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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>Marttinen, Tauno (1912-2008).</text>
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                <text>&lt;p&gt;Giovanni Battista Pergolesi (1710-1736). &lt;a href="http://omeka-dev.library.appstate.edu/files/original/13d705452b321bbde6d9686f4265480b.mp3" target="_blank"&gt;Stizzoso, mio Stizzoso &lt;/a&gt;from &lt;span&gt;&lt;em&gt;La Serva Padrona&lt;/em&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;Robert Schumann (1810-1856)&lt;br /&gt;  &lt;a href="http://omeka-dev.library.appstate.edu/files/original/8747ab6c0b6c33d3e726e31852d0ff3a.mp3" target="_blank"&gt;Der Nußbaum&lt;/a&gt; from &lt;em&gt;Myrthen, &lt;/em&gt;Op. 25, No. 3 &lt;br /&gt;  &lt;a href="http://omeka-dev.library.appstate.edu/files/original/2c56fffd0983146bc46c2aeaf71e4def.mp3" target="_blank"&gt;Mondnacht&lt;/a&gt; from &lt;em&gt;Liederkreis, &lt;/em&gt;Op. 39, No. 5&lt;br /&gt;  &lt;a href="http://omeka-dev.library.appstate.edu/files/original/3b5eb7bad7f19233a5d82ba0c0252fcc.mp3" target="_blank"&gt;Widmung&lt;/a&gt; from &lt;em&gt;Myrthen, &lt;/em&gt;Op. 25, No. 1&lt;/p&gt;
&lt;p&gt;Wolfgang Amadeus Mozart (1756-1791).  &lt;a href="http://omeka-dev.library.appstate.edu/files/original/3a39c28ae693d691cf9945bac6e6efa1.mp3" target="_blank"&gt;Deh vieni non tardar&lt;/a&gt; from &lt;span&gt;&lt;em&gt;Le Nozze di Figaro&lt;br /&gt;&lt;br /&gt;&lt;/em&gt;&lt;/span&gt;Camille Saint-Saëns (1835-1921). &lt;a href="http://omeka-dev.library.appstate.edu/files/original/bae5b0a33cab86b9d89ee964fd09b3d2.mp3" target="_blank"&gt;Une flûte invisible&lt;/a&gt; &lt;br /&gt;Andrè Caplet (1878-1925). &lt;a href="http://omeka-dev.library.appstate.edu/files/original/3d7bc4c3dca63d193eb05a1348725a32.mp3" target="_blank"&gt;Viens! Une flûte invisible&lt;/a&gt;&lt;br /&gt;Cècile Chaminade (1857-1944). &lt;a href="http://omeka-dev.library.appstate.edu/files/original/e0956088d1a49d2a83dfa8726eb2e163.mp3" target="_blank"&gt;Portrait&lt;/a&gt;&lt;/p&gt;
&lt;p&gt;Leonard Bernstein (1918-1990). &lt;span&gt;&lt;em&gt;&lt;a href="http://omeka-dev.library.appstate.edu/files/original/cef56370617977a400df229ea28f7c64.mp3" target="_blank"&gt;I Hate Music!&lt;/a&gt;&lt;br /&gt;&lt;/em&gt;&lt;/span&gt;  My Name is Barbara &lt;br /&gt;  Jupiter&lt;br /&gt;  I Hate Music!&lt;br /&gt;  A Big Indian&lt;br /&gt;  I’m a Person Too&lt;/p&gt;
&lt;p&gt;Johannes Brahms (1833-1897). &lt;a href="http://omeka-dev.library.appstate.edu/files/original/afbb4c89b1cfb15a8e47ff5a55b5bc72.mp3" target="_blank"&gt;Neue Liebeslieder, Op. 65&lt;/a&gt;&lt;br /&gt;  Verzicht, o Herz, auf Rettung&lt;br /&gt;  Finstere Schatten der Nacht &lt;br /&gt;  An jeder Hand die Finger &lt;br /&gt;  Vom Gebirge, Well’ auf Well’&lt;/p&gt;
&lt;p&gt;Joaquín Rodrigo (1901-1999). &lt;span&gt;&lt;em&gt;&lt;a href="http://omeka-dev.library.appstate.edu/files/original/bec80e83bc34a46df875a7f35d287bca.mp3" target="_blank"&gt;Cuatro Madrigales Amatorios&lt;/a&gt;&lt;br /&gt;&lt;/em&gt;&lt;/span&gt;  ¿Con qué la lavaré?&lt;br /&gt;  Vos me matásteis&lt;br /&gt;  ¿De dónde venís, amore? &lt;br /&gt;  De los álamos, vengo madre&lt;/p&gt;</text>
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