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Weissenborn Study #33

Weissenborn Opus 8/2, Study #33 for advanced bassoon students. Suggestions for fingerings. A further discussion on where to breathe. How to lightly tongue.

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Weissenborn Opus 8/2, Study #33 for advanced bassoon students. Suggestions for fingerings. A further discussion on where to breathe. How to lightly tongue. By Terry B. Ewell, Bassoon Digital Professor. BDP #141.

The original transcript is available here.

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Transcript

0:19Introduction

Welcome to this video on Weissenborn study #33. I am Terry Ewell.

0:26Three Fingerings for C#4

I play most of the notes on the bassoon with a single fingering, regardless of the dynamics of the note. C#4, however, is an unusual note because I often make use of three fingerings.

Figure 1Open full-size figure
Figure 1

0:42French C#4 Fingering

My standard fingering for C#4 is the "French" fingering. I choose this as my regular fingering because it is louder than the "fast" fingering and uses fewer fingers than the "full" fingering. Fewer fingers down allow for quicker movements.

0:59Fast C#4 Fingering

The "fast" or left hand only fingering is used for the faster passages. For many Americans this is their standard fingering.

1:14Full C#4 Fingering

The "full" fingering provides a beautiful tone, and that is one I choose for lyrical and slower passages such as given in this study in the first four lines. I use the other two fingerings later in the study: the French C# when I want more resonance and the fast C# when the passage is difficult. I have not marked any of the C#s as alternate fingerings here so you will need to experiment with what works best for you.

Figure 2Open full-size figure
Figure 2
Figure 3Open full-size figure
Figure 3
Figure 4Open full-size figure
Figure 4

1:44Turn Fingerings in Line 1

I play the turn in line 1 measure 7 with normal fingerings. However, you might find it easier to use these fingerings as an alternative. In any case, you should remember these fingerings for trills and shakes.

Figure 5Open full-size figure
Figure 5
Figure 6Open full-size figure
Figure 6
Figure 7Open full-size figure
Figure 7

2:03C#4--D4 Trill

The C#-D4 trill in line 2 is fingered like this:

Figure 8Open full-size figure
Figure 8

C#4--D4 Trill, continued

Notice that I start with the full C# fingering then release the C# key and raise my left third finger. Then I trill the left third finger.

2:30Where to Breathe

In study #9 I presented reasons for when and where to breathe. Line 3, measure 1 is another interesting case study. I have heard many students make this choice, breathing after B3 on the bar line.

Figure 9Open full-size figure
Figure 9

Where to Breathe, continued

The B3 does sound as if it is a resolution from the F#4. However, this is a musically poor choice! Let me now explain.

3:02Relationship between the Four-Bar Phrases

There is an important relationship between line 2, measures 5-8 and the following four measures ending with F#4 in line 3. These two four bar phrases are related. The second four bar phrase is an elaboration, and ornamentation of the first four bars.

3:25Comparing the Two Phrases

Here are the first two measures of the two phrases.

Figure 10Open full-size figure
Figure 10

3:42Section

Here are the second two measures of the two phrases.

3:58B3 as a Pickup

Now, can you hear how they are related? The lower line in the example is an ornamentation or elaboration of the top line. Therefore the breath needs to come in the same place---after F#4. Thus, in line 3, measure 1 the B3 is a pickup to the next phrase.

Figure 11Open full-size figure
Figure 11

4:23A Tempo and Phrase Structure

Weissenborn further indicates this musical understanding by placing the "a" of a tempo immediately over the B3 in line 3, measure 5. He indicates that this B3 belongs as a pickup to the next phrase. You can clearly see the beginning of the phrase at the a tempo is identical to the prior phrase start. This should thus be phrased in the same way.

Figure 12Open full-size figure
Figure 12

4:54Caesuras, Tempos, Mordents, and Trills

I will not comment on "rf," the caesuras, and tempos leading up to the fermata since I have discussed these in other videos. You can also observe how I present them in my performance in this video. I need to give you fingerings, however, for the mordents and the trill.

5:12D4--E4 Mordent

In line 6 the mordent on D4 to E4 is best fingered like this. The addition of the Eb resonance key gives a fuller sound to E4.

Figure 13Open full-size figure
Figure 13

5:30B3--C#4 Mordent

In line 6 the mordent on B3-C#4 is the standard trill fingering for those notes.

Figure 14Open full-size figure
Figure 14

5:37E4--F#4 Trill

In line 10 on the fermata the trill from E4-F#4 is fingered like this:

Figure 15Open full-size figure
Figure 15

5:45Light Tonguing at the Corner of the Reed

Last of all, you might need to lightly tongue the slur to A#2 in line 4. If you choose to do this, don't tongue the center of the reed, rather tongue a corner of the reed. This will make the articulation less noticeable and still help the note to respond. Tonguing the corner of the reed yields a more legato articulation than tonguing in the center of the reed.

6:12Flicking for Clean Responses

I assume that you are correctly flicking the articulated notes for A3, B3, Bb3, and C4. All your notes need to start cleanly. In line 12, the downward slur from E4 to A3 comes out best by flicking the A key. If you need to review flick keys please see studies 3 and 4.

Figure 16Open full-size figure
Figure 16

Flicking for Clean Responses, continued

------------------------------------------------------------------------ # REFLECTION

6:40Proverbs 18:24

A man who has friends must himself be friendly. (NKJV, Prov. 18:24)

6:45The Importance of Making Friends

The importance of making friends should not be underestimated in the music industry. It is often people who know you who recommend you for jobs. During the interview process for the first university where I was hired there was a person on the search committee who knew me from our days in a youth orchestra. His advocacy was important for me getting the chance to interview for the job. This was the job that started my full-time academic career.

7:17Auditions, Interviews, and Professional Relationships

It is usually the case that when you interview or audition for a bassoon position in the USA, your committee will be comprised of non-bassoonists. For instance, when a university replaces a bassoon professor position, that bassoon teacher is not on the committee. The committee may contain other woodwind teachers, or performers, or professors or staff from other fields. Remember that your friendships should go out to people who perform different instruments or do other things in music. Be friendly to many people, not just those who play the bassoon.

Credits

  • author Terry B. Ewell
  • composer Julius Weissenborn