Concentration on individual aspects of playing the bassoon will make it easier to identify and correct errors and imprecision. By working steadily through these exercises you can acquire a basic technique that will enable you to tackle difficult passages in the bassoon repertoire. Such meticulous attention to detail will help you achieve the freedom to follow your intuition in a spontaneous musical performance. Georg Klütsch, b. 1951 in Düren, trained as a music teacher in Mainz and studied the bassoon with Prof. Helman Jung in Detmold. For many years he was principal bassoonist with the Bamberg Symphony Orchestra and a member of the Sabine Meyer Wind Ensemble. He was professor at the Franz Liszt Music Academy in Weimar. Since 2001 he has been professor of bassoon and chamber music at the Cologne Academy of Music, also teaching international master classes.

(Instructional). New edition with spiral binding For well over a century, students all over the world have learned to play the bassoon using Julius Weissenborn's Practical Bassoon Method . At long last, The New Weissenborn Method for Bassoon presents the complete 1887 publication in an updated, user-friendly version. With over 50 photographs, modern fingering charts, and in-depth instruction on performance basics, instrument care, and reeds, The New Weissenborn Method is a must-have for all bassoon students. Features: * Carefully researched and edited from the original 1887 edition * All lessons and exercises re-engraved * New notes, techniques and terminology introduced before each lesson * Weissenborn's original sections on tenor clef and the "speaker" keys restored and expanded * Original ornamentation chapter restored with added modern performance practices * Supplementary scale exercises now include all major and minor keys

Withheld by leading pedagogues in an effort to control competition, the art of reed making in the early 20th century has been shrouded in secrecy, producing a generation of performers without reed making fluency. While tenets of past decades remain in modern pedagogy, Christin Schillinger details the historical pedagogical trends of bassoon reed making to examine the impact different methods have had on the practice of reed making and performance today. Schillinger traces the pedagogy of reed making from the earliest known publication addressing bassoon pedagogy in 1687 through the publication of Julius Weissenborn's Praktische Fagott-Schule and concludes with an in-depth look at contemporary methodologies developed by Louis Skinner, Don Christlieb, Norman Herzberg, and Lewis Hugh Cooper. Aimed at practitioners and pedagogues of the bassoon, this book provides a deeper understanding of the history and technique surrounding reed-making craft and instruction.

A collection of technical studies designed for use with either full band or individual practice. The method is divided into eight units, each focusing on a major key and its relative minor key and includes such studies as chorales, scale studies, arpeggio studies, interval studies, rhythm rounds, articulation studies, speed drills and etudes to help reinforce new concepts. An excellent way to prepare students for advanced grade 3 and most grade 4 material.

Fun with Fundamentals is a supplementary band book based primarily on scales, technic studies, and "companion etudes" (duets) using the keys and fundamentals of instrumental playing encountered at the elementary level. The primary purpose of this book is to develop fluency of technic, accurate counting, musical style, and self-assurance through the use of additional practice material presented in a manner which should prove to be interesting, enjoyable, and highly profitable to the young player.

Woodwind Basics: Core concepts for playing and teaching flute, oboe, clarinet, bassoon, and saxophone is a fresh, no-nonsense approach to woodwind technique. It outlines the principles common to playing all of the woodwind instruments, and explains their application to each one.The ideas in this book are critical for woodwind players at all levels, and have been battle-tested in university woodwind methods courses, private studios, and school band halls. Fundamental questions answered with newfound clarity include:- What should I listen for in good woodwind playing?- Why is breath support so important, and how do I do and teach it?- What is voicing? How does it relate to ideas like air speed, air temperature, and vowel shapes?- What things does an embouchure need to accomplish?- How can I (or my students) play better in tune?- What role does the tongue really play in articulation?- Which alternate fingering should I choose in a given situation?- How do I select the best reeds, mouthpieces, and instruments?- How should a beginner choose which instrument is the best fit?Woodwind Basics by Bret Pimentel is the new go-to reference for woodwind players and teachers.

An encyclopedic reference work of bassoon fingerings which solves almost every technical problem on the instrument. This volume is used in major orchestras and universities around the world.