41 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 Meister, Scott R. (b. 1950). Gender Male Work Title of the musical composition. Fantasmi. Unpublished. 1. Incantagioni 2. Vibrazioni 3. Seduta spiritica 4. Frenesìa 5. Vapori Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 11 minutes Description This piece was composed in 1987 for Jon Beebe. As indicated by the title this is a playful piece that explores the world of ghosts and spirits. The music is atonal and full of extended techniques. Flutter-tonguing, glissandi, multiphonics, timbre changes, quarter-tones, vibrato manipulations, key slaps, harmonics, playing with a second, free-blowing reed, tongue-slaps, a harmonic, singing, singing while playing, other vocal sounds, and improvisation are all integrated into this piece. Clear instructions and fingerings are provided. In addition, the fourth movement requires the performer to play while aluminum foil loosely folded over the bell produces a rattling snare-like effect. While avant-garde and challenging, the music is very approachable. The top-most pitch is D5. Nationality United States, Canada Date Range of Work 1987 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 Meister: Fantasmi 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. Source http://paulabrusky.com/program-notes/notes-mignone-waltzes Composer Mignone, Francisco (1897-1986). Gender Male Work Title of the musical composition. 16 Valsas para Fagote Solo. Bloomfield, NJ: LRO. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 2-5 minutes each Description These well-known pieces are pitch-centric and predominantly lyrical, although the technical demands and range requirements make some of the pieces very challenging. They were composed between 1979 and 1981, with the French basson in mind; consequently the upper register is exploited in some of the waltzes, even up to F#5. The LRO edition also includes the less well known Sonatina. Three of the waltzes, Apanhei-te, Valsa quasi Modinheira, and Pattapiada, were required pieces for the 1998 Gillet Competition sponsored by the IDRS. Discography (complete) Melodiya C10 28093 005 (LP) Andris Arnicans Sesc CD 6055/14 (CD) Fio Cury Funarte MMB 82.026 (LP) (LP) Noel Devos Funarte ATR 32020 (CD) Noel Devos Musical Heritage Society MHS 513565 (LP) Arthur Grossman Petrobras ASM CD003 (CD) Elione Medeiros MSR Classics MS 1110 (CD) Frank Morelli Mark MCD 1380 (CD) Barrick Stees (selected waltzes) A boa pascoa para voce, Devos Skylark SKY9901 (CD) Jesse Read Aquela Modinha Radio Classica CDC 0014 (CD) Andrea Merenzon Terra Voce Mark Ortwein Funarte MMB 82.028 (LP) Ricardo Rapoport HS 01CL (CD) Hary Schweizer Macunaima DSD 128 Georgui Chachikov Funarte MMB 81.020 (LP) Noel Devos Misterio Skylark SKY 9901 (CD) Jesse Read Pattapiada DSD 128 Georgui Chachikov Moosman MMC 2002 (CD) Carl Rath Valsa choro DSD 128 Georgui Chachikov Radio Classica CDC 0014 (CD) Andrea Merenzon Terra Voce Mark Ortwein Moosman MMC 2002 (CD) Carl Rath Skylark SKY 9901 (CD) Jesse Read Valsa da Outra Esquina Terra Voce Mark Ortwein Moosman MMC 2002 (CD) Carl Rath Valsa Improvisada Moosman MMC 2002 (CD) Carl Rath Reference The Double Reed 26/2 p. 43, 29/4 p. 148, 38/3 p. 156. Nationality Latin America, Central America, South America, Latin Date Range of Work 1979-1981 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 Mignone: 16 Valsas para Fagote Solo Subject The topic of the resource Bassoon Source A related resource from which the described resource is derived http://paulabrusky.com/program-notes/notes-mignone-waltzes Brazil Brazilian Discography Latin America 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. Source http://www.sfca.org/roger-nixon-living-music-initiative/ Composer Nixon, Roger (1921-2009). Gender Male Work Title of the musical composition. Variations for Bassoon. San Diego: Kjos. I. Andante cantabile II. Allegro molto III. Larghetto IV. Allegretto scherzando V. Presto VI. Cadenza, molto rubato VII. Andante cantabile Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 5 minutes Description Composed in 1978 and dedicated to Walter Green, this is a set of atonal variations on a twelve tone row. The variations explore various (and sometimes tonally inflected) partitions of the ingeniously developed row, rather than employing traditional variation techniques on the lyrical theme. The piece is challenging, but worthwhile. The range extends to C5. Nationality United States, Canada Date Range of Work 1978 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 Nixon: Variations for Bassoon Subject The topic of the resource Bassoon Source A related resource from which the described resource is derived http://www.sfca.org/roger-nixon-living-music-initiative/ 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. Source http://www.raypizzi.com/index.html Composer Pizzi, Ray (b. 1943). Gender Male Work Title of the musical composition. Bubba. Van Nuys, CA: Ray Pizzi. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 3 minutes Description Composed in 2004 for Jon Beebe, the composer describes this tonal piece as "a whimsical hillbilly foot stomper" for solo bassoon. This is a challenging but rewarding piece that features some of this composer's habitual wide leaps between an upper register melody and an accompanying bass line, but also some very rapid banjo-inspired passagework. The full range is used up to C5. Nationality United States, Canada Date Range of Work 2004 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 Pizzi: Bubba Subject The topic of the resource Bassoon Source A related resource from which the described resource is derived http://www.raypizzi.com/index.html 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. Source http://www.sadk.de/vroe.html Composer Richter de Vroe, Nicolaus (b. 1955). Gender Male Work Title of the musical composition. Neun Zeilen (Nine Lines). Leipzig: Deutscher Verlag für Musik. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 14 minutes Description Composed in 1977 for Wolfgang Liebscher, and included in Zeitgenössische Musik für Fagott solo edited by Dieter Hänschen, this piece is a veritable compendium of extended techniques. Quarter-tones, timbral alterations, vibrato manipulations, harmonics, glissandi, multiphonics, flutter tonguing, and tongue-slaps are called for in this music. The very challenging music is atonal and predominantly angular, with asymmetrical and even erratic lines over the full range up to D#5. 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. Nationality German, Germany Date Range of Work 1977 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 Richter de Vroe: Neun Zeilen Subject The topic of the resource Bassoon Source A related resource from which the described resource is derived http://www.sadk.de/vroe.html 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 Solomon, Melvin (b. 1947). Gender Male Work Title of the musical composition. Etudes to Spring. Cincinnati: Solotto. I Introduction II The Squirrel III Running through the Meadow IV The Lake V Spring in Mid-Manhattan VI The Duck VII Quiet Places VIII Dance of the Honey Bee IX The Ghost of Blue Shingles X The Spanish Dancer XI Colors XII Moods XIII A Walk through an Enchanted Forest XIV Storm XV On the Road and Finale Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1-4 minutes each Description These pieces were composed in 1968 and dedicated to Eugene DAdamo. They are written in various, somewhat commercial popular styles, and include jazz, triadic, quartal, atonal, and serial elements. The pieces range from moderately easy to challenging, with a range extending to D5. There is one extended technique, a multiphonic in movement VI, with a fingering provided. A few of these pieces, arranged as a suite, are great fun for both performer and audience. Each etude is preceded by a brief caption that sets the mood. Unfortunately, the score contains numerous pitch and structural errors that are easy enough to discover, but annoying nonetheless. Discography Polisi Bassoon Corp. (LP) Melvin Solomon Nationality United States, Canada, US Date Range of Work 1968 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 Solomon: Etudes to Spring Subject The topic of the resource Bassoon Discography 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. Source http://tonthattiet.com/biography/ Composer Ton-That Tiet (b. 1933). Gender Male Work Title of the musical composition. Jeux des Cinq Elements II. Paris: Jobert. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 10 minutes Description This piece was composed in 1982 for Alexandre Ouzounoff, and was premiered by him in Paris. The music is atonal and very avant-garde, requiring tongue-slaps, timbre changes, quarter-tones, multiphonics, flutter-tonguing, glissandi, and tremolos. All of the extended techniques provide an overall impression of improvisation. Surprisingly for a very challenging piece of this type, the upper register is not unduly exploited, and the top-most pitch is C#5. This piece was included in the annual Paris Conservatory Concours of 1987, 1991, 1995, and 2004, and also in the 1988 Toulon International Bassoon Competition. Reference The Double Reed 11/2 p. 39. Nationality Asia, Asian Date Range of Work 1982 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 Tiet: Jeux des Cinq Elements II Subject The topic of the resource Bassoon Source A related resource from which the described resource is derived http://tonthattiet.com/biography/ Asian France Viet Nam 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. Source http://www.yun-gesellschaft.de/e/bio.htm Composer Yun, Isang (1917-1995). Gender Male Work Title of the musical composition. Monolog. Berlin: Bote & Bock, 1985. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 11 minutes Description Originally conceived for bass clarinet, the composer created the version for bassoon in 1984. It was premiered by Alexandre Ouzounoff in 1985. The music is based on atonal cells, and is intended to sound rather improvised. The music is very challenging, with extensive use of the high register up to E5. Extended techniques (pitch bending and various tremolos) are required. This piece was included in the annual Paris Conservatory Concours of 1998. It was also included in the second round of the Markneukirchen 2006 International Bassoon Competition, and was a required piece for the Fernand Gillet-Hugo Fox 2016 Bassoon Competition sponsored by the IDRS. Discography MDG 603 0831-2 (CD) Dag Jensen Spektral SLR4-08035 (CD) Stefanie Liedke Q Disc Q 99001 (CD) Bram van Sambeek Daphne DR 1007 (CD) Knut Sstevold Thorofon CTH 2099 (CD) Masahito Tanaka Contr 1644-2 (CD) Alexander Voigt Reference The Double Reed 29/3 p. 39, 38/3 p. 15. Nationality Asian, Asia 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 Yun: Monolog Subject The topic of the resource Bassoon Source A related resource from which the described resource is derived http://www.yun-gesellschaft.de/e/bio.htm Asia Asian Discography South Korea South Korean 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 Abiko, Yoshihiro (b. 1951) Gender Male Work Title of the musical composition. Solution 11 Description Composed for Akio Koyama, and performed by him at the 1992 IDRS Conference in Frankfurt. Reference The Double Reed 15/2, p. 18. Nationality Asian, Asia 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 Abiko: Solution 11 Subject The topic of the resource Bassoon Asia Asian Japan Japanese 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. Source Aboulker, Isabelle Composer Aboulker, Isabel Gender Female Work Title of the musical composition. Jeux des Notes, Nos. 13 and 14. Paris: Chappell Reference Burchard Bulling Nationality France, French 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 Aboulker: Jeux des Notes, Nos. 13 & 14 Subject The topic of the resource Bassoon Source A related resource from which the described resource is derived http://www.isabelle-aboulker.com/ France French