SKU: ST.C184
ISBN 9790570811847.
March of the DayThe subtitle says it all, I think. The piece has three main ideas each in the contrasting keys of Bb, Eb and F majors. Can you find a different character for each one? The danger for bassoonists in this sort of piece is that everything can sound accented, so be careful to follow the articulation marks as closely as you can.RondolettinettoThis is all about building phrases through repetition. It relies largely, therefore, on control of the sound. Try to achieve a really obvious contrast of character between the opening phrases and the less refined con spirito episode. This might be played just a touch faster than the opening and closing sections, if you wish. There is a hint of gentle parody in this piece if you can find a way of expressing that too.Sand-dance KidThis piece stretches the compass and range of expression even further. There are very obvious contrasts of staccato and legato and the phrase lengths of the middle section are far from regular. Try to scale down the dynamics at the end so that you end as softly as you can play.Three Pieces for Bassoon and PianoGrade 4Former Spartan Press Cat. No.: SP1164.
SKU: ST.C183
ISBN 9790570811830.
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 more appalling 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 Boating 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.Four Pieces for Bassoon and PianoGrade 3Former Spartan Press Cat. No.: SP1163.
SKU: ST.C181
ISBN 9790570811816.
Polka-dotsThere are three contrasting types of expression for the bassoonist here. The opening phrase is staccato which is followed (at bar 11) by a sustained counter melody. Finally (at bar 19) both these effects are combined in a second melody which needs very clear dynamic playing.Monkey PuzzleSustaining the sound while rearticulating the notes is important in this piece. In other words, the opening should be played almost slurred. Be aware of the changing harmonies underneath the held notes in the bassoon part.Serious SongLong but separate notes contrast with real legato. The main theme is marked tenuto, so full value for each note, especially ending notes. Even the quavers aren’t very short at this speed. Try to make the richest sound you can like, for example, a fine Russian baritone.Three Pieces for Bassoon and PianoGrade 1Former Spartan Press Cat. No.: SP1161.
SKU: ST.C182
ISBN 9790570811823.
BodhánThe melody here is very broken up, so breathe and be ready for the next entry in good time. Don’t drag behind the drum in the piano part. Notice that only some of the notes are marked staccato.À la ModalModes are scales based on the white notes of the piano, say, so you won’t find a single accidental in this piece. It shows that expression in music depends on more than just the dynamics, that is, how loudly and softly you play. We also need to observe the articulation markings such as staccato, tenuto and the accents on both long and short notes.Schubert’s GhostSchubert is one of my favourite composers. I hope you enjoy the swing of the dotted rhythms and accents in this little Viennese impression. There are three musical quotations: one from Schubert himself, one from a later Viennese composer, Gustav Mahler and, near the end, the Dies Irae tune which has been used by many composers.Three Pieces for Bassoon and PianoGrade 2Former Spartan Press Cat. No.: SP1162.
SKU: HL.14020992
ISBN 9780711936805. 9.0x12.0x0.185 inches.
Unusually for him, Davies starts his Bassoon Concerto not with slow music but with speed and brilliance: the opening is a Presto, initiated by the strings, and only at the entry of the soloist does the tempo relax to that of a real introduction. Out of this grow a big dancing Allegro. The slow movement begins and ends with a simple song, around fantastical ornamentation from the soloist. The finale is again a recitative and dance, with a slow coda. The whole work is an immense show of stamina, poetry and athleticism for the bassoon, set against an orchestra coloured by low wind (alto flute, clarinet in A, bass clarinet, contrabassoon, horns). Bassoon part with piano reduction of the orchestral score.
SKU: MA.EMR-54346
Entry March / Charmaine / Little Mouse Polka / Crazy Journey On Tricycle / Boogie Rock Woogie / Fairy Tale Romance / Bella Ciao.
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