Lawrence J. Stewart DMA
NJ AUDITION CD

 
 

bs00184_.wmf (4976 bytes)  BASSOON AUDITION SOLOS

                                            with . . .

                                                  PERFORMANCE SUGGESTIONS
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Each year intermediate and high school bassoon students prepare for the New Jersey Band and Orchestra Directors' Association auditions. These auditions are held to select students to participate in orchestras, symphonic bands, and/or wind ensembles at the district and the state levels. The audition solo is chosen each year from a three year rotating list for intermediate students and a four year rotating list for high school students.

Unfortunately students do not always have private instruction and recordings readily available to them. Therefore, for easy accessibility, I recorded all seven audtion bassoon solos with accompanments on one CD, with performance suggestions included. The CD package was sent to all Instrumental Directors in New Jersey.

To hear these pieces via Internet, you must have Real Player installed. You can get Real Player at http://www.real.com.
 

PERFORMANCE SUGGESTIONS (It is suggested that you print these suggestions for reference.)

The following performance tips will help you learn these audition pieces. The suggestions are minimal and are meant to point you in the right direction and help you overcome basic technical problems inherent with the bassoon. They should be used as supplemental materials only. There is no substitute for studying with a teacher and following his/her instructions.

It is also assumed that a good playable bassoon and bassoon reed is available to you. Most school systems own adequate bassoons, but many are not in good working order. Consult with a bassoon specialist in your area to utilize his/her knowledge of resource people for bassoon repairing and reed making. With good equipment, the bassoon is no more difficult to play than any other instrument.

A good fingering chart is also important. Many are excellent. If you don't own one, I suggest purchasing a booklet by Homer Pence - Teacher's Guide to the Bassoon (published by Selmer Instrument Company, Elkhart, Indiana). Mr. Pence's inexpensive booklet contains an excellent  fingering chart and informative material on the basics of bassoon playing. Essentials of Bassoon Technique by Lewis High Cooper and Howard Toplansky (publisher Toplansky, Union, New Jersey) is a more extensive resource for additional fingerings.

Hopefully the following suggestions will make your practice more productive and enjoyable. Good bassooning!
 

INTERMEDIATE AUDITION SOLOS
(Numbers in parentheses refer to the fingering chart)

        
 


 


 

POEM -- Raff

Play this composition using full breath support and sound, especially for the
upper notes. Otherwise, these notes may go flat in pitch or may not speak.

In order to keep the intonation and sound under control, use the following
full fingerings for middle Eb (1), top space G (2), and middle line Db (4).

If the high Eb at the end of the piece is flat, try playing that note with the right forefinger raised (5). More importantly, use full breath support in this register.

There are several fingerings that may be used for the high C# (6) three
measures before #3. For a strong dynamic level, fuller fingerings are preferable.

VALSE BALLET -- Siennicki

Since much of this composition is in the upper part of the middle range of the bassoon, try to play with plenty of breath support. Without that support, the pitch will go flat and your tone quality will sound pinched. Adding vibrato on the long notes will enhance your musical expression. Ask your teacher for the correct way to use vibrato.

Several times in this piece, notes are held through the downbeat of the next measure. In order to achieve the best musical expression, increase the intensity, dynamics, and vibrato of the note as you hold it through the downbeat.

Several full fingerings will help you achieve the proper pitch and dynamics.Try to add the Eb key to the top space G (2) as often as you can to keep the pitch down. Several places, such as two measures before #13, the middle F# needs to be played very softly. This note usually is too sharp and bright in sound. If you add the Eb and the low D keys(7), you will be able to play that note softly and flatter in pitch.

The high F# (third measure from the end) should be played with one of the full fingerings (8). Otherwise, that note will probably be sharp and difficult to attack.

SARABANDE -- Debussy

Control and playing in tune at a soft dynamic level are important aspects of playing this composition well. Finding a reed that is easy to play at a soft dynamic level will help.

Using full fingerings whenever possible for middle Eb (see fingering no.1) - especially at # 2 and top space G (2) will assist you in keeping those notes from going sharp.

The top line Ab, second note of the piece, is sometimes difficult to slur. If you are having trouble, notice how much you are opening the left forefinger half hole. The forefinger should only open the tone hole 1/4 of the way (3) or the overtone above the Ab may speak instead.

Be rhythmically accurate when playing the triplets that occur throughout this piece. The quarter note beat should not vary. To check yourself, play with a metronome set at 60.

Using a vibrato on the long notes will add considerably to the expression of this composition, but first consult with your teacher to make sure you are doing it correctly.
 

HIGH SCHOOL AUDITION SOLOS
(Numbers in  parentheses refer to the fingering chart)

SONATA IN F MINOR -- Telemann

Several performance practices are customary to make the Telemann Bassoon
Sonata, (written in the Baroque period), sound stylistically pleasing.

The tempo of a movement in Baroque music should not vary once you begin the movement. Check tempo by playing the movement from beginning to end with a metronome. Using a metronome guarantees a steady tempo.

Playing correct articulations and extremes in dynamics are important. "Echoes" (playing a phrase loudly, then repeating it softly) is a common Baroque performance practice frequently found in this composition. Exaggerate the dynamics in the "echoes" as well as all dynamics throughout.

Many ties exist throughout this piece. Crescendo to the end of the tie to keep the phrasing interesting. Adding vibrato and intensity help as well.

Andante cantabile

Andante means "at a walking pace" and cantabile means "singing". Maintaining just the right tempo is important. You want it to steadily move so that it can be played in a singing style. Too slow makes the piece die.

The rhythm in the first measure is important. The first beat is a duplet but the second and third beats are triplets. Play the first note as an obvious duplet  compared to the triplets that follow. Check yourself by playing with the metronome set at a quarter note beat.

The following full fingerings can be used to help you produce better intonation, tone quality, and contrasting dynamics: The middle Eb has a tendency to go sharp on most bassoons. Using full fingerings for this note (1), especially in exposed places (measures 19 and 20) will help you control the note. The top space G is usually sharp. Add the Eb key (2) to lower the pitch. If your reed is a little soft, the middle E natural may sag to an Eb -- especially at a loud dynamic level. (The bassoon or bocal may be the culprit here also.) If you are having trouble, add the low E or F key when playing this note (9).

Allegro

Keep the basic beat of all four movements relatively consistent throughout the composition. The eighth note beat of the first and third movements approximates the quarter note beat of the second movement and the eighth note beat of the last movement.

The tempo of the second movement should not be too fast or it will sound rushed. Later in the piece, several passages are more technically difficult because of multiple sixteenth notes. Start the movement no faster than you can play the sixteenth note passages. Remember to keep the tempo steady from the beginning of the movement to the end.

There are several slurs with intervallic skips to the top line Ab in this movement. The first measure is an example. If this slur gives you trouble, check that your left forefinger uncovers that tone hole only 1/4 of the way (3). If you uncover the hole more than that, the overtone pitch above the Ab may speak instead.

Slurs to Bb, C, or D above the staff occur often in this movement. Two such spots occur in measures 40 and 62. Use a technique called "snipping or flicking" (10) to make notes speak. This technique involves touching one of the vent keys at the very beginning of the note. If you cannot develop this technique in time, you may be able to legato tongue the note and make it sound like a slur if you are subtle enough. If your equipment is playing well, you will need to use this technique only occasionally.  Have a bassoon specialist check the size of the whisper key opening in the nipple of the bocal if you are having trouble.

Measure 62 contains a slur up to the Eb above the staff. Sometimes this note does not slur well. If so, fingering the note with the right forefinger raised will allow it to slur more readily (5).

Andante

Count this movement in eighth notes, and keep it moving "at a walking pace".
The tempo is important for allowing the musical phrases to have the right feel.

Show off your vibrato and musical phrasing in this movement. Remember to increase your vibrato and dynamic level to the end of tied notes. Intensity needs to be maintained.

The last note is a very loud middle E. To ensure that it does not sag to an Eb, add the low E or F key (9).

Vivace

This movement has many of the same technical problems as the other movements. Measures 28 and 29 contain slurs to the high Eb (5). Measure 44 has a difficult slur to Bb which may necessitate "snipping" (10), and measure 45 has a difficult slur to the top line Ab (3). Again, be careful to only uncover the left forefinger tone hole 1/4th of the way for this Ab.

In Measure 30, a difficult slur occurs to the Db above the bass clef. Keeping your left thumb off the whisper key should help. Otherwise, you may need to lightly tongue the Db to make it speak.

CONCERT PIECE -- Phillips

This composition was written as a bassoon solo with a string orchestra accompaniment. Therefore, the dynamic level is loud for much of the piece. You need a strong reed that can allow you to play at that dynamic level.

The opening and ending Allegro sections need to be performed with energy and spirit. Playing the eighth notes short will help to convey that feeling even though the music may not be marked that way. Notes longer than an eighth note should be played at their full time value.

The meno mosso section at #8 should be played as expressively and as tenuto as possible. If you know how to play with vibrato, use it on the long notes in this section.

Several times throughout this slow section, a note is repeatedly played to give musical emphasis. Each time this occurs, play the note a little louder than the previous note, crescendoing through to the last repeated note. The culmination of this meno mosso section is the last sixth and seventh measure before #10. The high A is repeated seven times. The high point of this section musically gravitates toward that last high A. Use a fuller fingering for the high A (11) to enable you to produce a full sound and good intonation for this critical spot.

Whenever possible, I would suggest using several full fingerings for the middle Ebs (1) and top space Gs (2).

For the ninth and tenth measures after #7 and at #10, add the low Db key to the regular low Fb or enharmonic E fingering (12). This allows for a fuller sound and a slightly lower pitch.

For the high F#, five measures before the end, and the note before #12, I suggest using a technical fingering (13). This fingering is not as well in tune and doesn't attack as well, but is much easier to finger and is useful in technically fast passages.

For the high F# at #8 and at #14, use a  full fingering (8) to assure a full sound, good attack, and good intonation.

In the 4th, 5th, 6th, and 7th measures after #14, play the high F (sixteenth notes only) by fingering the high Eb and then raise the second finger of the left hand (14). In this situation, I feel this fingering is preferable because it results in a smoother transition between the notes. Go back to the full fingerings on the high Fs that are eighth notes.

CONCERTPIECE OP. 35 -- Pierne

Allegro non troppo

Fast but not too fast are important tempo instructions the composer gives here because the second section is faster yet--- allegro scherzando. Try to portray excitement and spirit without using an excessively fast tempo. Use exaggerated dynamics and articulations to achieve this excitement. This may be accomplished by clipping off certain notes (the middle F-- the second note of the piece). By playing this note short, the accented middle C# which follows will sound even more accented. Use a strong reed to allow you to play at a loud dynamic level and to play easily in the upper register.

The middle C# (third note of the composition) may want to sag to a C natural
because of the dynamic level and the accent. If so, add the low E or low F key to support this note (9) This fingering utilizes the same technique used for the sagging middle E.

To achieve easier fingering in the difficult passage (five measures after B), use a technical fingering for the high Gb (enharmonic F#) (13).

An octave slur up to the E above the bass clef occurs five measures after letter C. This note sometimes does not slur well. Finger this note with the right forefinger raised to assure that it speaks (19).

At one measure before H, I suggest using a full fingering for this C# above the bass clef (6). The dynamic level is very loud here and needs the support of a full fingering.

Five measures after H, use full fingerings for the high A (11) and high Ab (20), again, because of the loud dynamic level.

Allegro scherzando

Although the second section is played faster than the first, a scherzando feeling can be achieved without taking the tempo excessively fast. It is much better to practice this piece slowly at first until it's under control and then gradually increase the tempo. Strive for the proper musical style not speed. If you learn
it well at a slow tempo, the faster tempo will not be a problem.

In the second and fourth measures before J, use alternate fingerings for the middle Gbs (21). Because the Bb precedes the Gb, the thumb has to skip over the low E key if you use the regular fingering. If you use the alternate Gb fingering, you can rotate from thumb to little finger.

Four measures before K, a high B occurs. This is such a high note that I have included the fingering for it (22). If you use the correct fingering, it shouldn't be difficult to produce.

Seven measures before L is a C# trill. I used the following fingering for this trill (16). Use whatever works for you and your instrument. You may wish to refer to the Essentials of Bassoon Technique for additional possibilities.

At two measures before L, the downbeat of L, and six measures after L, use full fingerings for the high F#s (enharmonic Gb) (8). You need a good fingering to play these strong attacks in tune.

Twelve measures before the end, very high notes occur---high B (22), high C (23), high C# (24), and high D (25). I have included the fingerings because these notes are in such a high range. However, if you do not have a high D key on your bassoon, you may need to play these notes (especially the high D) down an octave because they will be difficult to produce  (These notes are above the scale range required by the New Jersey Band and Orchestra Director's Association.).

The composition ends on a low D note that is usually sharp. Be careful to lip it down. If you can reach it in time, adding the low Bb key to the low D fingering (17) will help.

SONATA NO. 2 -- Galliard

Finding the right tempo to make the musical phrasing flow correctly is very important in this composition. To keep the tempo steady, practice the movement from beginning to end with a metronome. Your musical expression must take place within that steady beat.

Andante

There are many trills in this movement and throughout the composition. In Baroque music, most trills are customarily started from above. In measure 12, there is a trill on A, so start the trill on B. If you lean on the B and hold it slightly, it should feel musically more correct.

In order to play the low A's in measures 25 and 27 with good sound and pitch, you may find that adding the low Db key may produce the results you want (15).

In measure 33, play with a full sound to contrast with the very soft dynamic level of the preceding phrase.

In the next to the last measure, the C# trill is awkward using regular fingerings. Try a full fingering or a modification of it to achieve better results (16). You may need to experiment to achieve the results you want because every bassoon is slightly different.

To achieve the right tempo in the Adagio at the end, make the tempo twice as slow. In other words, play the quarter note beat in the Adagio equal to the half note beat in the preceding Andante section.

If the low D at the end of the movement is sharp, add the low Bb key with the tip of your left thumb to the regular low D fingering (17). If you can manage this awkward fingering, the pitch will be lower with a fuller, darker sound.

Vivace

The phrasing will flow better if you play this movement with a feeling of one beat per bar. It doesn't have to be excessively fast, but it does need a one beat per bar rhythmic emphasis to keep it from sounding choppy.

Exaggerate the dynamics in this movement -- especially the echoes in measures 5 - 6 and 9 - 10.

In measure 27, using a technical high F# fingering (13) might be preferable to using a full fingering. On the other hand, I prefer using a full fingering for the high F#s in measures 1 and 40 (8).

Alla siciliano cantabile

Play this movement in two beats per measure. Phrasing with six beats per measure will not have the feeling of a Sicilian dance, a dance common in the Baroque period. This is a beautiful singing movement if you can capture the correct tempo and musical feel.

I suggest full fingerings be used (8) for the high F#s. The tempo isn't fast enough for technical fingerings to be advantageous.

Use the following fingering (18) for the high D# trill in measure 12.

For the low E at the end of the movement, add the low Db key to keep the pitch down and produce a dark, soft sound (12).

Spiritoso ed allegro

To play the last movement in a spirited manner, emphasize the dotted quarter note beat almost in a skipping feeling. The feeling here should be light hearted and joyful. This doesn't imply excessive speed -- rather, a lilt or swing.

Exaggerating the contrasting dynamics, especially for the echoes, will add considerable musical interest. These echoes occur in measures 9 - 12 , 17 - 18, 41 - 44 , 49 - 50, and 53 - 54.

The C# trill in measure 22 and 34 is difficult if regular fingerings are used. Try using a modified full fingering (16) for better results.

In measure 46, two high F#s exist. I think a full fingering is preferable for the first F# (8) because it is tongued, but a technical high F# fingering(13) allows for a smoother transition between notes for the second F#.
 
 
 
1.   Poem Joachim Raff
2.   ValseBallet Edmund J. Siennicki
3.   Sarabande Claude Debussy
4.   Sonata in F Minor George P. Telemann
          - Andante cantabile
5.   Sonata in F Minor George P. Telemann
          - Allegro
6.   Sonata in F Minor George P. Telemann
          - Andante
7.   Sonata in F Minor George P. Telemann
          - Vivace
8.   Concert Piece Burrill Phillips
9.   Concertpiece Op. 35 Gabriel Pierne
10. Sonata No. 2 John Ernest Galliard
          - Andante
11. Sonata No. 2 John Ernest Galliard
          - Vivace
12. Sonata No. 2 John Ernest Galliard
          - Alla sicilliano
            cantabile
13. Sonata No. 2 John Ernest Galliard
          - Spiritoso ed allegro