Supplies

Please purchase the following supplies if you do not already have them, so that you have them prior to the beginning of the school year:

• Metronome
• Chromatic Tuner
• A digital recording device (ZOOM, phone, laptop computer, etc.) to record practice sessions and auditions
• Bassoon Bocal Brush. The brush from forrestsmusic.com (#0-13) is a good choice.  
• Cotton Bassoon Boot Swab. (#0-14 at forrestsmusic.com)
• Cotton Bassoon Wing Swab (#O-11 at forrestsmusic.com)
• 36 pieces of gouged/shaped/profiled cane, KWJ Shape, from Barton Cane 
• 8 tubes of your choice of brand cane from forrestsmusic.com
• The below-listed reed tools 
   

Reed Making Tools & Sources

The following list includes all the tools you will need to form reed blanks (starting with gouged, shaped and profiled cane), as well as for adjusting reeds. In many cases, I am including the brand of tool that I prefer, and the source of the tool. There are certainly other fine options, but I have found the ones listed here to be of very high quality and reliability. It is particularly important to get reamers and mandrels of high quality, since cheaper ones can cause irreversible problems in how your reeds fit onto the bocal.

*Indicates this tool is used in adjusting reeds. 
†Indicates this tool is used in forming blanks.

• 21 gauge wire† 
  available at charlesmusic.com
• An easel or dowel at least 5” long and 3/4” diameter†  
  this can be homemade from a broomstick, or you may purchase the Maple Easel (#I-04) from forrestsmusic.com
• Sharp, large scissors†
• 320, 400 and 600 grade Wet-or-Dry sandpaper*† 
  available at any hardware store
• A forming mandrel and a holding mandrel*†  
  you can get an excellent forming mandrel from Barrick Stees by ordering a pin vise and one mandrel pin from steesbassoon.com; and a holding (short) mandrel from any other source; OR a Popkin double ended mandrel from charlesmusic.com
• Drying rack and 12 mandrel pins  
  from Barrick Stees
• Reamer*  
  from Barrick Stees 
• A Rieger diamond reamer*  
  from Miller Marketing
• Pliers – Linesman version. 4.5″ with spring return and cutter*†  
  Wide jaw holds wire securely for easy twisting of wires.  Model # 2XPL from Miller Marketing.
• Ruler in inches*†
• A narrow, round shoelace or thin cotton crochet yarn†.
• For scoring: A drill tap with or without handle†  
  available at hardware stores. The tap I use is 1/4-28 NF.  This means it is 1/4″ diameter, 28 threads per inch.  The NF or NC are two possibilities on most bolt sizes, meaning coarse or fine thread.  Most any tap 1/4″ or larger with 24-30 threads per inch will do.  It should be sharp also… most inexpensive generic hardware store ones are not great.  Nut and bolt shops are the places to go.  If you have the option, get the “bottoming” tap.  Each tap kit comes with three taps of gradual tapers.  The bottoming one, (used as the final one when tapping threads in a hole that doesn’t go all the way through the object) has the least amount of taper.  This one will have the best teeth for scoring cane.
• Reed scraping knife, double hollow ground*  
  by Rieger, or LC Double Reeds
• Tool Wallet*  
  You can use a cosmetic case, or purchase the Albion tool case (#V-17) forrestsmusic.com.
• Bassoon Tip Cutter (#B-33)*  
  from forrestsmusic.com
• Bassoon Arrow Plaque by Fox (#G-13-F)*  
  from forrestsmusic.com
• Diamond needle files, one flat surfaced, and one rat-tail*
• Glue gun and glue sticks of various colors  
  or string if you are into that.

Books & Music

PLEASE PURCHASE THE FOLLOWING BOOKS

• The Breathing Book for Bassoon, by Kristin Wolfe Jensen, (Mountain Peak Press) 
• Spirited Wind Playing: The Performance Dimension, by Kim Walker  
• Sound in Motion, by David McGill 
• The Scientific Method of Practicing, by Timothy Hagen 

PLEASE PURCHASE THE FOLLOWING SHEET MUSIC

• Melodious Etudes for Trombone, Book 1 by Marco Bordogni, arr. Rochut
• Melodious Accompaniments to Rochut/Bordogni (piano book) available at: 
• 50 Concert Studies, Op. 26, book 1, by Ludwig Milde
• Studies in All Keys (25 Studies), Op. 24 by Ludwig Milde, edited and annotated by Benjamin Kamins and William Short, published by Presser
• Selected Duos for Two Bassoons by Eugene Jancourt, Edited by Kamins and Short, Published by Presser
• (Graduate Students Only) Quatre-vingt-dix etudes, book 1 (scales) and  book 2 (arpeggios), by M. Piard
  In your first few lessons, we will discuss which solos and orchestral excerpts to obtain.

OTHER RECOMMENDED READING

• A Soprano on Her Head, by Eloise Ristad
• Performance Success, by Don Greene
• Effortless Mastery: Liberating the Master Musician Within, by Kenny Werner 
• The Inner Game of Music, by Barry Green
• Bassoon, by William Waterhouse 
• Intelligent Music Teaching, by Robert Duke 
• The Art of Wind Playing, by Arthur Weisberg 
• The Art of Practicing, by Madeline Bruser 
• Form and Essence: A Guide to Practicing Truth by Matthew Hinsley

ENSEMBLE AUDITIONS

Ensemble auditions take place during the first three days of class in August. All bassoon majors are required to take this audition for the major ensembles, and play in the assigned group. The top players from the audition will be chosen for the rotation between the Symphony Orchestra, Opera Orchestra, New Music Ensemble, and Wind Ensemble which all rehearse Mondays, Wednesdays and Fridays, 12:00 to 2:00. The Wind Symphony and Symphony Band rehearse Mondays, Wednesdays, Fridays 2:00 to 4:00. If you would like to be considered for the rotation, prepare the page of excerpts that will be posted on the Wind Ensemble site around August 1, and/or emailed to you around that date. If you wish to audition only for Wind Symphony or Symphony Band, you may prepare a solo of your choice.

STUDIO CLASS

Studio Class meets Tuesdays 2:00 to 3:20. Please leave this time open in your schedule. Participation is required for all bassoon majors, as a supplement to lessons. Most often, class activities involve students performing for each other, and offering positive and constructive feedback. Other activities have included mock auditions, repair discussions, discussions about music careers, etc. The studio highly values creating a supportive atmosphere where everyone feels safe to express themselves musically and verbally. Core values of the studio include hard work, mutual respect, honesty, and humor. Taking this class for credit is optional (MUS 276C). If you choose to take it for credit, you will be asked to do a project in addition to the weekly activities of the class.

REED MAKING CLASS 

Reed Making Class is required for all first year undergraduates. You will make many reeds, and explore the various techniques of improving their performance. Please register for this course at orientation (MUS 115T). This class meets Thursdays from 2:00 to 3:20.

INSTRUMENTS 

Students are highly encouraged to purchase their own instrument as soon as possible. If you do not yet have one when you enroll at the Butler School, you may borrow one beginning at your orientation session. Contact Professor Jensen about arranging this.

A History of the Method

with Benjamin Kamins

Scraping,  Refining & Breaking-in Reeds

A Psychological Approach to Reed Making 

with William Short

Scraping Guidelines

with Rian Craypo

A First Day Scrape

With Benjamin Kamins

Scraping on Day 1: A Practical Example

with Rian Craypo

Evaluating a Second Day Reed

with William Short

Back to Top ^

Exploring Reed Analysis

with Glenn Einschlag

Introduction

Reed No. 1

Reed No. 2

Reed No. 3

Reed No. 4

Glenn's Closing Statement

Back to Top ^

Constructing Bassoon Reeds

with Rian Craypo

 Splitting Tubes

Pre-Gouging & Gouging

Sorting Cane for Quality

Shaping

Profiling

Forming Mummies

Internal Bevel

Forming Reed Blanks

Back To Top ^

Bonus Material

Miles Maner Sums It All Up!

Glenn Einshlag's Bloopers

Purchase Rian Craypo's Reed-Making Book

Biographies

Benjamin Kamins is Professor of Bassoon at Rice University.

William Short is Principal Bassoon of the Metropolitan Opera Orchestra and is on faculty at The Juilliard School, The Manhattan School of Music and Temple University.

Rian Craypo is Principal Bassoon of the Houston Symphony.

Glenn Einschlag is Principal Bassoon of the Buffalo Philharmonic and is on the faculty of The Glenn Gould School.

Miles Maner is Bassoonist and Contrabassoonist of the Chicago Symphony.

Kristin Wolfe Jensen is Professor of bassoon at the University of Texas at Austin and Principal Bassoonist with the River Oaks Chamber Orchestra in Houston.

Nathan Koch is Assistant Professor of Bassoon at The University of Nebraska.