Pedagogy
Teaching the Beginning Bassoonist
Citation: Ewell, Terry B. Teaching the Beginning Bassoonist. Double Reed, p35-43.
Article Title: Teaching the Beginning Bassoonist
Author: Terry B. Ewell
Instrument: Bassoon
Magazine or Journal Title: Double Reed
Summary:
a. Make sure the students understand the importance of the caring for such an expensive
b. Importance of swabbing after each practice
c. Having the correct swabs is important as well: pull-through with weight at end
4. Fingerings
a. All introduced in first 10 lessons
b. Focus on their practicing with the whisper key
5. Embouchure
a. Different from sax and clarinet, try whistling to feel the proper shape
b. Emphasis breath support
D. Sample lesson plans for lessons 2-10
1. Focus on breathing throughout each lesson
2. Attempt dynamics after the first couple lesson at a reasonable dynamic
3. Articulations should be reinforced as they improve
4. Work on learning Flick keys
5. Develop range as they improve their embouchure and control
6. Utilize the method books and work with them on exercises to develop these skills
E. When they are capable, work with them on solo repertoire and studies
1. List of works that will be suitable for students
Article Title: Teaching the Beginning Bassoonist
Author: Terry B. Ewell
Instrument: Bassoon
Magazine or Journal Title: Double Reed
Summary:
- Music Educator
- Things you should know about bassoon
- Who to choose to play that instrument
- Maintenance
- Suggestions for lessons
- Selecting Students
- Must be big enough for the instrument or they will have extra difficulty
- Viewed as an odd instrument, so push for interest
- Excellent for students with braces; little pressure
- Model Lessons
- Method Books used
- Rubank
- Henry Paine
- Herfurth and Stuart
- Weissenborn
- Method Books used
- First lesson
- Caring for the bassoon
- Holding it
- Fingerings
- Embochure basics
- A few basic studies
a. Make sure the students understand the importance of the caring for such an expensive
b. Importance of swabbing after each practice
c. Having the correct swabs is important as well: pull-through with weight at end
4. Fingerings
a. All introduced in first 10 lessons
b. Focus on their practicing with the whisper key
5. Embouchure
a. Different from sax and clarinet, try whistling to feel the proper shape
b. Emphasis breath support
D. Sample lesson plans for lessons 2-10
1. Focus on breathing throughout each lesson
2. Attempt dynamics after the first couple lesson at a reasonable dynamic
3. Articulations should be reinforced as they improve
4. Work on learning Flick keys
5. Develop range as they improve their embouchure and control
6. Utilize the method books and work with them on exercises to develop these skills
E. When they are capable, work with them on solo repertoire and studies
1. List of works that will be suitable for students
Strategies for Teaching the Bassoon Embouchure
Citation: Burns, Michael. Strategies for Teaching the Bassoon Embouchure. 2006
Article Title: Strategies for Teaching the Bassoon Embouchure
Author: Michael Burns
Instrument: Bassoon
Magazine or Journal Title: N/A
Summary:
Article Title: Strategies for Teaching the Bassoon Embouchure
Author: Michael Burns
Instrument: Bassoon
Magazine or Journal Title: N/A
Summary:
- Teaching Bassoon Embouchure
- Changes throughout history of the best way to develop embouchure and which is the best embouchure
- For years people thought it good to have overbite
- Instead neutral jaw and teeth alignment, to accommodate a very open and rounded embouchure
- Some pink of the lip should be showing
- Descriptions of 2 teaching methods
- Drinking Straw: thinking that shape is very good representation of proper embouchure
- Rounded and relaxed, but a reed will present more resistance
- Drinking Straw: thinking that shape is very good representation of proper embouchure
- Whistle: Same shape
- Rounded, puckered, relaxed
- Biting
- Discourage biting, caused by too much vertical pressure and results in a pinched tone
- Encourage greater use and control of the abdominal muscles for support
- Exercises
- Playing on the wrap
- Play C in bass clef with full sound
- Move lips over wrapping
- If breath support is efficient they will be able to play it
- Encourage less lip tension and support
- Playing on the wrap
- Dying Cow
- Play C normally
- Relax embouchure and support with abdomen, should be able to get C-flat
- Successful, have them raise the pitch with abdominal support NOT by tightening the embouchure
- Encourage to take private lessons
Music Directors Guide to Teaching Bassoon Students
Citation: Stewart, Lawrence J. Music Directors Guide to Teaching Bassoon Students.Northeastern Music Publications, 2008.
Article Title: Music Directors Guide to Teaching Bassoon Students
Author: Lawrence J. Stewart
Instrument: Bassoon
Magazine or Journal Title: N/A
Summary:
Article Title: Music Directors Guide to Teaching Bassoon Students
Author: Lawrence J. Stewart
Instrument: Bassoon
Magazine or Journal Title: N/A
Summary:
- For directors who fear they do not know how best to teach bassoon
- Who should play?
- Playing experience on other woodwinds and knowledge of bass clef help
- Most difficult if the student doesn’t have large enough hands
- Not as difficult as it is perceived to be
- Finding good instrument
- Consult a bassoon specialist
- Check what state of repair the instruments are in
- Have someone check the instrument before buying
- Find a good bassoon repair person, Not general woodwind repair person
- Good Reeds
- Same as instrument process, contact bassoon specialist
- Can have it tested to see if it is worth buying
- Most music store reeds are not too good and too expensive
- Materials
- Standard method books: Rubank, Belwin Band Builder, and Yamaha
- Primary Handbook for Bassoon – Polonchak
- Good for techniques of playing bassoon
- Fingering charts
- List of solo works
- Correct performance posture
- Information other method books overlook