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                  <text>bassoONLY is a database devoted to music for unaccompanied bassoon.&lt;br /&gt;&lt;br /&gt;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.&lt;br /&gt;&lt;br /&gt;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. &lt;br /&gt;&lt;br /&gt;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. &lt;br /&gt;&lt;br /&gt;How the Difficulty Levels Are Applied to the Music &lt;br /&gt;&lt;br /&gt;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: &lt;br /&gt;&lt;br /&gt;1. top-most pitch and extent of high register usage &lt;br /&gt;2. key signatures/changes or accidentals &lt;br /&gt;3. clef &lt;br /&gt;4. rhythmic/metric complexity &lt;br /&gt;5. amount of conjunct vs. disjunct motion &lt;br /&gt;6. the use of extended techniques.</text>
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              <text>This piece was composed in 1967 for William Douglas, and premiered by him at Yale University in November of that year. The music is atonal and based on trichord cells, although the most notable features are the rhythmic complexity and sudden dynamic contrasts. Each of the three movements is modeled on other composers, but conceptually rather than musically. The first emulates early Webern, the second, early Schoenberg, and the last echoes middle Stravinsky. The music is challenging and complex, and covers the full range up to Eb5. A single m6 tremolo is the only extended technique called for in this piece.</text>
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