Helpful Information for North Allegheny High School Bassoons
High School and University Audition Repertoire
Methods and Studies
Standard Study Materials
Milde, L., 25 Studies in Scales and Chords, Op. 24, International, Cundy-Bettoney, Kalmuss
Milde, L., Concert Studies, Op. 21, Vols. I & II, International, Cundy-Bettoney, Kalmus
Weissenborn, 50 Advanced Studies, Op. 8, Book II, Fischer, International, Cundy- Bettoney, Peters, Kalmus
Gambaro, 18 Etudes, International, Lemoine
Bozza, 15 Etudes Journalieres, Leduc
Piard, Scale and Arpeggio Studies, 3 Vols., Costellat
Weissenborn, 50 Advanced Studies, Op. 8, Book I, Fischer, International, Cundy- Bettoney, Peters, Kalmus
Jancourt, 26 Melodic Studies, Op. 15, International
Orefici, Melodic Studies, International, Leduc
Orefici, Bravura Studies, International, Ricordi
Oubrados, Games et Exercises Journaliers, 3 vols., Leduc
Kovar, 24 Daily Exercises, Kovar
Giampieri, 16 Daily Studies for Perfection, Ricordi
Vaulet-Voxman, 20 Studies for Bassoon, Rubank
Bitsch, 20 Studies for Bassoon, Leduc
Intermediate to Advanced Level
Standard Methods
Weissenborn, Practical Method for the Bassoon, Fischer
Langey, Tutor for Bassoon, Fischer
Additional Study Materials
There are numerous other study materials that are very highly recommended. Consult with your private bassoon teacher or band director concerning additional study materials.
Solos
Levels 3-4
Arne, Sonatina, No. 5, Oxford
Baines, Introduction and Hornpipe, G. Schirmer
Bakaleinikoff, Three Pieces, Belwin-Mills
Beethoven, Allegro, C. Fischer
Bergmann, Prelude and Fugue, G. Schirmer
Besozzi, Sonata, Oxford
Boismortier/Sharrow, arr., Sonata in D Minor, International
Bond/Finzi, arr., Concerto No. 6, Boosey & Hawkes
Bordeau, Premier Solo, Rubank
Bordeau, Second Solo, C. Fischer
Corelli, Adagio, Ricordi
David, Concertino, International, Rubank
DeHaan, Scherzo, G. Schirmer
Dunhill, Intermezzo, Belwin-Mills
Dunhill, Lyric Suite, Boosey & Hawkes
Elgar, Romance, Novello
Foret, Pieces Breves, Southern
Foster, Rondo, Belwin-Mills
Gailliard/Weisburg, arr., Six Sonatas, International
Galliard/Camden, arr., Suite No. 1 or No. 2, Belwin-Mills
Garfield, arr., Concert Album, Edition Musicus
Garfield, Soliloquy, Edition Musicus
Glazunov, Serenade Espagnol, C. Fischer
Godfrey, Lucy Long from Solo Album No. 1, Boosey & Hawkes
Gossec/Buchtel, arr., Gavotte, Kjos
Gottwald, Fantasie Heroique, C. Fischer
Handel/Gee, arr., Andante and Allegro, Southern
Handel, Concerto in G Minor, International
Ibert, Arabesque, International
Ibert, Little White Donkey, Leduc
Jancourt, Reverie, C. Fischer
Kerrison/Camden, arr., Suite of Dances, Belwin-Mills
Kerrison/Camden, arr., Three Young Pieces, Belwin-Mills
Lopatnikoff, Arabesque, Leeds
Marcello/Merriman, arr., Adagio and Allegro, Southern
Marcello, Allegretto, Leduc
Marcello/Merriman, arr., Largo and Allegro, Southern
Marcello/Sharrow, arr., Sonata in C Major, International
Marcello/Rudas, arr., Sonata in E Minor, Boosey & Hawkes
Merci, Sonata in G Minor, G. Schirmer
Millars, Adagio and Rondo, Boosey & Hawkes
Miller, Variations on “Wrangle Taggle Gypsies”, Boosey & Hawkes
Mozart/Pezzi, arr., Adagio, Southern
Pisk, Bohemian Dance Rondo, Belwin-Mills
Rathaus, Polichinelle, Belwin-Mills
Schoenbach, Solos for the Bassoon Player, G. Schirmer
Senaille, Allegro Spiritoso, Southern
Shostakovich, Fantastique Dance, Edition Musicus
Siegmeister, Contrasts, MCA
Stamitz, Concerto in F, Southern
Stevens, Three Pieces, Peters
Tcherepnin, Esquisse, Op. 7, Spratt
Telemann, Sonata in F Minor, International
Templeton, Elegie, Leeds
Vivaldi, Sonata in A Minor, International
Weissenborn, Arioso, International
Weissenborn, Capriccioso, International, Southern
Weissenborn, Nocturne, International
Weissenborn, Romance, International, Rubank
Weissenborn, Song without Words, Rubank
Wilner, arr., Classical Album, Boosey & Hawkes
Wolf-Frrari, Concertino Suite, Ricordi
Levels 5-6
Adler, Bassoonery (unacc.), Presser
Arnold, Fantasy (unacc.), Faber
Bach, Concerto in Bb, Sikorski
Bach, Concerto in Eb, Sikorski
Bitch, Concertino, Leduc
Blazevich, Concertino No. 5, International, Leeds
Bozza, Concertino, Leduc
Bozza, Fantaisie, Leduc
Bozza, Recitative, Sicilenne, et Rondo, Leduc
Bruns, Concerto No. 1, Leeds
Bruns, Concerto No. 2, Leeds
Busser, Cantilene et Rondeau, Leduc
Busser, Recitative and Theme, C. Fischer
Childs, Sonata, Presser
Cohn, Declaration and Toccata, Elkan-Vogel
Danzi, Concerto, Associated
Desportes, Chanson D’Antan, Leduc
Devienne, Concerto in C, Associated
Duclos, Three Nocturnes, Leduc
Eder, Sonatine, Associated
Etler, Sonata, Associated
Fasch/Klitz, arr., Sonta in C, Boosey & Hawkes
Feld, Concerto, Leduc
Flamant/Fields, arr., Concert Piece, Rubank
Fuchs, Concerto, Schott
Fuleihan, Concertino, Boosey & Hawkes
Graun, Concerto in Bb, Sikorski
Graupner, Concerto in C, Associated
Grondahl, Concerto, Peters
Grovlez, Siciliene et Rondo Giocoso, Leduc
Hindemith, Sonata, G. Schirmer
Hummel, Concerto, Rubank
Ibert, Le Cage de Cristal, Leduc
Jacob, Concerto, Belwin-Mills
Jean-Jean, Prélude et Scherzo, Southern
Jolivet, Concerto, Heugel
Kanitz, Concerto, Presser
Kohs, Sonatina, Mercury
Luke, Concerto, Oxford
Maixendeau, Lied et Rondeau, Leduc
Martelli, Theme Varie, Eschig
Mihalovici, Sonate, Heugel
Milde, Andante and Rondo, C. Fischer
Milde, Concerto No. 2, Musica Rara
Milde, Polanaise, Musica Rara
Milde, Three Study Pieces, Musica Rara
Mozart, Concerto, K. 191, Breitkopf & Hartel
Müthel, Concerto, Bote & Bock
Osborne, Rhapsody (unacc.), Peters
Perle, Three Inventions for Solo Bassoons, Presser
Phillips, Concertpiece, C. Fischer
Pierne, Concert Piece, International
Pierne, Prélude de Concert, Salabert
Poot, Ballade, Leduc
Presle, Petite Suite in F, Leduc
Ravel/Schoenbach, arr., Alborada del Gracioso, Elkan-Vogel
Rimsky-Korsakov, Concerto, International
Rogers, Solilquay No. 2, Elkan-Vogel
Rossler, Concerto, Schott
Saint-Saens, Sonata, Op. 168, Peters
Schaefer, Capriccio, Zimmerman
Schroder, Music for the Bassoon (unacc.), Peters
Spisak, Concerto, Ricordi
Spohr, Adagio, Boosey & Hawkes
Stamitz, Concerto in F Major, Ricordi
Starokadomskii, Four Pieces, International
Stevens, Sonata, Pioneer
Tansman, Sonatine, Eschig
Tansman, Suite, Eschig
Telemann/Rudas, arr., Sonata in C Minor, Boosey & Hwkes
Telemann, Sonatas in Eb and F, International
Tomasi, Concerto, Leduc
Tomasi, Danse Guerriere, Leduc
Vanhal, Concerto, Associated
Villa-Lobos, Ciranda das Sete Notas, Southern
Viola, Concerto, Peters
Vivaldi, Concerto in A Minor, F8, No. 2, Ricordi
Vivaldi, Concerto in A Minor, F8, No. 7, Ricordi
Vivaldi, Concerto in Bb (LaNotte), International, Ricordi
Vivaldi, Concerto in D Minor, Boosey & Hawkes
Von Weber, Andante e Rondo Ongarese, International
Von Weber, Concerto in F, C. Fischer, International
Von Weber, Palindromes, Leduc
Weinzweig, Divertimento No. 3, Southern
Wellesz, Suite, Op. 77 (unacc.), Rongwen
Wilder, Sonata No. 2, Southern
Zbinden, Ballade, Associated
Reeds
Bassoonists from the intermediate to advanced stage should be able to adjust commercially manufactured reeds or make them on their own. No bassoonists training should be considered complete without the knowledge of how to manufacture reeds. There are several publications on reed making, but it is best to seek the hands on advice of a professional bassoonist. Before a bassoonist learns to make his/her own reeds, they obviously need to purchase reeds. The reed may be the single most important part of the bassoon. It works in conjunction with the instrument and embouchure to produce a tone. Because of the importance of the reed, it is important for the bassoonist to purchase quality reeds that will respond. There are basically three types of purchasable reeds:
1. Semi-finished commercial reeds
These reeds are mass-produced much in the same way single reeds are. The term
semi-finished implies that performer will have to modify the reed to their
specifications.
2. Finished commercial reeds
These reeds are graded much in the same way as single reeds for strength (1-5; 1
being the softest and 5 being the hardest). Even these “finished” reeds still will need
some adjusting by the player
3. Custom-made reeds
These reeds are made to order for customers to their specifications by professionals.
Private Lessons and Practice Suggestions
What can my lesson be?
A chance to share your enthusiasm for the instruments and for music, and an opportunity for that enthusiasm to grow.
A chance to correct basic technical problems and to learn new and better ways to solve challenges that the instruments and music present.
A chance to learn new repertoire and to learn about repertoire yet to be studied.
A chance to be a part of a community of players on your instruments; to learn and grow with them. Many other students studying your instruments will have the same problems to work on; maybe even the same solos and etudes.
Ultimately, lessons give you the chance to increase your prospects for better music making at North Allegheny and beyond. As your performing ability improves, so does your satisfaction with music making.
Practicing – Be regular in your routine; this will help you to measure progress and pinpoint problems. You cannot “cram” for a lesson or performance; it does not work. Put in the time each and everyday. It shows when you get on stage. There is no substitute for the confident attitude and technical accomplishments arrived at through hours of practice time. Most stage fright and tension problems are a result of poor/irregular preparation. Here is a basic list of practice goals:
a. Determine your semester goals. Then determine your weekly goals.
b. Decide what you must do today (today’s goals) to realize the weekly goal. Be very specific.
c. Warm-up. This can and should consist of a wide variety of techniques and styles. Feel free to vary you warm-up from day to day.
d. Practice individual patterns or sections of the music that need the most attention.
e. Take a brief rest. Walk away from the instrument to get something to drink and to refresh your mind. This should be brief so as to not lose your focus.
f. Upon returning do a run through (or two) as if you were in a lesson, audition, recital, or professional performing situation.
g. Review problem spots from the run-through.
h. Review previous etudes or repertoire.
i. Do some sight-reading. The best way to learn to read is with another player. This can be either duets or playing the same thing together. Sight-reading alone is not nearly as beneficial.
j. Decide on tomorrow’s goals.
k. Now its all behind you; you’ve set very specific goals, worked hard to achieve them, and tested yourself with a run-through. If you’ve done this and succeeded you have something to show for it and should feel a great sense of accomplishment.
l. Think about the following quotes everyday:
o Nothing happens but unless first a dream
o Go for it! Life is not a dress rehearsal
o All gave some, but some give all. Which am I?
Duets – Find another musician to play with. You can also play solos and etudes together. This is one of the best ways to improve sight-reading, and it’s a good time.
Listening – Find recordings of professionals that play your instrument and other Instruments. Go and hear as many live performances as you can!
Join Your Professional Association – Make an effort to purchase a membership to your applied professional association, International double Reed Society www.idrs.org. They will often supply you with journals, performance dates, articles, and related materials to help you in the study of your instrument.
Buying Your Own Music – You should buy and own as much music for your instrument as you can afford. Often in auditions, contests, or competitions copies are not permitted and can get you disqualified.