THE BEGINNING BASSOONIST

A MELODIC APPROACH TO THE

PROBLEMS IN BASSOON PLAYING

A Thesis

Presented to

the Faculty of the School of Music

The University of Southern California

In Partial Fulfillment

of the Requirements for the Degree

Master of Music

by
John F. Rahn

August 1947
 UMI Number; EP67779

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T h i s thesis, w r i t t e n by

JOHN F. RAHN
u n d e r the g u id a n c e o f h..X3.. F a c u l t y C o m m i t t e e ,
a n d a p p r o v e d by a l l its m e m b e r s , has been
presented to a n d accepted by the C o u n c i l on
G r a d u a t e S t u d y a n d R esearch in p a r t i a l f u l f i l l ­
m e n t o f t h e r e q u i r e m e n t s f o r th e d e g r e e o f

.M.S.TER...CF....MUSIC.

D ean

Secretary

ArUg-us-t-y— 1 Q 4 7 -

F a c u lty C o m m ittee

C h airm an
 Grateful acknowledgement is extended to Frank Ruggieri and Adolph

Weiss, in appreciation of their splendid inspiration and coaching.

 TABLE OP CONTENTS

CHAPTER page

I. THE B A S S O O N ...................................................... 1

Introduction .................................................. 1

Descriptive poem, "Bassoon,” by Laurence McKinney ............ 2

Use of the B a s s o o n ........................................... 3

History of the B a s s o o n ....................................... 4

Attributes of the Aspiring Bassoonist ......................... 5

II. THE MECHANICS OF THE B A S S O O N .................................... 7

Assembly of the B a s s o o n ....................................... 7

How to Hold the B a s s o o n ....................................... 8

B u r b l i n g ................................... 9

The R e e d ...................................................... 10

Care of the B a s s o o n ....................................... l4

III. BLOWING THE B A S S O O N .............................................. l6

B r e a t h i n g ...................................................... l6

E m b o u c h u r e .................................................... 17

T o n g u i n g ...................................................... 18

Attack-Sustain-Release ....................................... l8

L e g a t o ........................................................ 19

V i b r a t o ........................................................ 20

IV. FINGERING THE B A S S O O N ............................................ 22

Hints on F i n g e r i n g ........................................... 22

Chart Naming and Identifying the K e y s ......................... 24

Fingering Chart ................................................ 25

Trill F i n g e r i n g s .............................................. 30

V. HOW TO P R A C T I C E .................................................. 38
 V

CHAPTER PAGE

VI. MELODIES AND E X E R C I S E S ........................................ 39

VII. SCALES, ARPEGGIOS, AND I N T E R V A L S............................... 95

VIII. ORCHESTRAL E X C E R P T S .......................................... 125

IX. T R A N S P O S I T I O N ................................................ 135

X. MATERIALS AND M E T H O D S ........................................ I36

S t u d i e s .................................................... 136

Solos with Piano Accompaniment . . . . . ................... I36

Collections with PianoAccompaniment ........................ I37

D u e t s ...................................................... 137

E n s e m b l e .................................................... I37

Key to P u b l i s h e r s ......................................... I38

BIBLIOGRAPHY.............. l40

IICDEX A. M U S I C ....................................................... I4l

B. G E N E R A L .................................................. 143
 CHAPTER I

THE BASSOON

INTRODUCTION

Since bassoon playing has been treated as a craft to be handed down to

other members of the same family or to apprentices, there are few bassoonists

and fewer bassoon teachers. Most bassoon methods are written with the pre­

sumption that the student will study with a professional bassoonist. They

progress too rapidly and do not take up some of the most basic problems in

bassoon playing. A good teacher who plays bassoon can successfully use al­

most any method by using supplementary material and technics of teaching from

his experience to help the individual student overcome his particular short­

comings. Fingering charts are usually difficult to decipher and generally

inadequate. A chart which requires a drawing for each fingering is not prac­

tical since the student needs a quick method of putting a fingering down

which can be interpreted in only one way. By using the fingering chart given

here, he can indicate the fingerings of a particular passage on the music and

he has the further advantage of being able to illustrate any fingering in a

moment’s time -- a real asset in corresponding with other bassoonists. This

method is planned to give the public school teacher and student, who do not

have an opportunity to study with a professional bassoonist, a good founda­

tion in teaching and playing the bassoon.

 BASSOON

By Laurence McKinney

"The wedding guest here heat his breast

For he heard I'm sure you know the rest.

But readers constantly infer

It was the Ancient Mariner

That spoiled his day and changed his tune.

Ah, no, -- "he heard the loud BASSOON."-

This half a cord of wooden plumbing

Enjoys the habit of becoming

First deep and dismal, fierce and snarly,^

Then laughing at you jocularly, '

(a contra-bassoon can be had

Just twice as long and twice as sad.)

Italians call this bag of tricks

"Fagotto" (meaning "bunch of sticks")

Which helps to clarify the motto '

I cling to: "Horn but not fagotto."

 3
USE OP THE BASSOON

The foregoing poem represents a popular conception of the bassoon for

the comparatively few people who can identify a bassoon when they see one.

The bassoon is not the strange, weird instrument that many people imagine.

Few other instruments can produce so many tone colors and effects as the bas­

soon. It is the most expressive and resourceful of the woodwinds. Its posi­

tion as the bass of the woodwinds is unquestioned; its sonorous, mellow tone

in the lower register makes it practically Indispensable. Its beautiful ten­

or voice in its middle and upper registers, renders melodies with fine effect.

Its possibilities for humorous effects, especially when it jumps from one

register to another, has given it the title of "the clown of the orchestra."

Its great range and pleasing tone, in the hands of a capable performer, make

it an ideal instrument for solo and ensemble, as well as for the symphony

orchestra and symphonic band. Some performers, who have no knowledge of the

bassoon's real possibilities when used properly, degrade it by producing dis­

agreeable sounds and playing badly out of tune.

Too often the bassoonist is heard (if at all) in a short passage In

the orchestra or band or by the bassoonist's family or intimate friends, prac­

ticing oom-pah or a strange bit of melody unfamiliar to most ears. The bas­

soon will be better played if it is popularized as an instrument. Populariz­

ing the bassoon may be accomplished by performers with a pleasing tone who

are able to "sing" on their instrument playing for small informal groups or

in dance bands. Composers and arrangers, writing for non-professional groups,

will be encouraged to write more interesting bassoon parts when they are as­

sured that the part will be well performed and not mutilated, as is often the

case now.
 4
HISTORY OP THE BASSOON

The bassoon has been regarded as a development of the bass pommer or

Bombardone and the transformation from pommer to bassoon has been generally

attributed to a Canon of Perrara named Afranio, a native of Pavia. According

1
to Hipkins, Afranio's invention (before 1539) was of the nature of a corna

musa (bagpipe), the bag being most likely combined with pipes. This form of

bagpipe was improved by Giambattista Ravilio, also of Perrara, and thirty

years later was perfected by Sigismund Scheltzer of Nuremberg, who rejected

the cornemuse bag and united the two tubes into the fagotto, so named from its

resemblance to the fascine of beech (fagus), a long bundle of sticks. The

Italian term for bassoon is II. Pagotto, the German term is Das Fagott, and

the French term is ^e Basson.

The bassoon went through several stages of development and improvement,

culminating in the modern bassoon of which there are two types in present use:

the German or Heckel system which takes its name from the famous manufacturer,

Heckel of Biebrich, who was largely responsible for the perfection of the mod­

ern bassoon and the French or Jancourt system, named for the famous French

virtuoso and inventor, Louis Jancourt (I815-I9OO). Before World War II,

Heckel supplied most professional bassoonists with instruments.

The standard bassoon in common use (and the only one with which this

thesis is concerned) in the United States is the twenty-two key Heckel system,

which is equipped with a pianissimo (or whisper) key. This is an auxiliary

key which definitely facilitates the production of certain notes. It does not

1
A. J. Hipkins, F . C. A. London, Musical Instruments Historic, Rare
and Unique (London: A. and C. Black, I 921Y,
 5
act as an octave key like those similarly placed on the other members of the

woodwind family. Some bassoons have more than twenty-two keys. The addi­

tional keys are primarily intended to facilitate trills or very speedy pass­

ages where cross fingerings are necessary. The student of the bassoon need

not use these more complicated systems, since the regular twenty-two key in­

strument enables him to produce every tone with comparatively easy fingering.

A competent teacher can explain the use of any additional keys with which the

students’ instrument may be equipped.

ATTRIBUTES OF THE ASPIRING BASSOONIST

The student must have a good ear as the bassoon may be humored flat or

sharp with the lip. He must have a fairly large hand. If it is impossible

for him to cover the holes and still be able to reach the keys, he will have

to wait until his hand grows or play another instrument. A receding jaw is a

helpful, but not essential, attribute.

Some musical experience, if only a superficial familiarity with the

clarinet, piano, or a stringed instrument, is desirable before studying bas­

soon. The student will be able then to devote his entire attention to the

technical details peculiar to the bassoon, including embouchure, fingering,

and breath control. Vocal experience is also very helpful as the timbre is

not unlike that of the human voice.The bassoonist must learn to sing on his

instrument much the same as he learns to use his voice. Correlating the voice

training, which the student receives if he is in school, with the playing of

the bassoon, particularly in the manner of pitch conception, should be em­

phasized.

A good instrumental performance depends on the student’s ability to

hear the desired pitch before attempting to produce it. Practically all of

the tunes and exercises in this book should be sung in tune before being
 6
played on the instrument. The first major objective should be to play in

tune with as beautiful a tone as it is possible for the student to produce.

Developing the ear beyond the technical performance of the pupil generally

insures faster musical growth. The development of tone and technic is a mat­

ter of time, during which the embouchure will develop and the ear will become

more discriminating as to the quality of tone produced.

As this method is concerned with the problems peculiar to bassoon, a

knowledge of the rudiments of music is presupposed.

 CHAPTER II

THE MECHANICS OP THE BASSOON

ASSEMBLY OP THE BASSOON

The bassoon consists of six parts, namely: the reed; the mstal crook

mouthpipe (variously called the bocal, the crook, or the S); the wing joint

(or tenor joint); the butt (also called the boot joint or lower joint); the

long joint; and the bell joint (or bell). See figure 5 , page 24, for illus­

tration of these parts.

Be sure to see that all joint ends are well greased before attempting

to assemble the instrument. Use pure petroleum jelly, scented mutton tallow

or cork grease purchased from a music store.

Insert the wing joint into the small aperture of the butt, being care­

ful to line up the whisper key mechanism so as not to bend it. Place the

bell joint on the long joint, setting the position so that the key which op­

erates the key on the bell joint is connected with it. Put the long joint

into the larger aperture of the butt joint. Place the bocal in the upper end

of the wing joint, just far enough in, and in such a position that the pad of

the whisper key covers the neb on the bocal. Place the reed on the bocal

last.

In assembling the bassoon, care must be taken not to injure the joints.

A pushing-in movement combined with a slight turning movement should be used

to avoid strain. Do not assemble by moving the joints back and forth.

To take the bassoon apart, first remove the reed and place it in its

case, then the bocal, then the bell, then the long joint, and lastly remove

the tenor joint from the butt.

Never carry the bassoon with the bocal inserted into the tenor joint.
The bocal may be placed in the bell when the instrument is being carried or

not in use. With the exception of the reed the bocal is probably the most

delicate part of the bassoon, and it should be handled with great care so

that it is not bent in any way. The bocal has a great influence on the for­

mation and purity of the tone produced. A poor or unsuitable bocal will play

the best constructed bassoon out of tune and will spoil its tone.

HOW TO HOLD THE BASSOON

One of the hardest obstacles for the beginning

bassoonist to overcome is to hold the instrument cor­

rectly in a relaxed position. Holding the bassoon by

a, neck strap is awkward even for the professional.

Many professional bassoonists sit on a strap which is

clipped to a ring attached to the butt pla~e. This

FIGURE 1
relieves the strain caused by the weight of the in­

strument hanging on the neck. However, a good deal of

weight must still be supported by the left hand.

The author recommends the use of a. stand of

his own design. See Figures 1, 2, 3, and 4. The

stand is designed to hold the bassoon in playing posi­

tion, thus allowing hands, fingers and body to be per­

fectly relaxed while playing. It may be adjusted to

any angle or elevation to suit the individual perform­

er or may be correctly aligned by the teacher to dem­

onstrate the proper playing position.

The angle at which the instrument will be held

depends on the formation of the nerformer's jaw and

FIGURE 2 ( - d
 Q

FIGURE 3 FIGURE 4

teeth. Adjust the instrument to the individual, not the individual to the

ins trument.

The stand prevents keys from catching in clothes in the event that

the bassoon is not equipped with guards. It may also be used for a rack

while the bassoon is not in use, or by a player who doubles on other instru­

ments .

Since sitting down is the natural position for playing the instrument,

the bassoonist should be seated while playing a solo. No one expects a cell­

ist to stand while he is performing.

"BURBLING"

During practice water may gather in some of the tone holes, causing a

burbling sound. This can be temporarily removed by blowing into the hole

where the water is causing trouble. The holes in the wing joint are usually

first to give this trouble. The wing joint may be removed and swabbed out as
 10

often as is necessary. Avoid laying the bassoon down after a practice period

because water will usually collect in certain holes as mentioned above. When

resting for short intervals, it is advisable to set the instrument on end

(the heavy metal butt cap will protect it from the floor), being careful to

place it where it will not be knocked down; or, if the player has a stand,

the bassoon may be left in the stand. By leaving the bassoon in an upidght

position most of the water will drain to the butt. This may be removed by

first removing the long joint and bell; tip the bassoon so that the water

will run out the hole from which the bass joint has been removed.

The holes in the wing joint and butt may be equipped with tubes which

prevent the water from running into the holes (similar to the arrangement on

the octave key of a clarinet). This is a rather expensive and delicate im­

provement and should be done only by a reputable bassoon repairman.

'If water should accumulate under any of the pads, raise the key and

blow out the water, then remove the excess water from the key-seat and pad by

inserting a piece of very thin blotting paper between the two and pressing

lightly on the key.

THE REED

The reed, the actual vibration-producing medium, is a piece of cane of

the same nature and quality as used on clarinet, saxophone, and oboe reeds.

This cane is cut from a well-known rush which grows in almost all of the still

waters of Southern Europe. While experiments to grow and prepare cane in this

country have been attempted, they have not been too successful.

The bassoon reed is double, being bent over on itself, shaped, and then

wired and bound with string. The blade is cut to the shape and thickness most

suitable for the production of the tone. The quality of the reed depends

chiefly on the cane.

 11

Some bassoonists make their own reeds but this is impractical for the

beginner. Good reeds may be purchased from some music stores, a professional

bassoonist, or a reed importer and distributor. When selecting a reed, care

should be taken to see that it is not split and that the two faces of the

reed are not closed nor badly warped. A good reed will present a finished,

symmetrical appearance, both inside and out. The grain of the cane will be

fine and the reed will feel smooth to the touch. The hastily and carelessly

formed reed, of a poor workman, will usually be poorly reamed and will look

and play rough (if at all). With some practice the student will learn to

choose a reed, but he should remember that it is impossible to tell how well

a reed will play until he blows it.

Never try to play or work on a dry reed.A reed cannot be too wet,

and if it is not wet enough it is very likely tocrack.

Soak the reed in clear water, rather than in the mouth, since saliva

kills the life of the reed faster than water. It is necessary to have only

the blade of the reed wet (a small whiskey-shot glass makes an ideal contain­

er for this purpose). Insert the reed in the water, tip down, for four or

five minutes before playing. Reeds will last longer if they are not put into

the reed case wet, but are aired out after being played upon. It is advisa­

ble to have a number of reeds because the reed should be allowed to rest

after a few days use, so that it will not become soggy and lifeless.

A discarded metal cigarette case lined with a bit of soft cotton cloth

will make an ideal reed case. It will hold at least a half dozen reeds.

Very often a reed which does not blow very well at first, will, by

mere use, improve considerably. It is not to be expected that every reed

will be good; but, by patient adjustment and practice, many reeds which at

first seem poor, can be made to give general satisfaction.

 12

While most bassoonists do not care to make their own reeds, they do

possess a few tools to suit the reeds they buy to their individual taste. The

basic tools are:

1. Reamer -- used to make the bassoon reed fit the bocal properly.

2. Reed knife -- used forscraping and trimming the reed. A. good one

may be made from a discarded straight razor.

3. Plaque -- for inserting between reed bladeswhenscraping.

4. Billot — used as a cutting block, etc.

5 . Pliers -- to bend wire.

6 . .Mandrel — used to hold the reed while it is being worked.

When the opening of the reed is too small to fit the bocal or the reed

is a little low in pitch, it may be reamed out a bit. The bocal shouldnever

fit into the reed so far that the end will protrude into the tone chamber be­

tween the blades of the reed.

To make a reed slightly stiffer, press the first wire (the one nearer

the tip) slightly at the sides with the pliers, thereby opening the reed;

press the second wire slightly at the sides thereby closing the reed. The

sides mentioned in the foregoing sentence both refer to the horizontal axis

of the reed when it is held in playing position.

To make a reed slightly softer, press the first wire slightly, top to

bottom, with the pliers, thereby closing the reed; press the second wire

slightly from top to bottom thereby opening the reed.

If the reed is too soft (the high notes are hard to produce, thetone

difficult to control, the reed offers little resistance, and E, on the third

space-bass clef, is usually flat), cut off a fraction of the tip (l/32 of an

inch or less). Rememberthat you can always take more off, but you cannot

put any cane back on thereed. Use a good sharp knife, with a rolling motion
 13

similar to cutting butter, with the reed tip resting flat on the billot, or a

pair of sharp scissors, to cut the tip off. Be sure to have the reed wet and

to press both sides together.

If the reed is too stiff, it may be scraped down with the reed knife.

Hold the reed with the aid of the mandrel and insert the plaque between the

blades of the reed. Keep the blades of the reed wet at all times. Always

work the knife in the direction of the tip. Remove a little at the tip if it

is too heavy (more than eight or ten-thousandths of an inch), or take a little

cane from the sides of the reed, starting at the tip. Use very fine sandpaper

to provide a smooth finish. Do not remove any cane from the heart or center

of the reed unless it is much too heavy (in which case it will probably be

better to buy another reed).

At present, I would recommend the following sources for those unable

to find good reeds :

Mr. Henry Cunnington

711 North Evergreen Street
Burbank, California

Hines Reeds
513 South Hatches Street
Kosciusko, Mississippi

Mr. Cunnington was formerly bassoonist with the Minneapolis Symphony, and Mr.

Hines is a reed importer (wholesale and retail).

For those interested in making or touching up their reeds, the book

2
entitled How to Make Double Reeds is suggested.

2
Joe Artley, How to Make Double Reeds (Elkhart, Indiana: H. and A.
nc., n.
Selmer, Inc., n d.).
 14
CARE OP THE BASSOON

Since the bassoon is a wood instrument and is apt to check or crack if

carelessly treated, it should never be subjected to sudden or extreme changes

of temperature. Particular care should be taken never to warm up the instru­

ment quickly after it has been exposed to cold long enough to become chilled
\
through, and it should not be blown until it is warm enough not to feel cold

to the touch. Do not lay the instrument, warm from playing, onto cement,

marble, stone, or metal, which, even in the same room, may be much colder

than the instrument.

The instrument should be kept clean at all times. Dust under the keys

can be removed with a small, soft brush. A large, soft chamois is a good in­

vestment. It may be used to wipe the entire instrument after using, and then

placed over the bassoon in the case where it will absorb bits of moisture or

perspiration which may have collected on the instrument. The keys of the in­

strument should be wiped before placing it in the case. Acid perspiration

tarnishes and pits nickel silver> of which most keys are made. In wiping or

handling the bassoon, take care not to break off cork adjustments since the

correct adjustment and seating of the pads govern the playability of the bas­

soon.

Moisture from playing, which collects in the tenor joint, may best be

removed by pulling a small piece of chamois attached to a weighted piece of

string (the length of the joint) through the bore until the moisture has been

absorbed. The chamois should be small enough to go through the tenor joint

quite easily so as not to mar or impair the bore. Special swabs are provided

for cleaning the bore of the butt. Surplus water should first be drained

from the butt. If the bassoonist has clean playing habits, he will find it

unnecessary to clean the small metal tube which connects the two tubes of the
 15
butt joint. This tube is screwed to the bottom of the butt joint but should

not be removed since the seal will be broken. It is seldom necessary to

clean the bore of the long joint or the bell. The bocal will remain clean

indefinitely if the bassoonistis meticulous. Never play the instrument im­

mediately after eating without making sure that the mouth is free of small

particles of food. If the bocal needs cleaning, run warm water through it

and keep the tiny hole open by inserting a broom straw through it. (Never

use a metal pin of any kind.)

Bearings and mechanical parts of the mechanism should be oiled at fre­

quent intervals with key oil. Use a medium-sized needle. Dip the end of the

needle in any good lubricating oil. Touch the needle end (where the small

bead of oil has adhered) to the spot where each key meets the post. A drop

of oil on each spring will prevent it from rusting. After the oil has set­

tled in the keys, wipe the instrument clean. Do not oil the small wooden

pegs extending through the bassoon, which operate keys on the opposite side.

The bore of the bassoon may be oiled with a sweet oil, olive oil, or

bore oil purchased at a music store. An oil-swab consists of a slightly oil­

ed rag, tied to a weighted piece of string. Draw the rag two or three times

through each part of the disjointed bassoon. Care must be taken not to. satu­

rate the rag with oil because excess oil will get on the pads, causing them

to harden and prevent correct seating. Never oil the bore of the tenor joint

or the butt if it is lined with rubber. Oil will cause the rubber lining,

which protects the wood, to deteriorate.

To protect the external finish of the bassoon, a good paste wax (such

as Johnson's) may be used. Apply lightly with a soft cloth, allow a few min­

utes to dry,.and then polish with a clean soft cloth.

 CHAPTER III

BLOWING THE BASSOON

BREATHING

Since it takes but a small amount of air to keep the reed vibrating,

the bassoonist has a tendency to take too much air into his lungs. This may

be overcome by taking less breath at more frequent intervals. This allows

the body to be relaxed since a fresh supply of air is in the lungs as in nor­

mal breathing. For complete control, while playing, sit up straight and in­

hale (through the nose and corners of the mouth), and exhale (into the reed)

in the same manner as when lying down resting. This is called diaphragmatic

breathing (diaphragmatic breathing is that which takes place just above the

waist, not high in the chest).

A person can hold his breath longer when he has air in his lungs than

when he does not. It is easier, consequently, when playing long phrases, to

have a surplus of air in the lungs. If, toward the end of such a phrase, h^

wishes to let out part of the breath before he finishes playing, he can do so

if he has a firm embouchure, open the corner of his mouth slightly to breathe

out without stopping the tone produced at the center of his lips. In playing

long, sustained phrases between which breath must be taken rapidly, it is

sometimes advisable to breathe out at the first phrase ending, play the next

phrase on almost empty lungs, and then breathe outjat the followingbreath

mark, and so on. This takes only half as much time between phrases as breath­

ing both out and in.

How often one should breathe and how deeply depends on the tempo and

on the length of the musical phrase, not on the number of notes or number of

bars.
 17
EMBOUCHURE

The quality of tone depends on the reed and the embouchure. Choose a

reed and strive for an embouchure which gives a clear, soft, not too reedy

tone, which will blend with the other instruments of the woodwind section.

If the student does not have the opportunity of hearing a fine bassoon­

ist, he might well imitate the tone of a fine cellist, though of course the

tone never approaches that of the cello enough to lose its own identity. The

embouchure should permit a full dynamic range from very soft to very loud

with the same quality of tone from the lowest to the highest pitches.

The upper and lower teeth are covered by the upper and lower lips, re­

spectively. Only a small portion of the lip should overlap the teeth. Heavy

overlapping prevents the reed from vibrating and produces poor tone and con­

trol. The position should be first of all natural for the student. Whether

he has straight or uneven teeth, a protruding or receding jaw, thin or thick

lips, must be taken into consideration.

Place the reed in the center of the mouth (if the formation of the

teeth will permit) and pucker the lips as in saying "oo (as in you). The reed

extends into the mouth about seven-eighths of an inch. The reed should be

thought of as a focal point. Prom all sides the lips exert equal pressure on

this focal point. Imagine that you are trying to yawn and at the same time

trying to take a bite out of an apple with the lips -- not the teeth. This

makes a larger resonating cavity, gives the tongue more freedom and assures

that the position is relaxed. The jaw muscles used in eating are not used to

any extent in forming the embouchure.

Be careful that the tongue is not used to bolster up the lip. By us­

ing a soft reed which is easily set in vibration, the danger of using the

tongue incorrectly or biting and closing the reed is lessened. The tongue
 18
should be relaxed and free to strike the reed.

TOKGOIKG^

Good tonguing is really easier than indifferent tonguing after it is

practiced a short while, and is much cleaner and more certain. Use the bot­

tom of the tip of the tongue to close the reed by covering the opening like a

trap door.This will let the reed shape remain the same; when the tongue is

raised, the air can enter the reed at once. The player who incorrectly just

pushes the tip of the tongue at the reed, probably closes the reed itself by

pushing one side against the other. When he draws away the tongue, the reed

must also open before air can enter.

ATTACK - SUSTAIN - RELEASE

4
Attack. When a pianissimo attack is wanted, particularly on a low

note, it can be done better with this "trap door" tonguing if there is a suf­

ficient supply of air behind it. Of course it would come if itwere attacked

sforzando. To get the same effect without the sforzando is thetrick. Every­

one remembers how he has sometime or another stifled a sneeze. He put the

sides and front-center of his tongue against the roof of his mouth and held

the sneeze back. To practice this attack, do the same thing a few times with

an ordinary breath. Now put the reed in the mouth, stop the breath in the

same way and release it again a split second before taking the bottom of the

tongue from the reed. It will not work perfectly the first time, but the

idea is easy to get. Of course it will not take much breath, just enough to

Loyd R. Rathbun, The Oboe Manual (unpublished Master's thesis. The

University of Southern California, Los Angeles), paragraphs 122-124.

4
Loc. cit.
 19
play as softly as the tone which is to be held, but the breath will be there

with enough pressure to start the tone.

During all tonguing, during all playing, the lips and jaw must remain

quiet. Never "chew" at the reed. In playing staccato, the student should

start and stop the tone with the tongue, not permitting any other movement in

the head but that of the tongue. Practice to use very little of the tip of

the tongue, and do not force that -- let it do its own moving as much as pos­

sible. Practice in front of a mirror to make sure that there is no movement

of the cheeks, lips, or throat while tonguing.

Sus tain the tone as smoothly as possible with attention to quality,

volume, and intensity.

Release. When you blow on a window pane to frost it, or blow on a

pair of glasses to clean them, the air stops flowing in the same manner in

which you should learn to release the tone. Be sure that the embouchure is

kept tight for a moment after the tone is released or the tone will drop in

pitch.

LEGATO^

In playing legato, as in the production of the tone, the student might

well follow the example of the fine cellist. Playing expressively does not

mean making a swell on each tone and dying out between. To make a phrase ex­

pressive, each tone must give the impression of flowing right into the next,

with the short notes as loud as the long ones.

Always remember to blow continually, as much when changing fingers as

5
Rathbun, 0£. cit., paragraph 127.
 20

when sustaining a tone. It is necessary to provide a little more air and to

relax or tighten the embouchure slightly, on certain tones which are found to

lack resonance so that there is an even flow in volume and intensity.

Fingerings on the bassoon sometimes make it difficult to play legato,

but just blow between the tones and move the fingers quickly when the time

comes to do it. Often the player will find that the legato is spoiled because

certain fingers move more slowly than others. Practice to speed them up. The

student may even practice to make them come too soon, and then to pre,ss all

of them together. Practice slow exercises or melodies thoughtfully to improve

the legato.

VIBRATO^

Vibrato adds much beauty to the tone, but even the ambitious beginner

does not need it and should refrain from any attempts to produce it. If he

is ever going to have a completely controlled and beautiful, satisfying tone,

he should first attain perfect control of a ’’straight" tone, one with which

he can play legato without vibrato. Vibrato, the singing pulsating tone, is

not easy to describe and explain. It is correctly produced by rhythmically

varying the pressure of the breath.

If it does not come naturally when the student tries to play a singing

tone, he can probably develop it. It may be best for him not to play but to

use his singing voice at first, starting a tone pulsating very slowly with a

"hah, hah, hah," on his breath, gradually connecting the pulsations and speed­

ing them up. Almost everyone can produce a vocal vibrato. If the student can

start it slowly enough to feel its location and action, he can better carry

6
Rathbun, op. cit., paragraph 128.
 21

the same feeling over to his playing. He should play a single pitch in the

middle register. Keeping his embouchure motionless and his throat relaxed

and Open, he stops the tone and starts it again with the breath alone, no

tongue. Again he starts it slowly as though playing quarter notes one to a

second, all begun with only the breath. Then he gradually speeds it up, still

single notes. He tries to keep the breath blowing continually and interrupts

its pressure only with the mechanism in the throat which started the single

tones. If the student can hear it coming, all that remains is to practice

until it becomes smooth and as fast as he wishes. A desirable speed for the

vibrato would be about four pulsations to the beat of a metronome set at 108.

One thing for which to work in a vibrato is smoothness. The pulsations

must not be too prominent, too fast or too slow. There should be no strong

feeling of movement or sound in the throat as it is made. Practice in front

of a mirror to see that the lip and throat muscles are kept motionless. Keep

the throat open and try to make the pulsations lighter and higher up in the

neck or head. If the player tries to make a vibrato with his lips, as he may

have seen saxophone players doing, his tone will not be nearly so good as

otherwise, and he will sacrifice all control of soft and delicate playing.
 CHAPTER IV

FINGERING THE BASSOON

HINTS ON FINGERING

The fingers and especially the thumbs must be relaxed. The fingers

should strike the keys with a percussive effect -- not hard enough to produce

any appreciable noise but hard and fast enough to produce a clean quick stop.

They should be raised in the same manner. Nothing produces sloppier playing

than slowly moving the fingers; precision and rhythm suffer and intervening

pitches are often produced.

Various bassoons will be found to finger differently, for best results.

Choice of fingering on the same instrument is also somewhat dependent upon

the player's embouchure and reed. The student should have the best instru­

ment obtainable and not change instruments or His technic will suffer while

he learns to apply new fingerings to certain notes on a new bassoon. Differ­

ent bassoonists will finger the same passage differently and get excellent

results.

It is necessary for the student to have several fingerings to choose

from for the same tone. Fingerings should be selected on the b&sis of inton­

ation, resonance, having the same quality of tone as that of other pitches

(especially those adjacent to it), and simplicity. Often a compromise be­

tween quality and simplicity will be necessary, especially in fast passages.

At first it will be better for the student to learn just one fingering for

each tone -- the one which gives the best intonation, resonance, and tone

quality on his bassoon. Later he can learn to apply new fingerings for fast

passages, very soft passages, or tones where he wishes to change the timbre

or pitch slightly. By experimentation the student will discover fingerings

 23

of his own. He should jot these down for future reference. Before adopting

a fingering, the student should consult his teacher to make sure that the

pitch is more accurate, the tone is more resonant, and the quality superior

to any other fingering which might he used in the particular passage. Do not

be too quick to adopt the simplest fingering merely because it is the easiest

one.

An effort has been made to make the following fingering chart as sim­

ple, practical and complete as possible. Study the drawing and learn how the

keys are named and identified. Pitches are obtained by pressing the keys and

closing the holes named. The first fingering given is that which is usually

preferred by the author on his particular bassoon; the second fingering is

the preferred of the author in fast passages where the first fingering is too

difficult to use. One of the other fingerings indicated might work better

for the student, or might be used for pitch shadings or a change in the tim­

bre of the tone.

The fingering chart is by no means inclusive since the possibilities

for different combinations is infinite. By always striving for more perfect

results, and by contacts with other bassoonists, the player may find new fin­

gerings which are more suitable to his use.

 F'tt^jcr
M i ^ k Fitjf

I f\\nm
Lf-pFlt,

fX !A
B' ^ T % Ic Fi»1^
F#-iT3

#
f>'rt^£r
6-^'iTf
f L 'fH k /^■*i^c#'
/fi^lrh Tknmi»

pHII
A»»*

SChLt /'

nV
 zs:

FINGERING OFART

LT 1(234) LT 5 LT 5
— - LE 123 LE 123 LH 123
RT 2 RT RT 4
RE 1234 RE 1236 RE 123

LT 2( 34 ) LT 5
:----- — :IE 123 LH 123
■ RT 2 35C RT
— %: RH 1234 RE 12

LT .3(4) LT 5 LT 5
LE 123 LH 123 LH 123
RT 1 RT
RT 2 TX RH 12. RE 123A
RE 1234

LT 3(4) IT 5
LE 1235 LH 123
RT 2 a RT
RE 1234 RE 1

IT 4 LT f
LH 123 LH 123
RT 2 RT
RE 1234 RE

LT 4 LT 456 LT 56
LH 1234 LH 123 LH 123
RT 2 RT 2 RT
RE 1234 RH 4 RH

LT LT 456 LT 56
IE 123 LH 123 LH 123
RT 2 RT RT 2
RE 1234 RE RH 4

LT 5 LT 456 LT 56
LH 123 LE 123 LH 123
RT RT 3 RT 3
RE 1234 RE RH

LT 5 LT LT 5
LH 123 LH 123 IE 123
RT 3 RT RT
RE 123(4) RH RE lA

LT £ LT £
IE 123 LH 12
RT z ' RT
RE 123 RH
 X(>

IT 5 IT Snip 8 IT 1
LH 13 IF 154
RE
RE
I IF 125
RT
RH 1
LH 1234
RT
RH 1

IT 56 LT Snip 8 LT 1
LH 12 LH 123 LH 123£
RT
RH
i RT
RH
RT
RE

IT 5 LT £ LT 6 L
LH 123 LH 123
Î LE 1 LH 1
RT
RH
RT 2
w
i RT
RH 234
RT
RH 34

LT 5 LT 6 LT 46
LH LH 123 I^ 123
i RT
RH
RT
RH 1( Ï2)54
RT
RH

LT 5 LT £ LT LT
LH (&1)23 LH ( H ) 2 3 LH 123 LH 12
RT 3 RT RT RT
RH 123 RH 1235 RH lA RH 1

LT £ LT 6 LT 6
LH 2A IF 123 LH 123
RT RT
RH RH RH 1234

LT £ IT
LE (ii-23 IF 123£
RT RT
RH 123 RH 54

LT £ LT £ LT Sni p 8 LT Snip
LH (il)23
RT
RH 1236
LH
RT
RE
(21)23
4
123
m LH 12
RT
RH
LH 12£
RT
RH

LT £ LT £ LT Snip 6
LH 123 LH 123 LH 124
RT RT RT
RE 1236 RH 123 RH

LT Snip 7

Î LH 123
RT
RE 12

IT Snip 8 LT Snip 8

I LH
RT
RH
123
1
12
LH 123
RT
RH 123A

ihl) moans 1 hole half«covared.

’’Snip” means to partly depress key and release immediately.

 z i

LT LT LT LT

i LH 124
RT
HH 23
LH 124
HT
HH 123
/.
- LH 234 -%
- HT
HH 124
LH 24
HT 1
HH 12

LT LT' 6 LT LT
LH 124 LH 12 LH 24 LH 234
HT HT HT HT 1
HH 3 HH HH 124 HE 12

LT LT LT
LH 12 LH ( H )234 LH {il )234
HT HT HT 1
HH 123 HH 1 HH 12

LT LT IT LT
LH 134 LH 14 LH 1234 LH 1234
i HT
HH 23
HT
HH
HT
HH 1
RT 1
RH 12

LT LT LT 5 LT
--- ^
LH 134 LH 134 - LH 234 LH 234
HT HT - HT PT 1
HH 123 HE 3 HH 14 HH 1

LT LT LT LT
LE 24 LH 1 LH 234 LH ( il)234
HT HT HT HT 1
HH 123 HH HH 14 HH 1

LT LT 5 IT 5
LH 15 LE 234 LH ( il)234
HT HT HT
HH HH 134 HH 6

LT LT LT 5 LT
LH 134 LE 1 LE 1234 LH 235
i HT
HH 12
HT
HH 12
HT
HH 6
HT
RH 6
^:3Sr
LT LT LT IT
LE 13 LH 24 - LE 234 LH 234
HT HT - HT 3 HT
HH 12 HH 12 HH HH 3

LT LT LT LT 7
LH 234 LE 134 LH 234 IH ( il :234
HT HT HT 1 HT
HH 12 HH 126 HE 13 HH 14
LT LT
LH 234 LH (il }234
HT 1 HT 1
HH 14 HH 13

IT
LH (èX)254
HT 1
HH 14
 29

LT 7 LT 67 (9)8 LT (9)8

lË ' LH 1234
- RT
RH 2
LH 1234
RT
RH 3
g 124
RT 1
124
ÎH 124
RT
RH 14

LT 67 LT 67 6,7,8, or 9
LH 1234 LH 1234 124
RT 3 RT RT 3
RH RH 2 RH 2

LT 67 LT 67 (9)8 IT 67
LH 1234 LH 1234 124 LH 124
RT 1 RT 2 RT RT 1
RH 14 RH 34 RH 124 RH 124

LT 67 LT 7 IT 9
LH 1234 LH 1234 IH 124
RT RT RT 1
RH RH 124

LT 67 LT 67 (9)8 LT (9)8
- LH 1234
- RT
RH 124
LH
RT
RH
1234
2
12
i 14
RT 1
124
IF 14
RT
RH 14

LT 67 LT 67 14 LT (9)8
LH 1234 LH 1234 67 or 8 TL? 14
RT 2 RT I RT RT
RH 2 RH [1]2 RH RH 124

LT 67 LT 67 (9)8 LT (9)8
LH 234 LH 1234 14 IF 14
RT RT RT Prp 1
RH 126 RH 126 16 RH 12

LT 67 LT 67 LT (9)8
LH 1234 LH 1234 LH 134
RT RT RT 4 Middle finger
RH Cl] 234 RH fl]34 RH 1L3A)4

LT 67
LH 1234
RT
RH [2] 34

Some bassoons are not equipped with LT 9.

Brackets around a number indicate that the key may or may nôt be

depressed, at the player's discretion.

LT (9)8 LT (9 )8 LT 6 ^
LP 154 LH 134 LH ( i2 ;0 "Tartly up.
RT 4 RT RT Raise ringj
RF 154 RH 134 RH (&2)6

LT (9)8 LT (9)8 Lr (9)8 LT (9)8

LH 154 LH 134 LH 2 A4 LH 2454
RT RT 5 RT 4 RT 4
RH 13 RH 13 RH 36 RH 36

LT (9)8 LT (9)8 LT (9)8

LH 154 LH 134 LH 2 A4
RT RT 4 RT 4
RH 156 RH 13 RH 34

LT (9)8 LT. (9)8 LT (9j8^Index finger

IH 54 15: 3't LH 2A*24-Riddle finger
py 1 P']' f ] or "^T 4
RH 36 RH 36 RH 146

LT (9)8 LT (9)8 LT 6 , aise ring

LH 34 LH 34 LH (il)234
RT 3 Rl' 4 pqi 23
RH 36 RH 34 RH 123AL
Shift to ;
LT (9)8 LT (9)8 LT
LH 34 LH 23 LH 24
RT RT 12 RT 23
RH [3] RH 36 FH 23 A
 3o

TRILL FINGERINGS

Start the trill with the fingering shown and then raise or

depress the key or keys in the column labeled TRILL VITF, for the

alternate (higher) pitch.

TRILL WITH TRILL WITH

LT 1( 234 ) LT 3(4)

I LH
RT
RH
123
o
1234
LT 1
m LH
RT
RH
1235
2
1234
LT 5

IT 12(34 ) If the passage will

permit time, insert a
I
LH 123 IT 12
RT wedge depressing L^ 5
RH L , 4 and trill as follows:

IT 2(34) LT 3(4 )

I IH
RT
RH
123
2
1234
LT 2 LH
RT
RH
123
2
1234
IH 4

o’
LT 2(34) LT 4
LH 123 LH 123
i RT
RH
2
1234
LH 5
i RT
RH
2
1234
LH 4

LT 3(4) IT 4

% LH
RT
RH
123
2
1234
LH 5
1 LH
RT
RH
123
2
1234
LT 4

LT 3(4) LT 4
LH 123 LH 1234
I RT
RH
2
1234
LT 3
i RT
RH
2
1234
LT 4

#■
LT 3( 4 ) LT 4

1 LH
RT
RH
1236
2
1234
LT 3
I b-é- ^
LH
RT
RF
1234
2
1234
LT 4 & RT 2

IT 6
LH 123
i RT
RF
2
1234
RT 2
 3/

LT 1 (only ) LT 5
LH 123 LH 123
RH 4 RH 36 or RH 3
HT 2 RT
RH 1234 RH 1236

LT 6 LT 5

i LH 123
RT
RH 1234
RT 3
LH
RT
RH
123
4
123
RT 4 & RH 3
or RH 3

LT 5 LT 5

i ~cr
LH 123
RT
RH 1234
RH 4 LH 123
RT
RH 1236
RT 1

LT 5 LT 45

m LH
RT
RH
123
3
123
RT 3
; LH 1236

RH 1236

LT 6 LT 46
LH 123 RH LH 1236 RH 2
RT 3 RT 4
RH 1235 RH 123

LT 6 LT 5
LH 123 LH 123
i RT
RH
3
123
RT
RH 1236
RH 2

LT 6 LT 5
LH 123
RT
RH 1235
RT 4
; 2Z
7 =
y g :
LH 123
RT
RH 12
RT 1

LT 5 LT 6

s 123
RH 6 LH 123
RT
RH 12
RH 3A

LT 5 LT 6
LH 123 -f^rp ^ g — — LH 123
RT "jgÿ"
'— RT RH 2
RH 123 12

LT L LT 5

m zc
“
RH 123
RH 3
i IH
RT
RH
123
1
12
RH 2

LT 6
LH 123
RH l
RT 1
RH 12
 3 X .

(Oont.)
LT £ LT 5

m zc
LH
RT
RH
123
1
12
RH 12 iS
------ RH 34
LH 3

LT £ LT £
LH 123 LH 125
RH 1 LH 3
g-zzr RT RT 2
RH 1 RH 4

IT £ LT 5
^ '-VL-~ LH 123 LH 123
mtÆ^
\ LH 3 RT 1 LH 3
RT
RH 1 RH 34

IT £ LT 66
LH 123 LH 123
o IH 3 LH 3
RT RT
RH 1 RH

IT F LT 466
LH 123 IH 123
LH 3 LH 3
RT 4 RT 2
RH 1 RH 4

LT * LT 6
LH 123 LH 123 LH 2
LT 6 RT 12
RT
RH RH 34

LT £ LT *
LH 123 k JME LH 12
RH lA RT LT 6
RT
RH RH

LT £ LT £
LH 123 LH 12
LH 3 LH 2
RT RT
RH RH

LT 6 LT £
LH 123 2 >: LH 13
LT 6 & HT LH 3
RT
RH RH

LT £
LH 123 LH 3
RT 2
RH LA

LT £ with whisper key lock ad. lib

 33

LT 6 LT L
IE 12 LH (il)23
.H 1: RT 3 RH 6
HH 123

LT £
LH 13 LH (il)23
LH 13 RT 4
RT
RH 123£

LT 6 LT £
IH 124 32 LH { il )23
LH 12 RH 6
RT 2 RT
HH 23 RH 123

LT 5 LT £
23C LH 1 LH ( il)23
i HT
HH
LH 1 RT
RH 123
RT 4

LT £ Start the following

LH 1 trill with the usual
P' a ÿ LH
HT fingering for G and A;
HH
LT

I
LT 5
LH
HT
LH 2 A 1 LH 123
RT
RH 123
RH 3

HH
LT
For intonation start IX LH 123 FR 36 or RH 3
the following trill with RT
the usual fingering for RH 1236
F and 0 :
LT
LT 6 LH 123 RT 4 % RH 3
LH RT 4 or RH 3
I RT
HH 123
LH 23 RH 123

LT
IT 5 LH 123
jCt. RT RT 1
LH ( il)23 RT 3
RT 3 RH 1236
RH 123

LT 5
LH (il)23 RH
RT 3
RH 123£

In this register start G. and Gf trills with LH (il)23.

 34-

-a- ^ bt
LT 3 cTzrrrrr: ie 123 HE 34
LH 123 BE 2 J P-------- T?T
HT ^ HE
HE 1236
LT
IT LE 123 LT 6
LH 1235 be 2 HT
HT HE
HE 1236
IT
LT .. LE 123 HE lA
LE 123 [5] be 2 HT
HT 4 HE
HE 123
LT
LT LH X23 HE 3
LH 123 RT 1 HT
■RT HH 34
RH 12
LT
LT IE 123 LE 3
LH 123
RT
RH 3 A.
i HT
HE
RH 12
LT 6
LT --- — T.n 1R3 HE 4
IH 123 HE 2 5
HT -- ----- HE 234
HE 12
LT
LT IE 123 LH 3
LH 123 HE 2 HT
HT 1 HE 34
HR 12
LT 6
LT IE 123 IT Ô & LH 3
LE 123 HE 1 HT
HT 1 HE
RH 12
IT 6
LT
LH 123
RT 1
RH 12
RH 12
i — —
=
LE
ET
HE

LT 6
123
^ ^
[1)234
lYi 3

LT LE 123 2
LH 123 RH 1
m RT
RH 1
HE [i]234

LT 6
LH 123 4
LH 3 HT
RT HE 1234
RH 1
start trills on k, k*. B, C. & R-
In this register snip to
 35

y LH 124 bH 23 ^ LH 234 HE
HT
HE RE 124

J2. ^ LT IT
LH 124 TjE P IR 234 4
i — HT
HE
HT
HE 1
lâr IT IT
— IH 124 TP 1 IE 234 IE 2A
J r HT HT (Index finger)
^ HE23 HE 124

IT ^ LT
LH 124 Tn o ■" IE ( j1 )23 ^
HT " 7 HT 1 ^tl2
HE 23 ~ HE 12

IT ' IT

I LH 124
HE 23
IH 12 or HH 3
^
^
HE 124
HE 12

— - LH 134 BB LH ( &1 )234 ^

HE 123 HE 1

IT LT
IH 134 IP 1 IE (&T)234 «
HT ^ HT
HE fl]23 HE 14

LT LT
I
------- - LH 134 HP H3 IR 234 pp
i '
,
HT
HE 123
HT
HE
o P-e-
— = LT LT
IE 134 BP o IH 234 pm «
i HT
HE 12
‘ HT
HE
zz IT 5 IT
LH ( i l )234 BP IB IE 234
i HT
HE
[4]
12
' HT 4
HE
HE 4

LT
LH l[3]4 IP 2k
HT
HH 12
 3é

LT
LH (^1)234 LT 67 & HR 3
HT 1
HH 1

IT b LT 67

i LH ( n )234 LT 67 ‘
HT
HH 14
I HT 1
or LT 67 i LH 1234
HT 3
HH
HH 12

'LT Finger G and LT 67

LH 234 then trill as LH 1234 HH 3
HT follows: HT
HH 14 HH 4

LT 67 LT 67
LH 1234 -jp g LH 1234 HH 4
HT ^ " HT
IHH 2 HH [2] 3

LT LT 7

i - LH ( t1)234 Tm rrt
HT
HH 3
LH 12 [3] 4 HH 12
HT 3
HH

LT LT 67 wrRalf doi
LH ( al )234 m ^^ LH 12(2)4 HH
2
HT 3 HT 1
HH HH 14
jÜrS2LLT 4liâ. : ± LT 67
~ ~ ^ ( |l)234 II 57
----- HT
' HH 4
^ BH 3
i LH 1234
HT
HH 124
LH 3

LT LT 67
m 1234 LT 67 & HT 2 LH 12 34 LH 3 '
HT
HH 3 HH 1234

LT LT 67
LH 234 LT 67, LH 1, LH 1234 • LH 3
HT 3 and HH 12 HT
HH 4 HH [2]34
LT LT 67
W
HT
HH 3
1234 II 67 & HH 4
i IH 1234
HT
HH 24
IH 23

LT LT 67
LH (il )234 BR 2 & LT 67 LH 1234
HT LH 23
HT 2
HH 4 HH 12
LT 67
LH 1234 Bp 03

HH 14
 37

-0^ ^ LT (9)8
i LH
HT
HH
124
1
124
LH 2

LT (9)8
LH 124 LH 2
HT
HH 14

LT (9)8
LH 124 LH 2 & HH 3
HT 23
HH 124

LT (9)8
LH 124 LH 2, LE 3, & HH 3
HT
HH 14
P-Ô-
LT (9)8
' LH 14 LH 3 & HH 3
HT
HH 14

LT (9)8
LH 14 HH 3
HT
HH 124

LT (9)8 ;Middle finger

LH 134 / RH 3
HT 4 y ^
HH 1 ^ 4

LT (9)8

i - LH 14
- HT
HH 124
LT 2A & RH 3

zâ:
LT (9)8

i - LH 134
- HT 4
HH 134
LH 2A or LH 1 & HH l

LT (9)8

I - LH 134
- HT 4
HH 134
LH 1 Sc LH 2A

k.
LT (9)8
- LH 34 LH 2A
- HT 1
HH 36
 CHAPTER V

HOW TO PRACTICE

Practice for periods of about fifteen minutes at first. Several short

periods will be more beneficial than one long session. The tissues of the

lip have a chance to rebuild and each time the mind is more alert and the

body is physically fresh and renewed. At the first signs of fa.tigue, stop

practicing; you are trying to build and strengthen muscles, not to tear them

down.

Practice fingering the instrument without blowing it since the finger­

ing is so complicated to the novice that he cannot divide his attention

between fingering, breathing, blowing, rhythmic values, attack, and so on.

Before the fingers can act spontaneously on fingering patterns which have

been learned by repetition, a mental picture of each fingering must be formed.

You must know what pitch a certain fingering will produce before blowing the

instrument. You must also hear the pitch before it is produced, since it is

very easy to play out of tune with the correct fingering on the bassoon if

you do not "hear" a pitch before it is produced. The sooner the mental pic­

ture of fingering is transferred to the sense of touch the quicker will be

the development of technic. The value of silent practice to "set" the fin­

gers is realized by many professionals who devote a part of their time to

this type of practice.

If you have trouble fingering a certain passage try fingering it very

slowly without blowing the instrument until you are sure of the placement of

the fingers. Then play the passage at a tempo no faster than all of the

notes can be played evenly with good articulation, gradually working up to

the required tempo.

 CHAPTER VI

MELODIES AND EXERCISES

The melodies which follow become progressively more difficult. Each

melody should be mastered before moving on to the next. The student’s range

is gradually extended by introducing pitches not more than a whole step high­

er or lower than those previously learned.

It is desirable to go through much easy material before taking up the

natural break between F and G on page and snipping on page ^0. It is sug­

gested that the teacher find additional material, interesting to the student,

which stays within the compass of an octave and write it out in the key of F

for the student.

Both the student and the teacher should analyze the student’s short­

comings. As problems arise and are isolated, the student should review the

material in this book relating to the problem; i. e., if he is having trouble

with articulation, he should review pages seventeen, eighteen and nineteen.

If his trouble is breath control, he should review page sixteen, and so on.

As new problems arise, exercises designed to overcome the student’s individu­

al problems should be written by the teacher or student.

Since the melodies are familiar to most musicians, the student and the

teacher will know the character of each piece and the general style of play­

ing involved, i. e., legato, soft tongue, light staccato, hard staccato, dol-

ce, marcato, and so on. If practiced correctly, the melodies will give the

student a good foundation for playing more serious music.

 4*0

Before attempting to play, the student should have some conception of a

good bassoon tone. If the teacher is not a bassoonist a good recording
should be used to demonstrate the sound.
Review ATTACK-SUSTAIN-RELEASG, pages 18 and 19.

LT S
LH

HH
a
LT ^
L*_l.
3EZ3EZ3EZ3E zc
a = t - M

If f
.
a # '#

IT t I 1-1-

UL_£
i u I I'n ntT 32

iX

» n
U'
RH li
LCZ
I- Ü H * »
VO" a * * # mé'm■ I «
RT
RH J a.

RT
RH'ia

LH I M
"5 5"
RT
RH/134

As each individual student needs special attention on some phase of his

playing, the teacher should write as many exercises for the student as is
necessary to get a good attack-sustain-release, before proceeding to the
scale study.
 F Scctie.
4^-r-W ■ - ^ 1\ , I - a •■1 " " - ... . " '
? M m t"'I ' "
'-ÿ: . T ^ .L— z-:r T : t .
k --------- --

m I I
j j J

m ï EZ^Z*
.? ^l e
F A^'bCfJ^io
-, ^ .1 x-\.-V.li--
1* * I\I T ^^ * 'i—
,(-!1—
I-j-i -*',
. / P# ,*A. .~r*dtdbTti7.4r.:.g-1l----------
/O f /A?e^ /« ^ / m e s

nScr/& /* Fhit4s
)

m Il ij J 7 ^ . ^ L * 4 ‘ü î? ' 0

Z h r e t \F^ls

■ J-,»-li~^"îlii * iT-i **

The student should be able to play the scale in thirds using various
articulations, all tongued, all slurred, two tongued-two slurred, and so
on, before proceeding to the melodies*
 a = b = a 4--- 1-
jjjg222]]0[22%iZ%Z]EI
m m.

ZC
@ *' ^ \• # m '
#'-#-
e # TC i a., 1 _=f

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k/. M o *t K
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7 -fr- -- —
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1— t— -=F=h j I-j 4:f---
i

itiz5b-
’ --------
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:-0:1.1
lT
r i
1 LK fx5 1

44-;- — ,1 _J J..1._)j •-L-i-^— -1 I

/ b
—
r M ; ^ #—#
g.. ______
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9» i I

7"%//Vî f/e, ^ 7w//V#f/c^ L f fhle,

g /?%, dSE
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n i ; H i u . i i - g , . k - [ ’ ...rT73=^==s.

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m [, ,
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tr /I /w e / G A.
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a « «
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J: f" : j-1 ^ j ' J' 1^ 1

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t "6"' ' t”... "i""' _— H 1 F=# , r 1 1 r 1

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... --- a L ^ _ . [ .. a 1 1' 1— 4^ — # — J — [
/ Z v j

”1--- 1... ['"■■' I. l = - j q

^ --------- H -------- :. I i l l 1
M'-' -1 1
/ p --Ç? . 0 zi'— g-Lz: ___0 — ,*.:
# »■".-

s
 *Sco/c^ F o s S t
4 4

9 bk "M i= f
3 = z

s 3: I ■ .' # zr±
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"7r>----- -- %— m — — 3 — ar- u '''- " A, i V -m- f N 1 1 b ; - 4 - t # -----

g~ 1 \.. : T1 1 1 ‘^ - • = ^
-
__ ■ "f~-* "^zi — J — fe_ll..... . . '":

^ )n^ S o i ^ l

^ ^ — Jr - r Jl - - Sw,
\
J'
i. I -— — H — i- - - H —
^."*--J t - g -4.:' # m:::r
t j 4 ::'! 1' 1 1

Tt jj J 1fl'j1J i-lil ••'-'[ j-j4-j j"41-J II

Go«( a-j- Onb f-<\4kt^S Ht.m y - k/4 /

i=W =4
7 b$ ^35:2-- > ■y
# "■ w
^ --y
.y _.m y _ _ U ----
ir
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4 M - — 1— 1 - 4 - • - _ ( L \ - { A->
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KT
7 HH
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4' '-■■— 9 * V .. -."L:"" f = — - - '
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a
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L q o Ks UjpTo 7"/ie€>
J

]4 r r ,-- ^"'j- 5= -
-■ - J v h - p 1 1 i 1■ 1: 1 r ...
" - TT - " I
T - > i
■ :f— .3 %— .1-— i r - - ^ r " O .^''^— ."..1

Ou. j r'—#—{
—{^ P—g t— J-- ■
'lj'T. -^— ;j-t- 4.— a V :""
q J ^ -■ ** .*-- 1^.2^— y- L:^:...„f,:jr:r::L_.z — J-----— f
# W* 0 »

T<h

\
f%■rR .ER tt
' #
I
—
■: I ^ p - t - - f i - - p iE
1^ ::»'. »~.fi |' f J [

Ve j)y J

a .ÆqN
—
= ^ — 4:--
eH— ^.. ..j— M* ÉË—ÊÊ—M—•—
T " " ' \ ..^ 1 i --I------
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0» #

Ai y ... ...— Y 4" " ' Hi — » — «" « j: ^ - - - - . h 1 1

— 0 — r-'-J....W - , i - 1 -----Ü — " J2L..
} b J ....*.-*-.■

#' - #
I

M u / r4< M q * , D o ^ * t '^«'1

3E=Z=3C >rf'»'
acgzE , >zr7j

nti 1 M 1— H - 4 -■■T-i ' H t j [-4 - f in j-----

'' * 1— g H ---- ^ — ZL-,»,,.. X
/ 1? ( T " ( <)
 A Fot'it'e.ss /s Oif/' G o 4
9
A
a 3E=T « m
F^=F=F
J:":#
s

s r = a 3C ■¥— m-
hzzh:

m I ' I i Î i I" '

i--»

A. S u l l i v ^ h
SoNit ^ i ' S

' J I I I 'I I I ...— :i-:,v -i,, J; •

M
LT +
JZ34-
ATX
xa4^
s a:±:i;s '# 9 d -ê
s

■ y., gl= J 1 1 fw 5
f
s

vVoy 7^0 T/)e, li^ohlfj ! T/)t> L.o f <! Is C.om^ H ^ c /- A/i?*ro/7

s
 F MS ^^

^ = F

# j. : I ’.n I f I "' -^' i-j'T1-H'r. '

'

g a i
hJ-f:

fix fZ / F J -A;* y
Lofic^ L o t i ^ A<J

r2i.4. Pi-i.i-..i = a
■»— V a ' » a *
LT3(f)
LH|*3

g a... 4-2..a.
r—«g—" r " jHT“ t ' "* '
11ivÆ
HT X
2X 1

7k ■’r> J nl ^ Tar
I n rii S-i rJ'.n
JtEX. m
L« (-t ‘)A3
KT* Th«. H n l f Hole.
a h f A3

C LT S %o
i 1—
xe>
i l LU -..uLLi
3L^
lH / %l
mr
Art l>S
I 2
ac i i
2.0

I 41 z means t h a t t h e i n d e x f i n d e r o f t h e l e f t hand c o v e r s o n l y a p t r e x i ~
mate iy h a l f o f the h o le . M i s i m p o r t a n t t h a t t h e pl a . ' . e r r o l l t h e f i n d e r on
t h e b a i l and n o t s l i d e i t . ' I nch a t t e n t i o n must be f i v e n t h i s p r o b l e m , s i nee
n o t e s i n w h i c h t h e h a l f h o l e i s used a m a f f e c t e d m r e a t l ; . b j t h e amount o f
h o l e c :':. ned , I he amount c f h o l e cr ened v a r i e s w i t h d i f f e r e n t i n s t r u m e n t s
■in a a l s o w i t h o t h e r n o t e s i n w h i c h t h e h a l f h o l e i s u s e d .
 f8
F TtilJ _
i 1 ~ "1' " r n
I T-rs LH
l-T ?
L.H V ' ) » 3 UN Ln »3 LM
3C

tW i 3
nr RT «r i?T » r «r /'*1 i U
«H HH 1*3 RH1X3 Rti ;>3 HiLltS RU 1X3
The tri il starts withthe regular fingering for F and G, then changes to
the fingerings shown. B y starting the trill with the regular fingerings the
player is assured of getting the right tones and establishes the proper
pitch in the listener’s ear.

O Come A// X&

/i- F o f t o H/fo

1 i

n
H"T %" "Lf
O

. .1 :
a « « 1 I I -I I 11 f - * -
P T t - l 1 '- \ 1 1 ^ 1 \

McBqcH' To OJ4 V i t j i ti*j

rV'î >
I' J. hJ.| I jZ . r»i .n
J13 I 14 -J
— # .—r m--------
j ' l r----- — R i -i -------
— É!— # — 00 # ___2 „ „ * ^ 4 . -m-i" — .....
/-. -1 ^ 1 *=!bj -------- ■ — # -----------------
m - = U ' 1 ■' i

a a gI
P.c

aid ' LLÎ1

 S y e , J b / j c h Fos'ke.i^ f?
0 /V F o l K s A i fFotne.

s r ■I j I 11 -4

ir r \
§ -Ü #- g _P— 10— #— #— — g

S 1=0
“# — -— #■
.' .n j .? TT?4I

W f K £f n e .
O h o t H s

.? I J.7i. 1 „& Ë e

^4'55 iJ.vi Ia 5 l I (^1 p 7 S

f
P.c
.' I »■'fcM a t H-t— -i

/^(O17ç So h <j
Xq /)/r ^ J ^ o o ^ lc^
8

L .. r T T ^ k - a g i i u # + - t -
/ PT ~ — :—0--- *— ^ — ; — 0 e -W---- 0— n i rTT]
■--- # # ^--t---
1

■ ^ ... LT .....
t»M 9L ^ 1 3

ffW '^34 '

4 .. k r r T i - — — #\' ri..r T ' H |'~T^''""Hn '"SJl' ^ .-ZJ_ 1

--- i---
--*. m-,
)- —^—\-----
— 0——M
^—
1
— #—
— -- ^ - -- -- \--
1 0 1 1 ,

0 , ^ 9 F - ^ ' ■■■ J,' -#..

-.00

il
 It

tT St»b7 Shibhi no
o o o J a 'c

?
la.
O O e o
# a •"•#

T1 ! 1T'T'-P
•
o o

" :i,l p" means to partly depress a key and release it immediately. tP
certain'ton )s cr, the baseocn, which are an ootave ap^rt, have practically
the same fingering it is necessary to "snip^ the upper tone to ensure the
desired pitch. The term "flick" is also used, in pl^ce cf snip,
\ small ® above a note is a reminder that the note i s to be snipped.
In a fast passage it is mere important to snip A. (tth line T-) than it is
to use LT 5 (whisper kaj) on G or F, or any other tone preceding or
following A, which would not a 1low sufficient preparation of t. This is
also true of lb, .ni h, just above the staff ( 9= all cf which are
snipped V: i i h I.T .

S iv ib a L-oto S u /e ,e ,-h C h q h i o T
, . / ) ________
I I k , , rf T t
m T~T
a
g

g —i
y-~"
WL— m.

1
jy .# # z m-m W »*■' T 1 ?

U/^lsh Fo!f( S o n j
714e Asit G " h o ( / € .

W #
 S/
ro lK ' I n n

yI
Z_r-■-■•.#mJJ'iTpn' 14—— j
#T
fl*z:.:"Ti
---------■ t— —
..g;:^-!.--J
w «1-L 0 --JÊ

miJ
~LTIsm; *\j--
■ Jz5V^:=
J:5K ^ ---
:—
,i m i
L X-

j- ,■ —Z^=z?f=: UÜ '
» I
m
#, ^ #
m
0 -- IM.

h m:"^1^'
J # ^r~^"f « I L I I
" oH''#
3 TI
—-3t I " — I— :*— wi m ~M'
-

' m " -«' " 1 ■■':■ r- 4— r — 1----^ j j ~ | > 1 ( T 1 h - - I

-,-zm:,Ji.., : ^ : J — . — J — 4---------
2 Q j -■ 1 l>*^' • V 1 ; / I * ''— -----# --# 1.1.»

'* • «

Xt'ish Foif( T*4 h e

I t ' i s h e h 4:^ FI

f)\ 6 1 fT^i' I TTf I I

/!■.,ri.. I ^ 4 r«_y_.|_,.rn I ^ i .m .rn 1. .r 'Q . -,^5

t/
 L « C i h q u H h F q i n t >

r ü ^ i^
M #

IÜ'' w*
= :

»
È I N':
i

ia A#
3Ezze:
"S##

o o
z^i. j .# l a -m-^

Ü' ' 1= '

i=4:" 1/* U [j 3%
«
l£
1o J
i JE
tr jr
±

RT*** + « *M/9 ^
;^ _ fTH ■,* 9 4-.:^ ■-1---,r r zl :^
i
•^r ^
a ~ /
A'j"4 # — a-., --A— *.„e"' m-'- ^""" I n n 1
' 1 Ü r 1 w ^ L i t = p -----£ j l - ----- 6 - m \ . ..iL. .
-----
 D ! At t, L <Ah4
E:'3L. --n i r i ---H — --- J^.,...J*^ .. n --- ^—.0----:
t i M - :"L" Wj j
f î — ...-1 riL ,
3; j, *■^ - = 4 — tgg ^ J, _z _.=B5=- " r .• *----^ ^ :.■J22=::
y » 1 =4 t ^ ' J ' J, * ^ - i ' ^^-v--y t'y-.,----- y-

1 5 p - U iiiu ii trrzjirz: w l m
H
^
r .
m

o
-0 ~

to T 1F.41-4 ,M_t.h
g j..:-i i; I

i,rf (S' >fc 4 /&/

IN %3
a (<) ^ i=t

ara

rrrti ttt^
/frt
g z
e z
I. g. - 12-r :"'_''~Jtt' ^

/>

g -'TTIi .rm m # j0'* #

g
fT S -g^^ é
I

y 23" :
 S-fehhen F o s i e r l
/7y 0 / 4 /r«/77^qcN'y /Yoz/iô uT «■
LH'13 7

h ~"'V "I.p - T - ^ r^' j

" 1 Hi H — V -f¥- i— t -
7 - 4 . F \~o -J ■ » • r " # *
1 •-/*■.! 0— 4 — i------ — a_i— a ' # "Tzi 1
1

TJ 8

0 ) AHi:L3
^ 1 1 pp.! rF-T^— n " TT H — F ^ - --~T~4.--33
1 1 1 3

Z - #- • ^ • i . ' p * ’‘i- ^ "» #.'.':^'..3 jj, «t-H "f ,* A-zj 1

Ld "Q--J-:-V
•" 1 V 1 B---
' f f
Z \ 4..._p__g^==
— * * *---- ' ^ *— H-^— -J .— ra ■.~H
.".4 1 m - * --- rzzzj

H- J Hi 4 R--I— s.----
1
j. S H -^3 1

^ -- ^' -e—"----- J di '* '*# *■ I ^ ,c t .y. T

4 / 7 /J/ e Let m r i e S c d c / j F o //( Sonf

32.1 Æ f—w
t "T .
bzJ 1 :'.]'
* » \
ÿ A.' ^

* tr s^/>b ë
o o uH i ^ 3
1— m — y A J ____
■ • »' *' T

9
I y V" y
f
NT
RH I
CL. «.
1 i/i Li ■; 1

Notice that B is snipped with LT B, while \ is snipped with LT 7.

y- y ^<4 '■jjr-i1 m1 \ ^ m Î
m=l=±±m :z=i
RT X.
RH 4-
1
W 1i' I / - i 1r p-.'j ■*— W
g
JIJ I m
Loch Lomon4 S c o fa J i F o / ^ S o b if

-0 0
p J I J .n H -fti b a i b # V

m z" m
Ïnv.^-J.^\ j
m.J .G .11J m -j’ff..l::izH:i2g 33C

Z = Z

"# '"'"%— #■
pTf3' T a I

A n / 4 L q n < ^ St^ne. -Sc.oich F o j j c S o ^ f

0 ^ 0
— 1 ,.. — j---- — 1 .
»' * W * — n— #— n— ^— |i Tn *— 9B--- ^— 1—
' M I X-

9 o
— e— 1 Z=1
iX. '■■4 ^JKZirZ!î^3iC— ^
E 11 ^ / 4 Ï 4
7a

i LT 5^.>g
X
g " :."g

5
U H /^3
HT
RH
 c.
G i ! i f o L j ^

?
**v
s -#-4-#- g — i -#4— # 4 T"

m T=X
, ; i « S 3— r
f % \ i l '

rt.._ 1 * I-. - « '1— w ' '-! - 1 --- -|-- 1- i l r T n

1 1 i 1 j t 'i — H T -
1 1 1— ^ — 0 — 1— 0 — A — #-— j_M— ^-- -- 1 --“A------
1 f..

o l M I >• 3

S k = W
s IX X ' { NgLi':^
FF+ i # ■*.?..:z=±ÿ
Ht I
g
I2.

Iri I
S Z±=Ê ■'I "4 i i ? 1 ?--j

aS c A /e
/î' o o
m.

¥ÿ>ft ? ŸH
>I ,i' J II")' |,M +î * ' M-0. ]-] i -4-4
#-4— #- È f
m
. T o o O T
0- _JL
zz±
fcf
g

■ZI riu r?3: g

0/0 O o o # o Q o ^
-# "" # g_ J«_g____A.
-# #-
 I hi sir Coun/'f't^

Ia
ÏTÏT Q = ^
0 '"

o
"#
±T^ Z '«

e
4 * . "
14Jj I " J j j g
T >

- Z

g f î / *
O
r--

’
/■ I:'7 /'Ml

C S&<t/es h »4 Ar^e<^<i ios

I•qj] ÜÜI lijj' -TrsI.rjTn j.M

W4KMom/t M i n o r bl-î-I

n?] LT 5
m 1
o * ,*LH %3

7kCa ' r r r ; j
*HfX36
Minor

4 W II7'b^fe 1J-

c -

f * jiT !- -ÛÎ I'iS i ’i n ■ IX ^«

 _ Lbio!i<K S ’S
tCe. LiI]iAO I
o o o o
® e
A' -

r»if -jn M jrH f i ' i i' i l ib

O o o o
Z
a
â i'b
Z = =
O il , l'ul Lu ô S
til'Z y h i ^
o o o o •> A o
T-'J -
---
---
---
--0
-

;M|T
m
ü a U i i ,Z44 L t - 4 ' ' n

7FT?777flûir5T
W — A, a
7f»-. A # A ^ # i ^ •■:.r-zz»__:jF ? # F '^TATqfw::. ,

EË3#z=% W :-'#-l' 1 M l

s f e / i h e n F o s f ^ ^
O / ^ JSJ^Crlf v/oe^
o o .

\ 0 A
», ? f ■ ± 'JB » *
id i H I .oij. t.i " ^ P

S
ML— mmJNL— , ^ 0^— — — — ■■■ I ^ I' 0

n I' t yi i4_h 11 ' i

Co//eoc So/JŸ

7 kj: t f i ■ jr - r f- f 1y t I f f l ï ï t? *■i
Q 0 0 0 ® • •* « « « «
0 mm ■■■iO. -I- g# # ^ I"'g ' J —-jin 0 # " m — =— oc— 0 — 0 — 0-

ü iI
 • S k ///L'ctn - F f o c - h o f S f

Tho. L o s t C i i o i ^ 4

ft--- ^ ..Z,...Jf,,,
J
— Q 0 0 V- # » H o '■
..1..Q - r Q - t ' i . T U i I j: # 4

o 9
:-fz]
r!.-tT.S
t 4 = ¥ = a..\
W
-y--' A ' 1 « " "1
■/ 9 \ V ■ “ 4 =
^ ^ - T Ü
^ 1 0 ^ 0 • O o O o -----------— — < rs r. ----- 1
'i-j
71', ? i T T r « T T i T !..# ,:j^ i n 3 = ? = t # _ 9 ( »' Ug: 3 'V U
/ P ^ i..' :^.: ' i.::^'..t.:\"^'i' .xi:^fc4.:::.:.i'.::„ A: '1', h:.t::-'B j----i î 4

C o i f t i n ' T h t ' o ' T h e H y e S c . c f < . h

Avrl>:-Tt--- r?: r#' A:::!:S't- if ., • ■'-----

/ y it-4— ^ jj^- d : . - ^ , , a ^ . * ,• _:,|.J # ^ ----:— '

0* o
0 ' /hi m
2 ^ X
e rk ' ,
/ b b 4 A i T 1 Q.-w^ ----------- L --------- 1
R H i x 3 i t

O'L b , Tf'T'" "T»"* -----F I ' ■ Y i ------— -■— -.'

-------------
»•:-•■ •---r ~ e - 1 — — z-..:.— -----------------

S c . < f / e

O 'ik — -or ■^ '■■'J -■J-- --' 1 F - f ^ q i ' ^ î i W i ^ ^ 1 11 \ \ ' \ 1 !

f t= F H
/- -b" i^-^r ^.- j Z - — -z
7 ^ ' a ' d " ' dEdti N ' ' * ' '*-‘

Arr-kj— -1 3 ^ « j

^ L
L H ,%3

A B k L -. m f P T r ' t r n
/ P Z4-"— ----i
• d » * d • ^ •
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SNIPPING

Up t o t h i s p o i n t , s n i p p i n g has been t r e a t e d as an e x e r c i s e t o c o n d i t i o n
the s t u d e n t ’ s response. H e r e a f t e r , t h e s t u d e n t .Trust remember t o s n i p A, Bb,
, 3 , and P ev en t h o u g h t h e s n i p i s n o t i n d i c a t e d .
The s t u d e n t s h o u l d n o t a l l o w h i m s e l f t o f a l l i n t o a f a l s e se ns e o f
s e c u r i t y when he f i n d s t h a t he c a n o f t e n p r o d u c e a t o n e w i t h o u t s n i p p i n g i t .
N o t s n i p p i n g m i g h t y.ork n i n e t i m e s o u t o f t e n , i n c e r t a i n p a s s a g e s , b u t t o
a s s u r e c o n s i s t e n c y t h e p e r f o r m e r c a n n o t o v e r l o o k t h i s phase o f h i s f i n g e r i n g
No h a r d and f a s t r u l e can be g i v e n f o r s n i p p i n g . W ith e x p e r ie n c e the
s t u d e n t w i l l know when and how t o s n i p . A g e n e r a l r u l e t o f o l l o w i s t h a t an
e n t r a n c e , a s k i p , o r a t o n g u e d n o t e s h o u l d be s n i p p e d . Then s e v e r a l n o t e s ,
w h i c h mu st be s n i p p e d , o c c u r i n a f a s t pas sag e t h e s t u d e n t c a n f a c i l i t a t e
t h e f i n g e r i n g by s l i g h t l y d e p r e s s i n g I T B, t h r o u g h o u t t h e p a s s a g e .
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y he s t u d e n t i s r e f e r r e d t o a i l s c a l e s end a r y e ^ r i o s s t a r t i n g on i b
w h i c h ma) be found i n t h e c h a p t e r on s c a l e s and a r p e g g i o s s t a r t i n g on
page 9t o f t h i s b o o k .

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on page 96 o f t h i s b o o k .
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e a s i e r fc r t i i e p l a y e r . L e a r n t h i s a s i d i s t i n c t c l e f l i k e th e oa s? and
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 92

To familiarize yourself with the tenor clef, change the bass clef to

tenor clef in the following pieces and play in the key as indicated. All are

major keys. Notice that in each case one sharp is added to (or one flat sub­

tracted from) the key signature.

Key Page Key Page

Lightly Row C 42 My Old Kentucky Home D 5#

Twinkle, Twinkle, Little Star C 42 Annie Laurie D 54

America C 43 Loch Lomond P 55

Three Blind Mice C 43 Auld Lang Syne G 55

Fairest Lord Jesus C 43 Cielite Lindo C 56

Son of My Soul C 44 Mary Had A Little Lamb C 58

My Faith Looks Up to Thee C 45 Old Black Joe P 58

Ten Little Indians F 45 Goodnight Ladies c 58

Holy, Holy, Holy C 45 Cornin' Thro' The Rye Bb 59

Blow the Man Down c 45 Grandfather's Clock F-P:^ 62

Joy to the World c 46 Silver Threads Among the

Gold F-Prjf: 65
Lullaby c 47 She'll Be Cornin' Round
the Mountain P - P f 63
Come All Ye Faithful G 48 Nobody Knows the Trouble
I've Seen F - F ^ 63
Carry Me Back to Old Virginny G 48 Theme -- Symphony No. 1 c 65

Old Folks at Home C 49 The Old Oaken Bucket F 65

Bridal Chorus F 49 Maryland, My Maryland P 65

Swing Low, Sweet Chariot G 50 The Man on the Flying

Trapeze Eb . 68
The Ash Grove F 50 In the Gloaming c - c ^ 81
Garry Owen C 51 Oh, My Darling Clementine D-Db 81

Pop Goes the Weasel G 51 Hail! Hail!'the Gang's

All Here D-Db 81
Irish Washerwoman G 51 Hand Me Down My Walking
Cane D-Db 82
Dixie Land C 53 Oh, Dem Golden Slippers D-Db 82
 93

c i /

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'E x e rc is e I i s d e s ig n e d t o s t r e n g t h e n th e em bouchure, im p ro v e th e a t t s o k -
s u s t a i n - r e l e a s e , i n c r e a s e t h e d y n a m i c r a n g e , and a c c u s t o m t h e s t u d e n t t o
l i s t e n t o t h e sound o f c o n s o n a n t and d i s s o n a n t i n t e r v a l s . The t e a c h e r p l a y s
t h e e x e r c i s e e a c h t i m e on t h e same p i t c h w h i l e t h e s t u d e n t p l a y s t h e e x e r ­
c i s e e a c h t i m e a s e m i t o n e h i g h e r o r l o w e r u n t i l t h e i n t e r v a l o f an o c t a v e ,
b e t w e e n t h e s t u d e n t and t h e t e a c h e r , ha s been r e a c h e d . The e x e r c i s e may
a l s o be p r a c t i c e d w i t h b o t h t h e s t u d e n t and t h e t e a c h e r p r o g r e s s i n g by s e m i ­
tones, i n o cta ve s. The e x e r c i s e s h o u l d be p r a c t i c e d t h r o u g h o u t t h e
s t u d e n t 's p itc h -c o m p a s s .
S x e r c i s e 1 s h o u l d be p r a c t i c e d d a i l y by t h e s t u d e n t . I t i s a strenuous
e x e r c i s e and must n o t be p r a c t i c e d a f t e r t h e m u s c l e s o f t h e e m b ou c h u re
become t i r e d .
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E x e r c is e 3 i s a d a ily - w a r m u p e x e r c is e to im pro ve the s t u d e n t ’ s i n t o n a t i o n *

P i t c h e s o u t o f th e r a n g e o f t h e i n d i v i d u a l s t u d e n t s h o u l d be l e f t o u t u n t i l
s u c h t i m e as t h e y may be e a s i l y p r o d u c e d .

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 CHAPTER VII

SCALES, ARPEGGIOS, AND INTERVALS

Mastery of the scale, the arpeggio, and the interval is the foundation

of technic. Many exercises have been written on these fundamentals, but most
of these are tedious to practice. Since all scales, arpeggios, and intervals

should be practiced daily, an organized simple form which will cover all the

material is desirable.

Scales are divided into the following main groups :

1. Major 4. Chromatic
2. Melodic minor 5» 'Whole tone
3. Harmonic minor 6. Major scales in thirds
7. Minor scales in thirds
Arpeggios are divided into the following main groups :

1. Major 3. Dominant sevenths

2. Minor 4. Diminished sevenths
5. Augmented

The importance of practicing scales in thirds cannot be overemphasized

for the bassoonist, as the fingering varies in ascending and descending cer­
tain scales.

Scales, arpeggios, and intervals should be practiced using various ar­

ticulations (all notes slurred; all tongued; two slurred and two tongued, and
so forth).
 M S c a le , %

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 CHAPTER VIII

ORCHESTRAL EXCERPTS

The excerpts from symphonic works included here were selected on the

basis of being relatively easy technically, and at the same time characteris­

tic of the uses of the bassoon in the orchestra.

The student can learn much about phrasing and interpretation by listen­

ing to recordings of these works.

Alternate fingerings which facilitate the performance of certain

passages are indicated. Whenever the student finds a passage which is diffi­

cult to perform, he should look up the fingerings which occur in the passage

in the fingering chart. He may then decide which fingering for the passage

is best and make this new fingering a part of his technic. Alternate finger­

ings are often confusing at first, but by practicing them very slowly and

thoughtfully the student will be rewarded by finding that the difficult pass­

age or a similar passage is much easier to perform the next time it occurs.
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 CRATTE? IX

tr an spo sitio n

TREBLE CLEF

The s t u d e n t w i l l f i n d i t d e s i r a b l e t o r e a d t r e b l e c L a f n o t o n l y a s an
a i d i n t r a n s p o s i n g by n o t e na m es , b u t b e c a u s e t h e b a s s o o n p a r t o c p a s i o n a l l y
is w ritte n in tre b le c le f. M os t m e l o d i c m u s i c f o r v o i c e and p i a n o l i e s i n
an e a s y r a n g e f o r t h e b a s s o o n and so u n d s w e l l on t h i s i n s t r u m e n t .

Wt-iA'K. a- m

•ii' S ±
"wrr

A 7-^
A

Bb PABT3

Sometime yo u may w i s h t o p l a y d u e t s w i t h a 3b i n s t r u m e n t l i k e t h e Bb
c l a r i n e t o r t o t r a n s p o s e a 3b p a r t i n t h e o r c h e s t r a o r b a n d .
I n o r d e r t o t r a n s p o s e a Bb p a r t , ch a ng e t h e t r e b l e c l e f t o t e n o r c l e f
and add two f l a t s t o ( o r s u b t r a c t two s h a r p s f r o m ) t h e k e y s i g n a t u r e . If a
s h a r p o c c u r s as an a c c i d e n t a l f n o t i n t h e k e y s i g n a t u r e ) r a i s e t h e t o n e one
h a lf-s te p . l f ” a” ^ l a t o c c u r s as a n a c c i d e n t a l , l o w e r t h e t o n e one h a l f - s t e p .
I f a n a t u r a l o c c u r s as an a c c i d e n t a l , i t w i l l be n e c e s s a r y t o c o n s u l t t h e
k e y s i g n a t u r e t o see w h e t h e r t h e t o n e s h o u l d be r a i s e d , l o w e r e d , o r r e a d as i s ,
T a r t s w hich l i e i n th e u p p e r r e g i s t e r f o r the c l a r i n e t a r e n o t p r a c t i c a l
f o r e a s y t r a n s p o s i t i o n s i n c e t h e y mu st be r e a d an o c t a v e l o w e r t o f a l l i n t h e
range o f the bassoon.

O x ce/-/)/- G “f A s ‘
f X//-

fT\
Vr i-mn
Z^ssooh

Rb PARTS

To r e a d m u s i c w h i c h i s w r i t t e n f o r an Eb i n s t r u m e n t i n t r e b l e c l e f ,
ch a n g e th e t r e b l e c l e f t o b a s s c l e f and add t h r e e fiiaPrffS t o ( o r s u b t r a c t
three fr o m ) the key s i g n a t u r e .
 CHA.PTER X

MATERIALS AND METHODS

STUDIES

After the material in this book has been mastered, the following

studies are recommended for the development of style and technic: Grades 1

(easy) to 5 (difficult).

Composer Title Grade Pub*

Milde, L. 25 Studies in All Keys 4-5 CB

Weissenborn, Julius Bassoon Studies, Volumes 1 & 2 I-5 CF

SUPPLEMENTARY SOLOS
(With Piano Accompaniment)

Isaac, Merle J. The Jolly Dutchman 2 CF

Knight-Clement Rocked in the Cradle of the Deep 2 Agn

Millars, Haydn Adagio and Rondo 3 BHB

Mozart, ¥. A. First Concerto for Bassoon, Op. 96 5 CB

Mozart-Spratt Second Concerto for Bassoon in Bb Major 5 And

Pares, Gabriel Crépuscule 2 - 1 /2 Alf

Rathaus, Karol Polichinelle 2 Bel

Weber, C. M. von Concerto in F 5 ES

Weissenborn, E. Voxman Romanze 2 - 1 /2 Ru

Song Without Words 2 - 1 /2 Ru

Weissenborn, Julius Adagio, Op. 9, Book 2 3 For

Arioso and Humoreske, Op. 9, No. 1 2 - 1 /2 CB

Winterbottom, Prank Charlie Is My Darling BHB

*
See Key to Publishers, p. I58, infra.
 137
COLLECTIONS
(With Piano Accompaniment)

Arranger Title Grade Pub

Buchtel, P. L. Musical Americana, Book One 2-3 Ru

Contents Composer

Desert Song Romberg

Indian Love Call Priml
Tea for Two Youmans
Love Nest Hirsch
With a Song in My Heart Rodgers & Hart
Riff Song Romberg
When Day Is Done Katscher

Musical Americana, Book Two 2-3 Ru

Contents Composer

April Showers Silvers

One Alone Romberg
Rose Marie Priml
Deep in My Heart Romberg
Stouthearted Men Romberg
Play Gypsies - Dance Gypsies Kalman
Just a Cottage Small Hanley

Musical Americana, Two Books 2-3 Ram

Similar to the Rubank Collection.

DUETS

Composer Title Grade Pub

Mozart-Andraud Sonata for Two Bassoons 3 And

Janeourt 50 Progressive Melodies, 1st Suite 2-3 Cos

20 Melodies & Etudes, 2nd Suite 5-4 Cos

Three Grand Sonatas 5-4 Cos

ENSEMBLE

Mozart, W. A. Five Divertimenti for Two Clarinets

and Bassoon 3-6 Wit
 138

KEY TO PUBLISHERS

Code

Agn J. E. Agnew, 5O7 1/2 11th Street, Des Moines, Iowa.

Alf Alfred Music Company, 145 ¥. 45th Street, New York City.

And Albert J. Andraud, 287I Erie Avenue, Cincinnati, Ohio.

Bel Belwin, Incorporated, 45 ¥. 25rd Street, New York City.

BHB Boosey-Hawkes-Belwin, 45 W. 25rd Street, New York City.

CB Cundy-Bettoney Company, Hyde Park, Boston, Massachusetts.

CP Carl Fischer, Incorporated, 56 Cooper Square, New York City.

*Co8 Costallat & Ci®, 60 rue de la Chaussée d'Antin, Paris.

*ES Evette & Schaeffer, 18-20, Passage du Grand-Cerf, Paris.

*For Rob. Forberg, Leipzig, Germany.

Rem Remick Music Corporation, R. C. A. Building, Rockefeller Center, New

York City.

Ru Rubank, Incorporated, Campbell at Lexington, Chicago, Illinois.

Wit M. Witmark and Sons.

^Foreign publications may be obtained from one of the following import­

er-deal ers, who specialize in woodwind music:

Albert J. Andraud Elkan-Vogel Co., Inc.

2871 Erie Avenue I7I6 Sansom Street
Cincinnati, Ohio Philadelphia, Pa.

Baxter-Northup Co. G. Langenus, Inc.

857 S. Olive Street 79 Main Street
Los Angeles, Calif. Port Washington, N. Y.

Cundy-Bettoney Co., Inc. Sansone Musical Instruments, Inc.

Hyde Park I658 Broadway
Boston, Mass. New York City, N. Y.
B I B L I O G R A P H Y
 BIBLIOGRAPHY

A. BOOKS

Artley, J., How to Make Double Reeds. Elkhart, Indiana: H. and A. Selmer,
Inc., n. d.

Brand, Erick D., Selmer Band Instrument Repairing Manual. Elkhart, Indiana:
H, and A. Selmer, Inc., 1939*
Hipkins, A. J., Musical Instruments Historic, Rare and Unique. London: A.
and C. Black, Ltd., 1921. Pp. 91-92.

Pratt, Waldo Seldon, The History of Music. New York: G. Schirmer, 1935- Pp.
500j )42; 395-96j‘T^9; 597; 571.
Rathbun, Loyd R., The Oboe Manual. Unpublished Master's thesis. The Univer­
sity of Southern California. 148 pages.

Schwartz, H. W., The Story of Musical Instruments. NewYork: Doubleday,

Doran, and Company, Inc., 1938. Pp. 86-110.

Terry, Charles Sanford, Bach's Qrchestra. London: OxfordUniversity Press,

1932. Pp. 94-119.

B. METHODS

PIament, E., "Study on Finishing Bassoon Reeds," Part VII of Exercises Tech­
niques * Paris : Evette and Schaeffer, n. d.

Langey, Otto, New and Revised Edition of Celebrated Tutors, Bassoon. New
York: Carl Fischer, Inc., n. d.

Lentz, Don, Method for Bassoon. New York: Belwin, Inc., n. d. Books I and II.

Skornicka, J. 1., Rubank Elementary Method for Bassoon. Chicago, Illinois:

Rubank Inc., n. d.

Voxman, H. and William Gower, Rubank Advanced Method for Bassoon. Chicago,
Illinois: Rubank Inc., n. d.

Weissenborn, Julius, Method for Bassoon. Revised by Fred Bettoney; Boston,

Massachusetts: The Cundy-Bettoney Company, n. d.

, Practical Method for the Bassoon, Augmented and Adapted for the Mod­
ern Bassoon by ¥. P. Ambrosio. New York: Carl Fischer, Inc., n. d.
I N D E X
 INDEX

MUSIC

Page Page

Abide with Me 42 Ciribiribin 87

Air from Nina 67 Classical Symphony, Excerpt

from 128
A La Bien Aimée 85 Cornin’ Thro* the Rye 59

All Through the Night 70 Dance from Rosamunde 87

Aloha Oe 58 Danse Macabre, Excerpt from 129

America 45 Dark Eyes 55

A Mighty Portress Is Our God 46 Deep River 60

Annie Laurie 5^ Der Preischutz Overture,

Excerpts from 129
Arkansas Traveler 60 Dixie Land 53
Ash Grove, The 50 Drink to Me Only with Thine
Eyes
Auld Lang Syne 55 Elegy

Ave Maria 90 Espana Rhapsody, Excerpts

from 127
Barcarolle from Tales of Hoffman 66 Evening Star from Tannhauser 75
Beautiful Dreamer 78 Fairest Lord Jesus 43
Believe Me If All Those Endearing Fingal’s Cave Overture, The
Young Charms 69 Excerpts from 128

Blow the Man Down 45 First Noel, The 69

Blue Bells of Scotland, The 44 Fisher’s Hornpipe 86

Bridal Chorus from Lohengrin 49 For H e ’s a Jolly Good Fellow 76

Campbells Are Coming, The 74 Funeral Dirge, Excerpt from 60

Carry Me Back to Old Virginny 48 Garry Owen 51

Cielito Lindo 56 God of Our Fathers 44
 142

Page Page

Goodnight Ladies 58 Mary Had a Little Lamb 58

Grandfather’s Clock 62 Maryland, My Maryland 65

Gypsy Air, Excerpt from 135 Merry Widow, The 84

Hailî Hail! The Gang’s All Here 81 My Faith Looks Up to Thee 45

Hand Me Down My Walking Cane 82 My Heart at Thy Sweet Voice 78

Hinky Dinky Parley Voo 82 My Old Kentucky Home 54

Holy, Holy, Holy 45 New World Symphony, Theme from 72

In the Gloaming 81 Nobody Knows the Trouble I ’ve

Seen 63
Irish Country Dance 57 Nutcracker Suite, Excerpts
from
Irish Washerwoman 51 0 Come All Ye Faithful 48

Jingle Bells 73 Oh, Dem Golden Slippers 82

Joy to the World! The Lord Is Come 46 Oh, My Darling Clementine 81

Kerry Dance, The 86 Old Black Joe 58

La Cinguaintaine 52 Old Folks at Home 49

La Golondrina 78 Old Oaken Bucket, The 65
La Paloma 76 Onward Christian Soldiers 46

L ’Arlesienne Suite, Excerpt from 130 On Wings of Song 74

Last Rose of Summer, ’Tis the 71 Paddy Whack 76

Lightly Row 42 Pop Goes the Weasel 51

Loch Lomond 55 Sailing Sailing 72

Long Long Ago 47 Salut d ’Amour 66

Lost Chord, The 59 Scheherazade, Excerpt from 126

Love’s Old Sweet Song 64 Second Hungarian Rhapsody,
Excerpts from 130
Lullaby 47 Serenade 83
Man on the Plying Trapeze, The 68 She’ll Be Coinin’ Round the
Mountain 63
Marseillaise 73 Silent Night 77
 145
Page Page

Silver Threads Among the Gold 63 Symphony No. 40, Mozart

Excerpt from 132
Simple Confession 85
Tales from the Vienna Woods 89
Sinfonia, Excerpt from 132
Ten Little Indians 45
Song of India 88
Three Blind Mice 43
Song of the Volga Boatman 69
Toreador Song 75
Songs My Mother Taught Me 70
Twinkle, Twinkle, Little Star 42
Sorcerer’s Apprentice, The
Excerpts from 126 Two Guitars 79
Star Spangled Banner, The 79 Wedding March, Mendelssohn 86

Sun of My Soul 44 When Johnny Comes Marching

Home 77
Surprise Symphony, Theme from 74

Swan, The 91 When You and I Were Young,

Maggie 72
Swing Low Sweet Chariot 50

Symphony in D Minor, Excerpts from 154 Would God I Were the Tender
Apple Blossom 84
Symphony No. 1, Brahms
Theme from 65 Yankee Doodle 49

GENERAL

Arpeggios IO8-II8 Breathing 16

Articulation I8, I9 Burbling 9, 10
Attack-sustain-release 18, I9 Duets 137
Exercises on 40, 93
Embouchure 17-19
Attributes of the aspiring Exercise to improve the 93
bassoonist 5^ 6
Fingering the bassoon 22-37
Bassoon Hints on fingering 22,23
Assembly of 7, 8 Chart naming and iden­
Care of 14, I5 tifying the keys 24
Fingering of 22, 37 fingering chart 25-29
History of 4 trill fingerings 30-37
Poem, ‘Bassoon," by Laurence
McKinney 2
Use of 3 Flick 50
 144

Page Page

Half hole 47 Scales 95-107

Index, music 141-143 Snipping 50, 54, 60

Intonation, exercises to
improve 94 Solos with piano
accompaniment 136,'137
Intervals 119-124
Studies 136
Legato 19, 20
Tenor clef 91
Materials and methods 136, 137
Tonguing 18, 19, 94
Orchestral excerpts 125-134
Transposition 135
Practice, hew to 38
Trills 30-37, 48
Publishers, key to 138
Vibrato 20, 21
Reed, The 10-13
Whisper key 4, 5
Lock 32, 133