29 10 1573 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource bassoONLY: Unaccompanied Bassoon Music Resource Collection Creator An entity primarily responsible for making the resource Jon Beebe Description An account of the resource bassoONLY is a database devoted to music for unaccompanied bassoon. To use this resource, apply keywords at the top right. Keywords may be used to locate works using a wide variety of parameters, such as a particular composer and/or title, instrumentation (e.g. contrabassoon), gender, a country or nationality (e.g. Venezuela or Venezuelan), a duration (e.g. 6 minutes), a compositional style (e.g. avant-garde or jazz), range limit (e.g. C#5), difficulty level (e.g. moderately easy), extended techniques in general or one in particular (e.g. multiphonics or singing while playing), or a year of composition. The resource is incomplete, and additions and corrections are welcomed. Please contact Jon Beebe at beebejp@appstate.edu if you are able to offer assistance. The repertoire for unaccompanied bassoon is valuable for a number of reasons. Whether music is chosen for study or performance, the technical challenges are often formidable, bringing into play parameters such as texture and color that might be less salient in accompanied music. Just as an extended monologue is a supreme test for an actor, so too is the unaccompanied solo, of which a performer must have an intimate knowledge that transcends the superficial aspects in order to present a truly engaging performance. This can be especially challenging, given the diversity and complexity of modern musical techniques, languages, and styles. And finally, the better pieces seem to embody the intrinsic personae of one of the most idiosyncratic, challenging, and unique musical instruments. How the Difficulty Levels Are Applied to the Music The compositions on this site have been divided into five difficulty levels: Easy, Moderately Easy, Moderately Challenging, Challenging, and Very Challenging. While there is no absolute formula, six factors have been considered in determining an appropriate level for each piece: 1. top-most pitch and extent of high register usage 2. key signatures/changes or accidentals 3. clef 4. rhythmic/metric complexity 5. amount of conjunct vs. disjunct motion 6. the use of extended techniques. Music Resource A reference source for music research and performance practice. Composer Seely, Zach. Gender Male Work Title of the musical composition. Orozco. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 16-35 minutes. Description This piece was composed in 2016-7 and dedicated to Stefan Kerstan, who gave the premiere in Leipzig on July 1, 2017. The music is avant-garde, with an emphasis on multiphonics and multiphonic tremolos, although timbral trills, harmonics, microtones, improvisation, pitch bending, and tongue slaps are also featured. The notation is unusual, featuring six staves denoting jaw pressure, vowel shapes, reed position, fingering tablature, dynamics, and traditional notation. The full range up to Eb5 is employed, although most of the music is confined to the middle register. The performance duration varies, depending on the amount of improvisation used. Reference http://www.zachmusicseely.com U.S. Date Range of Work 2017 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Seely: Orozco. Subject The topic of the resource Bassoon Source A related resource from which the described resource is derived http://www.zachmusicseely.com Germany United States Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource bassoONLY: Unaccompanied Bassoon Music Resource Collection Creator An entity primarily responsible for making the resource Jon Beebe Description An account of the resource bassoONLY is a database devoted to music for unaccompanied bassoon. To use this resource, apply keywords at the top right. Keywords may be used to locate works using a wide variety of parameters, such as a particular composer and/or title, instrumentation (e.g. contrabassoon), gender, a country or nationality (e.g. Venezuela or Venezuelan), a duration (e.g. 6 minutes), a compositional style (e.g. avant-garde or jazz), range limit (e.g. C#5), difficulty level (e.g. moderately easy), extended techniques in general or one in particular (e.g. multiphonics or singing while playing), or a year of composition. The resource is incomplete, and additions and corrections are welcomed. Please contact Jon Beebe at beebejp@appstate.edu if you are able to offer assistance. The repertoire for unaccompanied bassoon is valuable for a number of reasons. Whether music is chosen for study or performance, the technical challenges are often formidable, bringing into play parameters such as texture and color that might be less salient in accompanied music. Just as an extended monologue is a supreme test for an actor, so too is the unaccompanied solo, of which a performer must have an intimate knowledge that transcends the superficial aspects in order to present a truly engaging performance. This can be especially challenging, given the diversity and complexity of modern musical techniques, languages, and styles. And finally, the better pieces seem to embody the intrinsic personae of one of the most idiosyncratic, challenging, and unique musical instruments. How the Difficulty Levels Are Applied to the Music The compositions on this site have been divided into five difficulty levels: Easy, Moderately Easy, Moderately Challenging, Challenging, and Very Challenging. While there is no absolute formula, six factors have been considered in determining an appropriate level for each piece: 1. top-most pitch and extent of high register usage 2. key signatures/changes or accidentals 3. clef 4. rhythmic/metric complexity 5. amount of conjunct vs. disjunct motion 6. the use of extended techniques. Music Resource A reference source for music research and performance practice. Composer Vosk, Jay (b. 1948) Gender Male Work Title of the musical composition. The Giant Stirred…... Unpublished Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 8 minutes Description This piece was composed in 2015 for Susan Nigro. The music is pitch-centric and alternates “sluggish” sections with others that are more energetic and usually staccato. The piece ascends to G#4, and the music is moderately challenging, albeit requiring a facile double tongue. Date Range of Work 2015 Discography Discography: Crystal Records CD980 (CD) Susan Nigro Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Vosk:The Giant Stirred…... Subject The topic of the resource Contrabassoon Source A related resource from which the described resource is derived http://jayvosk.com/bio.htm United States Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource bassoONLY: Unaccompanied Bassoon Music Resource Collection Creator An entity primarily responsible for making the resource Jon Beebe Description An account of the resource bassoONLY is a database devoted to music for unaccompanied bassoon. To use this resource, apply keywords at the top right. Keywords may be used to locate works using a wide variety of parameters, such as a particular composer and/or title, instrumentation (e.g. contrabassoon), gender, a country or nationality (e.g. Venezuela or Venezuelan), a duration (e.g. 6 minutes), a compositional style (e.g. avant-garde or jazz), range limit (e.g. C#5), difficulty level (e.g. moderately easy), extended techniques in general or one in particular (e.g. multiphonics or singing while playing), or a year of composition. The resource is incomplete, and additions and corrections are welcomed. Please contact Jon Beebe at beebejp@appstate.edu if you are able to offer assistance. The repertoire for unaccompanied bassoon is valuable for a number of reasons. Whether music is chosen for study or performance, the technical challenges are often formidable, bringing into play parameters such as texture and color that might be less salient in accompanied music. Just as an extended monologue is a supreme test for an actor, so too is the unaccompanied solo, of which a performer must have an intimate knowledge that transcends the superficial aspects in order to present a truly engaging performance. This can be especially challenging, given the diversity and complexity of modern musical techniques, languages, and styles. And finally, the better pieces seem to embody the intrinsic personae of one of the most idiosyncratic, challenging, and unique musical instruments. How the Difficulty Levels Are Applied to the Music The compositions on this site have been divided into five difficulty levels: Easy, Moderately Easy, Moderately Challenging, Challenging, and Very Challenging. While there is no absolute formula, six factors have been considered in determining an appropriate level for each piece: 1. top-most pitch and extent of high register usage 2. key signatures/changes or accidentals 3. clef 4. rhythmic/metric complexity 5. amount of conjunct vs. disjunct motion 6. the use of extended techniques. Music Resource A reference source for music research and performance practice. Composer Heininen, Matti (b. 1984). Gender Male Work Title of the musical composition. Study in Apparitions. Description Premiered in Vaasa, Finland by Etienne Boudreault on July 30, 2017. Date Range of Work 2017 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Heininen: Study in Apparitions Subject The topic of the resource Bassoon Finland Finnish Scandinavian Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource bassoONLY: Unaccompanied Bassoon Music Resource Collection Creator An entity primarily responsible for making the resource Jon Beebe Description An account of the resource bassoONLY is a database devoted to music for unaccompanied bassoon. To use this resource, apply keywords at the top right. Keywords may be used to locate works using a wide variety of parameters, such as a particular composer and/or title, instrumentation (e.g. contrabassoon), gender, a country or nationality (e.g. Venezuela or Venezuelan), a duration (e.g. 6 minutes), a compositional style (e.g. avant-garde or jazz), range limit (e.g. C#5), difficulty level (e.g. moderately easy), extended techniques in general or one in particular (e.g. multiphonics or singing while playing), or a year of composition. The resource is incomplete, and additions and corrections are welcomed. Please contact Jon Beebe at beebejp@appstate.edu if you are able to offer assistance. The repertoire for unaccompanied bassoon is valuable for a number of reasons. Whether music is chosen for study or performance, the technical challenges are often formidable, bringing into play parameters such as texture and color that might be less salient in accompanied music. Just as an extended monologue is a supreme test for an actor, so too is the unaccompanied solo, of which a performer must have an intimate knowledge that transcends the superficial aspects in order to present a truly engaging performance. This can be especially challenging, given the diversity and complexity of modern musical techniques, languages, and styles. And finally, the better pieces seem to embody the intrinsic personae of one of the most idiosyncratic, challenging, and unique musical instruments. How the Difficulty Levels Are Applied to the Music The compositions on this site have been divided into five difficulty levels: Easy, Moderately Easy, Moderately Challenging, Challenging, and Very Challenging. While there is no absolute formula, six factors have been considered in determining an appropriate level for each piece: 1. top-most pitch and extent of high register usage 2. key signatures/changes or accidentals 3. clef 4. rhythmic/metric complexity 5. amount of conjunct vs. disjunct motion 6. the use of extended techniques. Music Resource A reference source for music research and performance practice. Composer Volpe, Dave. Gender Male Work Title of the musical composition. Oak Demon. Self-published. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 3.5 minutes Description This pitch-centric scherzo was composed in 2017 for Anthony Parnther. It is moderately challenging and confined to the low and middle registers. Date Range of Work 2017 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Volpe: Oak Demon Subject The topic of the resource Contrabassoon Source A related resource from which the described resource is derived http://davevolpemusic.com/about/ United States Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource bassoONLY: Unaccompanied Bassoon Music Resource Collection Creator An entity primarily responsible for making the resource Jon Beebe Description An account of the resource bassoONLY is a database devoted to music for unaccompanied bassoon. To use this resource, apply keywords at the top right. Keywords may be used to locate works using a wide variety of parameters, such as a particular composer and/or title, instrumentation (e.g. contrabassoon), gender, a country or nationality (e.g. Venezuela or Venezuelan), a duration (e.g. 6 minutes), a compositional style (e.g. avant-garde or jazz), range limit (e.g. C#5), difficulty level (e.g. moderately easy), extended techniques in general or one in particular (e.g. multiphonics or singing while playing), or a year of composition. The resource is incomplete, and additions and corrections are welcomed. Please contact Jon Beebe at beebejp@appstate.edu if you are able to offer assistance. The repertoire for unaccompanied bassoon is valuable for a number of reasons. Whether music is chosen for study or performance, the technical challenges are often formidable, bringing into play parameters such as texture and color that might be less salient in accompanied music. Just as an extended monologue is a supreme test for an actor, so too is the unaccompanied solo, of which a performer must have an intimate knowledge that transcends the superficial aspects in order to present a truly engaging performance. This can be especially challenging, given the diversity and complexity of modern musical techniques, languages, and styles. And finally, the better pieces seem to embody the intrinsic personae of one of the most idiosyncratic, challenging, and unique musical instruments. How the Difficulty Levels Are Applied to the Music The compositions on this site have been divided into five difficulty levels: Easy, Moderately Easy, Moderately Challenging, Challenging, and Very Challenging. While there is no absolute formula, six factors have been considered in determining an appropriate level for each piece: 1. top-most pitch and extent of high register usage 2. key signatures/changes or accidentals 3. clef 4. rhythmic/metric complexity 5. amount of conjunct vs. disjunct motion 6. the use of extended techniques. Music Resource A reference source for music research and performance practice. Composer Schubert, Franz (1797-1828). Gender Male Work Title of the musical composition. Erlkönig. T.D. Ellis Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 4 minutes Description David Nester’s challenging arrangement of this famous song requires extensive multiple tonguing, and a facility up to Eb5. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Schubert: Erlkönig Subject The topic of the resource Bassoon Austria Austrian Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource bassoONLY: Unaccompanied Bassoon Music Resource Collection Creator An entity primarily responsible for making the resource Jon Beebe Description An account of the resource bassoONLY is a database devoted to music for unaccompanied bassoon. To use this resource, apply keywords at the top right. Keywords may be used to locate works using a wide variety of parameters, such as a particular composer and/or title, instrumentation (e.g. contrabassoon), gender, a country or nationality (e.g. Venezuela or Venezuelan), a duration (e.g. 6 minutes), a compositional style (e.g. avant-garde or jazz), range limit (e.g. C#5), difficulty level (e.g. moderately easy), extended techniques in general or one in particular (e.g. multiphonics or singing while playing), or a year of composition. The resource is incomplete, and additions and corrections are welcomed. Please contact Jon Beebe at beebejp@appstate.edu if you are able to offer assistance. The repertoire for unaccompanied bassoon is valuable for a number of reasons. Whether music is chosen for study or performance, the technical challenges are often formidable, bringing into play parameters such as texture and color that might be less salient in accompanied music. Just as an extended monologue is a supreme test for an actor, so too is the unaccompanied solo, of which a performer must have an intimate knowledge that transcends the superficial aspects in order to present a truly engaging performance. This can be especially challenging, given the diversity and complexity of modern musical techniques, languages, and styles. And finally, the better pieces seem to embody the intrinsic personae of one of the most idiosyncratic, challenging, and unique musical instruments. How the Difficulty Levels Are Applied to the Music The compositions on this site have been divided into five difficulty levels: Easy, Moderately Easy, Moderately Challenging, Challenging, and Very Challenging. While there is no absolute formula, six factors have been considered in determining an appropriate level for each piece: 1. top-most pitch and extent of high register usage 2. key signatures/changes or accidentals 3. clef 4. rhythmic/metric complexity 5. amount of conjunct vs. disjunct motion 6. the use of extended techniques. Music Resource A reference source for music research and performance practice. Composer Wanneby, Jonathan (b. 1991). Gender Male Work Title of the musical composition. 1D305. Stockholm: Swedish Music Information Centre. Description This piece was premiered by Gabriella Varga Karlsson in Stockholm on March 21, 2017. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wanneby: 1D305 Subject The topic of the resource Bassoon Scandinavian Sweden Swedish Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource bassoONLY: Unaccompanied Bassoon Music Resource Collection Creator An entity primarily responsible for making the resource Jon Beebe Description An account of the resource bassoONLY is a database devoted to music for unaccompanied bassoon. To use this resource, apply keywords at the top right. Keywords may be used to locate works using a wide variety of parameters, such as a particular composer and/or title, instrumentation (e.g. contrabassoon), gender, a country or nationality (e.g. Venezuela or Venezuelan), a duration (e.g. 6 minutes), a compositional style (e.g. avant-garde or jazz), range limit (e.g. C#5), difficulty level (e.g. moderately easy), extended techniques in general or one in particular (e.g. multiphonics or singing while playing), or a year of composition. The resource is incomplete, and additions and corrections are welcomed. Please contact Jon Beebe at beebejp@appstate.edu if you are able to offer assistance. The repertoire for unaccompanied bassoon is valuable for a number of reasons. Whether music is chosen for study or performance, the technical challenges are often formidable, bringing into play parameters such as texture and color that might be less salient in accompanied music. Just as an extended monologue is a supreme test for an actor, so too is the unaccompanied solo, of which a performer must have an intimate knowledge that transcends the superficial aspects in order to present a truly engaging performance. This can be especially challenging, given the diversity and complexity of modern musical techniques, languages, and styles. And finally, the better pieces seem to embody the intrinsic personae of one of the most idiosyncratic, challenging, and unique musical instruments. How the Difficulty Levels Are Applied to the Music The compositions on this site have been divided into five difficulty levels: Easy, Moderately Easy, Moderately Challenging, Challenging, and Very Challenging. While there is no absolute formula, six factors have been considered in determining an appropriate level for each piece: 1. top-most pitch and extent of high register usage 2. key signatures/changes or accidentals 3. clef 4. rhythmic/metric complexity 5. amount of conjunct vs. disjunct motion 6. the use of extended techniques. Music Resource A reference source for music research and performance practice. Composer Jacobs, Edward S. (b. 1961). Gender Male Work Title of the musical composition. Concentre. New York: American Composers Alliance. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 6 minutes Description This atonal and predominantly lyrical work was composed for Adrian Morejon in 2017. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jacobs: Concentre Subject The topic of the resource Bassoon United States Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource bassoONLY: Unaccompanied Bassoon Music Resource Collection Creator An entity primarily responsible for making the resource Jon Beebe Description An account of the resource bassoONLY is a database devoted to music for unaccompanied bassoon. To use this resource, apply keywords at the top right. Keywords may be used to locate works using a wide variety of parameters, such as a particular composer and/or title, instrumentation (e.g. contrabassoon), gender, a country or nationality (e.g. Venezuela or Venezuelan), a duration (e.g. 6 minutes), a compositional style (e.g. avant-garde or jazz), range limit (e.g. C#5), difficulty level (e.g. moderately easy), extended techniques in general or one in particular (e.g. multiphonics or singing while playing), or a year of composition. The resource is incomplete, and additions and corrections are welcomed. Please contact Jon Beebe at beebejp@appstate.edu if you are able to offer assistance. The repertoire for unaccompanied bassoon is valuable for a number of reasons. Whether music is chosen for study or performance, the technical challenges are often formidable, bringing into play parameters such as texture and color that might be less salient in accompanied music. Just as an extended monologue is a supreme test for an actor, so too is the unaccompanied solo, of which a performer must have an intimate knowledge that transcends the superficial aspects in order to present a truly engaging performance. This can be especially challenging, given the diversity and complexity of modern musical techniques, languages, and styles. And finally, the better pieces seem to embody the intrinsic personae of one of the most idiosyncratic, challenging, and unique musical instruments. How the Difficulty Levels Are Applied to the Music The compositions on this site have been divided into five difficulty levels: Easy, Moderately Easy, Moderately Challenging, Challenging, and Very Challenging. While there is no absolute formula, six factors have been considered in determining an appropriate level for each piece: 1. top-most pitch and extent of high register usage 2. key signatures/changes or accidentals 3. clef 4. rhythmic/metric complexity 5. amount of conjunct vs. disjunct motion 6. the use of extended techniques. Music Resource A reference source for music research and performance practice. Composer Rimsky-Korsakov, Nikolai (1844-1908). Gender Male Work Title of the musical composition. Flight of the Bumblebee. Terry B. Ewell. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1.5 minutes Description This is an impressive sounding arrangement by Terry Ewell that does away with the usual piano. It is challenging, but avoids the extreme upper register. The ability to circular breathe, while not a requirement to successfully play this arrangement, is a plus. Date Range of Work 1984 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rimsky-Korsakov: Flight of the Bumblebee Subject The topic of the resource Violin Transcription United States Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource bassoONLY: Unaccompanied Bassoon Music Resource Collection Creator An entity primarily responsible for making the resource Jon Beebe Description An account of the resource bassoONLY is a database devoted to music for unaccompanied bassoon. To use this resource, apply keywords at the top right. Keywords may be used to locate works using a wide variety of parameters, such as a particular composer and/or title, instrumentation (e.g. contrabassoon), gender, a country or nationality (e.g. Venezuela or Venezuelan), a duration (e.g. 6 minutes), a compositional style (e.g. avant-garde or jazz), range limit (e.g. C#5), difficulty level (e.g. moderately easy), extended techniques in general or one in particular (e.g. multiphonics or singing while playing), or a year of composition. The resource is incomplete, and additions and corrections are welcomed. Please contact Jon Beebe at beebejp@appstate.edu if you are able to offer assistance. The repertoire for unaccompanied bassoon is valuable for a number of reasons. Whether music is chosen for study or performance, the technical challenges are often formidable, bringing into play parameters such as texture and color that might be less salient in accompanied music. Just as an extended monologue is a supreme test for an actor, so too is the unaccompanied solo, of which a performer must have an intimate knowledge that transcends the superficial aspects in order to present a truly engaging performance. This can be especially challenging, given the diversity and complexity of modern musical techniques, languages, and styles. And finally, the better pieces seem to embody the intrinsic personae of one of the most idiosyncratic, challenging, and unique musical instruments. How the Difficulty Levels Are Applied to the Music The compositions on this site have been divided into five difficulty levels: Easy, Moderately Easy, Moderately Challenging, Challenging, and Very Challenging. While there is no absolute formula, six factors have been considered in determining an appropriate level for each piece: 1. top-most pitch and extent of high register usage 2. key signatures/changes or accidentals 3. clef 4. rhythmic/metric complexity 5. amount of conjunct vs. disjunct motion 6. the use of extended techniques. Music Resource A reference source for music research and performance practice. Composer Keller, Hermann (b. 1945). Gender Male Work Title of the musical composition. iefer Fall. Leipzig: Hofmeister. Description This piece is included in Zeitgenössische Fagottmusik, edited by Dieter Hähnchen. Suggested fingerings for many of the extended techniques and are provided, taken from Bruno Bartolozzi’s seminal book, New Sounds for Woodwind (London: Oxford University Press, 1967) and/or Sergio Penazzi’s Metodo per Fagotto (Milan: Ricordi. 1972), but these are not always reliable. Be prepared to experiment. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Keller: Tiefer Fall Subject The topic of the resource Bassoon German Germany Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource bassoONLY: Unaccompanied Bassoon Music Resource Collection Creator An entity primarily responsible for making the resource Jon Beebe Description An account of the resource bassoONLY is a database devoted to music for unaccompanied bassoon. To use this resource, apply keywords at the top right. Keywords may be used to locate works using a wide variety of parameters, such as a particular composer and/or title, instrumentation (e.g. contrabassoon), gender, a country or nationality (e.g. Venezuela or Venezuelan), a duration (e.g. 6 minutes), a compositional style (e.g. avant-garde or jazz), range limit (e.g. C#5), difficulty level (e.g. moderately easy), extended techniques in general or one in particular (e.g. multiphonics or singing while playing), or a year of composition. The resource is incomplete, and additions and corrections are welcomed. Please contact Jon Beebe at beebejp@appstate.edu if you are able to offer assistance. The repertoire for unaccompanied bassoon is valuable for a number of reasons. Whether music is chosen for study or performance, the technical challenges are often formidable, bringing into play parameters such as texture and color that might be less salient in accompanied music. Just as an extended monologue is a supreme test for an actor, so too is the unaccompanied solo, of which a performer must have an intimate knowledge that transcends the superficial aspects in order to present a truly engaging performance. This can be especially challenging, given the diversity and complexity of modern musical techniques, languages, and styles. And finally, the better pieces seem to embody the intrinsic personae of one of the most idiosyncratic, challenging, and unique musical instruments. How the Difficulty Levels Are Applied to the Music The compositions on this site have been divided into five difficulty levels: Easy, Moderately Easy, Moderately Challenging, Challenging, and Very Challenging. While there is no absolute formula, six factors have been considered in determining an appropriate level for each piece: 1. top-most pitch and extent of high register usage 2. key signatures/changes or accidentals 3. clef 4. rhythmic/metric complexity 5. amount of conjunct vs. disjunct motion 6. the use of extended techniques. Music Resource A reference source for music research and performance practice. Composer Keller, Hermann (b. 1945). Gender Male Work Title of the musical composition. Ein Hauch von Südamerika. Leipzig: Hofmeister. Description This piece is included in Zeitgenössische Fagottmusik, edited by Dieter Hähnchen. Suggested fingerings for many of the extended techniques and are provided, taken from Bruno Bartolozzi’s seminal book, New Sounds for Woodwind (London: Oxford University Press, 1967) and/or Sergio Penazzi’s Metodo per Fagotto (Milan: Ricordi. 1972), but these are not always reliable. Be prepared to experiment. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Keller: Ein Hauch von Südamerika Subject The topic of the resource Bassoon German Germany