Band Director Resources

Bassoon Handbook link

     -My Bassoon Handbook is specifically designed as a quick-and-easy reference guide for band directors.  The information inside is based on my experience teaching with Independent School Districts throughout Texas.  Most of the information on this page can also be found in the handbook.

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Print my bassoon fingering chart:

Bassoon Fingering Chart Link   

     -There are many possible fingering patters for any given note on the bassoon.  This is why many of the better bassoon fingering charts are more than one page long.  For the convenience of the band director, I have designed my own one-page fingering chart.  NOTE:  Several fingerings WILL be different from the ones in your method books.  These are the fingering patterns I teach all my students because they are the most stable.  Bassoonists are generally stubborn; the best course of action is to teach the regular fingering from the beginning!

     -SPECIAL NOTE:  The fingering chart has good resolution but is necessarily small.  I recommend downloading and using the magnifying glass (zoom) feature for an easier-to-read version.

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Emergency Fixes! (aka the swab got stuck!)

Oh no! Your concert starts in 20 minutes and there is a problem with the instrument!!!!! Here is some emergency advice.

The swab got stuck!

-DO NOT attempt to continue to pull the swab through the instrument! Because the bassoon is a conical bore instrument, the interior of the instrument end smaller than it starts. The swab is almost certainly knotted and pulling it through will only make it more difficult to fix. If you are lucky, you get ahold of the swab and pull it out (coming out the way it came in). You may purchase an inexpensive swab pull for exactly this purpose. Otherwise, the instrument will need to go to the shop. Sorry!

My student lost their seat strap!

-There are several short-term solutions to this problem!

1) Saxophone neckstrap—it will fasten onto the bassoon on a ring at the top of the boot joint.

2) Make a makeshift seat strap with a belt—just feed the belt through the buckle and tighten until you have a loop small enough to hold the boot. The student will sit on the belt just like it’s a seat strap.

A key just fell off!

-If it’s the whisper key, this is an easy fix. Most advanced students can even make due without a whisper key; it will just be harder for them to play very low notes. Otherwise, secure the torn/loose pad using tape. A band-aid will even work in a pinch! DO NOT use superglue. If you really want to glue it back in, use a hot glue stick (for a hot glue gun). I ONLY recommend this if you have some background in instrument repair.

-If it is any other key, please inspect the pad carefully. Bassoon key pads often cover more than one hole, and the holes are not symmetrical. Once you have determined exactly how the pad should be oriented (mark the edge of the pad with a sharpie), you can temporarily reattach the pad. You should be able to reheat the pad seating (ONLY IF YOU ARE A BAND DIRECTOR!!!! NO STUDENTS ALLOWED!!!!) by holding a small flame (cigarette lighter) parallel to the pad seating; this should melt the glue enough to temporarily reheat the glue that keeps the pad in its seat.

A large key just popped off the instrument!

-You probably just lost a pivot screw. If you are lucky, you will be able to find it on the ground nearby. It is a good idea to have spares handy; you can get brand-specific pivot screws online (Fox Factory, Woodwind Brasswind, etc). If you have a pivot screw, this is an easy fix. Just put the key back in place and retighten the screws.

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When to use the #3 Bocal

     -Short answer:  Only as a temporary measure to lower pitch.

     -Explanation:

     The number stamped on the side of the bocal is related to the length of the bocal.  For most bassoon brands, a #2 bocal is designed to play at A=440.  Ideally, all bassoonists should be able to play in tune while using a #2 bocal.  Bassoon reeds are very flexible, and pitch is easily controlled with a combination of embouchure strength and proper airspeed.  Band directors sometimes try to fix pitch by changing the bocal to the longer #3 bocal (this will lower pitch by about 20 cents) or instructing the student to pull the bocal in or out of the instrument.

     While the #3 bocal is an effective TEMPORARY fix for a sharp bassoonist, I do NOT recommend that students practice on 3 bocals.  The reason the student is playing sharp is due to improper use of air and/or embouchure, and an untrained ear.  If these issues are not addressed, the student WILL learn to play sharp on a #3 bocal.  When this happens, the student will need to work twice as hard to fix their issues with intonation.  The only effective long-term solution I have found is the regular use of a Korg tuner, clipped to the bocal or bell of the bassoon if necessary.  Students should be encouraged to incorporate long-tones into their practice schedule to develop their perception and control of pitch.

     -Pushing the bocal in our pulling it out should not be used to improve intonation.  In my experience, the results are negligible.  It is better for the student to always put the bocal in the same amount and learn to play in tune at that position.

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Vibrato: When and How?

     When:  This varies with the student.  See below for details.

     How:  Bassoonists produce vibrato by pulsing their air.  They should NOT be moving their jaws to produce vibrato the way a saxophonist does.

     --Bassoonists control their pitch by manipulating their airspeed and embouchure.  Because vibrato is achieved by manipulating the airstream, vibrato will also affect the pitch.  Therefore, I do not recommend teaching vibrato to bassoonists before they can consistently control their pitch.  I require all my students to play long-tones (with a tuner and metronome) BEFORE I begin to teach them about vibrato.

    My method:  

    --Usage:  rules of thumb:  In general, the higher a note is, the more desirable it is to play that note with vibrato (also, vibrato should generally be faster on higher notes). As the effect of vibrato is to draw attention to the note, as well as improve projection, I do not recommend using vibrato in very quiet sections or at the end of a decrescendo.  An informal survey of professional bassoon recordings reveals that the majority of professional bassoonists prefer a slower vibrato, at or around sixteenth notes at quarter note = 72.  Anything faster than this runs the risk of sounding spastic.

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Flicking vs. Venting: What? Why? When?

     -Venting and Flicking are related concepts.  Both practices involve the speaker keys (on the back of the wing joint, above the whisper and C# keys).

     -In FLICKING, the only purpose of these keys is to ensure a clean attack on a tongued note (A-D above the staff).  The speaker key is tapped, or "flicked," at the very beginning of the note.  Because the only purpose of flicking is to make sure a note speaks when tongued, it is not necessary to flick speaker keys when a note is slurred.

     -In VENTING, the speaker keys are incorporated into the regular fingering for a note.  In other words, the speaker key is held down EVERY time a note (A-D above the staff) is played, and the speaker key is held down for as much of the note as possible.

     -Both approaches are valid.  I prefer venting; I find that this approach is simpler to teach and leads to a higher rate of compliance among students.  Here are the issues I have run into with students who prefer flicking:

                   Hitting the speaker key either too early or too late (missing the attack, negating the entire purpose)

                  Not actually pressing the speaker key down enough to open the vent (negating the entire purpose)

                  Hitting the wrong speaker key (this s a problem--using the wrong speaker key will result in the note being out of tune, sometimes significantly so)

                  Not actually using the speaker keys when necessary--you are asking the student to constantly make a judgement call about whether a note should be flicked.

     -Regardless of approach, it is important to introduce flicking/venting in the first year of instruction.  If the student does not learn it from the beginning, it is very difficult for them to pick up later.  Flicking/venting must also be constantly reinforced; students WILL NOT do it if they think they can get away with it.

     -CAUTION!!!  You will observe that some students don't seem to need to flick.  If the bassoon is always played with a relaxed embouchure and sufficient air, the note may speak clearly without flicking or venting.  HOWEVER, these conditions (relaxed embouchure, sufficient air) are not likely to occur if a student is playing while nervous (read:  at a competition!).  If flicking/venting is not part of a student's default technique, it is unlikely that they will remember to use flicking/venting when they are under stress.

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Basic Reed Adjustment: What you can do, when and how:

     -Ideally, you are working with a bassoon teacher who can adjust reeds.  You should always defer to your bassoon teacher if they know how to adjust reeds, especially if they are on campus.  However, it's always good to have some reed first-aid advice for emergencies!

     -If you are working with a storebought reed, there are only a few things you can do.  "Scraping" or "trimming" the reed (removing cane from the blades) does not usually work on these reeds.  Also, the scraping method for bassoon reeds is VERY different from oboe reeds.  Although we use some of the same equipment, oboe reeds are designed to be much more resistant than bassoon reeds.  Please do not scrape bassoon reeds the same way you would scrape an oboe reed.

     -If the reed does not fit on the bocal, or is loose on the bocal (falls off frequently):  You may fix this problem with a reamer.  A reamer is a small handheld tool which is inserted into the back of the reed and rotated to remove some of the cane.  It is important to get a reamer that is the right shape; otherwise, the reed will never fit on the bocal properly.  Reamers can be expensive, but I expect that one reamer would last a band director for an entire career.  Here are links to the models I recommend:  

           Fox Reamer:  This is your cheapest good option, but it takes a fair amount of force to use (fewer cutting blades).  

           Rieger Reamer:  The spiral blades of this reamer make it fast and easy to use.  https://www.mmimports.com/product/rieger-bassoon-reamer/

     -If the student is playing very flat, it may be the reed's fault.  Beginning bassoons will often play flat as they learn how to control their air and embouchure; this is not necessarily caused by the reed.  However, more advanced students will almost never play flat if the reed is functioning properly.  The easiest way to check this is to check the E-Natural in the staff.  This note is the first note to go flat.  

           To fix a flat reed:  First, check the reed for cracks.  Not all cracks will kill a bassoon reed; you are looking for a crack that goes to the tip of the reed and is located in the middle third of the reed.  Cracks at the back of the reed or at the very edge should not affect the pitch.  If the reed is cracked at the tip and in the front (corner cracks are fine!), the reed must be thrown out and replaced.

           If the reed is not cracked, you may clip off the tip of the reed to make it shorter (=higher pitch).  Do not clip off more than 1/8 inch.  There are many ways to do this effectively.  The cheapest option is to mark the cut in pencil, make SURE it is straight, then chop off the tip with either a razor blade or reed knife (make sure the reed is resting on a cutting block).  https://www.mmimports.com/product/lc-double-reeds-cutting-block/

          A nice "compromise" option (easier to use than a knife, but cheaper than a tip clipper) is a pair of tip-clipping pliers.  https://www.mmimports.com/product/solution-bassoon-tip-cutting-pliers/

          If you would like to invest in the quickest, easiest, and most precise option, consider a "Bassoon Reed Tip Clipper" or "Bassoon Reed Tip Cutter."  There are many options available, at a range of price points.  You should expect to pay at least $100.  Here is the brand that I use, which is on the more expensive end of the spectrum:  https://www.mmimports.com/product/rieger-reed-tip-cutter-for-bassoon-contrabassoon-reeds/

     -Wires:  If you notice your student is really struggling to get notes to respond or is producing a very flat, nasally sound, the reed may be too closed.  You may fix this problem by opening the reed by SLIGHTLY pressing from side to side on the first wire with a pair of needle-nose pliers.  If the student is really struggling to maintain sound and/or seems to be using a lot of air, the reed may be too open.  You may fix this problem by closing the reed--SLIGHTLY press from top to bottom on the first wire.

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Where to Order Reeds:

     Storebought Reeds:  The advantages to storebought reeds are that they are easily attainable and will last longer than handmade reeds.  I recommend medium or medium-hard reeds (NOT medium-soft).

     Handmade Reeds:  Technically, all reeds are hand-made.  Some are much higher quality than others, and we all have different tastes.  Here are two reed brands I recommend ordering online:

          1)  Brundage Bassoon Reeds:  http://www.singindog.com/products/detail/default.aspx?id=25&area=BR

          2)  Sarah Highland (Intermediate Level Reeds):  http://www.sarahhighland.com/products/intermediate-bassoon-reed

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Additional Resources

     -William Dietz:  Teaching Woodwinds:  A Method and Resource Handbook for Music Educators:  While I cannot speak for the oher sections of the book, the bassoon section is put together well and provides excellent information.

     -Sally Bohls and Jennifer Auerbach:  Double Reed Classroom Method Book:  This book is intended as a method replacement or supplement for beginners, but I have seen teachers use it as a reference as well.  The exercises are designed to help bassoonists grasp the complexities of the fingering chart in an unintimidating manner; the main issue I have run into with the book is that the cover tends to come off after a few months of use.

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