrs.colorado.edu/BSNFING/FINGHOME.HT
d is a s s e m b le d in M. Th e s t u d e n t s h o u ld h a ve t h e wh is p e r ke y
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 o ct ave key excep t t h at it is d ep r es s ed fo r t h e

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 THE DOUBLE REED no
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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

a n d c o m fo r t a b le p o s t u r e . Th e b e s t a n d m o s t
r e la xe d wa y t o p la y t h e b a s s o o n in a s e a t e d
p os ition is with th e s tud ent’s b ack agains t th e
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
ar e b en t at s u ch an an gle t h at t h is s t r aigh t -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
wis h t o s ear ch for anot h er b ocal ins t ead . Th e
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.
lo we r r e gis t e r s a n d le ft o p e n fo r t h e u p p e r 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. h ere.3 Stud ents s h ould b reath e comfortab ly b y
Th e e m b o u c h u r e is m u c h lo o s e r a n d m o r e 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 t h e t o p ; s im ila r ly s t u d e n t s s h o u ld fe e l t h e ir
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
t h e r e e d o n t h e in s t r u m e n t . A we ll a d ju s t e d strain and excessive shoulder movement during
bassoon reed with a properly loose embouchure in h a la t io n m a y p r o fit fr o m r e la xe d b r e a t h in g
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 im m e d ia t e ly b r e a t h e in a r e la xe d a n d p r o p e r
sound at th e first lesson d o not lab or over th e manner in this prone position.
issue, it could be a problem with the bassoon reed, In t h es e fir s t les s ons , s t ud ent s s h ould p lay
r a t h e r t r y t o e n c o u r a ge a lo o s e , n o n -b it in g everything at a comfortable forte dynamic. Estab-
embouchure. lish a relaxed and rounded embouchure encircling
the reed before seeking embouchure adjustments
Lesson 2: need ed for th e q uieter d ynamics . At th is ear ly
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 t o o t igh t . A “c r o c o d ile -b it e ” e m b o u c h u r e is

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38 TEACHING THE BEGINNING BASSOONIST

difficult for former single-reed players to abandon. Th e a ir s t r e a m

To produce the best sound on the bassoon, there s h ould not waiver
must be considerable space between the upper th r ough th is exer -
and lower molars. In other words, the jaw must be cise. The students’
dropped. ch ar t of th is exer -
c is e s h o u ld lo o k
Lesson 3: s im ila r t o Figu r e
A. Articulation experiments 6—t h e p it c h fa lls
1. Air a n d t h e n r is e s .
2. Embouchure Ne xt s t u d e n t s FIG. 6. Embouchure articulation.
3. Tongue should experiment
B. Th e p r o p e r m e t h o d t o s t a r t a n o t e o n with the tongued start and stop. Place the tongue
bassoon o n t h e r e e d , s t a r t t h e a ir p r e s s u r e b e fo r e t h e
1. Place tongue on the reed t o n gu e r e le a s e s , r e le a s e t h e t o n gu e wit h o u t
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 ch ar t of wh at s h ould b e a s tead y p itch in th is
note on bassoon experiment.6
1. Tongue stop Ou r e xp e r i-
2. Balanced air/embouchure stop ments have yielded
D. Lesson materials interesting results.
1. Rubank lesson 3, Studies p. 7, On ly o n e a r t ic u -
A Tune lessons 8-9, or Opus 8 lesson 3 la t io n wh e n e m -
p lo ye d b y it s e lf
Th e t h ir d le s s o n o n t h e in s t r u m e n t is a n 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 m e t h o d o f a r t ic u - FIG. 7. Tongue articulation.
proper tone production. Students can confirm for la t io n s h o u ld b e
themselves the effect of different types of articu- p r efer r ed for r ap id ly r e-ar ticulated notes . Th e
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
(ap ar t fr om th e ins tr ument). Th e p itch on th e to start notes. Every note should be started with
b o c a l wit h t h e r e e d is r a t h e r u n s t a b le , t h u s the tongue on the reed. This alone will produce a
p resenting an id eal forum in wh ich to d iscover clean and accurate attack. Stud ents 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.
th e emb ouch ure sh ould remain stead y with no The embouchure and air articulations may be
m ovem ent . Figur e 5 gives a ch ar t of t h e 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
s t u d e n t s s h o u ld p in c h t h e r e e d wit h t h e ir 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
t h is p o in t , p it ch d eviat io n s d u r in g d yn am ic ch an ges , t h e
FIG. 5. Air articulation. s lo wly d r o p embouchure must be adjusted: for crescendos the
th e jaw d own- e m b o u c h u r e o p e n s , fo r d e c r e s c e n d o s t h e
ward until th e e m b o u c h u r e c lo s e s . Th u s , if a t a p e r o r
r eed vib r at es , diminuendo is desired at the end of a note— and
c o n t in u e t o time permits— the balanced combination of the
d r o p t h e ja w a ir a n d e m b o u c h u r e e n d t o a p it c h c a n a n d
fu r t h e r a n d sh ould b e used . However, even with a tongued
th en r ais e th e start and a combined air/embouchure release to
ja w u n t il t h e n o t e s , s t u d e n t s s h o u ld a vo id e xc e s s ive ja w
reed stops. movement.7

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Lesson 4: second finger. In order to

A. Long tone exercises p r o p e r ly e xe c u t e t h is
1. Sustained long tones t e c h n iq u e t h e E h o le
2. Articulated long tones s h o u ld b e c o ve r e d o n ly
B. New fingerings wit h t h e fin ge r ’s u p p e r
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 a b o ve o p e n F p r o vid e s
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 t h e la s t le s s o n c o n c e p t s o f c o r r e c t the left index finger downward, venting the E hole
articulation were introduced. This lesson presents s ligh t ly. Th e wh is p e r ke y s h o u ld a ls o b e
several exercises which focus on articulation. All depressed when the E hole is vented.
s t u d en t s s h o u ld p r act ice t h e exer cis es wit h 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 t one exer cis es ar e ver y us eful for t h e A Tune lesson 14, or Opus 8 lesson 5
b e gin n in g s t u d e n t . St u d e n t s s h o u ld p r a c t ic e
starting, sustaining, and stopping notes without Th e fift h le s s o n , m id wa y t h r o u gh t h e t e n
any wavered pitch. With the metronome set to 60 lessons, p rovid es a suitab le p lace at wh ich th e
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 p r e vio u s fo u r le s s o n s . St u d e n t s s h o u ld n o t
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 fu r t h e r in t h e le s s o n m a t e r ia ls , b u t t h e n e w
le n gt h o f t h e n o t e a s s t u d e n t s ga in fu r t h e r 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 d ynamic, p rop erly emp loying th e wh isp er
tone exercise. Again set th e metronome for 60. key and half-hole technique, and gaining mastery
St u d e n t s s t a r t t h e over the two tonguing methods.
n o t e wit h t h e b e a t
then stop the note Lesson 6:
FIG. 8. Representation of an
wit h t h e n e xt b e a t , A. Flick Keys
articulated long tone study.
r e p e a t in g s e ve r a l B. New fingerings
t im e s . Bo t h m e t h o d s o f t e r m in a t in g t h e n o t e 1. F2 (Low F), Bb2 (Bb below open F),
should be practiced. With the tongued stop, the and Bb3 (Bb above open F)
air p r es s u r e an d em b o u ch u r e s et t in g r em ain s 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 tech niq ues for a young b as s oonis ts to mas ter.
functions independent of the jaw. With the air and Given th e d ifficulty of th e tas k, s tud ents often
embouchure stop, exhort your students to avoid q uestion th e necessity of mastering th e flicking
any pitch deviations. tech niq ue. Take time in th is 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, a n d Ab 3. Th e t e c h n iq u e o f “h a lf-h o lin g” likely to put in the necessary time to master the
requires the left index finger to vent the E hole technique.
wit h a d o wn wa r d r o llin g m o t io n t o wa r d s t h e The necessity of employing the flick keys, or

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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.”
th e A several times at d ifferent d ynamic 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. t h e s t u d e n t h a s b e e n e n c o u r a ge d t o p la y a
Although beginners may find it more convenient d ynamic oth er th an for te. By now th e s tud ent
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
s ound of th e note. For th is reas on b as s oonis ts 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
Besid es A3, four oth er p itch es are generally tone exercises with dynamics. Figure 11 gives a
flicked on the bassoon. Bb3 above open F is flicked lo n g t o n e exer cis e in an in ver t ed fo r m , wh ich
wit h e it h e r t h e A o r C s p e a ke r ke y. St u d e n t s s t u d e n t s will
should hold down the A speaker key and then the find th e eas ies t
C s p e a ke r ke y wh ile t o n gu in g t h e Bb . Us e t o b e gin wit h .
wh ic h e ve r p r o d u c e s t h e b e s t t o n e o n t h e Th e m o s t s t a n -
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 lo n g t o n e e xe r -
F wit h t h e D flic k ke y. Us u a lly t h e r e a r e fe w cises starts at a
problems with the attack of the D, so it is not as q u ie t d yn a m ic
necessary to flick this note when tonguing it. Many le ve l, c r e s c e n -
mod els of b as s oons mad e for s tud ents d o not d o s t o a lo u d
have this D speaker key. FIG. 12. Long tone exercise. d yn a m ic le ve l,
There are two situations in which the flick keys and th en d ecre-
m u s t b e em p lo yed . We h ave co ver ed t h e fir s t 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.
p itch es req uire th e 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 mas ter th e flicking tech niq ue d uring octave Star t with four counts of d iminuend o and four
slurs. In the first beat of each measure hold down counts of crescend o. Increase th e length of th e
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 p itch is s ound ed d ep r es s th e ap p r op r iate at t ained cont r ol over t h e p it ch at all d ynam ic
speaker key. On the fourth beat the speaker key is levels. Insist up on a stead y tone with p lenty of
released . As th e stud ents gain confid ence th ey b r e a t h s u p p o r t t h r o u gh t h e e n t ir e e xe r c is e .
t h e n s h o u ld b e e n c o u r a ge d t o h o ld d o wn t h e 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

7
 THE DOUBLE REED no
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 mus icality to th e p r actice 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 d ep ict motion in music—th e “d rive.” A 1. Rubank lesson 9, Studies p. 13, A
d r ive is t h e s c a lin g o f va r io u s c o m p o n e n t s o f 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
ins tance, could includ e a cres cend o toward s a By this time students will be aware of at least
musical goal followed by a decrescendo. Tabuteau one way to control th e p itch on th e b assoon—
em p loyed num b er s t o d ep ict var ious levels of embouchure adjustments. If this is the only means
tension, or in th e instance of d ynamics various by which students can control the pitch, however,
tiers of loudness.10 their tone and dynamics will greatly suffer. The
In t h e le s s o n m a t e r ia l c h o o s e a p h r a s e t o best sound on the bassoon requires the perfect
p r a c t ic e wit h a m u s ic a l d r ive . De c id e o n t h e alignment of air, embouchure, a relaxed (or open)
musical goal in the phrase. Then employ a cres- th roat, and th e correct vowel in th e 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 ar ticulations . At th is p oint it is a good id ea to
1 make th e d ownb eat of measure 2 th e 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 emb ouch ur e effects on intonation alr ead y
Opus 8 lesson 7 first line make the downbeat of d is c u s s e d . It a ls o in c lu d e s in fo r m a t io n o n
t h e t h ir d m e a s u r e t h e go a l. Th e m a s t e r y o f intonation changes due to the mouthed vowel.
dynamic levels gained during long tone study are
th us ap p lied d ir ectly to th e mus ic, imp r es s ing
u p o n t h e s t u d e n t t h e im p o r t a n c e o f d ilige n t
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 b etween th e vowel sound s “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 ord er to ach ieve th e 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
t h e t o n e wit h t h e t o n gu e . Se e Figu r e 13 fo r a t o b e followed t h r ough t h e b as s oon r egis t er s .
d e p ic t io n o f t h is b r o ke n lo n g t o n e e xe r c is e . In d ivid u a l n o t e s m a y d e p a r t fr o m t h e s e
Remind students to stop and start the note with generalities, depending upon a chosen fingering or
t h e t o n gu e wh ile n o t c h a n gin g t h e p it c h o r b a s s o o n s wit h p o o r e r in t o n a t io n . Th e fir s t o r
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

8
no
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 ,” fr om C4 t o F4 t h e vowel is “ee” wit h t h e
p o s s ib le e xc e p t io n s o f C#4 a n d D4. Th e t h ir d Herfurth, C. Paul, and Stuart, Hugh M. A Tune
r e gis t e r F# 4 t o C5 o n ly lo o s e ly fo llo ws t h e a Day (Bos ton: Bos ton Mus ic Comp any, 1961).
p rogression since fingering ch oices can wid ely Th is is a fin e t u t o r fo r ve r y yo u n g (a ge 9-12)
vary in pitch thus requiring a different vowel. s tud ents . It p r ovid es a p r actice r ecor d , amp le
Th e r e is a h ie r a r c h y t o m e t h o d s o f p it c h 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. Th e fin ge r in g c h a r t , u n fo r t u n a t e ly is r a t h e r
Breath support comes first. Always use as much c u m b e r s o m e , c o n t a in in g n o n -s t a n d a r d fin -
air as p os s ib le at any d ynamic level. Once th e ger in gs fo r Eb 3 (Eb in t h e s t aff), an d Eb 4 (Eb
breath support is in place then adjust the vowel in above the staff).
t h e m o u t h , a n d o n ly a t t h e e n d t e m p e r t h e
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 h igh or h igh s ch ool b eginner. Th e
Often this adjustment is to the detriment of proper b o o k c o n t a in s n o d u e t s , a n d a s s u m e s s o m e
breath support and a good tone. r emed ial knowled ge of notation. Th e finger ing
ch ar t is concis e and eas y t o r ead . Don’t h ave
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 Elem entary Method for
For C#3 see Figure 4. Also note that the Bassoon ( Milwa u ke e : Ha l Le o n a r d Pu b lis h in g
Fingering for C#4 is in Figure 4 — Co r p o r a t io n , 1935) . Th is is t h e c la s s ic wo r k
for future use. m a n y Am e r ic a n b a s s o o n is t s s t a r t e d w it h .
C. Lesson materials Les s ons ar e well-s uit ed for elem ent ar y, junior
1. Rubank lesson 10, Studies p. 14, A h igh , or even h igh s ch ool s tud ents . In gener al
Tune lessons 18-20, or Opus 8 lesson 10. the book progresses at a faster rate than A Tune
A Day. Th e work h as no p ictures, b ut contains
With the tenth lesson, we have completed our amp le d uets. Th e fingering ch art is mod erately
brief introduction to bassoon instruction. Obviously e a s y t o r e a d , b u t a ga in b e c a r e fu l t o s e le c t a
these ten lessons have been highly stylized; few, if proper Eb3 or Eb4 fingering.
any stud ents will b e suited to follow th e 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 Th e le s s o n s b e c o m e q u it e s o p h is t ic a t e d in a
appropriate time at the teacher’s discretion. For sh ort p eriod of time, so it is recommend ed for
example, the concept of flicking (Lesson 6) may t h e a d u lt b e gin n e r o r a s t u d e n t w it h p r io r
take a student several months to master. In this m u s ic a l b a c kgr o u n d . Th is s t u d y m igh t b e s t
instance, it is b est to continue with new lesson s er ve as a fo llo w-u p t o an y o f t h e p r io r t h r ee
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 bassoonist 12
th e b as s oon h ave excep tional op p or tunities in
summer music festivals, colleges and universities, Braun, Jean Daniel. Solos ( 1740) (Sch ott). A
and even professional positions with orchestras collection of varied movements.

9
 THE DOUBLE REED no
43

J a c o b , Go r d o n . Fo u r Sk e tch e s ( Em e r s o n 7.
A fu r t h e r d is c u s s io n o f ja w m o v e m e n t is
Edition). Easy and fun. contained in my article “Articulation on Bassoon:
Sh o u ld t h e Jaw Mo ve?” The Double Reed 17/ 3
Weis s enb or n, Julius . Arioso and Hum oresk e (Winter 1994): 83-85.
( In t e r n a t io n a l) . Th e Ar io s o is b e a u t ifu l, t h e 8.
A Tune a Day introduces F# in these lessons.
Humoreske is manageable. 9.
A Tune a Day introduces low E in this lesson.
10.
For further information on the drive including
Vaugh an Williams , Ralp h . A Winter’s Willow r e fe r e n c e s t o o t h e r wr it e r s s e e m y a r t ic le “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 bassoonist 13 11.
Opus 8 Bassoon-School introd uces low Ab in
this lesson.
Da s Fa go tt, v o l. 5 ( De u t s c h e r Ve r la g fo r 12.
Th e s e wo r ks we r e r e c o m m e n d e d in Da r yl
Mu s ik) . A s e le c t io n o f e a s y t o m o d e r a t e ly Du r r a n ’s “Us e r Fr ie n d ly Ba s s o o n Tu n e s ,” The
difficult works. Double Reed 22/1 (March 1999): 63-65.
13,
Ibid.
Fagottm uz ik a ( Ed it io Mu s ic a Bu d a p e s t ) . A
collection of 22 pieces of well-known songs and Ab ou t the a u thor …
dance movements. Terry B. Ew ell is chair of the Departm ent of
Music at Towson University. He has perform ed as
Going Solo (Fa b e r Mu s ic ). All s h o r t p ie c e s principal bassoon of the Hong Kong Philharm onic,
including some orchestral bassoon solos. the Wheeling Sym phony, and the West Virginia
Sym phony Orchestra. Dr. Ewell has recorded for
New Pieces for Bassoon, 2 vols . (As s ociated Musical He ritage Socie ty, Hong Kong Re cords,
Board of th e Royal Sch ools of Music). Original Pick w ick Re co rds, a n d Ca m bria Re co rds. His
works for b assoon commissioned b y th e Royal writings appear in nine journals principally The
Schools of Music, U. K. ❖ Do uble Re e d, th e In te rn a tio n a l Do uble Re e d
Journal, and Scrapes. In addition he is an author or
Endnotes editor of several publications on the International
1.
No t a b le e xc e p t io n s a r e : Ro b e r t Ba r r is a n d Double Reed Society World Wide Web Site: the
Mic h a e l Ja m p o le , “Ba s ic s fo r Be gin n in g Bassoon-Fam ily Fingering Com panion, the IDRS
Bassoonists,” The Instrum entalist 52-2 (Sept. 1997): MIDI site , IDRS W h o ’s W h o , a n d th e IDRS
28-31, 104; William Sp encer, The Art of Bassoon Conference Publications. He is first vice president of
Playing (Su m m y-Bir c h a r d ); a n d Ho m e r Pe n c e , the Inte rnational Double Re e d Socie ty and will
Teacher’s Guide to the Bassoon (Selmer). se rv e as host of the Inte rnational Double Re e d
2.
Douglas M. Huff describes how to make bassoon Society 2001 conference at West Virginia University.
s wa b s in “Th e P u ll-Th r u Ba s s o o n Swa b : It s 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.
Fo r o n e d is c u s s io n o f b r e a t h in g p le a s e s e e his eleven-year old son the instrum ent.
Ma r t in Sc h u r in g’s “Fu n d a m e n t a ls o f Ob o e
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
Ar ticulations ,” The Instrum entalist 53/8 (Mar ch
1999): 28-32.
5.
These pitch changes are also noted in Arthur
Weis b er g, The Art of Wind Playing (New Yo r k:
Schirmer Books, 1975; Minneapolis; SATCO, 1993),
pp. 8 and 20.
6.
For a fur th er d is cus s ion of p ed agogy on th e
bassoon bocal see my article “Using the Bassoon
Bo c a l a s a Dia gn o s t ic a n d Pe d a go gic a l To o l”
Journal of the National Association of College Wind Terry a nd John Ew ell p erforming
and Percussion Instructors 60/3 (Spring 1992): 4-7. in the WVU Dou b le Reed Da y.

10
Bassoon Reed Tuning Basics
• Posted June 8th, 2007 by meubanks in Reed Help
• What are the basics of tuning a bassoon reed?
• In the simplest terms you manipulate the length,
strength and scrape of the reed blade. The reed
blade being defined as the distance from the tip of
the reed to the front of the first wire. The design of
the reed is also a huge factor, the gouge, blade
profile and reed shape, but that's another subject
for more advanced players to consider.
• What is the correct blade length?
• What often determines the correct blade length is
stability on key notes such as one finger E (3rd
space bass clef) with proper pitch on all the other
notes. Blades that are too long or reeds that lack
sufficient strength often go flat on this E if played
loudly.
• There is no correct length but blade length can range
from 27 to 30 mm to the wire. This depends largely
on the style of reed and the amount of force the
player uses in blowing. Generally if you use strong
breath support with thicker blades you can use
longer lengths. My reeds range from 28-28.5 mm
and if my reeds don't work for me at that length I
set them aside. I know that my embouchure will
tire or I will play out of tune if I'm way off from my
blade length preference.
• Some teachers insist on using a set length. This dogma
makes for difficulties. When I first started making
reeds my teacher told me to make all my blades
exactly 1 inch in length. How wrong he was. He had
me measuring from the tip of the blade to the ledge
where the scrape ends sloping up to the bark, not
to the wire. The space between the 1st wire varied

11
 from reed to reed (we call that space the collar), so
my reeds all played quite differently. I had to
reinvent my embouchure with every reed. Bummer.
• So if my reeds all go flat on E what do I do? You
mentioned both length and strenth.
• Yes, the blade needs more strength to support the E.
So, you can try reshaping the wires somewhat with
pliers to make the inside of the reed's tube more
rounded giving the blade more arch and structural
strength. Squeeze the second wire from the sides
and then follow by squeezing the 1st wire from the
sides. Check that the tip opening doesn't get too
wide or close up completely when you're done.
• If that doesn't do it, then the length of the reed blade
from the tip to the wire must now be manipulated.
If the 1st wire near the blade has slipped back
toward the 2nd it should be repositioned. If it's so
loose that it won't stay the wire must be tightened
with small pliers. Sometimes that's enough to fix
the sagging E. If not, you have a choice of moving
the wire closer to the tip if the collar is wide or clip
some of the tip of the reed away. A third choice is
to narrow the width of the reed shape at the tip by
sanding or filing the "rails" where the two blade
halves come together. If a reed is extremely wide
across the tip you may need to do this along with
clipping.
• By clipping the reed tip back or narrow the reed tip
blade you are giving the blade more strength
because it is thicker at the tip. If you keep clipping
and clipping but the E keeps sagging, the cane is
probably too soft. Also the design of the reed may
not be right for you with a throat diameter that is
too big around. So you might want to try different
reed makers. Many reeds purchased from music

12
 stores are poorly constructed. I recently purchased
three reeds made by three diffeent manufacturers
with all labeled medium hard. All three reeds failed
to play a stable E and the blades weren't too long!
No wonder so many of you are suffering with your
reeds making it difficult to enjoy your bassooning..
• Do store reeds come in different lengths as well as
strengths?
• No. If you buy from a reed maker who sells them
directly to you it's possible. The company that I
started called Arundo Reeds and Cane will do that.
Reeds purchased from music stores can't offer you
lengths and apparently don't really control the
strength either. However, there is at least one
music strore reed that has a strong blade. But this
might cause frustration for a beginning player who
has to work too hard to blow it. In this case sanding
it down until it blows freely is easier than clipping
and then having to rescrape for other notes that go
out if you clip a lot off.
• How should I approach clipping the tip? Is there an
easy way to do it?
• The easiest way is to buy an expensive reed clipper
which are available from double reed supply
specialty shops. There are clipping devices and
nippers sometimes referred to as precision end
cutters. That's what I use, but the really good
jewelers end nippers cost about $75.00. The old
fashioned way to cut tips was to purchase a billot
made of wood and take your reed scraping knife
and cut through the reed tip as it laid across the
billot. Big problem with these though, is that the
top of the billot is curved and it's way, way hard to
cut a straight tip. Some will file or sand the billot
top until it's flat and wide enought for the tip of the

13
 reed. That's better, but I don't recommend using a
billot and knife.
• The poor man's version of the reed tip clip is very
effective and cheap. Buy a large thick guitar pick
with a smooth surface on both sides and a single
edge razor blade. Place the guitar pick on a flat
surface, lay the reed tip on the guitar pick, align the
razor blade with the tip with the amount of tip you
want to cut off and press the razor blade straight
down into the guitar pick. It's always best to take
very small amounts off the tip and test your results
than take too much off in one shot and have a
reeed now too strong needing scrapes or sanding of
the reed's blade.
• How much does the scrape of the reed's blade need to
be manipulated?
• That depends on your needs. Do the low notes speak,
do the middle notes croak, do you tire or play out
of tune, are oher notes unstable?
• At the very least the reed should be stable and the
note next to the one finger E, the forked Eb, should
not be sharp if fingered with only the first and third
finger of the left hand with the whisper key. No
added keys in either hand.
• If you are having problems you'll need to know how to
fix these things if you want to advance as a
bassoonist. I tell my students that it's more
important to know how to adjust a reed than to
make one. Find a good reed maker whose reed
style and reed shape works for you. Check out my
reed tuning publications which are available from
double reed specialty shops and Arundo Reeds and
cane. Good luck with all your reeds.
http://www.bassoonbrothers.com/node/134

14
HOW TO BUY AN OBOE
By Robert Botti

I remember being offered the choice of an instrument in elementary school. The violin was interesting, but
my mother already played far better than I could have ever hoped to. The trumpet was heroic and quite
appropriate for my adolescence, but alas I had braces and was told that I would never be able to practice
without inflicting further injury to my already sore mouth. The flute and clarinet were, of course, the
ubiquitous options, but even back then it seemed like the world had enough of both of them to go around.
Then, someone finally mentioned the oboe. What was it? What did it sound like? After only playing a short
while, I became intrigued with and enchanted by the oboe’s unique qualities, from the intractability of its
double reed to the poignant piquancy of its sound.

Background
The most lyrical and vocal of the woodwinds, the oboe can sing and soar soulfully above the thicker
textures of the orchestra. The name in French, hautbois, literally means "high wood." Shepherds of
the first millennium used what was in fact the earliest ancestor of the oboe to call their herds over
highlands and pastures — a scene hauntingly portrayed by Richard Wagner in his opera "Tristan und
Isolde." Medieval times show the shawm family of double-reed instruments as prominent in outdoor
ceremonial music. Its considerable volume made it far too loud to be played indoors or alongside any
other instruments without rendering them completely inaudible. An indoor shawm was deemed
desirable, primarily as an enhancement to strings. In the mid-17th century, two French court
musicians, Jacques Hotteterre and Michel Philidor, created the instrument that would come to be
called the oboe.

The new instrument retained the conical bore of its ancestry but little else. Early oboes had seven
finger holes, only two keys, and a range of barely two octaves upward from middle C. Its sweet tone,
flexibility and pastoral quality were embraced by musicians of the period and before long, it was not
uncommon for the courts to carry a full complement of 16 or more. The music written for double reed
bands of the Renaissance surely capture the character unique to these ensembles. By the end of the
17th century, composers were eager to exploit the oboe and, after the violin, it became the leading
solo instrument of the time. Vivaldi, Handel, Albinoni and Marcello all wrote important concertos for
the instrument that remain staples in the repertoire (Handel and Marcello both played the oboe
themselves). But no mention of the Baroque period can be complete without citing Johann Sebastian
Bach. He remains to date the most prolific composer for the oboe and probably the one who
understood it best. The lines and passages throughout his works helped shape the development of
the instrument as it began to evolve into the modern oboe.

Bach also favored other members of the oboe family, including the oboe d’amore and oboe da caccia. The
oboe da caccia is thought to be the ancestor of the English horn or cor anglais. Ironically, the English horn is
neither English nor a horn. It is pitched in F and sounds a fifth lower than the oboe. The oboe d’amore is
pitched in A and sounds a minor third lower than the oboe.

Today there remain numerous styles of oboe playing throughout the world. Most of these are identifiable by
their country of origin in much the same way as one is able to identify a French, German or American
accent. The famed Marcel Tabuteau, former principal oboe of the Philadelphia Orchestra, is widely
considered to be the father of the American school of oboe playing. Most prominent players of the 20th
century from North America studied with him or had teachers who did.

Getting Started on the Oboe

It is not uncommon for many oboe novices to have begun their musical lives on other instruments. This
generally does not prove to be a problem early on, especially when considering that the oboe’s fingering
system is much the same as that of the flute, saxophone, or recorder. But it is important that the beginner
start on an instrument that is in good working condition. An aspiring player can acquire many poor habits
while trying to compensate for inconsistencies in the instrument. Of course, the other complicating variable
is the reed itself. Unlike the clarinet or saxophone, the oboe has no mouthpiece. The reed is actually a single
piece of cane from a bamboo-like plant, Arundo donax, folded in half and tied to a cork staple. It is then
shaved to facilitate vibration. For a young player to develop, it is imperative that the reed vibrate easily and
is able to be played in tune. A competent teacher should be able to help with the making of a reed that
cooperates in this manner. Any player that becomes more serious about the oboe will inevitably be

15
introduced to the fine art of reed-making. As one develops as a player, so must one’s ability to make good
reeds. It is impossible to play well without them.

Having the proper oboe and reed in place will make getting started a lot easier and the production of a good
tone a lot more fun. With adequate attention given to wind production and embouchure (placement and
shape of the mouth on the reed), progress should be felt and heard relatively soon. It also helps immensely
for a young player to hear the oboe played well. A student should take advantage of any opportunity to hear
it performed in concert. And, of course, recordings are a resource that a musician can ill afford to be without.
Training the ear to recognize what one should be striving for is vital to the developing player. An aural image
or reference point can often be the best teacher.

What to Look For

When looking to buy an oboe, a number of factors should be considered. Student oboes generally are made
of plastic. The better ones will be hand-reamed, a process that greatly improves the intonation of the
instrument. A prospective buyer should inquire if there are any keys that have not been included with the
model. For example, less expensive oboes may not have a left-hand F or E-flat key. These keys are
important in developing technical proficiency; oboes without them are not recommended for any player other
than early beginners. Another key that may not be included on some models is the low B-C-sharp "banana"
key. However, this key is not critical because it is rarely used, even by professionals.

Professional oboes are generally made of wood, although there are some very good plastic models that
have been hand-bored. Wood offers a flexibility and variability in tone quality and color that plastic will never
be able to equal. But wooden oboes expand and contract especially with changes in temperature and
humidity, often leading to a crack in the top joint. The severity of the repair depends upon how big the crack
is and where it is located. For this reason, plastic oboes have become more popular, even for professionals,
when performing outside.

A used oboe can be a good choice with many advantages. It may allow you to consider a better instrument
for the same price as a new one of lesser quality. Also, a used wooden oboe is not as susceptible to
cracking because the wood has had a chance to age and is therefore more stable. That doesn’t mean that it
didn’t crack when it was newer though, so be sure to have any used oboe looked at by a reliable person
before buying it. If it has cracked and was repaired properly, the oboe may still be in very good playing
condition.

New and used oboes can be bought directly from dealers throughout the country. It is quite common for
dealers to send oboes to prospective buyers. Make sure there is a trial period that will allow the player
adequate time to make a sound decision. A warranty and service are generally included for a prescribed
period. Be sure to understand how long the warranty lasts and whether it includes repairs or cracks. An
advantage of purchasing a new instrument is that some dealers of better instruments will replace the top
joint if it cracks within the warranty period. This is a much more common practice than it used to be and
quite important considering that, more often than not, oboes crack.

It has been said that the oboe is "the ill wind that blows no good." With a little forethought, one need not
encounter the instrument this way. Hector Berlioz wrote, "The oboe is a vehicle for melody, pastoral by
nature, full of tenderness, naïve gracefulness, untroubled innocence, silent joy, optimally portrayed in the
cantabile." May your song sing through the oboe as Pan’s did through his reed pipe!

Oboist Robert Botti has been a member of the New York Philharmonic since 1992, prior to which he was
Principal Oboe of the New York City Opera Orchestra. He has participated in numerous premiers of solo
wind music and is on the faculty of the State University of New York at Purchase College.

Editor’s Note: "How to Buy an Oboe" continues our series of instructional guides on the principal band and
orchestral instruments. SBO grants permission to photocopy and distribute the article to both students and
parents.

16
 Transitioning the Young Double Reed Player
From Beginner to the Next Level

Richard Rath
www.richardrath.com

Introduction: Many factors affect the young instrumental student. Aptitude, desire and
background all play a part in the success of the student, but other factors contribute to
their success such as physical attributes, hearing and desire. While a teacher cannot
insure success, we may be able to eliminate potential problems and effectively provide
for the best possible outcome.

We should be reminded that we as teachers may have years of teaching, but this is the
student’s first experience with a musical instrument. We are all aware that many students
do better on one instrument than another, some of these reasons are apparent, but others
may be more difficult to ascertain.

The teacher should be able to observe during the first year or two of a beginning students
musical abilities and aptitude. Some things are less obvious. Both the oboist and
bassoonist must have good hearing, an ability to work with their hands (reed making and
the focus to spend time in the practice room. The oboist should have a slight overbite and
have the ability to put the upper lip comfortably under the top teeth. The bassoonist may
have more overbite and larger hands to accommodate the key structure of the bassoon.

Assuming that these elements have been considered and the student is progressing
acceptably, how do we help them achieve the next level of performance? I think it safe to
say that I have never met a successful band director/instructor who did not want the best
for his students. Our goal here is to consider areas the non double reed player may not be
aware of, or at the very least not considered.

I believe in transferring from another instrument to the double reed instruments. First,
being able to observe the abilities and talents of young students is invaluable in giving
them the opportunity for success. Secondly, it is important to observe their ability to have
the physical traits to be successful. There are always the exceptions to the rule, but some
things are more obvious. The ability to adequately produce the embouchure, hearing
pitches and intonation, and the physical ability to reach all the keys is necessary to
reaching their potential.

This wind player has a unique view of this topic. A saxophonist entering college, I had
never had a private lesson and played only one instrument. Thinking I would be a jazz
saxophonist/band director we took up the clarinet my Freshman year and the Flute my
Sophomore year. At the beginning of my Junior year the band director asked me to play
the oboe in band and orchestra. Luckily the school had a new adjunct oboe teacher, which
made things considerably easier. Just before the end of the fall semester the director
suggested I take up the bassoon and play my Senior Recital on all five woodwinds. I have
often thought of what helped me as I worked on the instruments, realizing I had an

17
unusual opportunity to observe this at a generally later time of my learning than if I had
been in Middle School or even High School.

The Instrument

I. The Oboe
a. We recommend that all oboes have the low Bb, Left Hand F and the F
resonance key. In addition the C#-D#, low B-Bb articulated C# keys are
necessary for playing the more advanced works in the band, orchestra and
solo literature. Unfortunately many schools will have “beginner”
instruments without these keys to start students and because of budgetary
situations may not have purchased the more advanced instruments.
b. There are good quality Professional instruments available with full
Conservatory key system available. Unfortunately the “step-up”
instruments are not always consistent in their key work or playing
characteristics. The key system described is important to the young player
desiring to be his best. A good instrument will not make the student better,
but will most certainly allow him to reach his full potential.
c. The number of brands from all over the world can be staggering and all
usually play adequately and we have seen lesser quality instruments
improved greatly. Some instruments may look good but only by playing,
can they be evaluated. For this reason we strongly suggest contacting a
professional and get their recommendation on which instruments are
currently the most acceptable.
d. “Improving the Intonation of the Oboe, Reed and the Player” from a
previous clinic is available online a www.richardrath.com . This may help
in understanding the differences in oboes and intonation.
e. Wood or synthetic materials are available. A high quality instrument can
be made from either material, some are also made with inserts in wood
bodies. Suffice it to say the quality of manufacturing will make far more
difference in the tone than the material. For many school situations, they
may even be more desirable.

II. The Bassoon

a. The cost of the bassoon is far greater that the other instruments of the
woodwind family. This is basically due to the size and amount of key
work necessary. There are many more options available that can make it
difficult to know where to start. There are instruments made for smaller
hands, unfortunately these instruments generally have modified key
systems. This should automatically eliminate them from middle or high
school students desiring to advance.
b. Generally a full German System will have all the keys needed to play even
most of the advanced works. These systems should have rollers on the left

18
 hand for the little finger on the Eb and Db. They should also have rollers
for the right hand little fingers for the F and Ab. There are options for
more rollers, a couple of higher notes and whisper key locks. These extra
keys may be desirable for the professional bassoonist, but not necessary at
this level.
c. Bassoons use bocals and although all bassoons generally come with two
that may be adequate, they are not all ”created equal”. Most advanced
students and professionals will search for bocals that work best on their
instruments.
d. Like the oboe, check with a professional educator/player to find the
quality of the current instruments. Keep in mind the recommended makers
may vary over a period of time. Also, selection of a bocal often corrects
intonation problems. Check with a professional bassoon instructor for
advice.

III. Reeds
a. There are many reed options available. Different shapes, lengths and
strengths are all available. There are three ways to find good reeds. First,
try several reeds until you find those that work and play in tune. The
second way is to get recommendations from other educators or local
teachers. The best way is to have them made (or at least adjusted by a
teacher) for the student and the instrument.
b. Oboe reeds are more likely to vary noticeably because of their small size.
Bassoon reeds usually last longer and work on a larger number of
bassoons. Over a period of time and with recommendations it is possible
to find reeds that work well for the student and the instrument.

IV. Methods
a. There are many method books available for the beginner. Most students
playing double reeds will have spent one or more years on other
instruments before switching to their current instrument, so it is important
for them to have a method specifically written for their level. The Rubank
Beginner or Intermediate Methods are good places to start. We
particularly like the Rubank Advanced Method-Volume I. This is because
of the Structure of the book, but most importantly because it has excellent
sections on embellishments (mordents, turns, appoggiaturas, grace notes)
and a fairly extensive trill fingering chart.
b. Obviously the Oboist should have the W. Ferling- 48 Famous Studies for
All State Auditions. A second book they should have is the Barrett Oboe
Method. Most college teachers will expect a student to be familiar with it.
There have been several new additions and variations on this method, but
the original is best. (Theodor Niemann, Revised by Bruno Labate is
another book often use in some states for All State).
c. The Bassoonist will want to have the Weissenborn/Ambrosio Method for
the All State Auditions. This book is the one recommended by more
bassoonists that any other we have found. There is an updated version by

19
 Doug Spaniol now available, which may not work for your state auditions,
but worth checking into.
d. Scales, arpeggios and chords are almost universally included in most
method books. If not, they need to be added. Don’t limit the student to a
few keys, but have them learn all of the scales, including the chromatic. A
good practical playing ability of these items will do much for the student
to advance his learning and increase his sight reading ability.

V. Solo Literature - The Texas UIL list is used not only in Texas, but all or parts
are used in as many as 25 states we have found. Both oboe and bassoon lists
are regularly updated so this is the place to find literature. We personally like
to use the more classical works for the younger students. These works can do
double duty as both solo/ensemble literature for state contests, however they
often are acceptable for use in churches and banquets where students might
have the opportunity to perform.

Ensemble Literature – Again the UIL list is the best place to start. Double reed
ensembles and woodwind quintets should be considered, as these give a
double reed player the opportunity to better hear themselves than larger
ensembles. Additionally, ensemble playing allows players to match pitches,
work on dynamics and balance. Because of the smaller volume of sound
larger ensembles (especially bands) tend to cover the double reed instruments
and only in solo sections can they be heard. Small ensemble playing sets up
the student for these solo passages.

VI. Non Music Considerations

a. EXPECTATIONS-Realistic expectations and positive feedback are two of
the most important things you can do for the young student. Positive
correction and consistent practice are as important as anything. “Success
breeds success”
more than just a catch phrase for the player at any age.
b. UNDERSTANDING THE STUDENT-This is the major reason we
suggest starting on one of the standard woodwind instruments. Observation
of the capabilities of students can be observed. Don’t forget the higher the
grade level of the student, the more they have invested in their primary
instrument. Success on another instrument, then switching to a double reed
can be a blow to the ego. They were doing well, perhaps respected and
recognized by their peers and all of a sudden they are virtual beginners.
c. DOUBLE REED TEACHERS - If a private lesson double reed specialist
is not readily available, switching a student may take more of your time at the
beginning, but they will quickly catch up. Use any resource you have to get
good reeds and set a clear direction for the student to follow. Regular practice
and a clear understanding of what is expected will do much to insure success.
c. A PERSONAL OBSERVATION. Starting oboe in college after achieving
some success on the saxophone, then going into a rehearsal with one lesson,

20
 no embouchure, little knowledge of fingerings and a questionable instrument
will create a blow to your sense of worth. Your peers are not often forgiving,
especially those you may have beaten for chair placement. I had both an
understanding group of directors and a good oboe teacher to mitigate these
problems.

VII. INSURE SUCCESS - We have all heard the phrase” if you don’t know where
you are going…”. The new student does not often have a clear understanding
of tone, pitch and capabilities of their new instrument. Today, with the
internet, the ability to provide good resources is unlimited and should be
readily used. You Tube is an excellent resource. You can find professional
players and teachers discussing all elements of playing and making double
reeds. Many teachers and performers have their own websites, which can be
valuable. Any direction you can give a student will help them understand your
expectations and what can be accomplished.

A word of caution, as you know not everything on the web is good or what
you might want them to imitate. For this reason we suggest doing some
research and send links to site you have previewed. Most directors don’t have
extra time, so collaborate with other directors and teachers you may know to
gather a variety of links that have been recommended. We are using a new
woodwinds method that has the text available online, with videos and
performances of all the instruments. This resource will be available after the
student leaves school and remains a ready resource. We are sure there will be
other methods follow this example. Some options are listed at the end of this
outline.

VIII. Resources of the web.

Oboe and Bassoon Reed Making Video
https://www.youtube.com/watch?v=Bpcmyje6arM

Why Would Anybody Want to Play the Oboe Hugh Downs and Joe Robinson
NY Philharmonic
https://www.youtube.com/watch?v=QSAllHtkaa0&list=PL38498E32183D3B
68&index=21

John Mack (Cleveland Orchestra) on Reed Making

https://www.youtube.com/watch?v=jfWvvy86hKI

Richard Woodhams-Philadelphis Orchestra

https://www.youtube.com/watch?list=PL38498E32183D3B68&v=iCtIabwlU
oA

Liang Wang-New York Philharmonic

https://www.youtube.com/watch?v=BK4dTBp4fk0

21
 Oboists Eugene and Liang Wang meet in New York
https://www.youtube.com/watch?v=URbbhN7Lm5U&index=2&list=RDBK4
dTBp4fk0

Houston Symphony Principal Bassoon

https://www.youtube.com/watch?v=eUxKqLmKEuU

Make a Bassoon Reed, Frank Morelli (Julliard Faculty)

https://www.youtube.com/watch?v=bVKylUjKeBc

Bassoon (Lesson 3), Frank Morelli (Julliard Faculty)

https://www.youtube.com/watch?v=jin8YcVLBWg

Carnegie Hall Bassoon Class; Tchaikovsky’s Symphony #4

https://www.youtube.com/watch?v=iczSNXRUaJs

Bassoon Reed Making 1: Gouging – Terry Ewell

https://www.youtube.com/watch?v=fy8ZpJUJox4

22
 Planning a Successful Double-Reed Beginner Class
Sally Bohls and Jennifer Auerbach

The Midwest Clinic
December 16, 2016

[email protected]
[email protected]

Clinic outline
• Book
o The double-reed classroom method book and why we wrote it
o Band methods generally don’t have the luxury of catering to the double-reeds, therefore order
of note introduction is not idea. Some concepts missing or not reinforced as much as needed.
o Oboist and bassoonist REALLY start when they are selected for their instrument
• Everyone needs long and short term goals – present concepts from short term to long term
o First day
§ Orientation and expectations
§ Classroom procedures and behavior
o First week
§ Possibly still mouthpiece testing students
§ Getting everyone in a classroom where they’re supposed to be, sitting in the right place
§ Housekeeping
• instrument check out
• getting supplies from the music store
• changing class schedules if necessary
o First month
§ Probably working through the preliminaries
§ Trouble shooting beginner student issues in the first week
o First semester - The pacing of the class will differ from teacher to teacher
§ Probably go through unit 5 in order to play in 2-flats for December concert
§ How to structure your class period once the semester gets rolling
• Greeting/class roll
• Class organization
• Warm up: reeds and notes
• Reinforcing previously taught information
• New note introduction
• New rhythm introduction
• Book and band music drilling
• Drilling old and new concepts with both instruments
• Playing tests
• Class assignments – recorded tests
• Putting instruments away
• *Adding key signatures and scales when possible

1
no

23


o Outline for a double-reed class – note and concept introduction
§ Preliminaries:
• Cost/Instrument care and maintenance
• Reeds
• Tapping the foot
• Note types and values
• Tongue starts
• Basic Music Theory
• Fingering Chart
§ Units:
• Unit 1:First Notes
• Oboe: G, A, B, C
• Bassoon: C, D, E, F
• Unit 2: Right Hand Notes
• Oboe: F-sharp/G-flat, E, F, D, C
• Bassoon: B, A, A-sharp/B-flat, G, F
• Unit 3
• Oboe: Left F and B-flat
• Bassoon: E-flat
• Unit 4
• Oboe: E-flat, Forked F
• Bassoon: High G
• Unit 5
• Oboe: High E, F, G
• Bassoon: High A, B-flat, B, C
• Unit 6
• Oboe: A-flats
• Bassoon: A-flats
• Unit 7
• Oboe: C-sharps and Left E-flats
• Bassoon: C-sharps
• Dynamics
• Unit 8
• Oboe: F-sharp
• Bassoon: F-sharp
• Cut time
• Unit 9
• Oboe: Chromatic scale 1 and style markings
• Bassoon: Chromatic scale 1 and style markings
• Unit 10
2
no

24
 • Oboe: Low notes - B-flat, B
• Bassoon: Low notes – A-sharp/B-flat, B, C, C#/D-flat, D, D-sharp/E-flat, E
• Unit 11
• Oboe: High notes - A, A-sharp/B-flat, B, C
• Bassoon: High notes - D, D-sharp/E-flat, E, F
• Unit 12
• Oboe: Very high notes – C-sharp/D-flat, D, D-sharp/E-flat, F (add)
• Bassoon: Very high notes – F-sharp/G-flat, G, G-sharp/A-flat
§ Appendix:
• Level 1 Warm Ups
• Level 2 Warm Ups
• Learning Scales
• Voicing
• One-Octave Scales
• Two-Octave Scales
• Chromatic Levels 1, 2 and 3
• Arpeggios
• Five-Note Warm Ups
• Trouble-Shooting Notes
• Oboe fingering chart
• Bassoon fingering chart
o Arranging the double-reed class with notes presented in a logical and opportune order will
result in a more effective and efficient class. Students learning, retention and enjoyment will
improve greatly.
o Sample of Unit 1 of Beginner Class Boot Camp: A Double Reed Classroom Method:

3
no

25
 E
G
&˙
F

&˙ &˙

Unit 1: First Notes

F G
A

&˙ &˙ &˙

Oboe 4
G A

&˙ &˙
B C

&˙ &˙

&˙
A D

&˙
B

&˙

˙
E

&
&˙
B

˙
F

&
Helpful hints

˙
G
• Make sure your fingers are covering the holes completely, do not bump the side keys
• Curve hand in a C, keep pinkies over side keys, not under &
• Don’t rest the oboe on your knee while playing
• Take in a full breath, use fast air when blowing, start the sound with your tongue
˙
A

Hand Position
&

˙
B

&

˙
C

&

*Something new!*
This is called a fermata When you see a fermata over a note, that means to hold the note for
longer than the note value. Your director will tell you when to end the note.

4
no

26
 ?˙ ?˙
C D

Unit 1: First Notes

5

?˙ ?˙ ?˙
C D E

Bassoon 5

?˙ ?˙ ?˙ ?˙
C D E F

?˙ ?˙ ?˙ ?˙
D E F G

?˙ ?˙ ?˙ ?˙
E F G A


Helpful hints

?˙ ?˙ ?˙
Make sure your fingers are covering the holes completely, try not to bump the low D key
B
?˙
• F G A
• Check your seat strap position frequently
• Curve hand in a C, keep pinkies over side keys, not under
• Take in a full breath, use fast air when blowing, start the sound with your tongue

?˙ ?˙ ?˙ ? ˙
G
Hand Position
A B C

˙ ˙
?˙ ?˙
C D
? ?
A B

˙
?˙ ? ˙
C D
?
B

˙

˙
D
?
C
?
*Something new!*

This is called a fermata
When you see a fermata over a note, that means to hold the note for longer than the note value
Your director will tell you when to end the note
˙D
?
5
no

27


Pitch matching exercises

Rhythm exercises

& 44 w
Set 1

˙ ˙ œ œ œ œ w

Set 2

&w ˙ ˙ œ œ œ œ w

Set 3

&w ˙ ˙ œ œ œ œ w

Set 4

&w ˙ ˙ œ œ œ œ w







6
no

28

Pitch matching exercises

Rhythm exercises

? 44 w
Set 1

˙ ˙ œ œ œ œ w

Set 2
?w ˙ ˙ œ œ œ œ w

?w ˙ ˙ œ œ œ œ w
Set 3

?w ˙ ˙ œ œ œ œ w
Set 4

7
no

29


Note connection exercises

4
&4 œœœœ ˙ Ó œœœœ ˙ Ó œœœœ ˙ Ó œœœœ ˙ Ó
1 2 3 4 5 6 7 8

&c ˙ ˙ ˙ ˙ œœœœ ˙ Ó ˙ ˙ ˙ ˙ œœœœ ˙ Ó

1 2 3 4 5 6 7 8

& 44 ˙ ˙ ˙ ˙ œ œ œ œ ˙ Ó ˙ ˙ ˙ ˙ œ œ œ œ ˙ Ó
1 2 3 4 5 6 7 8

&c ˙ ˙ ˙ ˙ œœœœ ˙ Ó ˙ ˙ ˙ ˙ œœœœ ˙ Ó

1 2 3 4 5 6 7 8

4
&4 ˙ ˙ ˙ ˙ œœœœ ˙ Ó ˙ ˙ ˙ ˙ œœœœ ˙ Ó
1 2 3 4 5 6 7 8

&c ˙ ˙ ˙ ˙ œœœœ ˙ Ó ˙ ˙ ˙ ˙ œœœœ ˙ Ó

1 2 3 4 5 6 7 8

& 44 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
1

˙ ˙ ∑ ∑
2 3 4 5 6 7 8

˙ ˙
1

&c ˙ ˙ ˙ ∑ ˙ ˙
2 3 4 5

8 ˙

8
no
©
30


Note connection exercises

? 44 œ œ œ œ ˙ Ó œ œ œ œ ˙ Ó œ œ œ œ ˙ Ó œ œ œ œ ˙ Ó
1 2 3 4 5 6 7 8

?c ˙ ˙ ˙ ˙ œœœœ ˙ Ó ˙ ˙ ˙ ˙ œœœœ ˙ Ó
1 2 3 4 5 6 7 8

? 44 ˙ ˙ ˙ ˙ œ œ œ œ ˙ Ó ˙ ˙ ˙ ˙ œ œ œ œ ˙ Ó
1 2 3 4 5 6 7 8

?c ˙ ˙ ˙ ˙ œœœœ ˙ Ó ˙ ˙ ˙ ˙ œœœœ ˙ Ó
1 2 3 4 5 6 7 8

? 44 ˙ ˙ ˙ ˙ œ œ œ œ ˙ Ó ˙ ˙ ˙ ˙ œ œ œ œ ˙ Ó
1 2 3 4 5 6 7 8

? 44 ˙ ˙ ˙ ˙ œ œ œ œ ˙ Ó ˙ ˙ ˙ ˙ œ œ œ œ ˙ Ó
1 2 3 4 5 6 7 8

?4 ˙ ˙ ˙ ˙ ˙ ˙ ∑ ˙ ˙ ˙ ˙ ˙ ˙ ∑
1 2 3 4 5 6 7 8

7 4

? 44 ˙ ˙ ˙ ˙ ∑ ˙ ˙ ˙
1

˙
2 3 4 5

8

© no9

31


Songs


*Just like when you’re reading sentences in a book, when you get to the end of the line and there’s not a
final bar line, keep reading and playing on the next line until you see the final bar line.




Mary Had a Little Lamb

4 œ œ
, ,
œ œ œ œ ˙ œ œ ˙ œ œ ˙
1 2 3 4

&4

,7
&œ œ œ œ œ œ œ œ œ œ œ œ Ó
5 6 8

˙






Au Claire de Lune
1

&c œ œ œ œ ˙ ˙ œ œ œ œ Ó
2 3 4

&œ œ œ œ ˙ ˙ œ œ œ œ Ó
5 6 7 8

˙





10
no

32



Songs


*Just like when you’re reading sentences in a book, when you get to the end of the line and there’s not a
final bar line, keep reading and playing on the next line until you see the final bar line.




Mary Had a Little Lamb

? 44 œ œ œ œ œ œ ˙
,
œ œ ˙ œ œ ˙
,
1 2 3 4

?œ œ œ œ œ œ œ œ ,
œ œ œ œ ˙ Ó
5 6 7 8

Au Claire de Lune

?c œ œ œ œ ˙ ˙ œ œ œ œ Ó
1

˙
2 3 4

?œ œ œ œ ˙ ˙ œ œ œ œ ˙ Ó
5 6 7 8

11
no

33





Hot Cross Buns

& 44 ˙ Ó ˙ Ó
1

˙ ˙
2 3 4

˙ ˙

œ œ œ œ ˙ ˙ Ó
5 6 7 8

&œ œ œ œ ˙








Dem Bones
, ,
& 44 œ œ œ œ ˙ œ œ œ œ ˙
1 2 3 4

˙ ˙

,
˙ œ œ œ œ Ó
5 6 7 8

&œ œ œ œ ˙ ˙









12
no

34






Hot Cross Buns

?4 ˙ ˙ Ó ˙ ˙ Ó
1

˙ ˙
2 3 4

?œ œ œ œ œ œ œ œ ˙ ˙ ˙ Ó
5 6 7 8

Dem Bones
, ,
? 44 œ œ œ œ ˙ ˙ œ œ œ œ ˙ ˙
1 2 3 4

?œ œ œ œ
,
˙ ˙ œ œ œ œ ˙ Ó
5 6 7 8

13
no

35
Demystifying Double
Reeds
University of Wisconsin – Stevens Point
Double Reed Faculty
Prof. Stacey Berk, Oboe
Dr. Patricia Holland, Bassoon

36
 UWSP Brass Fest
and
Woodwind
Workshops Day
Saturday November 12, 2016
Noel Fine Arts Center
UW-Stevens Point
9:00 - RegistraGon
9:30 to 4:30 - Clinics, Ensembles, Master Classes

Register at www.uwsp.edu/music

37
 Don’t Myth Out
•  Oboes and bassoons add more variety of Gmbres to your ensemble
•  The students who play them can become your best “band geeks”

•  Myths
•  Difficult Double Reeds
•  Impossible IntonaGon
•  Deadly Dynamics
•  Raucous Reeds

38
 The Myths
Oboe and Bassoon are hard instruments to play

39
 The Myths
Impossible Intona5on
•  Good (even excellent!) intonaGon is possible from double reeds
•  Listen
•  Adjust
•  Vowel sounds
•  Imagery
•  Don’t ask double-reeders to “pull out” or “push in” as these changes will not impact
intonaGon like they do on other wind instruments

40
 The Myths
Deadly Dynamics
•  Okay, so dynamics are a liale hard on double reeds!
•  The biggest variables for dynamics are the reed opening and air support
•  If too loud, squeeze the reed more shut
•  If sGll too loud, use a li8le less air
•  If too sod, use faster air
•  If sGll too sod, pinch reed open

41
 The Myths
Raucous Reeds
•  Decent commercial reeds DO exist!
•  Try a variety from different businesses/makers
•  Talk to professionals about supplying reeds
•  See our websites for some suggesGons

42
 Concepts for Double Reed Success
Embouchure
•  Use a mirror
•  Have student whistle
•  Increase distance from upper to lower
teeth (mouth more open)
•  Bring corners of mouth in
•  Cushion reed, don’t grip

43
 Concepts for Double Reed Success
Embouchure

•  Bassoon
•  Create distance between upper and lower
teeth, especially in the low register
•  The top lip can sit farther forward on the reed
than the lower lip
•  Roundness is essenGal!
•  Cushion reed with lips

44
 Concepts for Double Reed Success
Embouchure

•  Oboe
•  Pull the upper lip down (stretch the nostrils)
•  Use the muscles just to the sides of the middle of
the top lip to focus inward to the reed

•  Keep the corners directed forward
•  If the pitch allows, pull the lower lip down, away
from the reed
•  Keep the sod palate high

45
 Concepts for Double Reed Success
Breathing and Air
•  Use breathing concepts for all winds:
•  Take low breaths
•  Use abdominal muscles
•  Bassoon and Oboe don't usually require a large volume of air
•  They DO require lots of pressure to the air
•  Pressurized air is needed for clean arGculaGon
•  Good intonaGon and tone are only possible with pressurized air

46
 Concepts for Double Reed Success
Articulation
•  Tongue contacts reed about 1/4” back from tongue Gp
•  The tongue touches the boaom blade of the reed
•  ArGculaGon starts with the release of the tongue from the reed
•  The tongue should be free to arGculate at its Gp and move to different vowel
posiGons in the back for tuning and tone adjustment

47
 Oboe Concepts for Student Success
Posture/Body & Head Position
•  Head up!
•  Elbows away from body
•  Relaxed shoulders
•  Oboe about 45%

48
 Oboe Concepts for Student Success
Thumb & Hand Issues
•  Wrist issues are a real problem for oboists
•  If oboists complain of pain in their right thumb/wrist, take it seriously

•  Products to help support oboe differently (available at Forrests Music)

•  Kooiman thumb rest
•  Dutch and other thumb rests
•  Kickstand
•  Harness or neck strap (take a liale pressure off, but not completely)
•  English horn support peg

49
 Bassoon Concepts for Student Success
Tips on Bassoon Posture
•  Silng all the way back on chair
•  Put seat strap all the way forward on chair (yes, always have students use a strap!)
•  Have student bring the instrument to them, rather than leaning forward to reach the
instrument
•  Tension is the enemy! Have students relax:
•  Neck
•  Embouchure
•  Throat
•  Arms
•  Back

50

Bassoon Concepts for Student Success
Fingerings and Thumb Issues

•  Many variaGons on fingerings/fingering charts
•  Have students develop criteria (with your guidance) on fingerings that “work”
•  Does the note speak well?
•  Is intonaGon good?
•  Is a good tone possible with this fingering?
•  Is a good legato possible?
•  Hands may move and uncover holes for some fingerings
•  Thumbs are very acGve!

51
 All Thumbs…
This is just for the led thumb!

52

Bassoon Concepts for Student Success
Differences from Other Woodwinds

•  While fingerings for oboe, flute, saxophone, and upper register of the clarinet all
correspond to one another, bassoon fingerings correspond to the clarinet’s low
register.
•  This means bassoons must use advanced techniques (half-hole and overblow notes)
very early.
•  If possible, have bassoons start outside of class for a few weeks to prevent bad
habits

53
Reeds

54

Reeds
Importance of the Crow

•  Indicates funcGonality of the reed before placing on the instrument
•  Fullness of pitches
•  Range – high or low
•  RelaGve difficulty or ease of blowing

55
 Reeds
What to Look For in a Reed
•  Bassoon
•  Material
•  Good taper from back of each blade to front (hold to bright light)
•  Symmetry, led to right on each blade and one blade to the other
•  Thin Gp (helps response)
•  No abrupt differences in thickness except collar (connecGon of blades to tube)
•  Tip opening of about 1-1.5 mm
•  Oboe
•  Total length 70 mm
•  Symmetry
•  Tip opening about 1 mm

56
 Reeds
Sources
•  Oboe
•  Tristan from Midwest Musical Imports.com
•  Blue Professional reed from Nielsen Woodwinds
•  Chicago Oboe Reeds - $17, made to order
•  American Oboe Reeds - $12 for student (I haven’t tried these, but they are worth a try for
that price)
•  Bocal Majority – band bundles for reduced prices
•  Bassoon
•  Forrests Music
•  Reed ExperGse
•  Woodwind/Brasswind

57
 Reeds
Easy Adjustments and Fixes
Bassoon
•  Use a pliers or pressure from your fingers to open (make harder) or close (make
soder) the reed
•  Thin Gp to improve arGculaGon.
•  Place some 320 grit wet-or-dry sandpaper on a table top and draw the reed across it with
light pressure from your finger Gp on reed Gp and corners

Oboe
•  Use pressure from your fingers to open or close the reed
•  If the reed is flat in pitch and easy blowing, take a single edge razor blade and clip
Gny increments off the reed Gp unGl the pitch comes up and more resistance is
created to blow against
•  Refer to my reed fixing handout

58
 Recruiting Strategies
•  Establish their value: make it seem fun and special
•  Make playing double reeds a reward
•  When to start students

59
 Retaining and Nurturing Double Reed
Players
•  Ensure instruments in good condiGon
•  Help with reed sources
•  Recordings

60
Not Enough Data?
•  We’re happy to help with quesGons anyGme!

•  Feel free to contact us at:

•  [email protected] and [email protected]

61
 Bassoon Intonation

   etc..        
Rosy Turcios

       
  
Teacher Student etc..

            
19

62
 Oboe Rhythmic Scale Exercise
Rosy Turcios


                                 

           
15

63