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.

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.

Aka Moodys Blues. Par GERNOT WOLFGANG. Eine Aufnahme ist auf David Breidenthals CD 'Bassoon Power' zu hören / Date parution : 2001-01-01/ Répertoire / Basson

für Anfänger/for Beginners-The first volume from Julius Weissenborn's Opus 8 collection of Bassoon studies for the advanced player. These studies will help to develop technical control and smoothness of playing.

Twelve Solos for the Bassoon player mainly adapted from Orchestral excerpts in order to give the performer practice at playing these solos in context with proper harmonic backing (Piano accompaniment). Selected and edited by Sol Schoenbach these pieces range from J.S. Bach's Cello Suite to Leonard Bernstein's West Side Story. The bulk of this music falls under the 'intermediate' (Grade 4-6) category however the Tchaikovsky and Berstain pieces are somewhat harder.

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.

Bassoon-Metamorphoses after Britten was written for Melinda Maxwell for UYMP's Signals volume of new music for Oboe. It was first performed by Melinda at York University on 24th November 2010.I - A MountainII -FixationIII - FlowersIV - Fountains Metamorphoses after Britten by philipvenables 'Metamorphoses after Britten arejust that: four miniatures each inspired by one of Benjamin Britten’s Six Metamorphoses after Ovid for solo oboe. Each movement over its short course transforms gradually from one thing to another ending with the exception ofFountains in a short cathartic coda. Some of the movements also take specific musical elements from Britten’s pieces.I very much viewed these pieces as musical Haiku and in that sense I hope they embody a sense ofpeace brevity and simplicity.The oboe version of Metamorphoses after Britten is dedicated to Melinda Maxwell.The saxophone version of Metamorphoses after Britten with an additional movement is dedicated to Vickiand Andrew Vaughan'      - Philip Venables     

Par NELSON ERIC. Mel Bay's new fingering and scale chart for bassoon is an indispensable reference guide for bassoonists as well as educators. The fingering diagrams are clear and easily understandable, with clear photographs of the keys of the bassoon. The scales can be used together with those of other instruments in the series. Included in the chart are: - Fingering diagrams for the most common fingerings for all the notes in the standard range of the bassoon - A separate chart of the most common and useful alternate fingerings - All twelve major and relative minor scales and arpeggios - Chromatic scale - Cross-references to alternate fingerings used in specific scale and arpeggios / Niveau : Débutant / All Styles - Fingering Chart / Etude / Basson

A Guide to Effective Practice-Concentration on individual aspects of playing the bassoon will make it easier to identify and correct errors and imprecision. By working steadily through these exercises you can acquire a basic technique that will enable you to tackle difficult passages in the bassoon repertoire.Such meticulous attention to detail will help you achieve the freedom to follow your intuition in a spontaneous musical performance.Georg Klütsch b. 1951 in Düren trained as a music teacher in Mainz and studied the bassoon with Prof. Helman Jung in Detmold. For many years he was principal bassoonist with the Bamberg Symphony Orchestra and a member of the Sabine Meyer Wind Ensemble. He was professor atthe Franz Liszt Music Academy in Weimar. Since 2001 he has been professor of bassoon and chamber music at the Cologne Academy of Music also teaching international master classes.

One of the most widely used series of methods for individual or like-instrument class instruction. Using a very well-rounded approach including scales arpeggios technical studies studies for musicianship articulation studies solos duets and studies devoted to the special needs of each instrument this series provides a fantastic wealth of material for all student musicians.