First Division Band Method, Part 2: Bassoon Book

This method has earned its place in countless programs because it works. The pedagogical sequence is genuinely thoughtful, building fundamentals in an order that makes sense for young players, and the bassoon book specifically gives your reed players material that meets them where they are rather than asking them to catch up to brass and woodwind counterparts.

Working through this book feels like following a reliable map. Each page builds logically on what came before, with melodies that are genuinely musical rather than mechanical, so students experience progress without feeling lost or overwhelmed.

Younger bassoonists just beginning their journey on the instrument benefit most from this method's careful scaffolding. Teachers and directors working with beginner to early-intermediate players will find the book's straightforward approach and proven sequence worth integrating into their curriculum.

• Establish consistent reed setup early. Bassoonists in this book are still developing embouchure control, so checking reeds regularly and working with students on proper soaking and breaking in prevents frustration.
• Use the songs as sight-reading anchors. Once students master exercises in a particular key or rhythm pattern, assigned songs reinforce those skills in a musical context.
• Balance individual practice with ensemble coordination. While the book is designed for self-paced learning, rehearse material your band is covering at the same time so students feel their progress contributes to ensemble sound.

Use this as your primary instructional resource for bassoonists in their first or second year of study. Pair it with ensemble rehearsals so students encounter skills at similar paces across your band program, creating a cohesive foundation across the entire woodwind and brass section.

• Long tones and breath control for sustained playing
• Reading in treble clef with steady rhythmic accuracy
• Proper fingering sequences and hand position
• Basic articulation techniques (tonguing, legato, and staccato)
• Intonation awareness in relation to other instruments
• Sight-reading fluency in early keys and simple meters