Part two of this comprehensive bassoon tutor that is designed to help children gain the greatest pleasure possible from the development of their musical potential. Blow The Bassoon!' comes in two volumes for the bassoon student with two further volumes of piano accompaniments for the teacher. Book 2 is 90 pages. AMEB (Australian Syllabus) 2004Grade: 5 - 8

A comprehensive Bassoon tutor that is designed to help children gain the greatest pleasure possible from the development of their musical potential. Blow The Bassoon! comes in two volumes for the Bassoon student with two further volumes of piano accompaniments for the teacher. 2004Grade: 0-5

Book/CD Pack-Book/CD Pack. This collections for Bassoon was personally selected and performed by world-famous performing artist and educator Leonard Sharrow. On the accompanying CDs the first track features the solo performance with piano accompaniment and the second track is the piano accompaniment only. Edited by Linda Rutherford. Contents: Two Sketches (Siennicki) · Chanson Triste (Tchaikovsky) · Arioso and Humoreske (Weissenborn) · Three Baroque Dances (Boismartier) · Sonata No. V (Galliard) · Romanze (Siennicki) · Menuetto (Beethoven) · Two Impromptus (Siennicki).

Grade 3-This collection of pieces was written for the Trinity Guildhall Examination Board syllabus. It is aimed principally at students of grades 1 to 5 and intended to combine technical challenges with that most vital musical ingredient: fun.Four pieces for bassoon and piano by Graham Sheen.Drunken Sailor - the sequelThis needs a plaintive tone especially in the upper register where the dynamics are particularly important. To capture the mood of the piece those slurs in bars 35 and 36 for example might even be close to a glissando. Use your imagination to recreate the sailor's state of health!The Vulgar BoatmanNot only more 'hidden' melodies but moreappalling puns! (Volga Boatman for those not versed in Russian folksongs). This is like a waltz: it is written in 3/4 time but played so as to give the impression of one beat in bar. The melodies need to be well sustained so that we hear four eight or even more bars as a single phrase. Clues for the musical detective:- in addition to the Volga Boatman you might spot just a hint of 'Sailing down the River on a Sunday Afternoon' 'We Sail the Ocean Blue' (H.M.S. Pinafore) The Eton Boat Song and even Wagner's Flying Dutchman.Last Tango in HarrisEveryone must surely know these thinly disguised Scottish tunes but can you make them sound like a tango? Bear in mind that tangos are not jazz: the rhythm is quite strict but the tango character is in the tone and the phrasing. Notice how expressive the occasional shorter note value can be as in bars 4 and 5 in the bassoon part.Rheumanian StretchesOr was that Rumanian Sketches? This is a chance to play the main melody in two registers of the bassoon. Try to make a good even sound in both octaves. This piece requires careful counting since the phrases in the bassoon part don't always begin where you might expect. Think of this piece as a song.

from Tone and Performance Studies-Julius Weissenborn is best remembered today for the teaching material written for use at the Leipzig Conservatorium where he taught bassoon from 1882. His two famous tutor books are still the most popular bassoon etudes in use today well over 120 years after they were written. This anthology represents the first-ever publication that contains all 11 of the extant full recital pieces for bassoon and piano that Weissenborn envisioned as the third part to this tutor in a single volume. Southern Music is proud to present this fine collection of Tone and Performance Studies to players of all levels edited by veteran Principal Bassoonist for the Detroit Symphony Robert Williams.

Vingt Études by Marcel Bitsch is a set of works for Bassoon. Rated as difficult (7° 8°) this volume was written to maintain the skills already acquired by the players and to help them to master all the techniques that could still need improvement such as breathing flexibility nuances and scores in different keys among others. Each study has a different mode and / or key and lasts between one and two pages. This set is a must-have for Bassoon players who want to maintain their level. Marcel Bitsch is a French musician who specialised in teaching the counterpoint and the fugue. He composedmany orchestral pieces and some chamber music. He also wrote the analysis of some works by J. S. Bach.

Composed in 1922 the Deux Mouvements - MCMXXII is a piece for two Flutes or Flute and Oboe Clarinet and Bassoon by Jacques Ibert. Dedicated to the “Modern Society of Wind instruments” this quartet is difficult and is composed of two movements: “Allant” and “Assez vif et rythmé”. This really lyrical quartet work is a great piece to play for a concert. Jacques Ibert (1890-1962) also composed many symphonic suites operas and seven orchestras including 'Angelique' (1926) and 'Divertissement' (1930). He also was in charge of the Accadémie deFrance in the Villa Médicis (Roma) and was later administrator for the Paris Opera.

Exercises and studies in this book have been written for the specific purpose of supplementing any of the elementary methods available. The book is in no way intended to serve as a method or as a course of progressive instruction for the Bassoon. This book is divided into two general classifications: studies for rhythmic development; and scale, arpeggio, and interval exercises which are so indispensable in mastering any instrument.

Music through the Ages in Two Volumes-Time Pieces is an exciting series of repertoire which explores the wealth of music written from the sixteenth century to the present day. The pieces are presented chronologically within each volume and all include the year in which they were written too. This series allows the pupil to get a real feel for the different styles of music through time providing performance confidence and experience at the earliest stages. The book will prove an invaluable varied source of further study and recital repertoire.

Par KNUSSEN OLIVER. Study for “Metamorphosis” for solo bassoon was composed by Oliver Knussen in the early 1970s but was withdrawn and later revised by the composer in 2018. Two earlier versions of the piece exist: an incomplete copy of the work’s earliest incarnation – entitled Study in Metamorphosis and dated 1972 – and a revised version from 1973, which uses the current title.   / Instrumental Music / Répertoire / Basson