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Texto digitado

TABELA DE DIGITAÇÃO DE POSIÇÕES NO FAGOTE

2

6

12

1. Jig (from The Water Music)

George Frideric Handel (1685-1759)

These two pieces were obviously intended to be played in altemation (altemativement), but Handel does not specify which should come first. In other words, choose either I 11 I or 11 - I - II and see how differently the piece tums out. In any case I should be delicate and 11 quite robust in character.

I Lively (J. = 80) #-. .... . #-' v .. .

p

f:~~1: ~11 I • f:. f:. ..... -~

.­ . .... tJ

P 1'1 I . . . . . . . .

-r~

p

p

v

(16) II

© 1987 by Faber Music Ltd This rnusÍC i5 copyright. Photocopying 1S íllegal.

- - -

22

3

27 :

li

tJ

· ·

•

.••

. I -,j.

mf

"fi­ . cresc. - f

I ~

..... I - I r

= cresc. f ~ ..- ­ r . ... ... ' ~ . -

. ·

I I

· · · ·• -""--"

· · ::+J 1i!' -:;J:. "iII - ­

2. In the Hall of the Mountain King (from Peer Gynt)

Edvard Grieg (1843-1907)

Accents and staccato markings are essential to this piece. Think of 'staccato' as meaning 'detached' rather than just 'short', so that í' is a little longer than ti! . Play the accompaniment (e.g. bars 1-4) a little more quietly than the melody (5-8). ,.,

Alla marcia e molto marcato ( J== 120)

pp

- .

·

~ ......... ......... ~ ~ . . . . . . .. .· · . . .. . . . .. .. . . .> > I > I

p

· . .... -:;t ...~~*~t~~ #-r i. ~ q~~~. ~ ~q~ ~ ~ ~ ~ ~ >. . . >

> >

. > > .: . . .I> > >p . .. . . . . .· · .. . . . ·. . P.P

· · . .~ -tf '*f -tf '*f '*f~ i ~ ~ ~ ~ ~ ~

5

4

9 :

fi' • fi' • fi' • fi' • ~ ~ -4f -tf -tf -4f pp :if

"* > >

~ . .~ft~1I'''; :> >11' • :> :> >11' • :>

· ·

· ·

. . . .. . ;, .;,- . .;,- .. . .. . . . .. . .. .;,- . .;,-.

p

> > > >...

. . .. -. ..

~ft~ 11'. . . .

13 > > > > 1*- 1*- . 1*- 1*­

f -t1f . -t1f 11' • ":;j. 11' • -t1f .~ ~

17 > >

, · · · ·

P ...

pp

.

•

.

• •

,l • . ;. . . .. . §' .

11' • 11' •;J. ~

- -

• • • •

. .

I

.

~

I

:

I

I

· ·

· ·

I

.

=4

>

=..

. . > I >

I I

.

= =4 ..

. I

I i I

. ..

~ = ~.. .. ~

21 ~ - -:

,

I

· ·

· ·

I

.

=..

. >

-~

> I >

I I

. .

= = 4 ..

I >

I I I I

. .. ~ >

POCo if

~ . "; ! -4f -:;f­ ~..

---

5

3, Fayne would I wedd Richard Farnaby

(b. c.1594)

Try to get a good forte but without making the sound coarse. Be sure to use your left hand thumb correctly in order to produce the notes A - B~ - C (as in bar 2) without a 'cough'.

Strongly ( J =60)- Oi .~ ~ :--~ ,.h~,.. ~ • - - ,..~.~ _.,...fI.• mff

fl

. • T . ;(1 ......\."-tJ U" 'l:i'-e­ mf

J Jf . I I •--. , . .. ..,.' I I I

-tti- .. . .,.. . m ...... ..I

" tJ

I · ·

f 11ffcresc. I.. .----" .w .w . .. . . .- TI. ,. . - I í

~í I .

cresc. f I .o. -e­.

-I I ­11

cresc.

16 ,.. ~ .i"""' ;. .;,. f1L ;--.. ;. .;,. .;,. ,..: • ­

p cresc. , I

ItJ -pu­ -e-i~1J r '~r í. r . ~

p cresc.'" I~I

I · · . . . .I > . . ..' ~ . . u>

-

6

I

9

>21 I~ ,~ ;, ;,. ~~ ;, 't: ~ ~ • .~~ . ~ . V 1':\ .

11 ~ t:\

I@)

· ·

f f

---~

~ S nr"- o n i n qr ~

J f--.. I I I ~ 7)

1 - -:

4. Trio from Symphony No. 5 Franz Schubert

(1797-1828)

The middle section of a minuet, march or dance moven\ent is called the 'trio'. It often features a solo instrument, and this is a real bassoon solo, just as it appears in the original orchestration. Try to spread the sound through the minims and avoid heavy tonguing at the start of each bar. The figure in the right hand of the piano part will give you the rhythm.

Tempo di menuetto ( J= 126)

p~ ~ ~ ~ ------.~ ~ É' V

12" I r I L L I E L I Em I 611 IF r L Irr fr L I :;; r r I F r I p =

I

, oU --. I~ 1I-Y 1I-.J .~ ........:.,/ ...~ - .- .. ~

1--1';.P

1 I I I. 1/. . . . .. . 1'-... 1/r~r~r~r·

~ ~~p---....... ,--..., ~~ ~ : ------. •

: 1

: 11 oU

· .... · ~ ~ ~-.:/ 1:;1

~ ~---:/ ~---:/ ~---:/ ~~ 1"--1.I I. . . . . .· · · · -r . -r~ -r~ --r· r· r~r· r (16)

.......--:--... .". ~ :

p 1I,u ~~ I. -..-.. ­·

:

---­,~

I · ·

· 1 -=== ====- 1 -I • --tJ --tJmf

/j'J /j'J ~ /j'J ~I r] P

· \ · . . . . . . .

~--- . ­

---- --

------ ---

7 rit. a tempo

25 .p.­ .p..~ ~ (111)- ..---. .".. V tt .""'"'"

I\~

v

· ·

-==­ =

~J ~J -J-J -j~-

· . . .

~

t7 7J-Y .

~-..!./

. . .

I

· ·

· I

P

~~---

5. Theme from Sheherazade Nikolay Rimsky-Korsakov

(1844-1908)

This is based on a famous bassoon solo, but transposed to an easier key. The original starts five notes higher. Learn it mst in strict time, then ask your teacher to pIay it more freeIy to show you how it can be more expressive. The extra tempo indications in brackets may help you.

Andantino ( J = 104) ( un poco piil mosso) ~ > >- - - -,

:

I p dolce espr. ­-==- mf

I i I I I · ·· · · fi:·• •· ·· ··· · tJ mfli .. · ·· · .·

(a tempo) .,.> > v V - -~ : - - - - ." •

, V

· ·

7 >_ -"

I I i I · · · · · · · · · · · · · · · · G;I'

· · · ·- · · I I

I I I I

(rit. )

------

30

8 (un poco piit mosso)

>13 ...--.... - - - .- .----- ,..--=------ ­ -

I

I

.

, @)

· ·

19

I

· · · · ·r;,,'

I I~ I I ~I

· · I · I

..

(piitlento) ~ V li. .,,:. . .~ /'. ~--------

ad lib. ~

· · 0-

P

·

p

· · ... '

/

•

~

--

~

(a tempo)

3 3 3- mf --===.-= ===- --=-= L - , ·

I I I I I I

, . ,. · , , , , Go'@) · I' mpmf = . ,t · · .·

I

24 -~.".- j."..- '(2: /h".: ­

p mp

I.....--..~I ~ ~ j)) 11) f1\ , · .· @) I I I1 >I

p: = (2',

· ,. . .· · I I I

~ ~.. fL ,.. • ,..~. .---.. .---.. - 1':\ :

3 3 P= = 1':\-I

I tJ fI

1\

I@)

· ·

I 1--- II · · · · · · -= - pp

(2.'· -- -. · · ·

f ~: · · · · , · ·O·

------

----

16

9

6. Trio from Symphony No. 85 in B~ (La Reine)

Joseph Haydn (1732-1809)

This is another orchestral rninuet trio featuring the solo bassoon. The repeated notes (e.g. bars 2, 18 and 19) should be played with slight separation; and where you are not playing the tune, try to be a little softer than the piano (e.g. bars 9-14 and 20-23).

Tempo di menuetto ( J = 112) Fine ~:. r. ~:. .t-"}. ~ ~ ~ ~ f: ~f,.:r:"}. ~ 1'---" r. li. f:i.. ~ ~ ~ ~ ~ ~ ~:r:~ •

:

p

I I

, ·

• ~

·

· .. ~ 'I!~ ~~~ ~~ ~ ~ p '" ~ . •.I ·

••

(8) -.".. .".. (L 1~~n. ~ : ".--­

f • ­ .1\ I ~

,...--.... ~ ~ ..:. -~

....,jItJ .... II------' dim.f

I I

I · · I I I •

~ ~~:r:F~ ~ ~~~F~ ~ ~ ~ ~ ~ ~ pf;. ~ V ~ ~.

:

1\ I

~

· ·

mp p

• .~ ..~ • • • • • • ..­ -­ · · · . .

I ~. -~. ::p mp

· · . . " . " "

c.,.' f ... Có' . r;, " ('J" o('J • c.,. " .(;; .---­~-----

D.C. aI Fine .;,. ~. ~ :. .;,. ~.~ . ~ ~ ~ ~ "f#-~• .- - .- - 1':\

:

mp dim. 1\ I . ~ . ~ 1':\ ." "· "

~

~ · P

""I · c.,. o Có • ..(;;' (;o" oc.,. " " " " • • • • •

·

" . · " o · dO I I I I I 1 tm.

" " · "

•

24

I

-------

--

10

16

7. Finale from Symphony No. 85 in B ~ (La Reine)

Joseph Haydn (1732-1809)

Haydn often wrote brisk and humorous finales to his symphonies, and the bassoon often plays the theme. Play as light1y as possible and make sure to leam the fingerings in this register thoroughly: after alI, many solos use these notes.

AUegro ( J= 104) ~ ~ ( ~ .. ,..--,.. . .~~~ ~~t t .fi. ;, F ~~ ;, .. ~~ •: :

p = = P 1'1 1 ~ 1""--'"

· · . ... ......." .Jt.J li! li! ~.. ...P .r-r­ ~--"""--""" . .· . . .· · . . · . '-'" ---- ~ ~ ~

8 f:.~ ;-'". ".~. .~ b;, b • ....-....,.. /1;. : ­

mf dim.

, 1 ~ fl.~ f:- .----..... ;. .~ ....-.... . ~ . - ­. .

~ dim. -mf r".fL~ r'~

.· . .. . .· - ! ~ li!' li!' li!' li!' ~ li!'

~ r=~ ;, r-,.. . .. ~~~ ~~ f:. t F~ .. ~~ ;, ;, ~~

p = P

fi 1

t.J

· ·

~ I~

--­ *.....". ......,,­ li! li! ~*P,.... --""" r-~ .-..-01 ~.

. . .. . .• • -­ . • • -­

fi 1

~

· ·

f:. ~

p . .....--..... I .

.~ I. . .. ..,. - .

P 1 - . mf mf P

(';; rr -(T .,.: o ~ fi'­. """-J

2 4 ~ F ~~ ". ~ ;, ~ F

: •

8

11

32 :

1\ I

I tJ

I · ·

11­ t. .. .. .. • iIr­ jL ~ jL .;. fi­

mf f fí í í

'" I ,.. ,.. ,.. ..

I . . . · . '!' .

~ . • fmf f.: til • •

~ .

~ · ~ ~ .

~ .

~

8. Entr' acte from Carmen Georges Bizet

(1838-1875)

This piece is really for two bassoons playing in unison. It is full of contrasts between loud and soft playing. Can you nearly fade out altogether at the end? Two things to watch the change of key at bar 21, and the B C# triIl in bar 14. Learn the piece without the triIl first, then try it: you will need to fingere~ and trill with the third finger of your left hand. Ask your teacher to show you how.

Allegro moderato'( J =92) . . .;.~.-.... /"". .. . ~. ~

I

: . . - - -f p 9

. .!. .!. ;, .!. ;. . · ·

f p lo. · . . . . . . ·

,. ,. ,.

~

~

r . r r r . , __ /L .;,.. • v----,,--·-·--·-·-----­~ ,......." .j.j,. ftcL- -"

:

· ·

· ·

• . ~

f . ~ . . ~ ~ . . .. r . . r r

f . r 4f.~ -:;fI ~ 1f1 l~J -lf' '4f '4f

~ C.;,.. h. .;,.. .~ .. / ..--. a •"" :

· ·

· ·

p . ~ · ~ ~ L • J.. lo. . . .

I r r . ,. r p

. 7fJ ;tI ~· ~' 7f' 1f' ~r .

16

32

12

24 .. ;.. ~ o ~

· ·

· ·

r r

nj)~ FJ.h~ r--. .

. t • ~ ;. ;. ~ IJ. ~ J ~ . . :

r ~ I I I I

~ ~ ~ p sempre

1. . :

1If1 f" V ~ . ~ ~ ~ ,. ~

,

3r--: ~. •: . I - ---:;- "J! '--' "J!IP sempre pp

- • r::"\ ;.. ~;.. ?-- -"fF .. .. ~ · · I ~ !3 pp. .

1 · · 1 )l!: l!: 111 ~ ~

<

(

9. Tower Hill Giles Farnaby ( c.1563-1640)

The key of E bmay seem tricky at first but it is a common one in music for wind instruments. Ab with the half-hole needs particular attention - not too open! - as does the fingering change from there to the Bb above it. Why not learn.the scale of Eb major at the same time?

Brisk ( J =92) > o

> fi­ - .~•:

f I-I i J ,r'1 i 1---1 i I 1"""-1 I~J.fl 1 I .

u I I 1 f I I - I -

.. .g ":" ... ... .-4J­ ,.~ .g ~! -d

> ~. ~~. 7 • .{'~jt f:~ o .".. .~~~ ~ ~ .jt • t

~ = := mf cresc.

I I I I i i J i j I~ ~~1

<

,. ~.4 . 4' I ~

fl I

'u ( · ·

Ir-'I. ... I - 1 I [ I ! I I~r (Li mf cresc.- , ------== ::::::=- -- -

J

... .. .

13

14 ~ ~~.:--.. ~. ;; .;;. ."... • ,. ~.fI.:f!!. 1ft­: •

- : f - . 1'1 I I i [ J i j I~ ..

r .,., .::::..t. I"-v­ [ ! I I~Jr

-:mp- = f

. \

Ir; . .... .... . 4' . CI'

r -= ::. f

V 1':\

f -­1':\

10. Se a caso madama (from Le nozze di Figaro)

Wolfgang Amadeus Mozart (1756-1791)

Count carefully when you reach bar 9 and try to observe the dynamic markings. From bar 51 to the end there should be a gradual diminuendo.

Allegro ( J = 96) ~ .- fi..--­

mf

~ ~ ·,,-·111 • ·_111 • .'iI ., ·_111 "-­ .... ../.... ., . ." . . ."

,.../

mf: p

· · .. .

• •

~ .---- .---~ rI'- ~ ~ ~ :

1'1 I

ItJ

I .

~ p pp

• ·111'· ·111 -~.... • ~ LJ p P.P

. .

6

14

32

13 •~ 'fII----- ~ 'fII- ..­.~ "" ----­:

f p

ft I

I~ ., .... ... • ~ .,~ ~ *-:jJ.* *-:;J.* ~ .., * ." "* 11 "*, "* '­ ;::/ '­ ./

f = p ------.j ni: I . \ .,

19 .. .. 1'--;---'. ~ 1'-~ .. 1"'. .. : . • ,

I

[S

..,,~.,;* ";"*~* .,~-"* * .-/* ~ .tJ .,~ ........ /"* ~~ f ---------. - r\

L-~-,-: - -- . -. \ ~

'!'

tJ > > .,-........./ ~ LY "~"Jl""

f dim. 1\

::::11.­

\ .,., '!' ~

25 ~ . . :> :> .;,. 'f!:- I'-- '.".. .. .". : • •

f f ~f ..bl

>>

- ~ ~ fi' ~ I'- ~ .1!... .fi. :

I - - - --­ P

..bl --~

tJ 11~· *:.,1' ...... 11~ ~

11 _TI • ......:.-. 1I~· 1I~" ...... .,r ,,*• ..,,~ ~

mp :::::::=- P -~ ;:]0..

C"'....

\ .----­ ft· 11'1* •

15

38

45

52

58

p mf

.-------:---,.. e. ~ ..:.

p ! " > fff;,.- ~ t:; f-,,­

....... 1\ I I

ItJ ~.. • ·11· ./"• _11"-­

p = ~

· '-'·~ ..• >

.. . >P f ~ ~- ~

.. .- .----...• # .á fL ~1'-:

mf

fl I -tJ ~.. .. ·~1I • ·11'· ·11 .. - .. .. ..

I · · . .. . . . . .

p pp

dim. p

--

16

7

11. Evening in the Country (from 10 Etisy Pieces)

Béla Bartók (1881-1945)

The most important aspect of this piece is the contrast between the slow, expressive sections and the faster parts in strict time. Don't be worried by the changes of time signature in the slow sections, just count straight through: the crotchet beat is always the same.

Lentorubato( J =63)

r;. '(I. .. .. (I. '+ ,;. >....... p. 'fi. .. .". fi. '+ - >,-. ...--.... (I. >

-mJ' espr.

....I I I

· · mf

· · 1 1 I ...-.· ..-...

I I

· ··'-' .­

pochissimo rito Allegretto ( J = 132) ....--... .".. ~ - > > >

: .. . I-::===- p

- . . . . . .- · · · ·

· ·

· I I I

:::=- p I · . .

· · . . . (;I .. "l: 7.:---- I I I I

I

.

-tJ

14 pochissimo rit .. .(1.+ . .. . ,

: .. · .

tJ

· ~ ~f ~ ~f ~

I I I

= . . . . I I.

I : fl ..:. 1 ..:. 1 . .

:

f · . . I

~ i ii Tempo I >r:::- >~-----~20 G.P. .(Ii.--"" .. .".. fi. 11- ~ > , ....: JL-,. 11"- 11"- ~ ~ - >,...: fi. .". _ > t:"I

: ­I

mf

/':\G.P. --..- b';;

I

I

c;.

\.:.I

· ·

· ·

bn- b~ bn- -o bt;;'-17 -(i--

t ml

b~ .~ b' .b~ -~ b; y----.

I

34

17

pochissimo rito AIlegretto27 ~ -- > >

p

>

: pp

Tempo I 41 G.P. "';:--'fI. .,.. fL':",~>"", --- p-".1'" (I. :.,. - >,...... ____'li- 1'"

:

-1 1 G.P.

I

·I ·

\ i · · \

u .... -f'iP ~

f

I I I conPed.

:: ~ ::.:: -.. ..-.

i==-'.... .g-; :.::;

f -

I~ .-. .....,. .....,

pochissimo rito48 ----......­~ fi. - > 'fi'- - - > 1":\ . ------........ml p - pp 1':\

fl ... 12- ...:::::-... ~ ~~:· : ~ · .-.

t ut.J .....,.~ ........ ~~ ppp ::::>­pp :::::::==­mf

I · =

......... · .-.. ."....... ...... .'-" \ · • ____• r;; ::::;'-' '--' • r;; · IV (J'

'li Z;. .\:.IPed. _____--'

18

7

12. Le Piccadilly Erik Satie (1866-1925)

This is a march in ragtime style, very similar to the music of Scott Joplin. Eníoy those 'íazzy' rhythms and the surprising articulation marks, but remember, it's not ali loud! It has a 'trio' (just like the Schubert and Haydn minuets) in a new key; don't forget the E~s when theyappear.

Pas trop vite (not too fast) ( J= 88)

pp

p

13 >

f

38

19

19 Fine

25 Trio . ..r-. "..... . . .. .......... .....- ......­~~ '-.-~ "---'".: -­

f dim. p

fi I ~ ~ ~ ~ ~ ~ .. b :

'4V V V , .......

f V

dim. p

I ~ ~ ffi;... ~".",,--,~"

32

f f

f p = f

D.e. aI Fine> > . > > .' > .>

ff

GOINGSOLO A selection ofeasy classics

for bassoon and piano

arranged hy Graham Sheen

Faber Music Ltd London

2

lo Jig (from The Water Music)

George Frideric Handel (1685-1759)

These two pieces were obviousJy intendedto be played in alternation (alternativement), but Handel does not specify which should come first. In other words, choose either I - II - I or II I - II and see how differently the piece turns out. In any case I should be delicate and 11 quite robust in character.

(8)

9:~!'1, 11: ~ I ro ro I ro p =

(16) II -° f

22

. . . . mf

r ~ r ~ 1r J\ ~ ~ I E@' ar lO: L ~Il Cr ii JU1J~~ :11 -======== cresc. f

2. In the Hall of the Mountain King (from Peer Gynt)

Edvard Grieg (1843-1907)

Accents and staccato markings are essential to this piece. Think of 'staccato' as meaning'detached' rather than just 'short', 50 that i is a littIe longer than ~ . PIay the accompaniment (e.g. bars 1-4) a little more quietJy than the melody (5-8).

Alla marcia e molto marcato ( J = 120)

'}: (, 4 r J r IJ r J r IJ r r . r J r

5

?: p .

pp

© 1987 by Faber Music Ltd This music is copyright. Photocopying is illegaL

3

11

10 .==- . ::r- • >

,: ~ I ~ I ~ I"~#é ~ ~ .. ~ Iar r ti r I-- J ~~ ao + ao ? ao ~~ :J { ao ~ :62=;# :± = • . . . . . . P

15 > ==-. >

,: t!~t5 ti t I&r t f I~ ~ n?r I'P r-tp rIo.@ @~ u rFI 20 ==- =?'

. . . . >

3. Fayne would I wedd Richard Farnaby

(b. c.1594)

Try to get a good forte but without making the sound coarse. Be sure to use your left hand thumb correctly in order to produce the notes A - B~ - C (as in bar 2) without a 'cough'.

Strongly ( J =60)

,:~~ Ur: rr UIUrt LrflfrrTr UIE F ItY'Ê ar I f ~

cresc. f mf

cresc.

f):; I J I (9

!li cresc.

16

4

4. Trio from Symphony No. 5 Franz Schubert

(1797-1828)

The middle section of a minuet, march or dance movement is called the 'trio'. It often features a solo instrument, and this is a real bassoon solo, just as it appears in the original orchestration. Try to spread the sound through the minims and avoid heavy tonguing at the start of each bar. The figure in the right hand of the piano part will give you the rhythm.

Tempo di menuetto ( J =126)

9

~ r-; v

p

:

(16) 5t}:' 11: ,

27

'):'

34

I t p

rito

:"\ ...--....... Cr 1

9r r r I r :

I p

:

5. Theme from Sheherazade Nikolay Rimsky-Korsakov

(1844-1908)

This is based on a famous bassoon solo, but transposed to an easier key. The original starts five notes higher. Leam it first in strict time, then ask your teacher to pIay it more freely to show you how it can be more expressive. The extra tempo indications in brackets may heIp you.

Andantino l( J = 104) ~

I Lr r >

tt3fft =P doZce espr. r

( un poco piu mosso) (rit. ) (a tempo)

.~ ~ .. > " > ~ >V ~ V-g r Icr E ê1 F are F EI (1; rr E r

mf =

;

6

5 (un poco piu mosso')

12 >~. >

!h f1 rt r IF r EI [ êÊê [fi wr ICt r7Th r EI p

( piu lento') ad lib. 18 - V ~ ~ ~~ ~,-.. t~ ~

!h [ EÊr [fi t l t [ Ir ~ ::30 ÊIL3C! a \0 ÊIt}l L Ol -===:::::::::=: mf -=:::::=- - -= ===­

23 (a tempo ')

p mp 30

!):~ r~~ ~ ~

tUIf4Ug 3

= 3

= I I ~ ~

~ .r IEr rJ P

Enr (Clr 1":\

I II

6. Trio from Symphony No. 85 in B~ (La Reine)

Joseph Haydn (1732-1809)

This is another orchestral minuet trio featuring the solo bassoon. The repeated notes (e.g. bars 2, 18 and 19) should be played with slight separation; and where you are not playing the tune, try to be a little softer than the piano (e.g. bars 9-14 and 20-23).

Tempo di menuetto ( J=112)

!h"1 ~I [CrrEPI EE E IfEEeE'1 t 1 ai [rEgÚI p

-

I I

'I1I'JI

V [-r' p

D.C. aI Fine26

=h" r r r Ir r br I E~IF Ê F I r r [ Ir l' II dim.

6

16

7. Finale from Symphony No. 85 in B~ (La Reine)

Joseph Haydn (1732-1809)

Haydn often wrote brisk and humorous finales to his symphonies, and the bassoon often plays the theme. Play as lightly as possible and make sure to learn the fingerings in this register thoroughly: after alI, many solos use these notes.

Allegro (J 104) ~

P (8) :-'\

=):~& ~ I ~ fi ['1 1'1 EC 'I 1 CU I(1:~ I~(tt IP'L11 t t 61 tnJP dim.

. --.... .' ~ >:.--...

=}:~" r ,vlE UlfféFlétttlfrIIÊ Cilt ftlueílh p -===== ===- p

24

9:~& r , - -p

32

9:~IJ

tnJP JP II

r 8. Entr'acte from Carmen

Georges Bizet (1838-1875)

This piece is reaIly for two bassoons playing in unison. It is full of contrasts between loud and soft playing. Can you nearly fade out altogether at the end? Two things to watch - the change of key at bar 21, and the B - ct trill in bar 14. Leam the piece without the triIl first, then try it: you will need to finger B~ and triIl with the third finger of your left hand. Ask your teacher to show you how.

Allegro moderato ( J =92)

9p

. 9:# _.........._.........................._..._.._.._...........~ ~8

~ .

.; I r' !l lia r~ IF I L I JP

7

;:~ ~ n IPd , I9tk ~ 'I IEti tI te hsifE tê IR d IrfUI 11

3 r-:. . 'If~ r I

11 sempre

9. Tower Hill Giles Famaby

( c.1563-1640)

The key of E~ may seem tricky at first but it is a common one in music for wind instruments. A~ with the half-hole needs particular attention not too open! as does the fingering change from there to the B~ above n. Why not leam the scale of E~ major at the same time?

Brisk ( J =92)

• (2 >

'. tt> - . '. 2: ~Ilb (~ r r Ê Ir r E Ir cf r r Ir r r

f .

2\bb 'I jf r Ef f I 'í EJ rG r I{fCEf I r t r Ir t t I :

>

;:~~b E rt f r IÊ =====- 'lnf cresc. ==

f ~ =

;:~bb rrrffftCIELEfrrr:rlfrcfCrHlur r- V(' 'lnf cresc. f-e­

16

II

8

10. Se a caso madama (from Le nozze di Fígaro)

Wolfgang Amadeus Mozart (1756-1791)

Count carefully when you reach bar 9 and try to observe the dynamic markings. From bar 51 to the end there should be a gradual diminuendo.

Allegro\( J =96)

mf . . ;:~b a. I* , VlÊ, I t gIe ti I(ei Ir1itr ,t I'1

p pp f P

.~. ..-... . > . . > êf:. ~ Ê· ".~ ".25

,:~& l 'I ~ Ir l 1l 'I ~ Ir;LIr1Ê t;t I Ê 'I ~ F ti 1AI

f f ~

33 • • ~. ~ -

Oh)' â8ü lQg:JIJ ,'I e 'ltfrClcrO{lr '~If I P P

- r::-,\ .

i:~', s ,; IÊ k I. CÊIÊ r EIrêrlf 'í VIÊ f I ~ ~J.mf P

49 . - ,...... rf! . ­. ~., .. '. = ~. ~ . ~ \ . .

ff

,:~IJ l•

l' Il '~Ir ttIEErILt~I'~lr trljjjl > f mf

9

11. Evening in the Country (from 10 Easy Pieces)

Béla Bartók (1881-1945)

The most important aspect of this piece is the contrast between the slow, expressive sections and the faster parts in strict time. Don't be worried by the changes of time signature in the slow sections, just count straight through: the crotchet beat is always the same.

Lento rubato ( J =63)

- >"""'

mf espr. pochissimo ritor[ 12 ---.., - - >

o:I ~ ~ r Et II [1 r r'1t'r III = Allegretto ( J 132)

10 o.. >

Ireeere ffIl:1: I J n ~ ~ tE f I ~ J. r p

pochissimo rito

38 . , . > G.P.

G.P. - 111

= f ==:==- mf pochissimo rito

49 ~ _ > ?- f:. ----... - - >

,: t CrEri' 11:õ Ir r rrfll cr r 11 (3r - II = p =====--- pp

10

15

12. Le Piccadilly

Erik Satie (1866-1925)

This is a mareh in ragtime style, very similar to the music of Seott Joplin. Enjoy those 'jazzy' rhythms and the surprising artieulation marks, but remember, it's not allloud! It has a 'trio' (just like the Sehubert and Haydn minuets) in a new key; don't forget the E~s when they appear.

Pas trop vite (not too fast) ( J = 88)

4:

Ir Ir755Jr pp p

-- ~ .. >

l I U1m I t te Ftt F I

9:~ CP.*~J

, I6 r ~ Fine

Trio 25 . . . ..,:~Il J J)' I:J

~. j)' - I t j r E F3=· I

~. ~.

f dim. p

;:~I, CC f Eti 1 g 101l!Pr ICE i EGmr i r4 1

. 1 ~t ti t tI 1 ufi u1 ti I (j 1

-======= f f 40 > > . > > > > D.e. aI Fine

"):~" tJ ~ ] 1ÊCoC rUI bEi r g 1t; Ei Er --I V;H Ilij~. ff -, :/ -<=>