Helpful hints for teaching bassoon

Chad Criswell
Learning to play the bassoon can be a challenge for both students and their teachers. For those who feel under-prepared for teaching the instrument, we offer some practical suggestions from William Jobert, bassoon lecturer and music education coordinator at Wright State University in Fairborn, Ohio. One of the most common problems Jobert runs into with new students is that of playable range. Teachers often hand a bassoonist ensemble parts that double the trombone or baritone saxophone. The problem with this is that a new bassoonist should focus on the notes from F to F rather than B-flat to B-flat, where most low brass parts tend to center. Jobert recommends having a bassoonist play a baritone sax part after manually changing the clef sign and adding two flats to the key signature. Bari sax method books also tend to stay in that same good playing range of D to D (F to F when read in bass clef). [ILLUSTRATION OMITTED]

The reasoning behind the use of these alternate parts is that it will allow students to develop naturally at their own pace. By using the bari sax part, the bassoonist minimizes his or her need to play higher notes that require the use of half-hole or other venting combinations. This playing range also helps reinforce a relaxed embouchure rather than pinching and forcing the reed to get notes to "speak" at the right pitch. Another important question is which students should switch over to bassoon in the first place. Although almost any woodwind can make the switch, in Jobert's opinion flute players tend to start with a better embouchure. Clarinet and sax players use the lower teeth as a fundamental part of their embouchure; on the bassoon, the ideal is to be relaxed and not use the teeth for support. Regardless of what the student's former instrument was, an effort should be made to get students to use balanced muscle pressure on the reed without any biting or pressing from the teeth. For band and orchestra directors, Jobert has several useful equipment suggestions. First, it is his belief that no school needs to purchase a wooden bassoon as a school rental instrument. "The companies that are making good wooden bassoons also make very good

plastic or resin bassoons," he says. "A plastic bassoon from a good-quality manufacturer will play just as well. At this level, you probably want to focus on durability." Jobert also insists that students purchase custom reeds rather than buying them off the shelf. This may seem like it would be more expensive, but in fact, the reverse is often true. Buying reeds from bassoonists who cut their own almost guarantees that the reeds will play well, whereas you may have to buy three or four manufactured reeds before finding one that plays well out of the box. And if a custom reed doesn't play well for a student, you can usually send it back to its maker for another adjustment. Because commercial bassoon reeds cannot be returned once opened, this winds up saving money, makes the instrument easier to play, and also lets you develop relationships with people who could prove to be helpful sources of bassoon information. Criswell, Chad
Source Citation (MLA 7th Edition) Criswell, Chad. "Helpful hints for teaching bassoon." Teaching Music Apr. 2013: 58+. General OneFile. Web. 24 Apr. 2013. Document URL http://go.galegroup.com/ps/i.do?id=GALE%7CA326851574&v=2.1&u=susqu_main&it=r&p=G PS&sw=w

Gale Document Number: GALE|A326851574