118 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. 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://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. 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 https://libbylarsen.com/ Composer Larsen, Libby (b. 1950). Gender Female Work Title of the musical composition. Jazz Variations. Boston, MA: E. C. Schirmer. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 6 minutes Description This piece was commissioned by Lynn Moran Riccardo in 1977, and premiered by her that year at the Juilliard School. The elements of jazz are confined to the rhythm in the four variations that follow the theme. The music is pitch-centric, but intentionally does not follow the melodic or harmonic progressions associated with jazz. The music is moderately challenging, and the full range is used up to D5. Some extended techniques (glissandi and vibrato manipulations) are required. Nationality United States, Canada Discography MSR Classics MS 1734 (CD) Scott Pool 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 Larsen: Jazz Variations Subject The topic of the resource Bassoon Source A related resource from which the described resource is derived https://libbylarsen.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. Source http://www.mic.se/avd/mic/prod/micv6eng.nsf/DocsByCodename/single_object!opendocument&external=http://www.mic.se/avd/mic/prod/personer.nsf/WebV6BiografierAOEng/B5AB6CBFB4209EA741256492002D43BE Composer Koch, Erland von (1910-2009). Gender Male Work Title of the musical composition. Monolog V. Stockholm: Carl Gehrmans. I Andante con moto II Allegretto giocoso Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 5 minutes Description This very appealing conservatively pitch-centric piece was composed in 1975. The first movement is a gracefully flowing binary form, with the second part being an exact inversion of the first. The second movement is a humorous clumsy sounding character study of the kind the bassoon is often stereotyped to play. The piece is moderately challenging and ascends to D5. Discography Intim Musik 7046330 (CD) Arne Nilsson BIS LP 122 (LP), BIS CD 122 (CD) Knut Sstevold Nationality Scandinavia, Scandinavian Date Range of Work 1975 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 Koch: Monolog V Subject The topic of the resource Bassoon Source A related resource from which the described resource is derived http://www.mic.se/avd/mic/prod/micv6eng.nsf/AllDocuments/DE4E1A11C60848C9C1257228003385F6 Discography Scandinavia 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 Heller, Alexander (1952-2015). Gender Male Work Title of the musical composition. Pastorale. Unpublished. Reference Christopher Weait Nationality United States, Canada Date Range of Work 1973 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 Heller: Pastorale 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://www.paulhayden.com/about.html Composer Hayden, Paul (b. 1956). Gender Male Work Title of the musical composition. Guttersnipe. Charleston, IL: Magnolia Music Press. I Walkabout II Guttersnipe Lied (III Blatherskate) Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 6 (8) minutes Description Composed in 1992, this piece was commissioned by and dedicated to William Ludwig. He premiered the work at the 1992 IDRS Conference in Frankfurt, Germany. A revised version dates from 2000 and omits the third movement. This piece is a tour-de-force for extended techniques, and requires tongue slaps with and without the reed, harmonics, timbral trills, quarter-tones, multiphonics, glissandi, and flutter-tonguing. This is a very colorful atonal avant-garde work that is challenging, but not extremely so, once the new techniques are mastered. The piece ascends to D5. Instructions and fingerings for the extended techniques are provided, and are carefully notated. Reference IDRS Journal 24, 1996. Nationality United States, Canada Date Range of Work 1992, 2000 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 Hayden: Guttersnipe Subject The topic of the resource Bassoon Source A related resource from which the described resource is derived http://www.paulhayden.com/about.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. Composer Gagnidze, Merab (b. 1944). Gender Male Work Title of the musical composition. Sonata. Moscow: Sovetsky. I. Allegro moderato II. Allegro III. Andante Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 12 minutes Description This long and challenging piece, dedicated to Valery Popov, is contained in a collection of Works by Soviet Composers for Solo Bassoon, Installment I, compiled by Popov. Although the music contains extended techniques (glissandi, flutter tonguing, and a quarter-tone), it is pitch centric and rather conservative. The range ascends to C5. The first two movements contain many ostinato rhythms, and motive repetitions and expansions. The lyrical third movement is so short in comparison to the others that it seems more like a postlude to the second movement, especially since it continues to develop material from the first movement. Nationality Russia 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 Gagnidze: Sonata Subject The topic of the resource Bassoon Russia Russian 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.daifujikura.com/en/biography.html Composer Fujikura, Dai (b. 1977). Gender Male Work Title of the musical composition. Calling. Berlin: Ricordi. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 9 minutes Description Composed in 2011-12 and dedicated to Rebekah Heller, Ayako Kuroki, and Pascal Gallois, this challenging atonal avant-garde work features numerous extended techniques: multiphonics (with references to fingerings in Gallois book, The Technique of Bassoon Playing), quarter-tones, vibrato manipulations, timbral trills, and flutter tonguing. The full range is used up to a quarter-tone above Eb5. Discography Stradivarius xxxx (CD) Pascal Gallois New Focus recordings (FLAC 16 bit) Rebekah Heller Nationality Asia Date Range of Work 2011-12 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 Fujikura: Calling Subject The topic of the resource Bassoon Source A related resource from which the described resource is derived http://www.daifujikura.com/en/biography.html Asia Asian Discography 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 https://www.elliottcarter.com/biography/ Composer Carter, Elliott (1908-2012). Gender Male Work Title of the musical composition. Retracing. London: Boosey & Hawkes. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1.5 minutes Description Created for Peter Kolkay from the composers Asko Concerto, this piece was premiered by him on December 3, 2002. It is composed in Carters typically challenging angular atonal language, and employs the full range up to E5. Extended techniques are limited to numerous tremolos, some of which need special fingerings (not provided). This piece was required for the 2014 Gillet-Fox Competition sponsored by the IDRS. Nationality United States, Canada Date Range of Work 2002 Discography Bridge BRIDGE9314A/B (CD) Peter Kolkay NMC NMCD193 (CD) Peter Kolkay Accord ACD182 (CD) Katarzyna Zdybel 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 Carter: Retracing Subject The topic of the resource Bassoon Source A related resource from which the described resource is derived https://www.elliottcarter.com/biography/ Discography United States