50 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 Bodorova, Sylvie (b. 1954). Gender Female Work Title of the musical composition. Laugaritio. Fish Creek, WI: Alliance Publications. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 7 minutes Date Range of Work 1994 Description Composed in 1994, this piece features lyrical sections framing a busy and rhythmically energetic and articulated central section. The music is pitch-centric and moderately challenging, ascending 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 Bodorova: Laugaritio Subject The topic of the resource Bassoon Source A related resource from which the described resource is derived http://www.bodorova.cz/ Czech Republic 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 Bois, Rob du (b. 1934). Gender Male Work Title of the musical composition. Quatre Invocations pour un Basson. Rijswijk, NETH: Donemus. 1. Pour defender un musicien contre les reproches qu’on lui addresses… 2. Pour savoir passer le temps… 3. Pour avoir douze fois presque la même chose… 4. Pour oblier les mensonges de jadis Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 13 minutes Description This very challenging piece was composed in 1976 for Octavian Anghel. It requires considerable technical facility and includes among its extended techniques multiphonics, timbre changes, quarter tones, and playing on two reeds simultaneously. It concludes on G5. The fingerings provided for the multiphonics and quarter-tones were intended for the French system basson; considerable experimentation will be required by a potential performer on a German system instrument. The music is atonal, and is frequently based on tone rows that are treated with traditional variation techniques rather that serial ones. Date Range of Work 1976 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 Bois: Quatre invocations Subject The topic of the resource Bassoon Source A related resource from which the described resource is derived http://en.muziekencyclopedie.nl/action/entry/Rob+Du+Bois Netherlands 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 Bolles, Marita Gender Female Work Title of the musical composition. (listen). Unpublished. I enter (silence is the blood whose flesh II I hope III silently if, out of not knowable IV nite) V one winter afternoon Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 7 minutes Description This piece dates from 1991 and is based on poetry by e. e. cummings. It is atonal, moderately challenging and requires pitch bending and flutter tonguing as the only extended techniques. The music is moderately challenging, although the range is quite conservative, extending upwards only to G4. Date Range of Work 1991 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 Bolles: (listen) Subject The topic of the resource Bassoon Source A related resource from which the described resource is derived http://www.maritabollesmusic.com/ 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 Bon, Willem Frederik (1940-1983). Gender Male Work Title of the musical composition. Sonata voor fagot, op. 32. Rijswijk, NETH: Donemus. I Moderato, rubato II Allegro ritmico III Sostenuto, con tenerezza IV Energico Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 6 minutes Description This challenging piece was composed in 1970 for C. R. M. The slow movements are very lyrical, somewhat pitch-centric, and expressive, while the quicker movements requires considerable finger dexterity and, in the final movement, flutter tonguing and an ascent to E5. No other extended techniques are called for. Date Range of Work 1970 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 Bon: Sonata Subject The topic of the resource Bassoon Netherlands 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 Bonneau, Paul (1918-1995). Gender Male Work Title of the musical composition. Deux Caprices en forme de valse. Paris: Leduc. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 8 minutes Description Well-known as a staple of the saxophone repertoire (esp. the 2nd), the music is tonal and very chromatic. The bassoon version is very challenging, but effective. Since this piece was originally conceived for the sax and not the bassoon, it, unlike much French bassoon music, avoids the extreme upper register, ascending only to Abb4. Discography Summit DCD 128 (CD) Christopher Millard (2nd caprice only) 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 Bonneau: Deux Caprices Subject The topic of the resource Bassoon Discography 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 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 Boogaard, Bernard van den (b. 1952). Gender Male Work Title of the musical composition. Etudenbook voor de onderwereld. Rijswijk, NETH: Donemus. Description There is also a version for bass clarinet. 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 Boogaard: Etudenbook voor de onderwereld Subject The topic of the resource Bassoon Netherlands 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 Borsody, László (b. 1944). Gender Male Work Title of the musical composition. Shavings. Budapest: Editio Musica Budapest. I II non presto III Libero mosso IV Molto scherzo V Con moto VI senza tempo VII poco rubato VIII Tempo ad lib. ma presto IX Non molto vivace ma molto caracteristico e molto metrico per esempio Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 8.5 minutes Description This challenging and varied atonal piece was composed in 1978 for Lászlónak Hara. Extended techniques are featured in several of the movements, and include flutter-tonguing, pitch-bending, vibrato manipulation, a glissando, and tongue slaps. The range extends to Eb5. 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 Borsody: Shavings Subject The topic of the resource Bassoon Hungarian Hungary 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 Börtz, Daniel (b. 1943). Gender Male Work Title of the musical composition. Monologhi 2. Stockholm: Karl Gehrmans. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 6 minutes Description This challenging atonal piece was composed in 1966 and dedicated to Hans Samuelsson, and was first performed by him in Stockholm on May 12, 1967. It is rather rhapsodic with little development of material, and requires several extended techniques: vibrato manipulation, flutter tonguing, tongue-slaps, glissandi, and a substantial “estatico” to be played on the reed alone. The full range is used up to E5. Discography Caprice CAP 1128 (LP) Hans Samuelsson Date Range of Work 1966 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 Börtz: Monologhi 2 Subject The topic of the resource Bassoon Discography Scandinavia 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 Boulez, Pierre (1925-2016). Gender Male Work Title of the musical composition. Domaines. Vienna: Universal Edition. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 15 minutes Description First composed for clarinet, the bassoon version dates from 1992. The music is atonal and challenging. Reference The Double Reed 16/3, p. 19. Date Range of Work 1992 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 Boulez: Domaines Subject The topic of the resource Bassoon Source A related resource from which the described resource is derived http://www.universaledition.com/Pierre-Boulez/composers-and-works/composer/88/biography 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 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 Bourgeois, Derek (b. 1941). Gender Male Work Title of the musical composition. Fantasy Pieces. Rutland, UK: Brass Wind Publications. 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 Bourgeois: Fantasy pieces Subject The topic of the resource Bassoon Source A related resource from which the described resource is derived http://www.derekbourgeois.com/biograph.htm United Kingdom