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University
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 1313559

S P E R R Y , ROBERT L E S L I E
AN E D U C A T O R ' S GUI DE TO THE S A S S O O N ,

C A L I F O R N I A S TATE U N I V E R S I T Y , FULLERTON,
1979

COPR, 1979 SPERRY, ROBERT L E S L I E

University
Microfilm s
International 300 n . z eeb r o a d , an n a r b o r , mi asioe

@ 1979

ROBERT LESLIE SPERRY

ALL RIGHTS RESERVED

 AN EDUCATOR'S GUIDE TO THE BASSOON

A Thesis

Presented to the

Faculty of

California State University, Fullerton

In Partial Fulfillment

Of the Requirements for the Degree

Master of Arts

in

Music

(Music Education)

By

Robert Leslie Sperry

Approved by:

/Y. / 777
Justin Gray, Committee Chair ~U Date7
Department of Musrc

Jofeeph W. Landon, Member

Department of Music

Benton L, Minor, Member y Date*

Department of Music
 ABSTRACT

The purpose of this study was to provide a practical guide

to the bassoon and its literature for public school teachers. Bassoons

were compared and described by brand, model, characteristics, and

price. Recommendations for purchase were made based on cost, grade

level and ability of the student, and size of his hand and arm. Recom­

mendations were developed as a result of interviews with manufacturers,

retailers, performers, and teachers. Also presented was a recommended

list of graded solo literature with specific suggestions for material

suitable for instructing students beginning in the fourth grade and

progressing by suitable increments to the twelfth grade.

ii
 TABLE OF CONTENTS

Page

Chapter

1. INTRODUCTION ...................................... 1

Statement of the Problem.......................... 2

Delimitations ................................... 3

Definitions of Terms Used ........................ 4

Method of P ro ce du re .................... 5

Anticipated Outcome .............................. 6

Summary of the Remainder of the Thesis.............. 6

2. HISTORY AND PRESENT STATUS OF THEPROBLEM . ........ 8

A Brief History of the Bassoon . ............... 8

Physical Qualities and Capabilities of the Bassoon . . 11

Present Status of the P r o b l e m .................... 12

3. A BUYER’S GUIDE TO THE BASSOON....................... 14

The P r o b l e m ......................... .» ......... 14

R e e d s ........................................... 15

Instruments..................................... 15

4. RECOMMENDED LITERATURE FOR STUDENT STUDY ............. 23

A Guide to Grading............................... 23

Method Books for Group or Private Instruction,

by School Grade Level .......................... 25

Studies for Private Instruction, Graded by

Difficulty..................................... 28

iii
Chapter Page

Solos with Accompaniment— Collections, Graded

by Difficulty................................... 32

Solos with Piano Accompaniment, Graded by

Difficulty........................ 36

Summary of Chapter 4 .............................. 52

5. SUMMARY OF FINDINGS, CONCLUSIONS, ANDRECOMMENDATIONS . . 54

Conclusions....................................... 55

For the Beginner (Elementary S c h o o l ) ............. 55

For the Junior High S c h o o l ...................... 55

For the Senior High S c h o o l ...................... 55

Recommended Options ................................ 56

Literature..................................... 57

Recommendations for Extension ofThis Study.......... 58

BIBLIOGRAPHY ................................................ 59

APPENDIX.................................................... 64

iv
 Chapter 1

INTRODUCTION

Public school teachers of instrumental music are frequently

more knowledgeable and facile in one particular family of instruments

(e.g., strings, woodwinds, brass, or percussion) than they are in the

others. Seldom, however, does one meet an educator whose forte is

bassoon. According to Business Manager Rod Van Horn, Local 167 ofthe

American Federation of Musicians, which includes all of San Bernardino

County, California, has a membership of 717 but only two active

bassoonists, one of whom is an instrumental music teacher by profession.

The bassoon is an integral part of today's school music groups.

Due to the fact that public school teachers have limited experience with

the bassoon it is an instrument which frequently causes them consider­

able difficulties. Teachers are apt to find themselves unable to make

proper adjustments to the reed, mechanical adjustments to key mechan­

isms, or to cope with other basic technical problems faced by young

bassoonists. In addition they are limited in their knowledge concerning

specifications of a high-quality instrument and of the literature

suitable for young bassoonists. A single source does not now exist

which gives the non-bassoonist music educator the information he needs

to buy a quality bassoon or to discriminate among the available litera­

ture. This thesis will deal with these two important problems faced

1
 2

by the educator: selection of an instrument and choice of literature.

Statement of the Problem

The purpose of this thesis was to provide a single source which

gives the music educator the information he needs to buy a quality

bassoon and to choose appropriate literature for his students.

As a rule, when an educator enters the market for a bassoon,

he purchases that instrument in one of two ways: either the school

district buys for him the least expensive instrument available in a

"bid" situation, or the local music dealer suggests that the educator

purchase a model that the store franchises. In either case, the

teacher's choice has been severely limited and he has probably not

received input from professionals who are familiar with the total market.

One of the purposes of this thesis was to provide the educator with the

opinions of private instructors and professional players who work with

many brands of bassoons every day. Included were a discussion of makes

and models of bassoons available in the United States today, including

descriptions, prices, and the preferences of professional bassoonists.

A great volume of solo literature for the bassoon is available

in the United States. There are many graded lists of some of this

material but research has not uncovered any that suggest what is the

actual level of difficulty of any of the grades. For example, one does

not know, given a solo at Grade 3, whether the highest grade possible

on that list might be a 5 or a 10, or whether 3 is the highest (and

therefore the most difficult possible). Neither does the reader know who

graded the solos, nor upon what criteria his decision was based. Still
 3

further, Grade 3 on three different lists might result in works of three

separate levels of difficulty.

Trade magazines and books overcome this latter problem of

grading by various publishers, to some extent, by including works in

their lists by many publishers and then grading the music themselves,

thereby offering better consistency. Again, though, even these lists

do not indicate the level of skill required to perform at any Grade.

This thesis included an annotated list of easily-obtainable literature,

including prices. Within the list was a precise definition of what

each grade means, and each annotation delineated the technical require­

ments of the work. A bibliography of books, articles, and dissertations

which deals with such common problems as reeds, intonation, and tone

production was also provided.

Delimitations

The focus of this study was directed toward the bassoon teacher

in elementary and secondary schools. Levels of higher education were

not addressed because colleges almost always employ professional instruc­

tors who would already know such basic information as has been herein

included.

Bassoons priced in excess of approximately $5,000 were assumed

to be beyond the budgets of public schools.

Lists of recordings were not included, nor was literature

composed for more than one bassoon or for a combination of instruments.

 Definitions of Terms Used

1. Bell: the flaring end (last joint) of a bassoon.

2. Bocal: the mouthpipe, between the reed and tenor joints.

3. Boot: the lower, U-shaped joint of the bassoon.

4. Break: the point at which one register ends and another

begins. On the bassoon the break occurs between F and F^ in the second

and third octaves.

5. Crook: bocal.

6. Embouchure: the position the mouth assumes in playing an

instrument.

7. Long joint: the third joint of the bassoon, between the

boot and the bell.

8. Register: a portion in the range of an instrument which

differs in tone quality from the other portions. The bassoon has three

registers: the lower (from BB^ to f), the middle (from f^ to f"S, and

the upper (from F^ upwards to the limit of the player's ability).

9. Tenon joint: the shaped end of one piece of wood that fits

into the hole in another piece and thus joins the two pieces together.

On the bassoon the tenor joint, the boot, the long joint, and the bell

are all joined to one another by tenon joints.

10. Tenor joint: the first joint of the bassoon after the

bocal.

11. Whisper-key: key on the bassoon operated by the left thumb

closes hole on bocal; used for all notes below and including open F.

12. Whisper-key lock: a device which keeps the whisper-key

 5

closed without continuous thumb pressure. May be located in any one

of three places.

Method of Procedure

This study encompasses two questions: (1) what bassoon to buy

and (2) what printed music to use.

Bassoons range in list price from about $1,450 to over $8,000.

In deciding which instrument to buy for a school one must bear in mind

not only the initial cost but also factors which will determine the cost

of maintenance. Additionally, there are questions of size, sound, and

optional equipment available.

Specific features which need to be considered include the size

of the instrument (will a youngster's hands reach the keys?), quality

of construction (will the keys bend and break easily? Will the wood rot

rapidly? Will tenon joints break easily?), and tone production (does it

blow freely or is it stuffy?). Additional factors include tone quality

(is it pure and in tune?), cost (will it fit into a school's budget?),

availability (will it take a long time to arrive?), optional convenience

keys, and guarantees and warranties.

To determine which bassoon displays the most acceptable quali­

ties based on the above criteria, the author conducted a survey among

professional bassoon players and teachers, instrument salesmen, and a

bassoon repairman. The participants were each asked to name the bassoon

that they recommended for purchase by a public school and also to list

any optional equipment that they felt should be included on that instru­

ment. The format of the survey may be found in Appendix A and the
 6

results in Chapter 3.

From the large quantity of solo literature for the bassoon that

is available the author selected music that is useful in an educational

setting: that is, the method books follow a logical sequence and adapt

well to either homogeneous class or individualized-study situations.

Additionally, etude study books and standard solo literature were selec­

ted for use in a school situation. Improvisational exercises were

excluded.

The music was then annotated from a technical standpoint so

that a teacher might correlate the literature to the lesson. Finally,

all the types of music were graded according to standards established

by the author in Chapter 4.

Anticipated Outcome

The anticipated outcome of this research will be the develop­

ment of the following recommendations for educators:

1. Considering the grade and ability levels of the student as

well as the amount of money available, which bassoon would be the best

buy.

2. What published music would be most appropriate for teaching

a particular lesson or concept.

Summary of the Remainder of the Thesis

The study was divided into three primary sections. Chapter 2

offers a brief history and the present status of the bassoon. Chapter 3

deals with the type of instrument that is recommended for purchase,

chosen from among the most common makes and kinds readily available in

the United States. Cost was a limiting factor in the discussion, as

was an extraordinarily long waiting period for delivery in one instance.

Chapter 4 contains an extensive list of solo literature for

the bassoon, graded and annotated by the author. It encompasses litera­

ture which may be played and studied alone or accompanied.

In Chapter 5 the author compiled the results of the survey

and suggested appropriate bassoons for various applications. Sugges­

tions are included for extension of this study.

 Chapter 2

HISTORY AND PRESENT STATUS OF THE PROBLEM

A Brief History of the Bassoon

The exact origin of the bassoon is a mystery, but the earliest

printed references to it have been catalogued. The word "bassoon" first

occurred in an English dictionary of 1706 and is unquestionably derived

from the Latin bassus; French bas; Italian basso; Spanish basco

(archaic) and bajo in the sense of deep-sounding, with the augmentative

suffix "-oon."

In Spain the earliest recorded reference to ba.jon is found in

Madrid in the list of members of the Royal Band in 1588. In Italy the

earliest record of the word fagotto is in 1546 at Verona. The operas

and ballets of Lully and the achievements of French instrument-makers

exerted considerable influence upon German music in the seventeenth

century, when the Fagott became the Basson.

The earliest ancestor of the basscon was probably the "Phago-

tum," in Italy about 1520, where Canon Afranio of Ferrara was experi­

menting with instruments constructed of two parallel channels connected

in a U-shape. The Canon noted that he played a solo "il suo fagoto"

at a banquet at Mantua in 1532, and his instrument was first illustrated

in Pavia in 1539. A second contemporary item was a sheet of "instruc­

tions for Playing the Phagotum," dated 1565 and found in the archives
 9

of the State of Modena. (9:5-8).

The Italian name for the bassoon has been fagotto since the

late sixteenth century. The word may well have been derived from

phagotum, but this has led to great confusion and to the belief that

the bassoon is descended from the phagotum. Every reference book for

centuries has credited Afranio with the invention of the bassoon. The

differences are, however, that the phagotum is blown by a bellows through

single metal reeds and is quite short, while the bassoon is mouth-blown

through double cane reeds, is longer, and is conical rather than

cylindrical. (9:8).

In its early days the bassoon had only three keys— two for the

thumbs and one for the little finger of one hand or the other. (9:29).

Depending upon the source consulted, a fourth key (G^ for the right hand

little finger) was added in either 1730, 1738, 1747, or (most probably)

in 1751. This four-keyed bassoon would have been available to play

Mozart's Bassoon Concerto. By 1765 a fifth key had been added and by

the close of the century a sixth had appeared. The six-keyed bassoon

would have been common at the time Beethoven's First Symphony was first

performed. Germany saw the first use of a seventh key in 1802. By 1824

the Viennese bassoon had ten to twelve keys. By 1865 the German bassoon

had sixteen keys but, according to Groves Dictionary of 1878, had such

poor intonation that only a string player had to have a better ear for

placing the pitch. Concurrently with the publication of the German

Bassoon Method of Julius Weissenborn in 1887, the instrument approxi­

mated its present state of development. Though Weissenborn's treatise

 10

included historical details of questionable accuracy it gave full

descriptions of bassoons with ten, nineteen, and twenty-two keys.

(9:35-45).

Michael Praetorius (1571-1621), who compiled extensive

description of all the instruments of his time, employed the bassoon

in his voluminous compositions but did not give it a distinctive part.

G. B. Fontana gave the bassoon a major role in some of his chamber

music, as did M. A. Ferro. The Symphoniae Sacrae of G. Gabrieli

specifically called for bassoons, as did the works of other composers

of the Seventeenth Century, including Schutz, Schein, Stader, Heinrich

Albert, Cesti, Lully, A. Scarlatti, Purcell, Steffani, Buxtehude, and

others. The works of all of these composers would have been played on

three-keyed bassoons. (9:73-78).

Antonio Vivaldi (1675-1741) left a vast quantity of music for

solo instruments, of which at least thirty-seven works were for bassoon.

Instruments available to him probably had no more than four keys, but

J. S. Bach, Handel, Piccini, and others were afforded the luxury of

perhaps six keys. Haydn and Mozart in the late eighteenth century began

to offer considerably more exposure for the bassoon. (9:78-89). Since

the introduction of the ten-and-more-keyed bassoons, virtually every

composer has seen fit to use the bassoon in prominent passages in

orchestral literature due, in all probability, to its peculiar tone color

and the fact that by this time it had the same chromatic capabilities

as all other instruments. (9:90-105).

 Physical Qualities and Capabilities of the Bassoon

The bassoon consists of six int jral sections: the reed, the

bocal, the tenor joint, the boot, the long joint, and the bell. The

reed consists of two pieces of cane of equal size and shape which are

wrapped in such a manner that an air column blown between them causes

them to vibrate equally and to produce a tone. This air column is

then sent through the bocal into the bassoon proper, passing through

the joints in the order listed above. A conical shape is employed

throughout the length of the instrument (approximately 100 inches).

(9:2). Every finger on each hand is employed in the production of the

various notes with the left thumb on some instruments being solely

responsible for as many as eleven keys. The range of the bassoon is

b 2
from BB (below the bass staff) upwards to at least e (fourth space

in the treble staff). It can be made to extend a half-step lower, to

AA (which has been required by Stravinsky and others), by means of an

improvised extension. Its upper range is limited virtually to the

2
capabilities of the player (fingerings to at least g are known).

Natural fingering breaks occur between f and f^, between f^ and f^\
2
and between c and higher notes, all of which are harmonic overtones.

Hence, the bassoon has a "lower,” "middle," and "upper" register, plus

the highest one which is unnamed because it is still being developed

and is rarely used.

The embouchure, unlike that utilized in playing single-reed

instruments, is formed by rolling both lips over the teeth and holding

the reed between them. This requires special muscle development and
 12

great control as It is possible to vary the pitch of most notes as much

as a whole step by variation of the embouchure. This should be consi­

dered when selecting a student to play the bassoon.

Present Status of the Problem

The role of the bassoon in the band, orchestra, and small

ensemble is an important one. It has expressive qualities and tonal

colors possessed by no other instrument. Yet in many school organiza­

tions the bassoon is either misused, poorly played, or not used at all

because of a lack of knowledge about the instrument on the part of the

teacher. (15:5). Reasons often given for not using the bassoon in

early grades are the small size of the students and the prohibitive

prices of the instruments. Limited availability, high cost, and problems

of maintenance of reeds are other common reasons for avoiding the bassoon.

It is these latter aspects that will herein be addressed.

Published sources such as Camden (4), Langwill (9), and

Spencer (15) list manufacturers of bassoons; suggest what to look for

in construction, materials, and intonation; and are recommended as

references for further study. However, no work has been found which,

even as far as listing current prices, compares specific makes and

models. The present work describes the features of several bassoons

and includes availability and pricing information.

Sources listed above as well as many others list literature

which is available for the solo bassoonist; some even grade the works

in some mysterious fashion (the meaning of the numbers is not explained).

Three lists of printed material have heretofore been regarded as

 13

definitive, although they list difficult-to-obtain foreign publications

and are neither graded nor annotated:

1. "A List of Music for the Bassoon," compiled by William

Waterhouse in Bassoon Technique by Archie Camden (4);

2. "Solo Music for Bassoon and Double Bassoon," compiled by

Graham Melville-Mason in The Bassoon and Contrabassoon by Lyndesay

Langwill (9); and

3. Index of Bassoon Music, compiled by Wayne Wilkins (21).

The most recent and exhaustive discography available was

published by "The Instrumentalist" magazine in April, 1976, pp. 34ff.

(33).

This thesis lists readily-available method books, studies,

and accompanied and unaccompanied solos. The contents are annotated,

graded by this author (with an explanation as to the meaning of the

grades), and include the composer, arranger, publisher, and recent

prices.

It is hoped that as a result of this study the public school

educator will have a better knowledge of the criteria to use in selec­

ting a bassoon well-suited to his needs and financial situation, what

method books and studies best suit his student, and what solos are most

appropriate to study at a given point in time.

 Chapter 3

A BUYER'S GUIDE TO THE BASSOON

The Problems

Some researchers have suggested that there is no measurable

value in beginning instrumental instruction before the seventh or eighth

grades. (6:8). Practically, however, instruction is generally begun in

Grades 4 or 5. This chapter addresses that reality.

It has been common practice for educators to delay the introduc­

tion of the bassoon to the student until sometime during the junior

high school years, while the trumpet, flute, and clarinet are taught

from the earliest grades. The standard excuse for this delay is that

the student's hands are not large enough to cover the holes, nor are

the fingers long enough to reach the holes. This problem has now been

met and conquered by the Fox Corporation, as will be seen later. Other

excuses include the high cost of bassoon purchase, the cost of reeds

and of maintenance, and the abuse of wooden instruments by young

students. A student can now begin his musical career just as easily

on a bassoon as he can on any other instrument. Plastic bassoons which

answer questions of both cost and abuse are available.

14
 15

Reeds

Any competent music educator who can use a knife can, with

minimal study, easily learn to adjust a bassoon reed. Three excellent

sources are available and are listed in the bibliography of this study,

all of which will describe how to salvage anything short of a broken

reed. Hence, a teacher can walk into any music store and buy almost

any bassoon reed and make it work; then he can maintain it until it

wears out from long use. This problem is not by any means beyond the

comprehension of any musician. The three books referred to are:

Bassoon Technique, Camden (4), Bassoon Reed Making, Popkin (13), and

The Art of Bassoon Playing, Spencer (15).

Instruments

As a music educator and professional bassoonist the author felt

that this study should include interviews with the principal teacher-

performers in the Southern California area. These persons were asked

to respond to questions of (1) what make and model bassoon they would

recommend for purchase by a public school and (2) what optional equip­

ment should be included on this instrument. The jury of experts

included:

1. David Breidenthal: principal bassoonist, Los Angeles Philhar­

monic Orchestra; lecture in bassoon at the University of California,

Los Angeles; and private instructor;

2. John Campbell: principal bassoonist, Glendale Symphony

Orchestra; bassoon repairman; and private instructor;

 3. Don Christlieb: researcher on the history, literature, con­

struction and repair of all double-reed instruments; acknowledged

authority on the bassoon and its problems; and private instructor;

4. Norman Herzberg: lecturer in bassoon at the University of

Southern California; studio musician; and private instructor;

5. Ray Nowlin: former principal bassoonist, Pasadena Symphony

Orchestra; studio musician; lecturer in bassoon at California State

University, Long Beach, California State University, Los Angeles,

Chapman College, Occidental College, and Pomona College; and private

ins truetor; and

6. John Steinmetz: bassoonist, Los Angeles Chamber Orchestra;

lecturer in bassoon at University of Redlands; and private instructor.

It was unanimously agreed upon by all persons interviewed that

(1) no bassoon should be bought by brand name or reputation alone,

(2) any instrument being considered for purchase should be played and

approved by a knowledgeable bassoonist, and (3) due to varying qualities

of wood and the seemingly growing lack of concern for quality control

by many companies, no bassoon line is consistent in its quality. All

persons interviewed asked to go on record as not endorsing any brand

over any other, although most had their preferred makes. One person

indicated that he will not even play a bassoon for the purpose of

selecting one for a school unless he has several from which to choose;

and even then all labels and identifying marks must be covered up.

The Heckel bassoon has always been, and continues to be, the

standard of the industry— the Rolls Royce of bassoons. The current

list price, however, is over $8,000, and the waiting time for delivery
from Germany is now three years. In addition, even Heckel is reportedly

now producing some less-than-perfect instruments. Due to these

inconveniences the Heckel was not considered as a part of this study.

The most popular brand among those interviewed was the Fox

line, manufactured by the Fox Products Company of South Whitley, Indiana.

Far from being inexpensive, however, as of April, 1979, wooden Foxes

range in price from $3,750 to $5,200, list price. Fox also markets

less-expensive wooden instruments under the Renard label from $1,850

to $2,595. Polypropylene (similar to plastic) models are also available

as follows: Fox: $1,650 to $4,100; Renard: $1,450 to $1,550.

Several of the persons interviewed indicated that they had never

seen or heard a good plastic bassoon and therefore would only recommend

wood. Conversely, one man plays a student-line plastic Fox profession­

ally and he claims that it meets all his needs quite adequately. Others

proclaim plastic as ideal for the public school student. They maintain

that wood should be reserved for the professional or for private pur­

chase by a student to ensure that he will take care of it.

Fox offers a complete overhaul of their bassoons— wood or

plastic, Fox or Renard— after break-in and within one year of purchase,

for only the cost of parts and shipping. No other company listed such

a service in their brochures and catalogues. Further, all Fox instru­

ments are guaranteed to have the center of tone of all notes within

three cents of their vibrational specifications (the guarantee applying

only to problems caused by engineering and key adjustment). No other

company was found to offer this guarantee.

 Following are some typical comments regarding the Fox made by

those who were interviewed:

Has some exceptional instruments but inconsistent. They

should only be bought with the help of a good teacher.

Plastic recommended, with high D key. Basic scale is good,

construction excellent, sound acceptable. Save wood models
for a professional.

Fox wood is comparable to Heckel. The older plastic models

had a dead and stuffy tone. However, a broken joint is easily
replaced, which is good forstudents. The top of the Fox line
is comparable to Heckel in workmanship, tone quality, and
intonation.

I approve of, and recommend, plastic. It needs no bore

oil and is less likely to crack under the strain of abuse.

For players with small hands. Fox makes the Renard 51 ("short-

reach") bassoon. It includes a plateau key covering the C hole to

b #
reduce finger stretch; has no B trill key for the third finger; no C

trill key on the boot; no extra for the thumb. Keys have been moved
b b
closer together to eliminate wide stretches. It has E and D moved

closer to other keys (for left hand little finger).

The next most popular brand seemed to be the Schreiber, although

some interviewees could not decide between Schreiber and Mirafone at

this level. Some felt the two were made by the same people and there­

fore there was no difference. This is not strictly true, as will be

explained later.

The Schreiber bassoon is marketed by Buffet, Crampon & Cie, of

Melville, New York. It seems to be the most readily available bassoon

on the American market today, judging by surveys of many music stores.

Three models are available, but only the top two were mentioned by

those interviewed, and several specifically said to avoid the least

 19

expensive model ("that without the high D key"— which is interesting,

since the only difference noted in the catalogue between the two lowest

lines is the D key). According to the catalogue, then, those bassoons

suggested as good by the professionals would be either the #5030 (also

known in some music stores by its former designation S-56) or the

#5070 (formerly S-58), but the #5020 (S-54) would be the one to be

avoided. The 5030 (as of April, 1979) lists for $2,020; the 5070

for $3,620. The only differences seem to be the addition of an extra

bocal, an extra key, a whisper-key lock, and several extra rollers (for

a total of nine— most bassoons have four). The keys are also silver

plated on the 5070.

Some typical comments on the Schreiber from the panel of experts

include such statements as "Schreibers have the best workmanship;"

"On the top two lines, the bocal is serially numbered the same as the

instrument. Even Heckel bocals will not improve on them;" and "Schreiber

has better metal than Mirafone— will withstand student abuse better."

The Mirafone bassoon in the last ten years has made great

strides forward, in this writer's opinion. He played a Mirafone in high

school in the mid-1960s and was frequently told what a terrible instru­

ment it was. Now most teachers are quite happy with the new models.

The Mirafone bassoon is distributed from Sun Valley, California

(near Los Angeles). Only one model is available, the #102, and it

includes the high D key. It lists for $2,550 as of April, 1979.

Included in the manufacturer's brochure are two testimonials to

the Mirafone's quality. According to Ralph Schulze, bassoonist with the

Houston Symphony for twenty-four years, "My Mirafone bassoon has a

delightful edge to its tone and remarkable clarity in all the reg­

isters." Hugo D. Marple, of Texas Tech University, says that "I now

have one of the best bassoons I have ever played or used in 20 years

of teaching. Any band director would be doing himself and his school

a favor to examine the Mirafone bassoon before purchasing."

Typical of comments received in Los Angeles were these: "Mira­

fone 's pitch is better than Schreiber's but the metal is too soft to

withstand student use" and "One of the best cheap bassoons (tone quali­

ty). Workmanship is cheaper than other bassoons. Intonation is only

fair."

Other bassoons are available (Puchner, Moennig, Kohlert, Selmer,

Conn, Linton, and King), but they were either not mentioned, were sug­

gested as brands to avoid, or were so difficult to acquire that discus­

sion was limited. Schreibers and Mirafones seem to be the most univers­

ally available; Foxes and Renards will have to be sought out; and the

Selmers, Conns, and Lintons will probably be found only in "bid situa­

tions." According to one source, Linton plastic bassoons are always

quoted at a lower price than Fox or Renard bassoons on bids, but the

quality is reputed to be quite inferior. Moennig seems to be quite

unpopular; Kohlert used to make good bassoons but no one was familiar

with more recent models; and Puchner ranks perhaps between Fox and

Schreiber, but it is rarely offered on the market. The King is a new

addition to the market and at least one dealer feels that it might prove

to be comparable to Schreiber.

John Campbell, the bassoon repairman who was interviewed,

offered the following observations: The wood in Linton bassoons is

 21

poor, rots fast, and the instrument has poor intonation (as does its

plastic model, he adds). The Conn bassoon has a good scale but its

wood is not treated properly and therefore will not last. Plastic

bassoons are strongly recommended throughout the public schools for

maintenance reasons. He made special mention of the fact that on wood

bassoons almond oil should be used to treat the bore (it is available

in health food stores): "bore oil," a common product in music stores,

is intended for use on grenadilla wood in clarinets, not for maple in

bassoons.

Mr. Campbell went on to clarify the rumor about Schreiber and

Mirafone bassoons being made by the same people: Mirafone, Conn, and

Schreiber all buy the same body from the same German manufacturer, but

each company finishes it differently (hence the claims of too-soft metal

from Mirafone; the better intonation from Mirafone over Schreiber; the

good scale from Conn, but poor wood treatment; etc.).

According to all persons consulted the only way to make an

informed purchase of a bassoon is to allow a professional bassoonist

to play the actual instruments that are under consideration. In choosing

those same instruments, however, the comments offered in this chapter

should be studied and further consultations should be conducted with

professionals to update this study. The experts warn quite strongly

that no school should buy instruments on reputation or on bid price

alone. Above all, the cost and regularity of maintenance must be con­

sidered along with the initial purchase price. If bassoons are allowed

to deteriorate, even the lowest purchase price will have been too costly

an investment.
 Very few of the experts could agree on what optional equipment

is really necessary at the public school level. The majority recom­

mended a high D key; most felt that a whisper-key lock is a necessity.

Only key rollers for the little fingers seemed to be a requirement;

rollers for other fingers were just a frill. A high E key, special

trill keys and extra spatulas were denounced as a waste of school money.

One man mentioned that tone hole tubes must protrude into the bore to

eliminate gurgling sounds. The author concurs: his bassoon lacks this

feature and he suffers for it frequently.

As a result of these interviews a list of recommendations has

been developed for the purchase of bassoons at the various levels of

public instruction. This list may be found in Chapter 5 under the head­

ing: "Conclusions."
 Chapter 4

RECOMMENDED LITERATURE FOR STUDENT STUDY

In grading music most authorities base their levels of difficulty

on the technical proficiency that is required at each level. That

procedure has been followed here, bearing in mind the problems peculiar

to the bassoon: archaic fingerings, overblowing octaves, half-hole

technique, awkward hand positions for some notes, the use of tenor clef,

and the problems of the double reed. These form the criteria under

which the literature has been graded.

A Guide to Grading

The following works have been selected from the wealth of liter­

ature published for the bassoon. Only that music has been chosen which,

in the author's opinion, is worthy of study and which will meet educa­

tional goals. That is, music has not been included which is difficult

or impossible to read, whether through publishing error or because the

composer intended that it be altered each time it is performed, based

upon the player's mood. Nor has music been included which serves no

educational purpose as generally understood by teachers. Based primarily

on technical difficulty, the works have been graded by the author as

follows:

23
 I: Elementary school (beginning).

II: Advanced elementary student.

Ill: Junior high student.

IV: Advanced junior high student.

V: Intermediate senior high student.

VI: Advanced senior high student.

Each level assumes proficiency in all the preceding levels or

that the student has had at least one year's experience in music at

each level. For example, Grade I is aimed at a 5th-Grade student;

Grade II would be for a 6th-Grader; Grade III for 7th-Grade; Grade IV

for 8th; but Grade V will cover Grades 9 and 10, and perhaps 11.

Grade VI is very difficult: for use by Grade 12, or an outstanding 11th-

Grader. Private lessons are recommended for help with Grade VI. (A

review of the literature also required the use of Grades VII— college—

and VIII— professional, but they have not been included herein due to

the scope of the thesis. Let it be understood, then, that Grade VI is

actually within the reach of a high school student.) It will, of course,

be up to the teacher to decide whether, for example, a student starting

bassoon in the 8th Grade should begin study at Grade I (having had

little or no training) or at a higher grade (perhaps the student is

transferring from another instrument, and already has a sound funda­

mental background).

All works are listed as minimum difficulty— frequently greater

difficulty is included within, particularly in collections. Grade V

 25

requires previous experience either in junior high school or on another

instrument for several years, and often some knowledge of tenor clef.

At each school level, if in doubt about average or advanced ability,

always choose the lower of the grades.

The music has been listed alphabetically by composer, because

to list it in any other fashion would tend to exert undue subjective

influence, on the part of the author, over the judgment of the educator.

Each annotation describes the attributes and detriments of the various

works, and indicates the type of features to be found therein. The

educator can then choose what facet of music he wants to teach next.

Prices were obtained during the summer of 1977 at a major music

retailer in Los Angeles, and may certainly have changed since then,

but are intended as a guide.

Method Books for Group or Private Instruction,

by School Grade Level

I'. Elementary School Level

A. For like-instrument classes (holds class interest well;

problems raised are easily solved in a class-type situation)

1. Anzalone, Valentine, "Breeze-Easy Method for Bassoon"

(Books 1 and 2), M. Witmark and Sons, 1959, $1.25. A standard method

book: every line is a familiar tune. For this reason, lends itself well

to beginners in a class, but lacks originality and challenge.

2. Eisenhauer, William, "Learn to Play the Bassoon!"

(Book 1), Alfred Publishing, 1972, $1.50. Photos of playing position.

 26

Rudiments, scales, arpeggios, melodies. "Comprehensive Review" at end

of the book consists of seven one-line exercises.

3. Eisenhauer, William, "Learn to Play the Bassoon!"

(Book 2), Alfred Publishing, 1974, $1.95. Limited scales and arpeggio

exercises; almost all melodies and duets.

4. Herfurth, C. Paul and Hugh Stuart, "Sounds of the Winds—

Bassoon (Book 1— Elementary)," Carl Fischer, 1966, $1.00. Learn to play

and count before learning to read. Each lesson has a goal. Teaches

terminology, dynamics, etc., but moves very slowly as far as increasing

range and technique.

5. Herfurth, C. Paul and Hugh Stuart, "Sounds of the Winds—

Bassoon (Book 2— Intermediate)," Carl Fischer, 1966, $1.00. As before,

moving slowly. Ends with range BB^-f^. Through 6/8, sixteenth-notes,

triplets, dotted notes. Good for grades 4-5 (maybe 6).

6. Paine, Henry and Fred Weber, "Bassoon Student," Belwin,

1969, $1.25. (Level One— Elementary); unknown how many books in series.

Starts very easy, progresses rapidly through six keys, interval studies,

solos with accompaniment. Range only F to f \ Good for advanced

elementary or junior high.

B. For private or individualized study (problems raised are too

detailed to present to an entire class)

1. Gekeler, Kenneth, "Belwin Basson Method, Book 1" (ed.

N. HoIvey), Belwin-Mills, 1952, $1.50. Rudiments, keys of F, B , G, E ,

D. Notes up to f^. Each key has exercises and melodies from half-notes

to eighth-notes.
 27

2. Herfurth, C. Paul and Hugh M. Stuart, "A Tune a Day,"

Boston Music Co., 1956, $1.75. One book only. Thirty-six lessons,

emphasis on note names, rhythms, long tones, and playing familiar

tunes. Ranges BB^ to f \ Best for rapid private study, any age.

II. Junior High School Level

A. Like-instrument classes

1. Gekeler, Kenneth, "Belwin Bassoon Method, Book 2" (ed.

N. Hovey), Belwin-Mills, 1952, $1.50. Introduces chromatic scale

1 b b
F-f ; cut time, keys of A , A, D , E, triple meter, syncopation. Range

B B ^ a 1.

2. Lentz, Don, "Lentz Method for Bassoon," Belwin-Mills,

1941, $1.50. A series (only Volume 1 available for review— no indica­

tion as to how many in series). Includesintroduction on tone produc­

tion; some tenor clef; many exercises are familiar tunes; some scales

and arpeggios; five brief solos for bassoon and piano.

B. For private or individualized study: none was recommended.

III. Senior High School Level

A. For like-instrument classes

1. Gekeler, Kenneth, "Belwin Bassoon Method, Book 3" (ed.

N. Hovey), Belwin-Mills, 1-952, $1.50. Musical terms. Keys of C, F,

b b b
G, B , D, E , A , with tenor clef in each of those keys, and scales,
bl
etudes, and studies. Range up to b

B. For private or individualized study

1. Langey-Carl Fischer Tutors, Carl Fischer, 1948, $4.00

Complete in one volume (103 pages), from rudiments of music, through

tenor clef; history, construction, and maintenance of the bassoon;

ornamentation; exercises, the von Weber Concerto, and other selected

solos. Good for a student transferring to bassoon from another instru­

ment.

2. Skornicka, J. E., "Rubank Elementary Method— Basson,"

Rubank, 1935, $2.00. Rudiments, scales, arpeggios, classical-type

b 1
melodies, technical etudes. Range BB -a . Quite difficult— for a

high school transfer student— definitely not an "elementary" level book.

3. Voxman, H., "Rubank Intermediate Method— Bassoon," Rubank,

1947, $2.00. Dynamics, articulation, tenor clef, major and minor key

studies, extensive table of trills, turns.

b if
Studies through 4 , 4 . No

more difficult than the Elementary Method.

Studies for Private Instruction, Graded

by Difficulty

Grade I.

1. Paine, Henry, "Studies and Melodious Etudes for Bassoon,"

Belwin, 1969, $1.25. Extremely easy scales and melody-like etudes for

the beginner. Supplements a method book.

2. Weissenborn, Julius, "Studies, Volume I" (ed. Simon Kovar),

International Music, 1952, $3.00. Studies in tenuto, legato, staccato,

portamento, dynamics, accents, tenor clef; scale and chord studies in

24 keys; chromatic and interval studies; ornaments. For use as soon

as the student can read and play with ease.

Grade II.

1. McDowell, Paul D., "First Book of Practical Studies for

Bassoon" (ed. H. Hovey), Belwin-Mills, 1959, $1.50. Two sections:

studies for rhythmic development; scale, arpeggio, and interval

exercises. Easy to moderate difficulty. For use by elementary through

beginning high school, in conjunction with method books.

Grade III.

1. McDowell, Paul D., "Second Book of Practical Studies for

Bassoon" (ed. N. Hovey), Belwin-Mills, 1960, $1.50. Again, two sections

studies for rhythmic development, including 16ths, dotted 8ths and

16ths, triplets, triple meter, syncopation; scale and technical exer­

cises (very easy).

2. Whistler, Harvey S., "Modern Pares Foundation Studies for

Bassoon," Rubank, 1946, $1.00. Long-tone, embouchure, and easy scale

studies (16th-notes) in all major and minor keys through 4^-5^; arpeg­

gios, half-hole technique studies, chromatic exercises. Basic course

for beginning, but serious student.

Grade IV.

Not applicable to any studies reviewed.

Grade V.

1. Gambaro, J. B., "18 Studies for Bassoon" (ed. Simon Kovar),

International Music, 1951, $3.00. Study in keys— up to 4^-4^. Some

tenor clef, some trills and turns, moderate range, a couple of difficult

studies, but most are moderate.

 30

2. Hofmann, F. H., "Exercises and Studies, Op. 36" (ed.

L. Sharrow), International Music, 1974, $3.00. Exercises include studies

in scales, intervals, skips> rhythm, speed, articulation, and all are

marked to be played in several key signatures (worked out in the mind).

The Studies are straightforward and moderate to difficult: up to 5 ,

it
3 , with limited tenor clef. For serious intermediate to advanced

student.

3. Kopprasch, C., "60 Studies" Volumes I and II (each $1.75),

(ed. Simon Kovar), International Music, 1956. Some alto clef, in addi­

tion to bass and tenor. Some long tone studies; mostly chord studies

and articulation. Some large leaps. Moderate to difficult.

4. Orefici, Alberto, "Studi Melodici per Fagotto" (ed.

1. Sharrow), International Music, 1966, $2.50. Melodic studies, rather

than scales or etudes; through 5^-5^, extreme range, much tenor clef;

difficult.

5. Satzenhofer, J., "24 Studies for Bassoon" (ed. Simon Kovar),

International Music, 1950, $1.75. Keys progress from C through 6^,

from F through 5 . Difficulty: from moderately easy to very difficult.

Third-year player, up.

6. Slama, Anton, "66 Studies," International Music (no date),

$3.00. Easy-moderate scale and arpeggio studies in all keys: to 1°-!^.

Good first study book for intermediate player.

Grade VI.

1. Jacobi, C., "6 Caprices" (ed. B. Garfield), International

Music, 1957, $2.00. Full range; large leaps; long, slurred arpeggios;

difficult.
 2. Milde, L., "50 Concert Studies, Op. 26" Volume I (ed. Simon

Kovar), International Music, 1948, $3.75. Bass and tenor clefs, range
b 2
BB -c . Sixteenth, thirty-second, sixty-fourth notes, sextuplets, tough

articulations, trill. Through 7^-6^. Extremely difficult.

3. Milde, L., "25 Studies in Scales and Chords, Op. 24" (ed.
b //
Simon Kovar), International Music, 1950, $1.50. Keys: C-5 ,6 . Lots

of tenor clef (all exercises); difficult to very difficult.

4. Ozi, Etienne, "42 Caprices" (ed. L. Sharrow), International

Music, 1974, $3.00. Keys through 4^-4^; most bass clef studies mod­

erate. Tenor clef has low notes and is fairly difficult.

5. Piard, Marius, "16 Characteristic Studies," International

Music, 1950, $2.50. Includes: study in staccato on wide intervals;

slurs in chromatics; close-interval staccato; trills and mordents;

staccato on repeated notes; speed; syncopated patterns and grace notes;

b #
keys through 7-7 ; rapid arpeggios; turns and cadenzas; slurs on wide

intervals. Much tenor clef. Wide range, difficult keys.

6. Ruggiero, Guiseppe, "8 Atonal Studies for Bassoon," Leduc,

Paris, 1971, $3.45. Multiple meter changes; lots of tenor clef; wide

range, large leaps; rapid dynamic changes; lots of accidentals. Diffi­

cult, but reasonable.

7. Vaulet, Albert, "20 Studies for Bassoon" (ed. H. Voxman),

Rubank, 1958, $1.50. Many kinds of scales, chords, articulations, wide

range, tenor clef. Moderate to difficult.

8. Weissenborn, Julius, "Studies" Volume 2 (ed. Simon Kovar),

International Music, 1952, $3.00. Standard etude book, all keys,

extreme range, extremely difficult at end.

 32

Solos with Accompaniment— Collections, Graded

by Difficulty

Grade I.

Not applicable to any collections reviewed.

Grades II.-VI.

1. Dubois, Pierre Max, "9 Pieces Breves for Bassoon and Piano,"

Peters, 1965, $5.20. (1) C major, very easy (quarters, eighths, six-
2
teenths). (2) tenor clef, up to c . 6/8, 16ths, slurs and skips.
2
(3) tenor clef, skips to c , vivo. (4) tenor clef, medium range,

quarters and eighths, slurs, few skips. (5) tenor clef, lento, slurs,
2
broken chords in 16ths, up to c . (6) tenor clef, allegretto, broken

chords in 16ths, lower than #5. (7) slow, bass clef, written-out trills.
2
(8) tenor clef, to d , 5/8, A minor, 16ths. (9) 6/8, bass clef, study

in interval of the 3rd; 8ths only. Difficulty a result primarily of

the high tenor clef. Portions are very easy.

Grades III.-V.

1. Lindemuth, William I., "The Solo Bassoonist," Kali Yuga

Music Press, 1965, $2.00. Thirty-four compositions written expressly

for the bassoon, intended as a challenge to the developing instru­

mentalist. Should supplement etude studies. Each is lengthy and

unaccompanied, and set includes many different rhythmic, intervallic,

articulative, and tempo problems which will be encountered in other

studies. (Note: This is the only unaccompanied collection in this

list; it is included here for convenience, rather than opening a new

section for one composition.)

 33

Grades III.-VI.

1. Schoenbach, Sol (ed.), "Solos for the BassoonPlayer" (with

piano), G. Schirmer, 1964, $4.00. Full-length selections from J. S.

Bach, Beethoven, Bernstein, Bizet, Donizetti, Dukas, Mussorgsky, Stra­

vinsky, Tschaikovsky. Range from very easy to difficult. Not an

excerpt book: arranged for performance by the editor.

Grades IV.-V.

1. Hudadoff, Igor (ed.), "11 Classic Solos" (with piano), Pro

Art, 1968, $2.75. Selections by Durand, Abroise Thomas, Leo Delibes,

Paul Wachs, Massenet, J. L. Dussek, Gounod, Tschaikovsky, Bach,

Berlioz. Representative works for these composers, arranged from their

larger compositions. Moderate ranges, moderate difficulty to easy.

Not an excerpt book.

2. Hudadoff, Igor (ed.), ”15 Intermediate Bassoon Solos"

(with piano), Pro Art, 1966, $3.00 For an intermediate high school

or junior high player, 15 selections by Cohan, Cui, J. Strauss, Debussy,

Waldteufel, Tschaikovsky, Moussorgsky, Rimsky-Korsakov, Granados, Haydn,

Chopin, Meyerbeer, Gounod, and Klohr (a march). All bass clef, all

flat keys (except one in G); uppermost note g^; fastest notes are 16ths.

3. Mozart, W. A., "Two Sonatas for Bassoon and Piano," Kalmus

(no date), $2.00. (1) D^-a^; 4 measures of tenor clef; one movement

(2 repeated sections), 6/8, A major; one-octave skips; easy articulation,

short phrases. (2) E-g^; all bass clef; one movement (last half

repeats); alia breve, E minor, one-octave skips, moderate to long

phrases.
Grade V.

1. Galliard, John Ernest, "Six Sonatas for Bassoon and Piano"

Volume 2, McGinnis & Marx, 1946, $3.00. (4) range BB-g'''; all bass

clef; four movements (S, F, F, F); 3/4, 4/4, 3/4, 3/4; E minor, G;

two-octave leaps; easy articulation, but many trills, in baroque style;

reasonable phrases. (5) range D-g"^; all bass clef; 4 movements (S,

F, S, F); 4/4, 4/4, 6/8, 3/4; all D minor; one-octave skips; easy

articulation; 8th- and 16th-note runs (slurred), 8th-note triplets

(slurred); short phrases. (6) range C-g"*"; all bass clef; 4 movements

(S, F, F, F); 4/4, 4/2, 3/2, 3/4; all C major; two-octave leaps; easy

articulation, although ornamentation keeps it interesting (trills

within a group of slurred, descending notes); short phrases. Required

knowledge of trills, but not of tenor clef. (Also published by Inter­

national Music, 1963: "Volume 2")

2. Weissenborn, Julius, "Vortragsstucke, Op. 9, #1, for

Bassoon and Piano: Arioso, Humoreske, Adagio" (3 solos), Peters, 1949,

$1.50. Essentially, his etude-studies accompanied. Range to a \ no

difficult skips, easy rhythms, all bass clef.

Grades V.-VI.

1. Benoy, A. W., and A. Bryce (arr.), "First Pieces for Bassoon"

(with piano), Oxford University Press, 1964 (Book 2). Contains ten

classical-type short pieces, mostly in tenor clef, for the student’s

first practice in playing solos in that clef; by Purcell, Bach,

Tschaikovsky, Boccherini, Schubert, Moussorgsky, Handel, and Haydn.

2. Galliard, John Ernest, "Six Sonatas for Bassoon and Piano"

(Volume 1), International Music, 1963, $3.00. (1) range C-g'*'; all
 35

bass clef, 5 brief movements (S, F, S, F, F); 4/4, 6/8, 3/8, 3/2, 6/4;

all A minor; two-octave leaps; easy articulation; short phrases.

(2) range D-g’S includes tenor clef; 4 brief movements (S, F, S, F);

3/2, 3/4, 6/8, 2/4; D minor, E minor, G; two-octave leaps; easy arti­

culation, long phrases. (3) range C-g^; includes tenor clef; 3 long

movements (S, F, F); 4/4, 4/4, 6/8; all F minor; 1 1/2-octave leaps;

long phrases. Moderate difficulty.

Grades VI.-VII.

1. "Contemporary French Recital Pieces for Bassoon and Piano,"

International Music, 1954, $2.00. (1) "Drolleries" (Andre Bloch):

#2
tenor clef, C-c , all upper range, skips staccato, difficult fin­

gerings. (2) "Steeple-Chase" (Andre Lavagne): bass and tenor clefs,

dotted 16ths and 32nds throughout; skips of 3rds and 4ths slurred

throughout, descending two-octave chromatic scale at the end. (3) "Car-

ignane" (Jacques Ibert): bass and tenor clefs, range to c^2; two tricky

scale passages, easy rhythms (6/8). (4) "Passepied" (Marcel Bitsch):

bass and tenor clefs, quarters and eighths in 2/2 and 3/2, some long
2
slurs, some pointed accents; range to d . (5) "Divertissement" (Fer­

nand Oubradous): bass and tenor clefs, 6 flats, easy scales, no diffi­

cult skips, one very fast ascending chromatic scale at the end.

(6) "Quadrille" (Rene Duclos): bass and tenor clefs, difficult chromatic

passages, lyrical "canto" section, more difficult scales.

 36

Solos with Piano Accompaniment. Graded

by Difficulty

Grade I .

1. Best, Arthur, "Grandfather's Waltz," Belwin, 1962, $1.00.

In 3/4, in E , all quarters and halves, all on the staff.

2. Best, Arthur, "Little Elephant," Belwin, 1962, 60 cents.

Range F-bb . Includes staccato and legato markings. Halves, quarters,

■j^
eighths. Key of B .

3. Buchtel, Forrest (arr.), "Cielito Lindo," Kjos, 1948,

40 cents. Range F-a (a tenth); quarters and longer.

4. Buchtel, Forrest, "The Huntress (Waltz)," Kjos, 1948, 40 cents.

Range F-a (a tenth); quarters and longer.

5. Buchtel, Forrest, "Janus (Waltz)," Kjos, 1948, 40 cents.

All quarters and dotted halves. In C, in 3/4. Range G-f (all on staff,

under the break).

6. Buchtel, Forrest, "Pied Piper," Kjos, 1957, 50 cents. In

b b b
B , range B -b . All eighths or longer. Very easy.

7. Caldara, Antonio, "Alma Del Core" (arr. J. Cacavas), Belwin-

Mills, 1973, $1.25. Range B^-a (a 7th); key of B^; a minuet; most

difficult rhythm is a dotted quarter & eighth (and one dotted eighth

& 16th).

8. Erickson, Frank, "March of the Leprichauns" (ed. Arthur

b b b
Best), Belwin, 1963, $1.25. Key of B , range one octave, B -b , all

halves, quarters, eighths, staccato and slurred. Includes D. C. and

coda.
 37

9. Paine, Henry T., ’’Funiculi Funicula,” Belwin-Mills, 1970,

75 cents. In 6/8, in ; problem: ties across the bar; mostly quarter-

eighth.

10. Paine, Henry T., "The Happy Hunter,” Belwin-Mills, 1970,

$1.00. In Bb ; range F-ebl ; eighths, quarters, halves; mostly scales;

mostly tongued.

11. Paine, Henry T., "The Troubador," Belwin, 1970, $1.00. Range
b b b
B -b ; all halves and quarters, in B . First solo.

12. Paine, Henry T., "Valse," Belwin, 1970, $1.25. All quarters
b b
and halves, range B -b , all step-wise.

13. Siennicki, Edmund J., "Highland Heather," Kjos, 1970,

60 cents. In 6/8, 3/A, range G-a (on staff); 6/8 section like an

exercise in learning to read 6/8; 3/A section all dotted-quarter and

eighth and longer.

1A. Spencer, William, "Dance of the Dragons," Hal Leonard, 1966,

50 cents. All bass clef; range of a ninth (all on the staff); no

accidentals, in C major.

15. Spencer, William, "The Merry-Go-Round," Hal Leonard, 1966,

b b b
50 cents. In B , range B -b . All quarters and longer.

16. Weber, Fred, "The Elephant Dance," Belwin, 1953, $1.00. In

6/8, in C minor; mostly slow scales; all notes on staff. Good intro­

duction to 6/8.

17. Weissenborn, J., "Arioso and Humoreske (Op. 9, #1)," Carl

Fischer, 1967, $1.25. Arioso: in E minor, bass clef, quarters and

eighths; one octave range (B-b). Humoreske: all bass clef, all eighths,

broken chords in F major; range F-a^.

 38

Grade II.

1. Balfe, "I Dreamt I Dwelt in Marble Halls" (arr. F. Buchtel),

Kjos, 1964, 50 cents. In C, in 3/4 range c-e1. All quarters and longer,

except six 8ths. 3- and 4-note phrases. For a beginner working on the

upper register.

2. Cacavas, John, "Preludio," Belwin, 1973, $1.00. In 2 flats,

but really in C minor. Range G-b^. All eighths and longer.

3. Carissimi, "Heart Victorious" (arr. Clifford Barnes), Jack

b b X
Spratt, 1965, $1.00. Key of B , all bass clef, range B -f ; all quarters

and eighths.

4. Erickson, Frank, "Song for Today" (arr. Arthur Best), Belwin,

b 1
1964, 50 cents. Slow, melodic, long phrases, in C; rang B -d .

5. Goodwin, Gordon, "Alborado (1974)," Southern Music, 1976,

$2.00. All bass clef; slow, legato; range c^-g^ (octave and a half);

no specific tonality; most notes are eighths or longer; important dyna­

mics.

6. Gossec, "Gavotte" (arr. F. Buchtel), Kjos, 1958, $1.00. All

bass clef, range F^-c^ (octave and a half); staccato 8ths, slurred

16ths; key of C.

7. Isaac, Merle J., "The Jolly Dutchman," Carl Fischer, 1939,

b b b
75 cents. Key of B , 3/4. Changes to E and back to B Has slurs
b bX
across the break; range BB -e

8. La Monaca, Vito, "Memories" (ed. Ferdinand Del’Negro), Henri

Elkan, 1969, 80 cents. In A minor, 3/4, Andante Cantabile, quarters,

dotted halves, 8th triplets, long phrases. Range E-f\

 39

9. Mendelssohn, F., "On Wings of Song" (arr. F. Buchtel), Kjos,

1958, 60 cents. In 6/8, in F, range c-d1. Dotted quarters and eighths.

Good first study in 6/8.

10. Paine, Henry T., "Scherzo," Belwin, 1970, 75 cents. In B^,

in 2/4. Range F-d"*"; all eighths and quarters— some dotted eighths and

sixteenths.

11. Saint-Saens, C., "Allegro Appassionata, Op. 43" (arr. Henry

T. Paine), Belwin-Mills, 1971, 75 cents. All bass clef, range E-f"S

C major; quarters, eighths, and sixteenths, and eighth-triplets; easy

articulation; long phrases.

12. Schubert, F., "Allegro" (arr. Henry T. Paine), Belwin-Mills,

1971,$1.00. Range BB^-g (low range); mostly 16ths, staccato; key of

B ; only accidentals are B and E naturals; largest leap a 7th.

13. Tschaikovsky, P., "A Song of Sadness" (arr. J. Cacavas),

Op.40, #2, Belwin, 1973, $1.00. Legato quarters and eighths, range

G-d1.

Grade III.

1. Bach, J. S., "For He That is Mighty (from "The Magnificat")"

K " h i
(arr. Peter Figert), Kendor, 1974, $1.00. Key of B , range BB -e ; lots

of 16th-note scales.

2.
Bennett, David, "Bassoonata," Southern Music, 1964, $2.00.
1
In F major; range C-f , but low C and high F are optional. Easy scales.

3. Cacavas, John, "Winterscape," Belwin, 1973, $1.00. In D,

range A-c^. Halves, quarters, eighths slurred. Andante.

4. Cecconi, Monic, "Concertino for Bassoon and Piano," Editions

Philippo, 1961, $1.75. In 3 movements: Allegro (C), Adagio (C),

Vivace (C); range, a tenth (F-a); some eighths, mostly quarters and

halves.

5. Handel, G. F., "Cantilena" (arr. F. Buchtel), Kjos, 1960,

b 1
60 cents. In 3 ; range A-f ; easy articulation, short phrases, largest

skip a 7th.

6. Haydn, Joseph, "Minuet" (adapted by Henry T. Paine), Belwin,

1970, 75 cents. Keys of C, C minor. With repeats, in full minuet

fashion. I6ths, 8th triplets, long slurs. Range E-d^.

7. Kesnar, Maurits, "Gavotte," Cundy-Bettoney, 1956, $1.00. In

D minor, rnage D-d^; halves, quarters, eighths; easy slurs, easy skips.

8. Marcello (1686-1739), "Allegretto," Leduc, Paris, 1938,

$2.10. All bass clef, in 3/4, E minor, all broken chords, arpeggios,

and scales (8ths exclusively); all slurred in groups of three; range

E-g1.

9. Millars, Haydn, "Adagio and Rondo," Boosey & Hawkes, 1901,

1_ 1. -LI

$2.00. All bass clef; keys B and F; range 3 octaves (BB -b ); almost

all 16ths, scales and arpeggios; the key signatures keep everything

easy for an intermediate player.

10. Nielsen, Hans Peter, "The Satyr" (arr. Michael Edwards),

Mills, 1955, $1.25. In F, straightforward eighths and quarters. Range

11. Ponce, Manuel A., "Estrellita" (ed. Wilbur H. Simpson), First

Division Publishing, 1965, 50 cents. Sixteenth-note arpeggios, key of

b 1
B , range F-d .
Grade IV.
1. Ameller, Andre, "Gaspesie," Leduc, 1973, $2.25. All bass
1
clef; in 3/4; mostly dotted-eighth and sixteenth by skip; range D-g ;

moderato.

2. Chopin, F., "Nocturne, Op. 9, #1" (arr. Paul Stouffer),

b1
Kendor, 1972, $1.50. In C minor, all eighths and longer; range F-a

3. Geiser, Walter, "Capriccio, Op. 33a, for Bassoon and Piano,"

Barenreiter-Ausgabe, 1947, $3.00. Range D-g'*’; 3/4, allegro, style of a

march, staccato 16ths, easy articulation, moderate range.

4. Handel, G. F., "Thunder, Lightning, and Whistling Wind"

(arr. Allen Ostrander), Kendor, 1975, $1.25. In E*3, in 2/4, range

G-g'*’. Mostly 8th-triplets, tongued and/or slurred.

5. Hume, J. Ord, "The Carnival," Boosey & Hawkes (no date),

b b1
90 cents. Several cadenzas, all bass clef; range BB -b ; easy scale

passages in key of F. Cadenzas are written out or ad lib.

6. Kuhlau, "Menuett" (arr, F. Buchtel), Kjos, 1959, $1.00. In

b b bl
E , range E -e . Short slurs, typical minuet. Nothing difficult.

7. Marpurg, F. W., "Rondeau" (arr. Hugo D. Marple), Southern

Music, 1971, $1.25. In F, range A-d"*-. All quarters and eighths,

nothing difficult.

8. Pergolesi, "Canzona" (arr. Clifford P. Barnes), Jack Spratt,

b b bl
1965, $1.25. Key of A , range B -a ; key signature makes some 16th-

note figures tricky for young players.

9. Pisk, Paul A., "Bohemian Dance Rondo," Belwin, 1940,

75 cents. Keys of F and A*3; range C-g'S in 2/4. Short phrases,

moderate articulation problems, skips of an octave. A lengthy work.

 42

10. Rathaus, Karol, "Polichinelle for Bassoon and Piano,1'

K *h
Belwin 1939, 75 cents. In B and E , in 6/8, Mostly all 6/8 eighth-
b 1
note figures; range BB -f ; all bass clef. A long work.

11. Schwartz, George, "Trireme for Bassoon and Piano," Southern

b b 1
Music, 1971, $4.00. I: March, in F and B ; range E -f ; all quarters
b b b
and halves. II: Waltz, in B , E , B ; range as before, note values as
b1
before. Ill: Hoedown, in G, range G-e ; eighths and 16ths— fairly

difficult. Good first attempt at a three-movement work.

12. Senaille, J. B., "Allegro Spiritoso" (transcriber by

Albert J. Andraud and Vincent Pezzi), Southern Music, 1969, $1.25. All

bass clef; range E-g^; C major; some difficult slurred 16th-note passages

(tricky fingerings); all skips an octave or less; mostly scale work.

13. Siennicki, Edmund J., "Memphis Ridge," Kjos, 1974, $1.00.

In 6/8, 2/4, E^, a\ E^. Range E^-g^. Mostly scales, 16ths.

14. Tschaikovsky, P., "impromptu" (arr. Albert Seay), Jack

Spratt, 1953, $1.00. In A*5, 6/8, range C-b^ (all bass clef). Mostly

long tones in 6/8, some duple against 6/8, good first solo with very

high notes.

15. Weissenborn, J., "Romanze, Op. 227" (ed. H. Voxman), Rubank,

1942, 60 cents. In B^, some 16ths and 8ths, mostly quarters. Range

A-a\ all bass clef. Nothing difficult, if the range is there.

Grade V.
1. Bakaleinikoff, Vladimir, "Three Pieces for Bassoon and

Piano," Belwin, 1939, $1.00. I: A Ballad. In G, andante, eighths,

quarters, halves, scales, arpeggios; range G-g\ II: Humoresque. In

B minor, quarters and eighths, some staccato, some slurred, range C-f^.
Ill: March Eccentric. Eighth-triplets, dotted 8ths and 16ths, in C,

same range; all bass clef.

2. Cohen, Sol B., "Song of the Troubador," Belwin, 1966,

75 cents. In F, D, F. First part andante, legato; middle is allegro,

staccato; and then andante, legato. Mostly scale work. Range: D-a\

3. Corelli, "Adagio from Sonata Op. 5 #1" (arr. John Parr),

Hinrichsen, 1962, 80 cents. Bass and tenor clefs; adagio; 3/2 time;
2
range B-c ; wholes, halves, quarters; good, slow tenor clef practice.

Recommended as a first solo when learning tenor clef.

4. di Modena, Giovanni Buononcini, "Aria, for Bassoon and

Piano," Peters, 1931, 80 cents. All tenor clef, andante, quarters and
2
eighths, written-in ornaments, range to c . Quite easy. Again, for

the first try at tenor clef.

5. Flament, E., "Concertstuck, Op. 13" (ed. Dali Fields),

Rubank, 1940, $1.25. In 6/8 and 2/4, lengthy, all bass clef, A minor,

E minor, A major, A minor; mostly half-step triplets, some octave

skips. ,1 .
Range to b

6. Garfield, Bernard, "Soliloquy," Edition Musicus, 1954,

75 cents. In C, range A-b\ with tenor clef. High register study,

very short. For a beginner in tenor clef.

7. Gliere, Reinhold, "Humoresque" (ed. Simon Kovar), Inter­

national Music, 1948, $1.25. Large, broken chords (full range); key

of Bminor; staccato eighths; range D-a^.

8. Grovlez, Gabriel, "Sicilienne et Allegro Giocoso," Editions

Costallat, Paris, 1930, 60 cents. Sicilienne: largamente, 4/4, 6/8,

9/8, 6/8; C minor; bass and tenor clefs; scales and small skips;
chromatic harmonies. Allegro Giocoso: 3/4; many skips and leaps;
b 2
arpeggios. Range: BB -d .

9. Gyring, Elizabeth, "Arabesque" (unaccompanied), Henri

Elkan, 1963, 75 cents. Moderato, 6/8, 2/4, 6/8, 2/4, 6/8; all bass

clef; range C-b^; mostly arpeggios; atonal; no key signature and lots

of accidentals; only two or three difficult 16th-note passages.

10. Handel, G. F., "Andante and Allegro" (arr. Harry Gee),

Southern Music, 1971, $2.00. Andante: B minor; bass and tenor clefs;

range D-a^; almost all quarters and eighths; all skips under two

octaves. Allegro: B minor; bass and tenor clefs; range A-a^; in 6/8,

mostly 8th-triplets, both slurred and tongued; nine measures of 16th-

notescale passages; all skips under two octaves.

11. Handel, G. F., "Concerto in C Minor for Bassoon and Piano

(1703)" (transcribed by Vincent Pezzi), Southern Music, 1958, $1.25.

In three movements: Grave-Allegro, Saxabande, Finale; C minor, E ,

b1
C minor; range C-e ; all bass clef; several ornaments, not difficult;

this work is within reach of anyone who can master a C minor scale.

12. Jordahl, Robert, "Diptych," Kendor, 1973, $2.25. Bass and

tenor clefs, range F^-a^j 6/4, 9/4, 2/4, 3/4; first part lyrical, second

part like a French overture. Not difficult.

13. Kerrison, Jan, "Suite of Dances for Bassoon and Piano,"

Mills,1958, $1.50. I: Rigaudon. All bass clef, in B^ and E^; high

b b1 b
chromatic eighths, range BB -b . II: Sicilienne. In 6/8, A , bass

and tenor clefs, high 8th rhythms. Ill: Jig. In 6/8, in C, high

eighths.
 45

14. Kerrison, Jan, "Three Young Pieces for Bassoon and Piano,"

Mills, 1958, $1.50. I: Gremlins. In and D^, bass and tenor clefs,
Vi K1
range d -b , 8ths by skp (slurred). II: Lullaby. Bass clef, in A,

6/8, eighths, quarters, dotted quarters, a one-octave range. Ill: The

Fairy Clock. Bass clef, in G, 8ths, staccato, range G-g^.

15. Marcello, Benedetto, "Sonata in A minor for Bassoon and

Piano" (ed. L. Sharrow), International Music, 1968, $2.00. Adagio-

Allegro-Largo-Allegro. All bass clef. By scale, step, and short skip.

Well within reach of intermediate high school.

16. Mozart, W. A., "Concerto in B^, K. 191," Peters (no date),

$2.00. The classic bassoon concerto; range BB^-b^3^; bass and tenor

clefs, in 3 movements (F, S, F); leaps of 2 1/2 octaves; moderate

articulation problems, moderate-to-long phrases.

17. Phillips, Burrill, "Concert Piece for Bassoon and Strings"

(also available with band accompaniment), (Piano reduction) Carl Fischer,

1
1940, $1.25. Bass and tenor clefs; range BB-a ; variety ofarticula­

tions; both legato and staccato sections.

18. Pierne, Gabriel, "Concertpiece, Op. 35" (ed. B. Garfield),

International Music, 1958, $1.50. Two movements: Allegro, 4/4, D minor;

Allegro Scherzando, 6/8, D major. Scales and large arpeggios; bass,

2
tenor, and treble clefs; range C-d .

19. Rota, Nino, "Toccata for Bassoon and Piano," Berben, 1975,
b b 1
$3.50. In B , bass and tenor clefs, range BB -b ; many scales and

skips in 16ths, lots of accidentals, but not difficult.

20. Schmutz, Albert D., "Melodie Lyrique for Bassoon and Piano,"

Belwin, 1939, 75 cents. In , range E^-fAndante-Allegro-Andante-

Allegro. Includes double-dotted 8ths and 32nds, dotted 16ths and
 46

32nds, long slurs, scale-wise passages throughout.

21. Stamitz, Karl, "Concerto in F for Bassoon and Orchestra"

(Piano edition) (ed. Johannes Wojciechowski), Musikverlag Hans Sikorski,

2
Hamburg, 1956, $11.00. All bass clef, but range C-c . Allegro

maestoso, Adagio molto, and Poco Presto, F-B^-F. Easy scales and

skips; only difficult fingering is trill from high F to G (frequently).

22. Telemann, G. P., "Sonata in F Minor" (ed. Simon Kovar),

International Music, 1949, $2.00. All bass clef; 4 movements (S, F,

S, F); range A^-g^; octave skips, easy articulation, short-to-moderate

phrases.

23. Vander Cook, "Columbine" (arr. F. Buchtel), Kjos, 1955,

b b 1
60 cents. Andantino in 6/8, B , E ; lots of 16ths; range A-f .

24. Vivaldi, A., "Concerto in D Minor" (ed. Arthur Weisberg),

International Music, 1965, $2.50. I: all D minor, all bass clef. Mostly

repeated 16ths and typical octave-and-a-fifth skips. The key makes

it all easy. II: G minor, bass clef. 16ths and 16th-triplets and trills.

All easy. Ill: D minor, all bass clef. 8th-triplets almost exclusively.

Use of "long grace-note" throughout the work. An excellent introduction

to Vivaldi. Range C-e\

25. Vivaldi, A., "Concerto in F Major for Bassoon, Strings, and

Piano, Op. 8, #8" (Piano edition), (ed. G. F. Malipiero) Ricordi, 1968,

$4.00. Keys: F-C-F. Allegro non molto, Andante, Allegro molto. Moder­

ate tempi, easy runs, scales, and skips. Range C-f^.

26. Vivaldi, A., "Concerto in F Major for Bassoon and Piano,

Op. 8, #19" (arr. Maurice Allard), Billaudot, 1976, $4.00. I: 16th runs

(scales, rebounds). II: tenor clef, quarters and eighths. Ill: 16th
runs, range D-g . Seems to be one of his easier concerti.

27. Vivaldi, A., "Concerto in G Minor for Bassoon, Strings,

and Piano, Op. 8, #11" (Piano edition), (ed. W. R. Smith) Franco

Columbo, 1964, $1.75. Allegro-Largo-Allegro. All bass clef; range

D-e\ Arpeggiated skips throughout, but easy. Lots of "ossia" for

difficult passages. Must have good endurance for the long phrases.

28. Vivaldi, A., "Concerto 'La Notte'" (ed. G. F. Ghedini),

1 b
International Music, 1951, $2.00. Range D-f ; in B . Largo, Andante

molto, Presto, Piu Presto, Adagio, Allegro. Many large leaps; 32nd-

note scales; difficult 16th runs and difficult articulation; long

phrases. An unusual work.

29. Vivaldi, A., "Sonata No. 3 in A Minor" (ed. B. Garfield),

International Music, 1955, $1.50. Range C-g^; bass and tenor clefs;

Largo, Allegro, Largo, Allegro. Two-octave leaps, fairly difficult

articulations; moderate phrases.

30. Weinberger, Jaromir, "Sonatine for Bassoon and Piano," Carl

Fischer, 1940, $1.00. Mostly easy eighths; in G. Range D-g^. No

technical problems.

31. Weissenborn, E., "Song Without Words, Op. 226" (ed. H. Vox-

man), Rubank, 1942, 60 cents. In F, range A-b flat'*'. Mostly quarters.

Good high register study.

32. Weissenborn, J., "Capriccio for Bassoon and Piano, Op. 14,"
2
Kalmus, $2.00. In C and Ab, both clefs, range C-c ; very easy rhythms

and scales; 3/4, one beat per measure, 3 beats against 2. Good for

earliest use of tenor clef and high C.

Grade VI.

1. Adler, Samuel, "Bassoonery," Presser, 1965, $1.00. (Unaccom­

panied.) Bass and tenor clefs; 98 measures; meter changes 4/4, 2/4, 3/4,
2
6/8, 5/8, 4/8; range BBb-c , often within one measure; many accidentals,

tough slurs.

2. Bernier, R., "Bassoonerie," Leduc, 1957, $1.80. Bass and

tenor clefs; in G; range BB-b^; 6/8, 9/8, 7/4; lots of chromatic writing,

in rapid passages.

3. Bourdeau, E., "Premier Solo" (ed. H. Voxman), Rubank, 1941,

$1.00. In C minor, to C major. Many tempo changes, 32nds to whole

2
notes, range C-d . Some difficult scales and leaps within slurs.

4. Bruns, Victor, "Concerto No. 2 for Bassoon and Piano,

Op. 15," Belwin-Mills (no date), $2.00. Also (ed. Gustave Dherin),

International Music, 1958, $2.00. In three long movements, in bass and

tenor clefs; in C, F minor, D minor, minor, F^ minor, C minor, G,

b 2
E minor; range BB -d ; movements are Allegro, Andante, Allegro; two

very long cadenzas (written out); meters and rhythms are straightforward,

as is the articulation; a major work, though not difficult for a student

with the range and ability to play the sharps.

5. Busser, Henri, "Piece de Concours, Op. 66," Belwin (no date),

b bl
$2.00. Almost all tenor clef, range BB -b . Arpeggios, altered

scales.

6. Busser, Henri, "Recit et Theme Varie," Cundy-Bettoney, 1939,

$1.00. In F minor and F major; meter changes. Lots of 16ths, but the
b 2
difficult passages are tongues. Range BB -c , all bass clef.
 7. Gliere, Reinhold, "Impromptu, Op. 35, #9" (ed. Simon

Kovar), International Music, 1948, $1.25. In B^, in 6/8 and 9/8, all
b 1
in bass clef. Range BB -a . A few tricky passages, but mostly a

lilting 6/8 waltz.

8. Hessenberg, Kurt, "Divertimento for Bassoon and Piano,

Op. 71, #5," Leduc, 1964, $3.45. In 5 parts: I. Alla Marcia, A minor,
b bl
both clefs, BB -b , some scales, some tuba-type lines. II. Cavatina,

D minor, very melodic. III. Scherzino, in P minor, staccato eighth

skips. IV. Notturno, 4/16, 5/16 time, B major, 8th-16th-16th rest

rhythm throughout. V. Burlesca, A minor, eighths and quarters,

staccato, over wide range.

9. Ibert, J., "Arabesque ('Carignane1)," International Music,

b 2
1954, $1.25. Both clefs, 6/8, in C, range D -c ; some fast ascending

octuplets (one chromatic); lots of leaps; syncopation.

10. Jancourt, E., "Reverie, Op. 61," Cundy-Bettoney (no date),

b 2
$1.00. Range BB -d , all bass clef. Some tough trills, turns, 8va ad

libs, very fast 16ths. For the very advanced student.

11. Luening, Otto, "Sonata for Bassoon and Piano," Galaxy, 1970

$2.50. Andante, Allegro, Larghetto, Fast. All in C. I: slow quarters

eighths, and halves; II: fast 16th runs and skips; III: slow halves and

wholes in 3/2; IV: 6/8 with meter changes. Range C-b^.

12. Marcello, Benedetto, "Sonata in C Major for Bassoon and

Piano" (ed. L. Sharrow), International Music, 1970, $2.00. Adagio,

Allegro, Largo, Allegro; almost all 16ths, all bass clef, mostly scales

range G-a^.
 13. Milde, L., "Tarantella, Op. 20" (ed. L. Sharrow), Inter­

national Music, 1970, $1.25. In A minor; study in triplets: scales,

written-out mordents, etc. Range C-a\ Graded VI primarily because

of the required speed.

14. Mozart, W. A., "Adagio from the Clarinet Concerto, Op. 107"

(arr. A. E. Harris), Cundy-Bettoney, 1939, 75 cents. All bass clef,

b 2
range E -c ; most of the work is above 3 leger-lines; very fast (32nd)

scales and arpeggios (both slurred passages and tongued); key of E^.

15. Ravel, M., "Alborada del Gracioso (from ’Miroirs1)" (trans­

scribed by Sol Schoenbach), Elkan-Vogel, 1966, $2.50. Only six measures

2
of tenor clef (range to d ); difficult high passages and written-out

ornaments and arpeggios.

16. Rougeron, Philippe, "Sonatine Breve for Bassoon and Piano,"

Gerard Billaudot, 1975, $1.75. Range BB^-b^; some difficult chromati­

cally-altered passages, some very fast tenor clef.

17. Saint-Saens, C., "Romance, Op. 51," Belwin (no date), $1.50.

Almost all tenor clef. Range E-b\ Easy, except for two measures of

32nd runs. In D.

18. Schreck, Gustav, "Sonate, Op. 9," Cundy-Bettoney (no date),

$2.50. Allegro, Largo, Allegro; all bass clef; Eb-Ab-Eb. Mostly quar-
2
ters and eighths, no difficult scales or leaps; range D-c .

19. Vivaldi, A., "Concerto in A Minor for Bassoon and Piano,

Op. 8, #2," Ricordi, 1958, $2.00. Characteristic: descending scale

rebounding to first note (down 11/2 octaves); 32nd-notes in each

movement, all tongued; moderate phrases; range C-f'S all bass clef.
 51

20. Vivaldi, A., "Concerto in A Minor for Bassoon and Piano,

Op. 8, #7," Ricordi, 1958, $1.50. Octave leaps, ascending scales,

broken chords, descending scales; lots of 16ths; long phrases; scale

runs are 32nd-notes. Range D-f#^; all bass clef.

21. Vivaldi, A., "Concerto in A Minor" (ed. L. Sharrow), Inter­

national Music, 1966, $2.00. Majority of the work is in 32nd-notes.

All bass clef; in A minor and F; range C-g^; all kinds of skips and

leaps; very difficult articulation, long phrases.

22. Vivaldi, A., "Concerto in C for Bassoon, Strings, and Piano,

Op. 8, #9" (ed. G. F. Malipiero), Ricordi, 1969, (Piano edition) $4.00.

All bass clef; very difficult skips and leaps (typical). Allegro,
1
Largo, Minuetto (C-a-C). Range c-f .

23. Vivaldi, A., "Concerto in F Major" (ed. L. Sharrow), Inter­

national Music, 1974, $3.00. Allegro, Largo, Allegro, F-a-F. Due to

octave displacement, some fairly difficult 16th runs; tough skips, too.

All bass clef, range C-f^.

24. Vivaldi, A., "Sonata #4 in B^" (ed. L. Sharrow), Inter­

national Music, 1971, $1.75. Virtually all tenor clef; difficult skips,

chromaticisms, articulations. For the very advanced student.

25. Vivaldi, A., "Sonata #2 in F" (ed. L. Sharrow), Inter­

national Music, 1971, $2.00. Mostly tenor clef, Largo, Allegro, Largo,

Allegro. Relatively easy runs, rhythms, etc.

26. Von Weber, Carl Maria, "Andante and Rondo Ongarese, Op. 35"

(ed. Simon Kovar), International Music, 1958, $1.50. I: Andante.

C minor; 6/8 (in 6); bass and tenor clefs; lengthy section of 32nds,

but reasonable. II: Allegretto. C major; extreme variety of ranges in

 52

close proximity; whole last page is very fast 16th-triplet arpeggios

2
and scales, but in easy keys; range C-c ; lines look like etude studies,

yet are very musical; requires an excellent pianist. Very long; turns,

trills, fast tonguing.

27. Von Weber, Carl Maria, "Concerto for Bassoon and Piano,

Op. 75" (revised by Sol Schoenbach), Cundy-Bettoney, 1949, $3.00.

I: Allegro, F, both clefs, two basic styles: slurred 16ths, staccato

16ths, and 8th-triplets of both kinds. II: B^, Adagio, written in

32nds. Ill: Rondo, F, similar to first movement, but lower range.

Overall range: BB^-b^, including one leap between those two notes!

28. Weissenborn, J., "Vortragsstucke, Op. 9, #2," Peters, 1949,

$2.00. 3 solos: Notturno, Scherzo, Ballade. Notturno: all tenor clef;

E^; range E^-b^^; slow, mostly scale work; requires good knowledge

of tenor clef. Scherzo: mostly tenor clef; C minor; vivace; range G-a^;

mostly eighths, slurred scales; some large skips (over two octaves).

Ballade: B minor, all bass clef, range BB-g^; two arpeggios (I6ths) in
// #
A minor and G minor, the rest 8ths.

Summary of Chapter 4

Generally, grade classifications I through VI refer to problems

of range, chromatic alteration, tempo, articulation, and knowledge of

tenor clef. While a student playing at the level of Grade I seldom

must use more than three fingers of each hand and usually will not play

notes shorter than eighth-notes, each level adds manual as well as

labial and lingual facility. Performance of a work at Grade VI requires

the ability to play any note in the entire range of the bassoon, in
bass or tenor (and occasionally treble or alto) clefs, in any meter

or at any speed, and with great dynamic contrast.

The author has himself studied the bassoon at each of these

levels, often in conjunction with the teachers who were interviewed

for this study. He also recognizes that there are levels of ability

beyond Grade VI (as noted on page 24) and feels that Grade VI is

within the capability of selected Senior High School students.

The literature listed in Chapter 4 is felt by the author and

those he consulted to be educationally sound and worthwhile. It is

recommended that the criteria for choosing grade levels on pages 23 and

24 be strictly followed and that a sequential course of study be planned

using the listed literature.

 Chapter 5

SUMMARY OF FINDINGS, CONCLUSIONS, AND RECOMMENDATIONS

The introduction of the bassoon to students is commonly delayed

until the junior or senior high school years, due in the main to the

expenses of purchase and maintenance of reeds and instruments, coupled

with a lack of fundamental knowledge about the instrument and its

literature on the part of the teacher.

Several good sources are available which can guide the teacher

to a clear understanding of the peculiarities of the bassoon reed, and

are easily understood. Similar sources list manufacturers of bassoons

but fail to discuss quality, consistency, construction, and price.

These are all covered in this thesis and should solve that problem for

the educator.

A teacher needs to know which method books will suit his style

of teaching, as well as his students' abilities. Further, he should

offer guidance to his student in the selection of studies, etudes,

exercises, and solo literature consistent with the student’s current

level of ability. Included in this thesis is an annotated list of all

such materials, as well as an approximate price.

This work, then, is an educator's guide to the bassoon. It is

intended to provide solutions to most problems encountered by a non­

bassoon-playing music teacher in the public schools, and should assist

54
 55

him in starting young bassoonists. Sources are offered in the Biblio­

graphy which will answer any questions which may not have been dealt

with here.

Conclusions

Based on the interviews with players, teachers, and a repairman

which were discussed in Chapter 3, following are recommendations for

purchase of instruments by public schools, where a specific choice is

allowed and funds are available (prices are "list" and are subject to

allowable discounts made to public schools).

For the Beginner (Elementary School)

The Renard 51 ("short-reach") if the hands and arms are small

($1,450); or the Renard 41 (normal size): $1,550. Both are made of

polypropylene.

For the Junior High School

As above; or the Renard 222 ($1,850); or the Schreiber 5030

($2,020): both are made of wood.

For the Senior High School

The Schreiber 5070 ($3,620); or the Mirafone 102 ($2,550); or

the Fox II ($3,750); or the Fox 201 ($4,800): all are made of wood.

Bear in mind that, the price notwithstanding, the Mirafone has softer

metal, which is more easily bent or broken, although it has better

intonation than a Schreiber. All Fox and Renard bassoons have guaranteed

intonation accuracy and a one-year overhaul warranty.

 56

Again, as the repairman suggested, if you are maintenance­

conscious and want to spend as little as possible after the purchase

for that purpose, consider a plastic (polypropylene) bassoon. The only

ones on the market are by Linton (not recommended) and Fox: the Renard 51

("short-reach" at $1,450), the Renard 41 ($1,550), the Fox IV ($1,650),

the Fox III ($2,650), and the Fox 301 ($4,100). The differences: the

Renard 41 has the high D as an option, but it is standard on the Fox III

and Fox IV; the Fox III has six available options that the others do

not have and are individually tuned while the others are not.

Recommended Options

The high D key is generally agreed to be a necessity, and is

standard on all the recommended bassoons except the Renard models, and

is optional on the Renard 41.

The whisper-key lock is popular, and standard on the Schreiber

5070 and the Mirafone 102; optional on the Renard 41, the Fox II, III,

201, and 301; and not available on the Schreiber 5030, the Renard 51 or

222, or the Fox IV.

All bassoons recommended have the rollers for both little fingers

as suggested by the professionals. The Schreiber 5070 also has five

more rollers as standard equipment (as well as the third bocal— all

others supply two). The following bassoons also offer up to six other

options (besides those mentioned above): the Fox II and III, the Fox 201

and 301. Others may be available on other instruments by special

request, although their catalogues did not so state.

 The Fox bassoons all feature tone-hole tubes which protrude into

the bore to prevent water problems. None of the other bassoons list

this feature.

The repairman stated that the best wood for bassoon construction

(because it is closer-grained and therefore seals better) is curly maple.

Both Schreiber and Mirafone advertise this feature (of course, they

come from the same factory), while Fox advertises the use of Indiana

hard maple (as opposed to "curly").

It cannot be too strongly emphasized that reputation and speci­

fications are only partial factors— -teachers should also play the

instrument before purchase is made. Bid specifications should include

the desired characteristics of the instrument that is preferred, from

recommendations presented in this thesis.

Literature

Many of the publications listed in the Bibliography include com­

pilations of solo literature for the bassoon, as well as ensemble music;

none, however, include method books and etude studies; nor do they

annotate the contents or list the price.

Chapter 4 will assist the educator in the selection of materials

for students of grade levels 4 through 12 and at various levels of

ability. Other considerations include whether a student is able to go

over the break; can read high notes or tenor clef; knows key signatures

and/or meter signatures, etc.

 Recommendations for Extension of This Study

While the fingerings and configuration of the keys have been

more or less standard on the bassoon since 1887, other factors are

frequently changed for the purpose of improvement of intonation and

tone quality, for increased stabilization of pitch, for longer instru­

ment life, and so on. Such factors would include the introduction of

different types of wood, new materials for construction of keys, dif­

ferent sizes and lengths of bore and bocal, and perhaps new keys to

facilitate the use of the extended upper register. Cost of production

and promotion also continues to rise. For these reasons this study

should be revised and up-dated at least every five years.

New literature continues to enter the market. This material

should be included in this study and should be graded and annotated by

the same consistent standards.

Literature for bassoon ensembles would be an interesting and

useful extension of this paper, as would a study of contrabassoons that

might be in the price range that a high school or a District could

afford.
BIBLIOGRAPHY
 60

BIBLIOGRAPHY

Books

1. Baines, Anthony. Woodwind Instruments and Their History. New York:

W. W. Norton, 1957.

2. Bessaraboff, Nicholas. Ancient European Musical Instruments. New

York: October House, Inc., 1941.

3. Blom, Eric (ed.). Grove's Dictionary of Music and Musicians,

Volume 1_. New York: St. Martin's Press, 1954.

4. Camden, Archie. Bassoon Technique. London: Oxford University Press,

1962.

5. Carse, Adam. Musical Wind Instruments. London: Macmillan & Co.,

Ltd., 1939.

6 . Duerksen, George L. Teaching Instrumental Music. Washington, D.C.:

Music Educators National Conference, 1972.

7. Holz, Emil A., and Roger E. Jacobi. Teaching Band Instruments to

Beginners. Englewood Cliffs, N.J.: Prentice-Hall, 1966.

8 . Instrumentalist, The. Woodwind Anthology. Evanston, Illinois:

The Instrumentalist, 1972.

9. Langwill, Lyndesay G. The Bassoon and Contrabassoon. New York:

W. W. Norton & Co., Inc., 1965.

10. Music Educators National Conference. Selective Music Lists for

Instrumental Solos and Ensembles. Washington, D.C.: MENC,
1979.

11. Palmer, Harold G. Teaching Techniques of the Woodwinds. Rockville

Center, Long Island, New York: Belwin, Inc., 1952.

12. Pence, Homer C. Teacher's Guide to the Bassoon. Elkhart, Ind.:

H. and A. Selmer, Inc., 1963.

13. Popkin, Mark, and Loren Glickman. Bassoon Reed Making. Evanston,
Illinois: The Instrumentalist Co., 1969.
 61

14. Rasmussen, Mary, and Donald Mattran. A Teacher’s Guide to the

Literature of Woodwind Instruments. Durham, N.H.: Brass and
Woodwind Quarterly, 1966.

15. Spencer, William G. The Art of Bassoon Playing. Evanston, Illinois:

Summy-Birchard Pub. Co., 1958.

16. Timm, Everett L. The Woodwinds. Boston: Allyn and Bacon, Inc.,
1964.

17. Weerts, Richard K. Handbook for Woodwinds. Northeast Missouri

State Teachers College, 1966.

18. _______ . How to Develop and Maintain a Successful Woodwind

Section. West Nyack, N.Y.: Parker Publishing Co., 1972.

19. Westphal, Frederick W. Guide to Teaching Woodwinds. Dubuque,

Iowa: Wm. C. Brown Co., 1974.

20. Wiesner, Glenn, et al. Orthodontics and Wind Instrument Performance.

Washington, D.C.: Music Educators National Conference, 1973.

21. Wilkins, Wayne. Index of Bassoon Music. Magnolia, Arkansas: The

Music Register, 1976.

Periodicals

22 . Allen, Steven W. "Embouchure and Tone Production." The Instru­

mentalist, January, 1974, 51.

23. Boerlin, Richard A. "Double Reeds: The Bassoon." The School

Musician, August-September, 1976, 20.

24. Corey, Gerald E. "Four Commonraost Problems of the High School

Bassoonist." The School Musician, March 1974, 14, and May
1974, 6.

25. Echols, Gary. "Solo and Ensemble Literature for Bassoon." The
Instrumentalist, 18:91, September 1963.

26. Eifert, Otto. "Selected Bassoon Solos." The Instrumentalist, April

1976, 29.

27. Figert, Peter. "The Continuing Bassoonist." The Instrumentalist,

February 1967, 63.

28. Fox, Alan. "Defining the Two Types of Bassoons." The Instru­
mentalist, November 1968, 53.
 62

29. Garfield, Bernard H. "The Ultimate Challenge for Bassoonists."

The Instrumentalist, 19:59, September 1964.

30. Halfpenny, Eric. "Early English Bassoon Fingerings." Galpin

Societ; Journal, 18:127, March 1965.

31. ______ . "The Evolution of the Bassoon in England, 1750-1800."

Galpin Society Journal, 10:30-9, May 1957.

32. Herman, Ernest. "Dental Considerations in the Playing of Musical

Instruments." The Instrumentalist, January 1976, 40.

33. Instrumentalist, The. "A Discography of Bassoon Solos." The

Instrumentalist, April 1976, 34.

34. Kohon, B. "The History and Musicology of the Bassoon." Woodwind

Magazine, l:3ff., January 1949, and 4ff., February 1949.

35. Krakamp, E. "The Boehm Bassoon." Woodwind Magazine, 3:8-9,

September 1950.

36. Langwill, L. G. "The 'Boehm1 Bassoon: A Retrospect." Galpin

Society Journal, 12:63-7, May 1959.

37. Lysing, M. N. "History of Woodwinds." The School Musician,

37:66-7, February 1966.

38. MacGillivray, J. "Playing Old Instruments." Woodwind World,

2:10-12, October 1958.

39. Malewski, Frank W. "Double Trouble." Woodwind World, 7:4, April

1967 and 7:7, November-Deeember 1967.

40. Meyer, Frederick. "Selected Books and Dissertations on the Double

Reeds." The Instrumentalist, April 1968, 47.

41. Miller, K. E. "Instruments of the Baroque Era." Choral Journal,

7:16 n5, 1967.

42. Organ, Robert. "Double-Reed Shop Talk." The School Musician,

39:16, February 1968.

43. Oromszegi, Otto. "The Bombards of Master 'W* of Rozmberk." Galpin

Society Journal, 21:97-104, March 1968.

44. Palmer, Harold. "Bassoon Fundamentals." The Instrumentalist,

21:50, January 1967.

45. Polisi, Joseph. "Basic Steps in Teaching Bassoon." The Instru­

mentalist, November 1973, 60.
 63

46. Polonchak, Richard M., "What Directors Should Know About Bassoonists
in the Band." The Instrumentalist, April 1976, 24.

47. Rosario, G. "Letters (The French Type Bassoon)." Woodwind

Magazine, 7:3ff., January 1955.

48. Schleiffer, John E. "The Bassoon: Three Technical Studies." Music

Educators Journal, January 1967, 57-59.

49. Schoenbach, Sol. "Is There a Future for Bassoonists?" The Instru­
mentalist, April 1976, 38.

50. Sharrow, Leonard. "The Bassoon is Archaic; The Need For a New
Instrument." Woodwind Magazine, 2:4ff., April 1950.

51. Thompson, Robert K. "Help For the Young Bassoonist." The Instru-
mentalist, April 1976, 28.

Unpublished Material

52. Bartlett, Loren W. "A Survey and Checklist of Representative Eight­

eenth-Century Concertos and Sonatas For Bassoon." Dissertation
Abstracts International, Volume 22, 2815-A, 1961.

53. Klitz, Brian K. "Solo Sonatas, Trio Sonatas, and Duos for Bassoon
Before 1750." Dissertation Abstracts International, Volume 22,
2024-A, 1961.

54. Lehman, Paul R. "The Harmonic Structure of the Tone of the Bassoon."
Dissertation Abstracts International, Volume 23, 1733-A, 1963.

55. Munsell, Donald T. "A Comprehensive Survey of Solo Bassoon Litera­

ture Published After Ca. 1929 With Analyses of Representative
Compositions." Dissertation Abstracts International, Volume 30,
753-A, 1970.

56. Seidler, Richard D. "The Bassoon Concertos of Antonio Vivaldi."

Dissertation Abstracts International, Volume 34, 7811-A, 1974.

57. Urbinato, Joseph M. "A Critical Edition and Analysis of Nine

Sonatas for Bassoon and Continuo by Giovanni Antonio Bertoli."
Dissertation Abstracts International, Volume 32, 4054-A, 1972.
APPENDIX
 65

APPENDIX

For the purpose of recommending bassoons for purchase by schools

the opinions of professional bassoonists and teachers were sought. Seven

men were interviewed: three in person, three by mail, and one by both

methods. Answers to questions in personal interviews were recorded by

the taking of notes; other responses were submitted by written correspon­

dence .

Each interview was preceded by a statement of disclaimer that

the name of the interviewee would not be used in direct connection with

a given response. It was therefore understood that answers could be

given candidly and that honest appraisals were desired.

Two basic questions were asked of each individual: (1) Excluding

the Heckel, please list in descending order your preferred makes and

models of bassoons for purchase by and use in the public schools and

(2) what optional keys and equipment do you recommend as essential

additions?

The men who were interviewed answered these questions and then

elaborated on them, citing personal experience with many bassoons at

many grade levels. These answers are reported in Chapter 3.