Weissenborn Study #25
Weissenborn Opus 8/2, Study #25 for advanced bassoon students. Strategies for octave jumps in this study and the Hummel Bassoon Concerto. Healthy attitudes about competition and comparisons.
Comments
Weissenborn Opus 8/2, Study #25 for advanced bassoon students. Strategies for octave jumps in this study and the Hummel Bassoon Concerto. Healthy attitudes about competition and comparisons. By Terry B. Ewell, Bassoon Digital Professor. BDP #133.
The original transcript is available here.
Videos
Captions are unavailable. The complete transcript follows.
Chapters
Transcript
0:19Introduction: Octave Jumps, Fingering, Intonation, and Breathing
Welcome, this is Terry Ewell. Weissenborn study #25 is one of the most difficult in the collection. The octave jumps present challenges for fingering and intonation. In addition, the study provides little place to breathe. Let's discuss each of those issues one by one.
0:43Fingering Solutions and the Hummel Bassoon Concerto
The fingering solutions for lines 3 and 4 are similar to the solutions I provided for Hummel's bassoon concerto in my article titled "Bassoon Lessons with Arnold Schwarzenegger, or What I did on My Summer Vacation." Bassoon Lessons with Arnold Schwarzenegger, or What I did on My Summer Vacation
1:07Section
The mp3 files of my live performance of the Hummel bassoon concerto are given here: Recorded Bassoon Performances
1:15Whisper Key Lock
Here are my solutions: First I engage the whisper (or piano) key lock. Most whisper key locks are engaged with the right hand at the top of the boot joint.
1:31Section
My whisper key lock is engaged with the left thumb here.
1:44D Key for Upper Octave Slurs
Then I use the D key to produce the upward slurs for A4, Bb4, B4, C4, and D4. The D key has the added advantage of raising the pitch of C4, which is a flat note on my bassoon.
2:04C#3--C#4 Fingering Solutions
The difficult C#3-C#4 slurs are made easier by using these fingerings:
2:13Section
I use those fingerings on the 16th notes only in the difficult passage. On the 8th notes and 16ths in the second to last measure I use the normal C# fingerings.
2:27Alternate Ab3 Fingering
The alternate Ab3 in the last line gives a smoother slur to Ab4.
2:35Intonation and Vowel Changes
In general the intonation of the upper octave notes are helped by switching vowels. The lower notes are played with an "ah" or "oh" vowel or position of the tongue. The upper notes are performed with an "ee" vowel or position of the tongue. Thus, in addition to embouchure adjustments, the tongue is also changing position to improve the intonation of the octaves.
3:09Breathing in Lines 3 and 4
I have marked breaths in lines 3 and 4, but these do interrupt the timing of the 16ths. The passage can be performed with one breathe, however, this is extremely difficult as I demonstrate here:
3:49Circular Breathing
One other solution is to use circular breathing on the slurred arpeggio in line 3 measure 2. If you wish to learn more about this technique, I have prepared a series of videos on circular breathing: BDP #7, 8, 9 (English); and BDP #76 (English and Chinese) Circular Breathing ------------------------------------------------------------------------ # REFLECTION
4:08Reflection: Gifts, Comparisons, and Competition
For if anyone thinks himself to be something, when he is nothing, he deceives himself. But let each one examine his own work, and then he will have rejoicing in himself alone, and not in another. For each one shall bear his own load. (NKJV, Galatians 6:3-5)
4:30Every Good and Perfect Gift
Every good gift and every perfect gift is from above, and comes down from the Father of lights.., (NKJV, James 1:17)
4:43Attitudes toward Competition
Living with comparisons and competition is a part of a musician's life. A wrongful attitude will lead you to one of two viewpoints: a boastful, inflated view of your value or a despondent lack of self-worth.
5:00A Different Way to Live
The writings here point to a different way to live.
5:04Section
When considering your gifts and talents remember that you were given them by your heavenly Father. Compare your potential to the best you are capable of producing. Measure your achievements not against others, but against what you can do to please the Giver of your gifts. Use your gifts as a means of blessing, not as a tool for boasting. Also remember your self-worth is not the sum of your achievements but rather the value that the Father of lights gives to you.
Credits
- author Terry B. Ewell
- composer Julius Weissenborn