Recommended Solos for Bassoon Students - Indiana Music ...

Building Be*er Bassoonists 2011 

Dr. Douglas E. Spaniol 

Professor of Music, Butler University 

Instructor of Bassoon, Interlochen Arts Camp 

Yamaha Artist/Clinician 

Author, The New Weissenborn Method for Bassoon 

Indiana Music Educators Association 

January 22, 2011 

� Who should play bassoon? 

� Teaching techniques 

� Teaching materials 

� Reeds 

� Recommendations 

� Show interest and desire 

� Work independently 

� Study privately 

� Responsible (valuable instrument) 

� May pursue music as a major or career 

Doug Spaniol, Butler University 1


Breathing 

� Goals 

� Amount of air 

� Inhale fully 

� Torso as one tank 

� Fill from bottom 

� Expand in all directions 

� Exhale as much as the bassoon will take without 

forcing 

� Control of air 

� Steady 

� Air speed 

� Size of air stream 

Breathing 

� Exercises for amount of air 

� Inhale with hands on front of belly 

� Inhale with hands on sides of belly 

� Inhale with hands on lower back 

� Inhale with hands on side of rib cage 

� Inhale with hands on top of rib cage 

� Inhale with one hand on belly, one on top of rib 

cage 

Breathing 

� Exercises for control of air 

� Timed inhales and exhales 

� ||: Inhale 8 beats | Exhale 8 beats :|| 




� ||: Inhale 1 beat | Exhale 8 beats :|| 

� ||: Inhale 1 beat | Exhale max # of beats :|| 

� Play “bocalphone” with no embouchure 

� Play bassoon with no embouchure 



Embouchure 

� Goals 

� Relaxed, comfortable, natural 

� Slight “oh” or “oo” shape with corners in 

� Don’t close blades of reed with lips 

� Drawstring analogy 

� Lips rolled under slightly 

� Lips near center of blade, closer to wire than tip 

� Top lip closer to wire than bottom lip (overbite) 

Embouchure 

� Exercises 

� Squeeze reed shut with thumb and index finger 

� Open and close reed with embouchure 

� Play bocalphone while looking in mirror 

� Experiment with more and less reed in mouth 

� Experiment with angle of reed entry 

� Note: this will be revisited in playing position 

Exercises for Air and Embouchure 

� Bocalphone 

� Matching pitches (Middle C) 

� Steady long tones 

� Extreme waves (oral cavity and throat, not lips) 

� Waves followed by steady middle C 

� When proper fundamentals are well 

established, these same exercises should 

be done on bassoon. 



Articulation 

� Goals 

� Clean note beginnings 

� Air and embouchure set before starting note 

� Remove tongue to start note (valve analogy) 

� Light, agile tonguing 

� Tip of the tongue, tip of the reed 

� Tip of tongue moves up and down (“ta” or “da”) 

� Lots of air while tonguing 

� Controlled note endings 

� With air (“tah” not “tat”) 

� Keep pitch steady 

� Control of air speed and embouchure/oral cavity/throat 

Articulation Exercises 

� On bocalphone first, then on bassoon 

� “Tonguing on the wind” (legato tonguing) 

� “Truck backing up” (good note beginnings) 

� Short tones (tapered endings) 

� Light, rapid tonguing (“16 th notes on the wind”) 

Posture – without instrument 

� Learn to play sitting first, standing 

(much) later 

� Establish good sitting posture 

� Good chair 

� No arms, not too wide, flat or leaning forward 

� Body relaxed 

� All joints close to neutral position 

� Near chair back (but not leaning on it) 

� Sit on back of thighs 

� Head away from waist 



Posture – with instrument 

� “Let the bassoon come to you; don’t go to 

the bassoon.” 

� Place seat strap near front of chair 

� Hold bassoon in left hand (centered) 

� Bring bassoon reed to mouth 

� Adjust height as necessary 

� Other adjustments: 

� Rotate bocal slightly 

� Move right thigh (fulcrum) slightly 

� Rotate reed so that it is horizontal 

� Shape of bocal effects playing position and 

angle of reed entry 

� Fox English bend or custom bend bocals 

Hand Position 

� Goals 

� Relaxed, natural 

� Close to neutral position 

� Fingers gently curved, not collapsed 

� Exercises 

� Make “O” shape with fingers and thumb and tap 

� Change to teardrop and tap 

� Individual finger exercises on bassoon 

� Quarters, eighths, triplets, sixteenths 

Hand Position – Right Thumb 

� Goals 

� Right thumb over keys, not touching wood. (Put 

a piece of tape in that spot to remind students 

not to touch there.) 



Fingerings 

� Half-Hole technique 

� Left hand 1 (index finger) 

� The three G’s (G b 3, G3, G # 3 ) 

� Roll finger down, do not slide or lift 

� “The lower the note, the lower the finger” 

Fingering 

� ‘ Flicking’ (‘Venting’ or ‘Speaker Keys’) 

� Notes: A3, B b 3, B3, C4, (D4) 

� Keys: (see next slide also) 

� A3 => High A key 

� B b 3, B3, C4, => High C key 

� D4 => High D key (High C key, or none) 

� For beginners: hold down speaker keys just like 

‘normal’ octave keys. 

Flicking Keys 

A3 => High A key B b 3, B3, C4, => High C key 

D4 => High D key (High C key, or none) 



Method Book 

� Weissenborn Practical Method 

� Originally published in 1887 

Weissenborn Practical Method 

� Revised by Schaefer in 1920. 

� Schaefer deleted: 

� 11 pages of introductory text (reeds, fundamentals, 

etc.) 

� ‘Flicking’ symbols 

� 4 pages of text on embellishments 

� Chord Studies (for intonation) 

� Trill Exercises 

� Misc instructional annotations 

Weissenborn Practical Method 

� American editions (Ambrosio 1941, Bettoney 1950) 

� Essentially reprints of Schaefer (with deletions) 

� Append additional materials 

� Not part of Weissenborn’s Method 

� How/when to incorporate these is a question 

� Too big for binding (won’t stay open; get coil binding) 

Ambrosio 1941 Bettoney 1950 



New Weissenborn Method for Bassoon 

� Douglas E. Spaniol 

� Published by Hal Leonard (2010) 


� Based upon Weissenborn’s original 1887 edition 

� For bassoon students and teachers 

� Beginning bassoonists through advanced HS 

� Assumes students can read music 

� If not, see below and handouts for suggestions 

� OK for students who can read music, but not bass clef 

� “Air Pocket” binding lays flat on stand 


� Introductory material 

� 48 pages with 56 photos 

� History of bassoon 

� Accessories 

� Care of the bassoon 

� Assembly/disassembly 

� Reeds 

� Tone production 

� Posture and hand position 

� Bibliography 




� Introductory material sample - p.45, right hand 


� Practical Exercises 

� Begin with 

� New terms 

� New notes 

� Fingerings 

� New techniques explained (half-hole) 

� Additional exercises where needed 

� Exercises numbered 

� Not so in other editions 

� Measures numbered 

� All lessons (but one) contain a duet 

� Re-engraved 

� Easier to read 

� No bad page turns 

� Cover all 30 Major and 

Minor keys 

� Scales given in a consistent format 


� Supplement 

� Organized by range 

� Scale studies 

� Chord (Intonation) studies 

� Trill studies 

� Long tones 

� Rhythmic exercises 

� Requires transposition 

� Practical Exercises direct 

students to exercises 

in supplement based 

upon range/notes/keys 




� Fingering Chart 

� Trill Chart 

� Graphic 

� With annotations 

� Range: B b 1 to B b 4 

(same as book) 


� Other features: 

� Tenor Clef section expanded 

� Ornament section restored and updated 

� 17 pages of text, examples, and exercises 

� Covers nine ornaments 

� Based upon recent research on performance practice 

� Errors corrected 

� Indications for ‘flicking’ above notes 

Materials to supplement NWM 

� For students who don’t yet read music 

� Standard beginning method book 

� Not ‘old’ Weissenborn Method 

� Rubank Elementary, Essential Elements, etc. 

� OK for students who can read music, but not bass clef 

� Rhythm 

� For beginning students who need additional practice 

� To further develop sight-reading and rhythmic skills 

� Syncopation 

� 20 th (mixed meters, borrowed divisions) 

� See handouts 

� Solos 


� Advanced etudes and solos (after completing NWM) 




� Sources 

� Private teacher 

� Other professional 

� Commercial sources 


� Care 

� Good reed case w/ adequate ventilation 

� Cut or drill holes if needed 

� Do not store in the container that the reed came in 

� Dry when not in use, wet when in use 

� Plastic water container in bassoon case, no lid 

� Adjustments 

� Sealing on bocal? 

� Reed and bocal test 

� Ream if needed 

� Quality reamer (multi-flute, spiral) 

� “Iron” reed 

� Helps keep reed playing at its best 

� Need “iron,” mandrel, plaque 

� Tip opening: 

More Closed 

Less resistant 

Less air 

Softer dynamic 

Sharper pitch 

Favors high register 

Favors legato 

Smaller/brighter 

tone 

More Open 

More resistant 

More air 

Louder dynamic 

Lower pitch 

Favors low register 

Accents & staccato 

Fuller/darker tone 



� Adjusting tip opening 

� To open: 

� Squeeze blade wire from sides or 

� Squeeze middle wire from top and bottom 

� To close: 

� Squeeze blade wire from top and bottom or 

� Squeeze middle wire from sides 

� Blade wire has a more substantial effect 

� Middle wire has a more subtle effect 

� Middle wire should always be more round (less 

flat) than blade wire 

� See handouts (or ask me) for: 

� Bassoons (instruments) for schools 

� Commercially made reeds 

� Teaching materials to supplement New 

Weissenborn Method 

� Books and other sources 

� Questions? 

� Feel free to contact me: 

Doug Spaniol 

Professor of Music 

Butler University 

4600 Sunset Ave 

Indianapolis, IN 46208-3485 

317-940-8368 

dspaniol@butler.edu 

www.butler.edu 

Facebook: Doug Spaniol 



Professor of Music, Butler University School of Music, Indianapolis, Indiana 

Instructor of Bassoon, Interlochen Arts Camp, Interlochen, Michigan 


317-940-8368 800-368-6852, ext 8368 dspaniol@butler.edu www.butler.edu/music 

Recommended Method Book and Etudes for Bassoon Students 

Below is a list of much of the material that I use regularly in my teaching, and that I 

recommend to students and other teachers. The New Weissenborn Method should be seen as the basic 

‘textbook’ for beginning bassoon students up to the advanced level. The other materials should be 

seen as additional materials to augment The New Weissenborn Method or to work on after it has been 

completed. Whatever the case, it is strongly recommended that whenever practical students coordinate 

the keys of their scale and chord studies with the key of their etudes, i.e when practicing a C Major 

scale/chord study also practice C Major etudes. 

Method Book 

• Spaniol, Douglas E., and Julius Weissenborn. The New Weissenborn Method for Bassoon. 

Milwaukee, WI: Hal Leonard, 2010. 

This is the new standard method book for bassoonists, replacing the previous editions of 

the Weissenborn Method. Based upon Weissenborn’s original 1887 edition, it restores much of the 

material and pedagogical intent that had been deleted from other editions and updates Weissenborn’s 

work to make a much more user-friendly method book. It begins with 48 pages of information that all 

bassoon students need to know, including 56 photos. The lessons are easier to read with no bad page 

turns, and all lessons (but one) have a duet. At the top of each lesson you will find the new notes, 

fingerings, techniques, and terms introduced in that lesson. Each exercise is numbered and flicking 

symbols are found above each note that should be flicked. (Weissenborn’s original has these two 

features, but for some reason later editors deleted them!) The sections on tenor clef and ornaments 

have been expanded. The supplement of daily scale and chord exercises has also been expanded by 

replacing previously deleted exercises and including new ones. Covers all 30 major and minor keys 

and includes new fingering chart and trill chart. 

N.B. All editions of the Weissenborn Method (including The New Weissenborn Method for Bassoon) 

are designed for students who can already read music. (It’s OK if they can’t read bass clef.) For 

students who can’t read music, begin with the Rubank Elementary Method or a standard band method 

(i.e. Essential Elements) and then move to The New Weissenborn Method. 

Rhythmic Etudes 

• Yaus, Grover C. 101 Rhythmic Rest Patterns. Miami: Warner Bros (Belwin Mills). 

For younger students who need additional help with rhythmic skills. May begin once students 

have begun Lesson XI in The New Weissenborn Method. Make sure that you get the “Baritone 

B.C./Bassoon” edition. (The Yaus book is available for all band instruments.)

Rhythmic Etudes (continued) 

• Bona, Pasquale. Rhythmical Articulation. NY, NY: Carl Fischer. 

Originally the second part of a sight-singing text, these have been adapted for instrumental 

study. Progressively more difficult, these 41 etudes pose myriad rhythmic challenges. May begin once 

students have begun Lesson XX in The New Weissenborn Method. Be sure to get the bass clef 

version! 

• Dufresne, Gaston. Develop Sight Reading. NY, NY: Charles Colin Music. 

Overlaps with Bona in degree of difficulty, but the later etudes pose new challenges, especially 

regarding unusual and mixed meters. Begin after Bona is completed. 

Scale and Chord Etudes 

NOTE: The “Supplement” to The New Weissenborn Method provides plenty of scale and chord 

exercises for beginning and intermediate bassoon students. It is also designed to improve their rhythm 

and their skills in transposing, music theory, and intonation. Each time a scale is introduced in the 

lessons, the student is directed to the appropriate exercise in the “Supplement”. For advanced students 

who have completed The New Weissenborn Method, I recommend the following: 

• Weait, Christopher. Bassoon Scales for Reading. Worthington, OH: Christopher Weait. 

Broken down into low, middle, and higher ranges. Covers virtually all scales and arpeggios 

that one would ever want to practice. Available at . 

• Milde, Ludwig. Twenty Five Studies in Scales and Chords, op. 24. NY, NY: International. 

One scale and one arpeggio etude for each of twelve key signatures plus one chromatic 

exercise. 

• Giampieri, Alamiro. Sixteen Daily Studies. Milan: Ricordi. 

Each etude takes a pattern/motive through all keys. Good review for bassoonists who have 

learned their chords and scales well and are looking for maintenance work. 

Advanced Etudes 

• Weissenborn, Julius, ed. by William Waterhouse. Studies, op. 8, no. 2 (for Advanced Pupils). 

Vienna: Universal Edition (UE 18 122) 

For use after students have completed The New Weissenborn Method, these advanced 

etudes cover almost every key through seven flats and seven sharps and the entire range of the 

instrument. The above edition restores Weissenborn’s original order and keys and makes a much more 

user-friendly book. However, it may be hard to find. If need be, you can usually find the more 

common but less useful edition (published by International Editions). 

• Milde, Ludwig. Concert Studies, Op. 26. NY, NY: International. 

These Romantic etudes are a cornerstone of bassoon study for advanced students. They pose 

plenty of technical challenges, but more importantly pose musical challenges to overcome. Usually 

sold in two volumes. Not all keys are covered; there is no order to the key structure. Begin after the 

Weissenborn op. 8, no. 2 advanced studies are completed.






Recommended Solos for Bassoon Students 

Below is a list of bassoon solos for beginning through advanced bassoon students. Especially 

for younger students there is a strong emphasis on collections of solos (as opposed to solos published 

individually). There are several reasons for this: 1) collections tend to be ordered with some 

pedagogical rationale, 2) they are convenient and avoid losing time while waiting for the student to get 

their next solo, and 3) they are more cost effective. 

Of course, it’s not expected that students would play all of these solos. In fact, choosing solo 

repertoire is a great opportunity to individualize instructional material. 

Solos are categorized as beginner, intermediate, and advanced. Each entry contains publication 

information, as well as information about range, style/era/genre of the composition, and whether or not 

it includes tenor clef. Solos in the beginner and intermediate categories are also referenced to The 

New Weissenborn Method. Solos in the advanced category should not be assigned until students have 

completed The New Weissenborn Method. 

Beginner 

• Hilling, Lyndon, and Walter Bergmann. First book of bassoon solos. London: Faber Music, 1979. 

Range: first solo = C3–F3; entire collection = D2–D4 

Style/Era/Genre: 28 short solos from baroque, classical, romantic eras, plus folk tunes and a 

few original compositions. Contains information and/or performance suggestions for each solo. 

Tenor Clef: no The New Weissenborn Method: Lesson IV – Lesson XVIII.a 

• Sheen, Graham. The really easy bassoon book. London: Faber Music, 1988. 

Range: first solo = C3–F3; entire collection = F2–D4 

Style/Era/Genre: 13 short solos, 6 composed by Graham Sheen, 7 well known melodies from 

renaissance through romantic. 

Tenor Clef: no The New Weissenborn Method: Lesson IV – Lesson XVIII.a 

Intermediate 

• Galliard, John Ernest. Six Sonatas, vols. I and II. NY, NY: International Music Co, 1949. 

Range: C2 – G4 (F4 in some sonatas) 

Style/Era/Genre: 6 baroque sonatas (more like suites, really), each with 3-5 short movements. 

Difficulty varies, intermediate to advanced (esp. depending on tempi and ornamentation). 

Tenor Clef: yes, in some sonatas/movements 

The New Weissenborn Method: Lesson XX (up to F4) – Lesson XXVI (esp. for ornamentation) 

• Hilling, Lyndon, and Walter Bergmann. Second book of bassoon solos. London: Faber Music, 1981. 

Range: easiest solo = D#3–E4; entire collection = C2-A4 

Style/Era/Genre: 16 solos, mostly baroque and classical 

Tenor Clef: yes The New Weissenborn Method: Lesson XX – Lesson XXVI (end)

• Sharrow, Leonard. Master solos, intermediate level. Milwaukee, WI: Hal Leonard, 1975. 

Range: first solo = E2–C4; entire collection = C2–B b 4 

Style/Era/Genre: 8 solos, baroque through 20 th Century. Contains extensive performance 

information and suggestion (2-3 pages per solo) and includes a CD of all solos, with solo and 

accompaniment only for students to practice with. 

Tenor Clef: yes The New Weissenborn Method: Lesson XV – Lesson XXVI (end) 

• Sheen, Graham. Going solo. London: Faber Music, 1993. 

Range: first solo = C3–D4; entire collection = G2–B b 4 

Style/Era/Genre: 12 solos, from renaissance through 20 th Century (Bartok, Satie) 

Tenor Clef: no (!) The New Weissenborn Method: Lesson XVIII.a – Lesson XXVI (end) 

• Waterhouse, William. Bassoon solos, vol. I. London: Chester Music, 1977. 

Range: first solo = G2–F4; entire collection = B b 1–G4 

Style/Era/Genre: 9 solos, from baroque through 20 th Century. Comes with background 

information about each piece and some performance suggestions. Note that all pieces were originally 

composed for bassoon. 

Tenor Clef: no (!) The New Weissenborn Method: Lesson XX – Lesson XXI.a 

Advanced 

• Waterhouse, William. Bassoon solos, vol. II. London: Chester Music, 1977. 

Range: first solo = D2–C4; entire collection = B b 1-C # 5 

Style/Era/Genre: 8 solos, from baroque through 20 th Century. Comes with background 

information about each piece and some performance suggestions. Contains many advanced rhythmical 

and technical challenges. Note that all pieces were originally composed for bassoon. 

Tenor Clef: yes 

Individual Solos (Advanced) 

• Hindemith, Paul. Sonate für fagott und piano. Mainz: B. Schott's Söhne, 1967. 

Range: D3 – B b 4 Style/Era/Genre: 20 th Century Tenor Clef: yes (lots) 

• Mozart, Wolfgang Amadeus. Concerto in B-flat major KV 191 (186e). Kassel: Bärenreiter, 2003. 

Range: B b 2 – B b 4 Style/Era/Genre: Classical Tenor Clef: yes 

NOTE: Please use this edition! It includes cadenzas, lead-ins, and information about historical 

performance practice as it relates to this concerto. Armed with this material and the information on 

ornamentation provided in The New Weissenborn Method, an advanced student can come to an 

intelligent, historically informed performance of this work – the most important work in the bsn rep! 

• Mozart, Wolfgang Amadeus.) Sonata in B-flat major, KV 292 (196c). Kassel: Bärenreiter, 1990. 

Range: F3 – B b 4 Style/Era/Genre: Classical Tenor Clef: yes 

NOTE: Please use this edition! May be played as a duet (w/ bsn or vcl) or with piano. 

• Phillips, Burrill. Concert piece. N.Y.: Carl Fischer, 1940. 

Range: B b 1 – A4 Style/Era/Genre: 20 th Century (jazzy, ala Gershwin) Tenor Clef: yes 

• Pierné, Gabriel, and Himie Voxman. Solo de concert. Chicago: Rubank, 1941. 

Range: C2 – D5 Style/Era/Genre: Romantic Tenor Clef: no (!)






Recommended Books, Sources of Information, 

and Sources for Reeds for Bassoon Students 

Books on Performance 

• Waterhouse, William. The Bassoon. London: Kahn & Averill, 2004. 

“Eminent bassoonist William Waterhouse presents a personal view of how to play the 

instrument…giving detailed and authoritative guidance on the mastery of this rewarding instrument. 

This practical manual, copiously illustrated with diagrams and music examples, offers beginner and 

expert alike a thorough and systematic treatment of every aspect of performance…. There is also 

guidance on choice of instrument and reeds as well as advice on maintenance, how to practise, how to 

teach, and how to cope with the challenges of audition and competition. There are hints on the 

performance of concertos my Mozart and Weber, a list of recommended solo repertoire and an 

extensive bibliography.” 272 pp, paperback. 

• Weait, Christopher. Bassoon Strategies for the Next Level. Worthington, OH: Christopher Weait, 

2003. 

Compilation of materials and advice from one of the great performers and teachers of our time. 

In 17 chapters covering virtually all aspects of learning, teaching, and performing on the bassoon. 

Also includes very useful annotated bibliographies. 185 pp., paperback. 

• Weisberg, Arthur. The Art of Wind Playing. Plainview, NY: Accurate Double Reed, 1993. 

Written by a bassoonist this book is very useful in thinking about the fundamentals of playing 

the bassoon and how to improve them. 145 pages, hardcover. 

General Music Reference 

• Randel, Don Michael, ed. The Harvard Dictionary of Music. Cambridge, Mass: Harvard University 

Press, 2003. 

One volume, authoritative dictionary on all things musical. 

• Sadie, Stanley and J. Tyrell, eds. The New Grove Dictionary of Music and Musicians. London: 

Macmillan, 2001. 

A 22 volume set. Rightfully called “The world’s premier authority on all aspects of music”. 

Other Sources of Information 

• International Double Reed Society (IDRS) 

Hosts valuable and useful website at www.idrs.org. Members receive quarterly publication, 

The Double Reed and may subscribe to the e-mail listserv IDRS-L. Both of these offer a wealth of 

information to and from members. The IDRS also hosts an annual conference. The location changes 

every year; the conference is usually in the summer and lasts ca. 5 days. All interested bassoonists and 

oboists would benefit from becoming members of IDRS; membership information is available online 

at idrs.org.

• Musicalchairs.info 

Good source for used instruments, auditions, competitions, workshops, youth orchestras, etc. 

• Bassoon.org 

A good starting point if looking for links to retailers, bassoon teachers, etc. 

Books on Reed-Making 

• Eubanks, Mark. Advanced Reed Design & Testing Procedure for Bassoon. Portland, OR: Arundo 

Research Co., 1993. 

A logical and systematic approach to finishing bassoon reeds that has been adopted by many 

bassoonists. 

• McKay, James, et al. The Bassoon Reed Manual: Lou Skinner’s Theories and Techniques. 

Indianapolis: Indiana University Press, 2000. 

Detailed description of a master reedmaker’s approach and techniques. 

• Popkin, Mark and Loren Glickman. Bassoon Reed Making. Northfield, IL: The Instrumentalist Co., 

1987. 

A standard text for reed-making; also discusses instrument repair and performance physiology. 

• Weait, Christopher. Bassoon Reed-Making: An Illustrated Basic Method. Worthington, OH: 

Christopher Weait, 2008 

The best guide available for step-by-step instructions on building and finishing a reed. Over 

150 photographs. Also see DVD Making a Bassoon Reed. Find both at . 

Sources for Reeds 

• Private Teacher 

Your private teacher should be able to supply you with quality reeds. S/he may do this buy 

making reeds from scratch, buying commercial reeds and adjusting them as needed, or by directing 

you to a reliable source of appropriate reeds. This is one of the many reasons why it’s important for 

bassoonists to have a well-qualified private teacher! Your teacher should also be able to adjust your 

reeds as needed during lessons and teach you to adjust and make reeds when the time comes. 

• Hand-Made Reeds 

You may be able to find very good reeds from a professional bassoonist/reedmaker even if s/he 

is not your private teacher. Check with the local chapter of your musician’s union (AFM American 

Federation of Musicians) or advertisements in IDRS publications or on bassoon.org. 

• Commercially Manufactured Reeds 

Not too long ago decent commercial reeds were little more than a myth. Nowadays there are a 

few good options on the market if you need to resort to this option. I suggest the following reeds in 

this order, although it’s best to try them all and see which works best for you and your bassoon. All of 

these reeds are available from Miller Marketing, www.millermarketingco.com or 800-323-3216. 

Miller Select Reserve, standard (blue) reed (try the others too!) 

Danzi, standard or professional, regular (not wide) shape. 

Neuranter






Below are bassoons that I recommend most often for various ‘generic’ situations. Nowadays, 

there are many fine bassoons on the market; these are by no means the only bassoons worth 

considering. Note that for all school situations, I recommend a polypropylene bassoon. The 

advantage of these bassoons is that they are much more durable than wood. This benefit far 

outweighs any/all of the possible minor disadvantages. (If you want to have a bassoon that 

‘sounds like wood’ enquire about a wooden bell.) For all Fox and Fox Renard bassoons, I 

recommend that the bocals be a #2 and #3 in length. I also recommend they be upgraded to 

“double star” bocals, i.e. “*CVX*”. If a bassoon does not come with a B-flat key guard, a body 

lock, or a whisper key lock, I recommend that these be added. I prefer the left hand whisper key 

lock, but the right hand one is adequate. 

For Elementary Schools: The Fox Renard Model 51, aka “the short reach bassoon’. Bassoons are 

rather large instruments, and younger/smaller people often have difficulties reaching keys and 

covering tone holes. These instruments help to alleviate this problem. For an elementary school 

inventory, I recommend that at least half of the bassoons be Model 51’s; you might also want to 

have some Model 41’s in the inventory (virtually identical model but without the ‘short reach’ 

modifications) for students with larger hands/stature. 

For Middle Schools: Same as above, but you’ll probably need more 41’s and fewer 51’s. 

For High Schools: I would recommend that you have at least one Model 51. For the other 

bassoons, I recommend the Fox Model IV. This is a fully professional model, nearly identical to 

the Model II, but made of polypropylene. If you have the room in your budget, you may want to 

upgrade to a Model III, which is slightly nicer/more expensive than the Model IV, although some 

of the differences are cosmetic. 

For Students’ Own Bassoon: Buying a bassoon is a big investment. Before purchasing a 

bassoon, make sure that the student is mature enough to take very good care of it and committed 

enough to warrant the investment. (If well cared for, quality bassoons will hold their value well.) 

For such students, I usually recommend the Fox Renard 240. This is a fine (wooden) instrument 

and most bassoonists will be very happy with it into their college years and possibly beyond. 

Purchasing a ‘professional’ level instrument is usually based more on personal taste, and one 

should try several different brands/models before settling on a bassoon. Several years ago, I 

switched from a fine Heckel bassoon to a Yamaha YFG-811. I’m very happy with my Yamaha 

bassoon; it has all the flexibility of my Heckel but with much greater ease of playing. I would 

recommend that anyone interested in purchasing a professional level bassoon include Yamaha in 

the bassoons they try out.

Recommended Solos for Bassoon Students - Indiana Music ...

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