Weissenborn Study #39
Weissenborn Opus 8/2, Study #39 for advanced bassoon
Comments
Weissenborn Opus 8/2, Study #39 for advanced bassoon students. Roller coasters and rubato. By Terry B. Ewell, Bassoon Digital Professor. BDP #147.
The original transcript is available here.
Videos
Captions are unavailable. The complete transcript follows.
Chapters
Transcript
0:18Lyrical Expression in Study #39
Welcome, this is Terry Ewell. Weissenborn study #39 is one of those lyrical gems that make this collection so enjoyable to practice. Give this your best musical expression!
0:34Dolcissimo, Sonoro, and Espressivo
Weissenborn was inspired to add several musical terms to the study such as dolcissimo (as sweetly as possible), sonoro (resonant), and espressivo (very expressive). All of these terms indicate to me that the music needs to be played with great sensitivity and expression.
0:58Rinforzando in a Pianissimo Context
I interpret the "rf" in line 8 to be in the context of pianissimo not fortissimo. I gave a careful justification for the meaning of rf in the prior videos. If you need to review the meaning of "rf" please see study #35.
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Rinforzando in a Pianissimo Context, continued
------------------------------------------------------------------------ # REFLECTION
1:20Reflection: Music in Motion
In a prior video "Music in Motion" (BDP #100) I presented the use of dynamics, vibrato, and rubato as a means of expressing movement in music. I encourage you to view that video as well. http://www.2reed.net/bdp/home.html#bdp100
1:38Rubato and Musical Goals
In this reflection I will further discuss the use of rubato to convey motion to and arrival at musical goals.
1:50The Roller Coaster Analogy
I am sure that many, if not all of you, have been on a roller coaster. Remember the feel of the ride when you are on the top and start moving towards the bottom? The motion starts out slowly and then accelerates as you reach the bottom. The motion is a smooth movement from slower to faster speeds. Once the bottom is reached then an upward slope slows your motion.
2:16Rubato as Continuous Motion
A well-played musical phrase with rubato functions in much the same manner. Motion towards the goal is faster and faster while motion away from the goal slows down gradually. There are not sudden jerks or stops with the motion. The motion is continuous and progresses smoothly.
2:42Practicing Rubato Drives
Let's practice these roller coaster moments, rubato drives, in the first eight measures. I will be exaggerating the motion now for our practice session. This also makes it easier for you to hear. When you perform it, you won't give the listener such a wild ride!
3:03Two Measure Phrases
I will tongue eighth notes so that you can hear the motion during sustained notes and rests. This time I will make two measure phrases. The arrows with points to the right of the curves indicate motion to the goals. The arrows with points to the left of the curve indicate motion away from the goals.
3:29Two Measure Phrase Example
Example mm. 1-8. Two measure phrases--tongued
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3:57Four Measure Phrases
Let me try something more complex now and give more importance to the downbeat of the fourth measure and the downbeat of the eighth measure.
4:29Four Measure Phrase Example
Example mm. 1-8. Four measure phrases--tongued
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4:39Intermediate and Primary Musical Goals
Can you hear the motion? By means of rubato and dynamics I created intermediate goals on the downbeats of the 2nd and 6th measures. But the biggest goals were presented on the downbeats of the 4th and 8th measures. Let me play it now without the tonguing, but I will hear the pulses in my mind when I play it. Example mm. 1-8. Four measure phrases---not tongued
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Intermediate and Primary Musical Goals, continued
Now let's try the real roller coaster ride in the study! Line 5 can be played in a cadenza like manner. Let's try that. I will consider the first long note (A4) to be similar to a fermata and then the motion moves to the first dotted quarter note, up a slight incline and then descending to the appoggiatura we studied at the end of the last video for Weissenborn #38. I will tongue the sustained notes so that so you can hear the subdivisions. Example line 5 as cadenza. Play to the end.
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Intermediate and Primary Musical Goals, continued
Well, clearly I over did it there! But that sure was fun. I am celebrating that wild ride by wearing this flashy tie! You need to practice your rubato by overdoing it at times to find the limits and understand how to use this tool for phrasing. Notice that the contour of the rubato must be maintained through sustained notes. You must subdivide to do this. Precision is needed for effective rubatos. Musicality can be improved and brought to a standard of excellence with careful attention. Be sure to include rubato practice in your practice sessions. ------------------------------------------------------------------------
Credits
- author Terry B. Ewell
- composer Julius Weissenborn