Mark Eubanks has created a recipe for tuning and adjusting bassoon reeds. The Quick Guide to Bassoon Reed Tuning is packed with information to help the bassoonist go to a problem, test it and fix it. Built on his earlier publications, this publication presents a new, proven step-by-step method to check the tuning of every note on the bassoon. It also includes a synopsis of bassoon reed design elements that affect tuning, and additional tuning factors, including bocal and instrument adjustments and tone production issues. The publication is further supplemented with extensive information and Q&A found on the Arundo Research website (www.arundoresearch.com).

When I was asked to write the foreword to Francisco Formiga's book, Bassoon Reed Design and Reedmaking Life Hacks, I knew that, in addition to reedmaking, I needed to talk about our long-time friendship. Francisco and I became friends over thirty years ago when we were both based in Belo Hori‐ zonte, Brazil. At the time, I was a new professor of bassoon at the Federal University of Minas Gerais, and he was a very advanced bassoonist at the university who was also already playing pro‐ fessionally in the state orchestra. We spent countless hours making reeds, exchanging ideas, adopting each other's suggestions, and learning from each other. Our friendship grew during these long hours of reed crafting and music making, and we have remained great friends to this day. After he graduated, Francisco moved to São Paulo, where he continued to ourish in his musical career. He currently plays in the São Paulo State Symphony Orchestra one of the best orchestras in Latin America

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.

Drawings and photographs complement step-by-step explanations of reedmaking techniques, making every procedure clear. Rather than present an onerous shopping list, the chapter on tools gives a thorough tour of Skinner's workbench, explaining the uses of various items and what can be used as substitutes. Throughout, instructions are given in clear language, not just outlining steps to follow but explaining he principles behind the practice. In addition to basic reed types, a number of variations are treated in detail, as is the making of contrabassoon reeds. Finally, every effort has been made to make this book practical for use at the workbench--in a secure binding that will allow the pages to stay open (without the use of clothespins) and in print large enough to permit easy consultation when the reader's hands are occupied with cane and knives and glue and wire.

When I was asked to write the foreword to Francisco Formiga's book, Bassoon Reed Design and Reedmaking Life Hacks, I knew that, in addition to reedmaking, I needed to talk about our long-time friendship. Francisco and I became friends over thirty years ago when we were both based in Belo Hori‐ zonte, Brazil. At the time, I was a new professor of bassoon at the Federal University of Minas Gerais, and he was a very advanced bassoonist at the university who was also already playing pro‐ fessionally in the state orchestra. We spent countless hours making reeds, exchanging ideas, adopting each other's suggestions, and learning from each other. Our friendship grew during these long hours of reed crafting and music making, and we have remained great friends to this day. After he graduated, Francisco moved to São Paulo, where he continued to ourish in his musical career. He currently plays in the São Paulo State Symphony Orchestra one of the best orchestras in Latin America