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Weissenborn Study #41

Weissenborn Opus 8/2, Study #41 for advanced bassoon

Comments

Weissenborn Opus 8/2, Study #41 for advanced bassoon students. Fingerings, monotones, and more practice on phrasing. The most recited verse. By Terry B. Ewell, Bassoon Digital Professor. BDP #149.

The original transcript is available here.

Videos

Captions are unavailable. The complete transcript follows.

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Chapters

Transcript

0:16Con fuoco and Tranquillo

Welcome, this is Terry Ewell. I interpret the "con fuoco" marking, "with fire," to indicate that the dotted eighth notes should be separated. This gives the performance more zeal and passion. It then contrasts nicely with the "tranquillo" section that is calmer and slurred.

0:40Leggermente and Tenuto Quarter Notes

In the last two lines, "leggermente" means lightly. Don't accent the "tenuto" quarter notes. This is more an indication to hold them to full value rather than to stress the notes.

0:57Alternate Fingerings for Gb3, Db4, and Eb3

Throughout the movement I make use of the alternative Gb3 fingering when approached by or going to Bb3. I also make use of the left hand only Db4 and Eb3 fingerings. These are not marked in the music because you should be familiar with these fingerings now and when to use them.

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Figure 1
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Figure 2

1:19C# Resonance Key for Bb3

I also add the C# resonance key to stabilize and help the intonation with Bb3 at the "Fine."

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Figure 3

1:27Alternate Gb4 Fingering

I use the alternate fingering for Gb4 in line 3 measure 4. This fingering works much better for the slur from Bb4. This is the same fingering I use in the second solo passage in the Rite of Spring.

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Figure 4

1:44Rite of Spring Fingering

In my videos on the Rite of Spring (BDP #92-94) I discuss this passage and other aspects for practicing the work. http://www.2reed.net/bdp/home.html#bdp92

1:56Phrasing in Line 10

Now let's work on phrasing. In line 10 I challenge you to practice phrasing the first four measures in three different ways. This will help you to better understand the subtle roles of dynamics and rubato with phrase shapes.

2:15One-Measure Phrase Shapes

First shape the four measures in separate one measure phrases. Do this both on a monotone and as written. The arrows point to the musical goals, so these phrases start with climaxes and are shaped away from them.

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Figure 5
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Figure 7

One-Measure Phrase Shapes, continued

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

5:23Reflection: The Most Recited Verse

What is the most recited verse in the entire Bible? If you said, "John 3:16" you might be partially correct. That is perhaps the most translated verse in all of human history. It appears in more languages than any other portion of literature. However, my question was about which verse is the most recited.

5:55Sh'ma Yisrael

For centuries Jews and even the first Christians recited the "Sh'ma Yisrael," ( יִשְׂרָאֵל שְׁמַע) translated as "Hear, O Israel." A portion of this is found in Deuteronomy 6:4-5. For centuries believers have recited these words at least two times a day:

6:18Deuteronomy 6:4-5

Hear, O Israel, the LORD our God, the LORD is one. You shall love the LORD your God with all your heart, with all your soul, and with all your strength. (NKJV, Deuteronomy 6:4-5)

6:33The Greatest Commandment

Jesus was asked by a legal authority, "What is the greatest commandment of all?" He answered with a portion of the Sh'ma Yisrael, but made one change. He replied:

6:50With All Your Mind

'You shall love the LORD your God with all your heart, with all your soul, with all your strength, and with all your mind... (NKJV, Luke 10:27)

6:58Loving God with the Whole Being

I find the addition of the portion "with all your mind" very interesting. There is no question that Jesus was a brilliant man. But the addition of this portion is not just for the smartest people. Jesus is indicating that God desires devotion and love from every portion of our being. He wants all of you: your emotions, your actions, and your thoughts.

Credits

  • author Terry B. Ewell
  • composer Julius Weissenborn