Woodwind Methods Class Notes

Fundamentals for all Woodwinds..........................................................................................................4

● Breathing/Posture/Playing position............................................................................................. 4
● Embouchure................................................................................................................................. 4
● Tongue/Articulation...................................................................................................................... 4
● Voicing.......................................................................................................................................... 4
● Intonation issues...........................................................................................................................4
● Vibrato [need video]..................................................................................................................... 5
Flute Handbook (Easley)....................................................................................................................... 6
● Posture..........................................................................................................................................6
● Assembly.......................................................................................................................................6
● Instrument angle.......................................................................................................................... 6
● Hand position............................................................................................................................... 6
● Breathing...................................................................................................................................... 6
● Embouchure................................................................................................................................. 6
● Articulation................................................................................................................................... 6
● Fingerings..................................................................................................................................... 6
● Voicing/Tongue position............................................................................................................... 6
● Experiences...................................................................................................................................6
● Common Problems and Solutions:............................................................................................... 7
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● Instrument recommendations (from ChatGPT)............................................................................ 7

● Intonation..................................................................................................................................... 8
● Dynamics...................................................................................................................................... 8
Clarinet Handbook (Stoffan)..................................................................................................................9
● Posture/sitting.............................................................................................................................. 9
● Assembly of the instrument......................................................................................................... 9
● Instrument angle.......................................................................................................................... 9
● Hand position............................................................................................................................... 9
● Breathing...................................................................................................................................... 9
● Embouchure................................................................................................................................. 9
● Voicing/tongue position............................................................................................................. 10
● Articulation................................................................................................................................. 10
● Intonation................................................................................................................................... 10
● Dynamics.................................................................................................................................... 11
● Alternate Fingerings....................................................................................................................11
● Instrument recommendations....................................................................................................11
● Reeds.......................................................................................................................................... 11
● Mouthpieces...............................................................................................................................11
● Ligatures..................................................................................................................................... 12
● Studies and Books:......................................................................................................................12
● Collections.................................................................................................................................. 12
Saxophone Handbook (Oyan)..............................................................................................................13
● Posture/sitting:........................................................................................................................... 13
● Assembly of the instrument:...................................................................................................... 13
● Instrument angle in comparison to body:.................................................................................. 13
● Hand position:............................................................................................................................ 13
● Breathing:................................................................................................................................... 13
● Embouchure:.............................................................................................................................. 13
● Articulation:................................................................................................................................ 13
● Alternate Fingerings:.................................................................................................................. 13
● Voicing/tongue position:............................................................................................................ 13
● Intonation................................................................................................................................... 13
● Extras.......................................................................................................................................... 13
● Equipment.................................................................................................................................. 14
Oboe Handbook..................................................................................................................................15
● PostuOboe Handbookre/sitting: [video].....................................................................................15
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● Assembly of the instrument [video]........................................................................................... 15

● Instrument angle in comparison to body:.................................................................................. 15
● Hand position:............................................................................................................................ 15
● Breathing:................................................................................................................................... 15
● Embouchure:.............................................................................................................................. 15
● Articulation:................................................................................................................................ 15
● Alternate Fingerings:.................................................................................................................. 15
● Voicing/tongue position:............................................................................................................ 15
● Intonation................................................................................................................................... 15
● Equipment.................................................................................................................................. 15
● Extras.......................................................................................................................................... 15
Bassoon Handbook (Hammel)............................................................................................................. 16
● Posture/sitting: [video]............................................................................................................... 16
● Assembly of the instrument [video]........................................................................................... 16
● Care and cleaning....................................................................................................................... 16
● Hand position:............................................................................................................................ 16
● Breathing:................................................................................................................................... 16
● Embouchure:.............................................................................................................................. 16
● Articulation:................................................................................................................................ 17
● Alternate Fingerings:.................................................................................................................. 17
● Voicing/tongue position:............................................................................................................ 17
● Intonation................................................................................................................................... 17
● Equipment.................................................................................................................................. 17
● Student qualifications and aptitudes..........................................................................................17
Auxiliary woodwinds...........................................................................................................................18
● Flute............................................................................................................................................18
● Clarinet....................................................................................................................................... 18
● Sax.............................................................................................................................................. 18
● Oboe........................................................................................................................................... 18
● Bassoon...................................................................................................................................... 18
Transposition...................................................................................................................................... 18
● Bb instruments........................................................................................................................... 18
● Eb instruments............................................................................................................................18
Emergency repair................................................................................................................................ 18
● Pads - Sticking............................................................................................................................. 18
● Pads - Fallen out..........................................................................................................................18
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● Springs........................................................................................................................................ 18
● Corks........................................................................................................................................... 18
● Tenons.........................................................................................................................................19
● Tone holes...................................................................................................................................19
● Misc. Adjustments...................................................................................................................... 19
Accommodations................................................................................................................................ 19
● Know which teachers are special ed. Identify kids with IEP........................................................ 19
● Adaptations or modifications..................................................................................................... 19

Fundamentals for all Woodwinds

● Breathing/Posture/Playing position
○ Inhalation [need video]
■ Relax shoulders, draw deep breath, expand abdomen
● Practice: Inhale against resistance (breathing gym)
○ Exhalation
■ The diaphragm is not involved!
■ Breath support comes from engaging the abdominal muscles to provide support
for pushing against
■ The rib cage and muscles between the ribs (intercostal muscles) do the main
work in pushing air out of the lungs. Pushing down expels the air up and out (like
squeezing toothpaste)
● Embouchure
○ See each instrument for specifics
● Tongue/Articulation
● Voicing
● Intonation issues
○ Air/Embouchure
■ More air/less embouchure
■ Less air/more embouchure
○ Dynamics (air speed)
■ Loud - sharp
■ Soft - flat
■ Intensity - Warm air/cold air
○ Ensemble tuning
■ A 440
■ Orchestra - tune to A (oboe)
■ Band - tune to Bb - Some tune from bottom up
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● Vibrato [need video]

○ Flute, oboe, bassoon
■ “Diaphragm”
○ Sax
■ Jaw
○ Clarinet
■ None

Flute Handbook (Easley)

● Posture
○ Feet should be flat on the floor and students should sit at the edge of their chairs
● Assembly
○ The instrument is assembled by gently sliding the body onto the head joint, then the
foot joint will gently slide onto the body. The embouchure hole will line up with the keys
on the body, and the rods of the foot joint will line up with the keys of the body.
● Instrument angle
○ The instrument will be perpendicular to the ground usually, but more specifically it will
stay in line with the embouchure of the student. If the student’s head tilts one way the
flute ought to tilt with it.
● Hand position
○ The left hand ought to have a bend in the wrist so that the flute sits on the 2nd knuckle
of the pointer finger. The right hand is more straight than the left hand, and the flute will
rest upon the meaty part of the thumb. Fingers should be curved.
● Breathing
○ Breaths should be low, supported breaths. The embouchure should ideally not change
between each breath so that consistency is maintained. The breath should flow across
the embouchure hole, aimed downwards towards the elbow.
● Embouchure
○ The embouchure should be small and pointed towards the left elbow. To play higher
notes the embouchure changes slightly by either pushing the lower lip forwards slightly
or making the embouchure smaller. To play lower notes the embouchure widens slightly
and the air speed decreases.
● Articulation
○ Notes can be slurred or tongued. To slur notes you just keep a steady stream of air.
Tonguing notes is done by making a “p” sound behind each note.
● Fingerings
○ See this chart
● Voicing/Tongue position
○ The tongue is usually relaxed and down while playing the flute, only being used to
articulate notes.
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● Experiences
○ One experience I had was not being able to use my upper register on the flute. In order
to fix this I worked on making my embouchure smaller without creating tension in the
corners of my mouth. It clicked when I did this embouchure adjustment as well as
focused on directing my air towards my elbow without a flute to my mouth, then tried
putting the flute up. It worked, mostly because it was more directed air towards the
striking point of the head joint.
○ Another experience where it just clicked was when I first started, I had a hard time
getting low notes out without squeezing my throat tight. I fixed this similar to the issue
above, for I worked on the correct amount of air speed without the flute then added the
flute back into the mix.

● Common Problems and Solutions:

○ Flute player with tons of air but little sound
■ The student is not directing their air towards their elbow
■ The student can try directing their air without the flute towards their elbow,
then place the flute to their lips without changing how their lips are shaped to
direct the air.
○ The student relaxes their embouchure between every note
■ The student breathes in a different shape than their embouchure
■ The student could try doing rhythmic breathing exercises that must be done
with the shape of the embouchure without the flute being up to their lips.
○ The student is pressing a key but the wrong pitch is coming out
■ The head joint might not be inserted to the appropriate length
■ The student might have the wrong fingering
■ The cork might be misaligned
■ The student can check their flute for alignment, both the cork and head joint.
They can also review their fingering charts and practice their fingerings without
actually playing the flute to avoid fatigue from playing.

● Instrument recommendations (from ChatGPT)

○ Beginning flutes
■ Yamaha YFL-222: Yamaha is known for producing high-quality instruments for
players of all levels. The YFL-222 is a popular choice for beginners due to its
durable construction, easy playability, and consistent intonation. It features a
silver-plated nickel body, closed-hole keys, and offset G key for comfortable hand
positioning.
■ Jupiter JFL-700: Jupiter is another trusted brand that offers affordable and
reliable instruments. The JFL-700 is a beginner flute with a silver-plated nickel
body, closed-hole keys, and offset G key. It's designed to provide a smooth and
responsive playing experience for new flute players.
■ Trevor James 10x: Trevor James is known for offering quality instruments at an
affordable price. The 10x flute is specifically designed for beginners and features
a silver-plated nickel body, closed-hole keys, and offset G key. It's a reliable
choice for students starting their flute journey.
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○ Advanced flutes
■ Haynes: Haynes flutes are renowned for their craftsmanship and tonal richness.
Established in 1888, Wm. S. Haynes Company has a long-standing reputation for
producing high-quality professional flutes. Models such as the Haynes Classic
and Haynes Q Series are popular among professional flutists.
■ Powell: Powell flutes are celebrated for their exquisite craftsmanship and warm,
resonant tone. Powell flutes are handmade in Boston, Massachusetts, and have
been favored by professional flutists for generations. Models such as the Powell
Sonare and Powell Conservatory are popular choices for advancing students and
professionals.
■ Muramatsu: Muramatsu flutes are highly regarded for their precision
engineering and clear, responsive tone. Founded in 1923, Muramatsu is one of
the oldest and most respected flute makers in the world. Models such as the
Muramatsu EX and Muramatsu DS are widely used by professional flutists
worldwide.
■ Altus: Altus flutes are known for their exceptional craftsmanship and dynamic
range. Handmade in Japan, Altus flutes offer a beautiful, singing tone and
excellent playability. Models such as the Altus 1000 and Altus 1207 are popular
choices for both advancing students and professional flutists.
■ Yamaha: Yamaha flutes are recognized for their consistency, reliability, and
affordability. Yamaha offers a wide range of flute models to suit players of all
levels, from beginner to professional. Models such as the Yamaha YFL-200 series
and Yamaha YFL-600 series are popular among students and intermediate
players.
■ Trevor James: Trevor James flutes are known for their excellent value and quality
craftsmanship. Based in the United Kingdom, Trevor James offers a range of flute
models designed for students, intermediate players, and professionals. Models
such as the Trevor James 10x and Trevor James Virtuoso are popular choices for
advancing students.
● Intonation
○ Head joint pulled out 1/8"
○ Head joint cork must be in proper position
○ A and Bb - not good tuning notes for beginners - F and D better
○ Embouchure placement
■ Too much lip on plate - flat
■ Too little lip on plate - sharp
● Dynamics
○ Loud - drop jaw (roll in - flatter)
○ Soft - raise jaw (roll out - sharper)
○ Tendencies
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Clarinet Handbook (Stoffan)

● Posture/sitting
○ The student should sit straight up with the clarinet pointed towards the ground.
● Assembly of the instrument
○ The student should open the case on the ground so that it does not fall out when
opened. The instrument is then assembled from the bottom up, with the bell and
lower joint first. Then add the upper joint, making sure to press the bridge key to
not damage anything. Then add the barrel and mouthpiece and make sure to line
everything up with the register key.
● Instrument angle
○ The instrument should be pointed towards the ground and close to the body.
● Hand position
○ The hands and fingers should be as close to the instrument as possible to allow for
consistent agility. The lower hand should bear most of the weight, resting on the fatty
part of the thumb. This is all subjective, however, and as long as the fingers are covering
the holes, the student should do what is comfortable.
○ Hang arms to side and let hands dangle naturally. Notice curve.
○ Bring up to instrument, maintaining curve and direct line from elbow to fingers.
○ Center of fingers, just beneath finger tips should find center of tone holes. Overshooting
fingers past tone holes, or too much of tips on top of tone holes, results in lack of
coverage over tone holes and air escaping, and instrument not sounding.
○ Keep curved and relaxed, at a slight angle, and with fluid release from tone holes and
keys for an effective legato. Think “phrased fingers.”
○ Minimize distance from keys. Upon return to keys, utilize “re-coil fingers,” which is a
slight lift of the fingers before coming back to the keys and tone holes.

● Breathing
○ Breathing should be low and supported with an open chest and easily flowing air,
consistent throughout the instrument. Draw in air slowly and expansively, through the
mouth only, as a balloon fills with air.
○ Open passageway.
○ Think low “whoo….” in order to draw air to lower lungs and downward to avoid wispy,
chest and lung breath.
○ For practice, use metronome at quarter=60 and draw in air for 4-6 counts and then send
out across room. Repeat by taking 4-6 counts in and sending out in 2-3 counts.
○ One visual for air speed is path of paper airplane, using “cold” air.
● Embouchure
○ The embouchure should be 60/40 with top/bottom relationship. It should be firm, but
not tight. Air should be supported through the reed and through the horn.
○ “Outer” embouchure created by bringing corner of lips back, and then bringing 1-2/3 of
bottom lip over bottom teeth.
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○ Lip and area below the lip should be stretched and pulled downward, creating a flat,
firm, and pointed chin. This formulation should result in a slight overbite.
○ Bottom lip should serve as a bed or resting place for the reed, top teeth should rest on
top of mouthpiece, while the lips seal and close around the top and corners. Lips should
supply even support around mouthpiece.
○ Some practice techniques include “milk-shake” embouchure, and pushing up and angling
in to body, for less mouthpiece on top (for proper top teeth-bottom lip relationship),
which results in better control of sound, and double-lipped (top lip tucked under) for
practice in focusing the lips.
○ “Inner” embouchure is also known as voicing- high, forward tongue inside mouth. Think
“eee,” or a combination of the formulation of the lips as if using a French “eu” sound and
that produced with a German umlaut.
○ Aim air towards ridge formed by upper palate just beyond the top teeth to generate
trajectory of airstream over a high tongue, small, rounded lip formation, overbite and
down through a clarinet position that is angled toward the body, so that the air is
directed down towards the floor.
● Voicing/tongue position
○ The tongue should be close to the reed to help with articulation, but also out of the way
of the reed.
○ Throat should remain relaxed and in place, as natural as at rest, without opening too
much, or with any type of placement or “feel.” Anything “felt” is tension.
○ Large leaps to upper register, and playing in the upper register in general, could be aided
by a slightly wider, lower, open throat position. May be achieved by “blowing downward
as you go up” in a large interval, or in ascending, in general.
○ Take a big breath, keep the throat relaxed, and direct tongue high and forward
(up towards ceiling.)

★ POWER IS IN BREATH (fuel of the sound)

★ FLEXIBILITY IS IN THROAT
★ CONTROL IS IN VOICING AND EMBOUCHURE.

● Articulation
○ Keep air and sound moving forward. Do not stop air between articulations.
○ Begin sounds with tongue on the reed and air behind the tongue.
○ Use just the tip of the tongue, already in a high and forward position.
○ Lightly touch- light pressure. We tend to overarticulate, and approach tip of reed from
too low of a tongue position. Jaw motion indicates too much tongue motion.
○ Articulate as you would speak. Articulation is just speaking through the reed.
○ tee/too. Tip of the tongue to the tip of the reed.
● Intonation
○ Check equipment
○ Leave joints slightly apart
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○ Barrel length
○ Reeds
○ Soft - flat
○ Hard - sharp
○ Embouchure
○ Too much mouthpiece - flat
○ Angle too great (bell out too far) - flat
● Dynamics
○ Louder - flatter
○ Softer - sharper
○ Fingering solutions - Closing holes lowers pitch
○ Tendencies
○ Throat tones - sharp
○ Low register - flat when loud
● Alternate Fingerings
○ Use whatever makes sense! The student should make sure to find what works best for
each passage, and leaving the right hand down for going over the break is perfectly
acceptable.
● Instrument recommendations
○ RZ Clarinets- ABS- beginning
○ Jupiter-beginning
○ LeBlanc- 300 Series Vito- beginning
○ Selmer CL- 211 and 301-beginning
○ Yamaha YCL- 255 and 450 Intermediate
○ Buffet E-10 Intermediate, E-11, B-12
○ Buffet- R13- advanced
○ Many good plastic and intermediate instruments on the market. Most important to
have an instrument that functions well at first. A student can move to a more advanced
instrument (i.e. Buffet B-12, or E-ll) after some time and developing some basic skills.
● Reeds
○ Young students should begin on a 1.5-2.5 strength reed, for ease of production.
○ After some time, a shift to a 3-3.5 strength would be helpful as the embouchure
develops and strengthens. That would help projection and pitch.
○ Softer reeds are best on a more open mouthpiece (i.e. Van Doren B40, B45); harder
reeds on a more closed mouthpiece (Van Doren M13 Lyre or M15).
○ Brands
■ Rico, Van Doren or La Voz
● Mouthpieces
○ Hite Premiere- first mouthpiecec
○ Yamaha 3C- basic
○ Hite Artist Series- closer to intermediate
○ Van Doren M13 Lyre, M15, M30 Lyre, 5RV Lyre- intermediate-advanced
○ D’ Addario Reserve-intermediate-advanced
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● Ligatures
○ Bonade- front-facing screws on right
○ Van Doren Optimum
● Studies and Books:
○ First Book of Practical Studies, Nilo Hovey
○ 60 Rambles for Clarinet, Leon Lester
○ The Progressing Clarinetist, Leon Lester
○ The Advancing Clarinetist, Leon Lester
○ Melodious and Progressive Studies, Book I, David Hite
○ Clarinet Student, Volumes I-III, Robert Lowry and James Ployhar
○ Tunes for Clarinet Technic, Fred Weber and Robert Lowry
○ Studies and Melodious Etudes, Robert Lowry and James Ployhar
○ Clarinet Student, Volumes I-III, Jack Snavely
○ Hendrickson Method for Clarinet, Clarence Hendrickson
○ Modern Course for Clarinet, Volumes I-IV, James Collis
○ Rhythmic Training, Robert Starer
○ Pares Scales, by Gabriel Pares, edited Harvey Whistler
○ Celebrated Method for Clarinet, Hyacinthe Klose
○ Embouchure Building for Clarinetists, Larry Guy
● Recordings
○
● Collections
○ Concert and Contest Collections, ed. by Himie Voxman
○ 40 Etudes and 32 Etudes, Cyrille Rose

Saxophone Handbook (Oyan)

● Posture/sitting:
○ The student should sit with the saxophone between their legs, or stand with the
instrument to the side of their body.
● Assembly of the instrument:
○ The instrument is assembled by first putting the neck strap on, then putting the body of
the sax onto the neck strap hook, then attaching and screwing in the neck, and finally
putting on the mouthpiece/reed.
● Instrument angle in comparison to body:
○ The saxophone is angled parallel to the body when sitting, and adjacent to the body
when standing.
● Hand position:
○ The left thumb supports the left hand by being placed on the octave key rest, and the
right hand rests on the thumb rest, with the fingers over the keys. Both hands should be
curved and in a C like shape.
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● Breathing:
○ Breaths are taken low in the body and flow steadily through the air column to produce
the best sound. Students should sit or stand straight with a supported core.
● Embouchure:
○ The embouchure is very similar to that of a clarinet. Students should take in about half
of the mouthpiece, covering their bottom teeth with their lower lip. The upper teeth rest
on the vibration pad of the mouthpiece.
● Articulation:
○ Articulation is done by saying the word “too” into the mouthpiece.
● Alternate Fingerings:
○ Alternate fingerings exist for that of F#, by using the right palm keys versus the right
finger keys.
● Voicing/tongue position:
○ The tongue should be depressed and out of the way of the reed so that full vibration can
occur and articulation can be precise.
● Intonation
○ Easier to lower than raise pitch
○ High register more flexible than low
○ Must get low register in tune - lip down upper register
○ Tune instrument with mouthpiece
○ Mark position on cork with pencil
○ Tendencies
○ Low register - flat
○ Upper register - sharp
● Extras
○ 1 or 2 brief experiences while learning the instrument e.g. things that clicked for you,
how you felt when you first made a sound, etc.
■ Less air is more sometimes. When trying to jump between octaves, it was useful
for me to not blow as hard, but rather direct my air low and into the full
mouthpiece.
■ Something else that clicked was that you do not always have to play when
learning fingerings. During class I would just finger whatever we were working
on and it would make it much easier when it came time to play the excerpt.
○ What does one need to do to play smoothly in connecting the octave (i.e. playing from G
to G, A to A, etc.)?\
○ In order to play smoothly, one must control their air speed. Higher octaves require a
little more air, so if the student can reduce their air flow for the lower octaves it will
create more control.
○ What does one need to do to avoid heavy articulation?
○ In order to avoid heavy articulation, students should really find where their tongue is
touching the reed. Articulation sounds heavy when there is an abrupt interruption of
sound, so if students can make the saxophone sound like it is flowing through the notes
with slight interruptions of articulation it will be light and continuous.
● Equipment
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○ Instruments for beginners (from ChatGPT)

■ Yamaha YAS-280 Alto Saxophone: Yamaha is known for producing high-quality
instruments, and the YAS-280 is a favorite among beginners. It offers excellent
intonation and durability, making it suitable for learning.
■ Selmer AS-400 Alto Saxophone: Selmer is another reputable brand in the
saxophone world. The AS-400 is a reliable choice with a good tone and build
quality.
■ Selmer - Superaction80. Series III is very good.
■ Yamaha - good transition horn - has most standard key placement.
■ Bundy - poorly designed - very bad.
■ Conn
■ Vito (LeBlanc)
■ Jupiter - getting better
○ Equipment - Mouthpieces
■ Sax - classical
● Selmer C*
● Larry Teal
■ Sax - jazz
● Otto Link
○ Ligatures
○ Reeds
■ Rico, Vandoren?
■ Jazz?

Oboe Handbook
● Posture/sitting [video]
○ The student should sit with the oboe in front.
● Assembly of the instrument [video]
○ Begin by putting the upper and lower joints together…..
● Instrument angle in comparison to body [need video or image]
○ The oboe is angled much like a clarinet, but a little further away from the body.
● Hand position:
○
● Breathing:
○
● Embouchure:
○
● Articulation:
○
● Alternate Fingerings:
○
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● Voicing/tongue position:
● Intonation
○ Tune with reed
○ Tendencies
○ Low range - flat
○ High range - sharp
● Equipment
○ Key options
■ Forked f vent
■ Side f
■ Low Bb
○ Brands
■ Yamaha
■ Loree
■ Fox - good!
■ Selmer - no good
■ Buffet - inconsistent
● Instruments
○ Intermediate
■ Yamaha: Yamaha offers intermediate oboes that are known for their consistent
quality and playability. Models such as the Yamaha YOB-441 or YOB-431 are
popular choices among intermediate players.
■ Buffet Crampon: Buffet Crampon is another respected brand that offers
intermediate oboes with excellent tone and craftsmanship. The Buffet Crampon
4052 or 4051 models are worth considering.
■ Fox: Fox is well-known for their professional oboes, but they also produce
high-quality intermediate instruments. The Fox 330 or 333 models are often
recommended for intermediate players.
■ Selmer: Selmer offers intermediate oboes that provide good value for money.
The Selmer Model 1492B is a popular choice for advancing students.

Bassoon Handbook (Hammel)

● Posture/sitting: [video]
○ Bassoon is the most awkward of the woodwinds. Many students will contort their bodies
to accommodate wherever the instrument seems most stable. Generally, it is better if
they maintain a normal sitting position and adjust the bassoon to accommodate that.
Adjusting the position of the seat strap is often the solution.
● Assembly of the instrument [video]
○ Watch the video for basic reminders.
○ Problems to watch for
15

■ Because the wing and long joints are long, it is possible to create a lot of
leverage if your hand placement is too far from the tenon and socket. Tenons
can be broken and are expensive to repair.
■ Insertion of the bocal raises two issues, 1. Do not hold the bocal near the small
end because the leverage there can cause the metal to bend or crack, 2. Watch
the whisper key pad during insertion to be sure that the bocal dimple doesn’t
tear the pad off.
● Care and cleaning
○ Bocal - this doesn’t need to be cleaned very often, but the accumulated moisture after
playing should be blown out before storing. Cover the dimple hole and blow through the
large end (don’t point your bocal at your neighbor when you do this!). From time to
time, running hot water through the bocal can clean out any stubborn residue. Bocal
brushes are available for a more thorough cleaning.
○ Wing joint - this is lined with hard rubber and will collect some moisture. Use a
pull-through swab to clean after use. Always start swabs at the larger opening.
○ Boot joint - there are actually two different bores - one is lined with hard rubber, but the
other is not. Most bassoons will come with a swab that has a long cord and a weighted
bottom. Drop the weighted end into the large bore side (the swab is dry at this point so
no damage will be done to the unlined bore). Jiggle the joint while flipping it over to get
the weight to go around the u-tube at the bottom and emerge from the lined bore. Pull
it through and you’re done!
● Hand position:
○ See video above.
○ The left hand is typically the more problematic hand because the ring finger has to reach
pretty far to cover the hole. Many student bassoons have a spatula key with an
extension to alleviate this problem. Short reach bassoons go a step further and are
recommended for use in beginning band.
○ Hand rest (crutch) - bassoonists are divided on this issue with many using one and many
others not.
● Breathing:
○ Same principles as all woodwinds.
● Embouchure:
○ A soft cushion embouchure is recommended meaning the lips are curled slightly over
the teeth and corners focused inward. Some jaw pressure will be necessary, but as little
as possible. Many students will not use enough air support and compensate by
squeezing too hard with the embouchure.
● Articulation:
○ Tip of the tongue to the tip of the reed.
● Alternate Fingerings:
○ Fingerings - article
● Voicing/tongue position:
○ Same concept as it is for the other woodwinds.
○ Low register on bassoon may require an extra relaxed embouchure, extremely open
throat, and lowered jaw.
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● Intonation
○ Tune with reed, not by adjusting bocal or joints
○ Bocal lengths - the standard bocal is a #2, but Fox bocals are shorter than everyone else’s
so a #3 Fox may be a better choice depending on the reed.
○ Tendencies
■ Each instrument different
■ Sharpness overall
■ Low register - very sharp
● Equipment
○ Instruments
■ Wood vs. plastic (polypropylene)
● Polypropylene instruments are far more durable than wood and highly
recommended for middle school
■ Beginner instruments
● Don’t get anything other than Fox
● Fox makes a short reach instrument that is perfect for middle school
● Crap - Linton,Amati, Artley, Kohlert, Olds, Selmer
■ Intermediate instruments
● Fox Renard 240 is the clear favorite for high school and college students
● Schreiber - Very good
■ Professional instruments
● Heckel is king
● Fox makes some good alternatives
○ Reeds
● Student qualifications and aptitudes
○ Size of hands - got to be able to cover holes
○ Underbite bad
○ Intelligence
○ Income
○ Personality
○ Grade in school
○ Yes, you can start bassoon/oboe in 6th grade.
○ Aural ability
○ Enthusiasm/determination

Auxiliary woodwinds
● Flute
○ Piccolo
○ Alto Flute (G)
○ Bass Flute
● Clarinet
○ Eb sop.
○ A clar.
○ Bb Bass
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○ Eb Contra
○ Bb Contra
● Sax
○ Bb soprano
○ Bb tenor
○ Eb bari
● Oboe
○ English horn (F)
○ Oboe d’amore (A)
● Bassoon
○ Contra bassoon

Transposition
● Bb instruments
○ Sound a M2 lower than written
○ Trick: Pretend you’re in tenor clef and add 2 flats
● Eb instruments
○ Sound a M6 lower than written (bari sax - add an octave!)
○ Trick: Pretend you’re in bass clef and add 3 flats

Emergency repair
● Pads - Sticking
○ Sticking
■ Cigarette paper
● Pads - Fallen out
○ Flute, clarinet, bassoon, oboe
■ Shellac (use heat)
○ Sax
■ Pad cement
● Springs
○ Hooking back on....
● Corks
○ Contact cement
○ Tape!
● Tenons
○ Dental floss
● Tone holes
○ Cleaning
● Misc. Adjustments
○ Flute
■ Head joint
■ Cork adjustment
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■ Adjustment screws
■ Corks
■ Springs
○ Oboe
■ Adjustment screws
○ Sax
■ Octave keys
■ Leak light
○ Bassoon
■ Suction test
■ Bocal brush

Accommodations
● Know which teachers are special ed. Identify kids with IEP.
○ Get a copy of IEP’s. Learn goals.
● Adaptations or modifications
○ Adaptations - adjustments available to all students
■ Size, Color, Pacing, Modality
○ Modifications (Winding) - changes to expectations for individuals on both ends of the
spectrum
○ Decide if accommodations are going to work (ie. can student move around room at
will?)
○ Physical disabilities
○ Blind
■ Library of Congress braille service
○ Buddy system