Solving
the
“Problems”
of
Extended
Techniques:
Annotated
Performance
Guides
to


Sofia
Gubaidulina’s
Bassoon
Works










A
document
submitted
to



The
Graduate
School


of
the
University
of
Cincinnati




in
partial
fulfillment
of
the


requirements
for
the
degree
of




DOCTOR
OF
MUSICAL
ARTS


in
the
Performance
Studies
Division

of
the
College‐Conservatory
of
Music



by


Amy
Marinello
Pollard





May
2012






Advisor:
Dr.
Terence
Milligan,
DMA




B.M.,
Louisiana
State
University,
2004


M.M.,
The
University
of
Cincinnati
College‐Conservatory
of
Music,
2006






 ABSTRACT


This
study
focuses
on
the
utilization
and
execution
of
extended
techniques
in


the
bassoon
works
of
Sofia
Gubaidulina:
the
Duo
Sonata
for
Two
Bassoons,
the


Concerto
for
Bassoon
and
Low
Strings,
and
Quasi
Hoquetus
for
viola,
bassoon,
and


piano.

There
is
an
historical
background
presented
for
the
development
of
extended


techniques
for
woodwind
instruments,
focusing
on
the
bassoon
in
particular.



Furthermore,
the
extended
techniques
used
in
each
of
Gubaidulina’s
bassoon
works


are
described
and
performance
suggestions
are
provided
for
these
sonorities.

Each


extended
technique
is
supplemented
by
fingering
options
and
ideas
about
changes


to
embouchure
pressure,
air
pressure,
and
embouchure
position
in
order
to


successfully
achieve
each
effect.

The
study
is
designed
to
assist
performers
in
their


negotiation
of
contemporary
techniques
that
are
unfamiliar
and
make
Gubaidulina’s


works
more
accessible
to
bassoonists.



 iii


 iv

 ACKNOWLEDGEMENTS



 I
offer
my
sincere
appreciation
and
deepest
gratitude
to
my
committee,
Dr.


Terence
Milligan,
Dr.
Miguel
Roig‐Francoli,
and
Professor
William
Winstead.

Your


guidance
and
support
throughout
this
process
has
been
phenomenal.

I
especially


thank
you
for
your
willingness
to
work
with
me
long‐distance
and
for
being
so


flexible
with
your
time
as
a
result.

You
have
all
served
as
excellent
role
models,
both


as
musicians
and
as
educators,
and
I
am
thankful
that
I
have
had
the
opportunity
to


learn
from
you
during
my
studies
at
CCM.





 Additional
thanks
to
William
Winstead,
my
major
professor
and
one
of
the


greatest
musicians
I
have
ever
known.

You
have
been
an
inspiration,
a
mentor,
and


a
friend
beyond
measure.

I
thank
you
for
all
of
your
assistance,
encouragement,
and


guidance
throughout
the
years.

I
know
that
I
would
not
be
where
I
am
today


without
your
effort.





 To
my
friends
and
colleagues,
thank
you
for
your
care
and
advice
during
this


endeavor.

You
consistently
encouraged
me
and
nudged
me
forward,
even
when
the


stress
and
difficulty
became
overwhelming.

I
am
lucky
to
have
such
great
people
in


my
life.



 To
my
parents,
Chris
and
Cathy
Gross,
thank
you
for
always
believing
in
me


and
providing
whatever
I
needed
in
order
to
succeed.

From
my
first
flute
for
band


class,
to
my
first
bassoon
lesson,
to
my
most
recent
move
to
Georgia,
you
have
been


by
my
side
with
love
and
support.

I
am
grateful
that
you
have
helped
nurture
my


love
for
music
and
that
you
have
been
amazing
cheerleaders
along
the
journey.

I



 v

love
you
both
deeply
and
thank
you
for
still
taking
the
time
to
come
to
my


performances!



 Finally,
I
would
like
to
thank
my
husband,
Scott,
for
his
unending
love
and


encouragement
during
this
process.

You
have
urged
me
to
persevere
through
each


challenge,
even
when
the
tasks
seemed
insurmountable.

You
have
listened
to
hours


of
commentary
about
bassoon
fingerings
and
effects
that
I
am
certain
are
of
very


little
interest
to
a
percussionist!

You
have
offered
to
do
anything
and
everything
to


make
my
load
easier
to
carry
and
for
that,
I
am
eternally
grateful.
Thank
you
for


everything.



 



 vi

 TABLE
OF
CONTENTS



Introduction.................................................................................................................................................
1





Chapter
1
 An
Historical
Background
of
Extended
Techniques:
Bartolozzi
and



 
 
 Penazzi...............................................................................................................
4





Chapter
2
 Explanation
of
Individual
Techniques..............................................................
12




 
 
 
 Fluttertongue.................................................................................
12


 
 
 
 Harmonics.......................................................................................
14


 
 
 
 Quartertones..................................................................................
16


 
 
 
 Multiphonics...................................................................................
22





Chapter
3
 Notes
About
Sofia
Gubaidulina............................................................................
28





Chapter
4
 Concerto
for
Bassoon
and
Low
Strings..............................................................
33




 
 
 
 Performance
Suggestions
and
Solutions............................
38


 
 
 
 Fluttertongue.................................................................................
38


 
 
 
 Aleatoric
Rhythms
and
Unusual
Metric
Aspects.............
44


 
 
 
 Multiphonics...................................................................................
51


 
 
 
 Ridendo,
"The
Scream,"
and
Other
Effects........................
59





Chapter
5
 Duo
Sonata
for
Two
Bassoons...............................................................................
67




 
 
 
 Performance
Suggestions
and
Solutions............................
72


 
 
 
 Fluttertongue.................................................................................
72


 
 
 
 Harmonics.......................................................................................
74


 
 
 
 Quartertones..................................................................................
76


 
 
 
 Multiphonics...................................................................................
81





Chapter
6
 Quasi
Hoquetus............................................................................................................
89




 
 
 
 Performance
Suggestions
and
Solutions............................
93


 
 
 
 Multiphonics...................................................................................
93


 
 
 
 Fluttertongue.................................................................................
99





Conclusion...............................................................................................................................................
103



 vii

Bibliography...........................................................................................................................................
105





Introduction
to
the
Appendices.....................................................................................................
108





Appendix
A
 Multiphonics
in
the
Concerto
for
Bassoon
and
Low
Strings..................
113





Appendix
B
 Ridendo
Sections
and
"The
Scream"
in
the
Concerto
for
Bassoon
and



 
 
 Low
Strings.....................................................................................................
124





Appendix
C
 Harmonics
in
the
Duo
Sonata
for
Two
Bassoons........................................
130





Appendix
D
 Quartertones
in
the
Duo
Sonata
for
Two
Bassoons...................................
131





Appendix
E
 Multiphonics
in
the
Duo
Sonata
for
Two
Bassoons...................................
153





Appendix
F
 Multiphonics
in
Quasi
Hoquetus.......................................................................
172



 viii

 Introduction


The
amount
of
repertoire
written
for
bassoon
has
increased
by
a
significant


amount
over
the
last
seventy
years.

While
composers
virtually
ignored
the
bassoon


as
a
solo
instrument
during
the
romantic
era,
the
twentieth
century
and
subsequent


years
featured
a
large
number
of
works
for
solo
bassoon
and
smaller
chamber


works
involving
bassoon.

These
works
represent
a
wave
of
new
ideas,
techniques,


sounds,
and
styles
that
are
limited
only
by
the
imagination
of
the
composer.

The


"dissolution
of
tonality"
in
the
early
twentieth
century
and
the
breaking
of


traditional
forms
and
harmonies
allowed
composers
to
craft
musical
works
that
had


no
rules,
no
boundaries,
and
no
precedents.




With
the
expansion
of
the
compositional
styles
and
forms
in
the
twentieth


century,
there
was
also
an
increase
in
the
types
of
sounds
composers
sought
from


instrumentalists.

Composers
stretched
the
boundaries
of
instruments
to
their


physical
limits
before
turning
to
electronic
means
to
further
enhance
the
musical


palette.

The
landmark
text,
New
Sounds
for
Woodwinds,
written
in
1967
by
Bruno


Bartolozzi,
expanded
the
sound
possibilities
of
acoustic
woodwinds
without


utilizing
electronic
means.

Bartolozzi
discovered
that
woodwind
instruments
were


able
to
produce
a
vast
array
of
unusual
tones,
timbres,
and
effects
never
before


imagined.

He
provided
instructions
of
how
to
achieve
these
"extended
techniques"


in
his
text,
as
a
proposed
resource
for
composers
and
performers
in
their
continued


quest
for
new
sounds.





 1

 As
information
about
extended
techniques
began
to
disseminate,
many


composers
were
eager
to
incorporate
these
sounds
into
their
new
compositions.



The
bassoon
proved
to
be
an
excellent
instrument
for
achieving
these
sounds.

That


aspect,
paired
with
the
increase
of
bassoon
repertoire
in
production
during
the


second
half
of
the
twentieth
century,
resulted
in
a
large
number
of
works
for


bassoon
requiring
the
performance
of
extended
techniques.

Among
this
repertoire


are
three
works
by
the
accomplished
Russian
composer,
Sofia
Gubaidulina.

The


Concerto
for
Bassoon
and
Low
Strings,
Duo
Sonata
for
two
bassoons,
and
Quasi


Hoquetus
for
bassoon,
viola,
and
piano,
are
all
representative
of
Gubaidulina’s


unique
compositional
style,
and
they
all
feature
extended
techniques
to
be
executed


by
the
bassoonist.




These
works
are
well
crafted
and
fascinating
additions
to
the
bassoon


repertoire.

Unfortunately,
due
to
the
usage
of
extended
techniques
they
are
not


often
performed
or
approached
by
many
bassoonists.

The
execution
of
extended


techniques
is
not
common
practice
for
most
performers,
and
there
is
a
lack
of


readily
available
resources
that
offer
pedagogical
advice
on
how
to
successfully


navigate
these
challenges.

Unfortunately,
the
text
of
Bartolozzi
did
not
become
a


widely
used
resource,
and
many
bassoonists
are
unaware
of
its
existence.




Performers
face
the
challenges
of
discovering
fingerings
for
harmonics
and


quartertones
as
well
as
deciphering
the
fingerings
provided
for
the
multiphonics,


and
determining
a
course
of
action
for
multiphonic
fingerings
provided
that
do
not


produce
the
indicated
effect.

Performers
must
also
make
changes
to
their
physical


setups
to
achieve
the
desired
effects
such
as
executing
a
fluttertongue,
creating
a



 2

"ridendo"
effect,
and
achieving
the
"scream"
that
is
notated
in
the
concerto.

These


challenges
can
prove
extremely
daunting,
especially
for
the
bassoonist
who
has
not


previously
ventured
into
contemporary
works
with
extended
techniques.

Also,
the


anxiety
of
deciphering
these
indications
can
increase
if
the
performer
is
without
the


guidance
of
a
teacher
or
colleague
who
has
had
experience
in
executing
these


effects.

For
this
reason,
many
bassoonists
turn
away
from
the
works
of
Gubaidulina


due
to
the
difficulty
of
deciphering
the
notation
and
achieving
the
extended


techniques.



With
this
document,
I
have
created
annotated
performance
guides
to
the


bassoon
works
of
Gubaiulina
that
provide
suggestions
for
each
of
the
extended


techniques
included
within
the
work.

These
include
information
about
embouchure


pressure
and
position,
air
pressure,
and
fingerings
for
all
quartertones,


multiphonics,
harmonics,
and
fluttertongued
portions
of
the
works
in
addition
to


other
effects
included
in
the
concerto.

My
sincere
hope
is
to
make
these
works
more


accessible
and
approachable
to
a
wide
variety
of
bassoonists.

If
there
are
reference


guides
available
that
give
fingering
options
for
these
techniques
as
well
as
providing


explanation
for
the
execution
of
the
effects,
it
is
possible
that
more
performers
will


program
these
works
and
present
them
on
recitals
and
concerts.

Too
often,
people


avoid
music
that
is
unfamiliar
or
confusing,
regardless
of
the
artistic
merit
of
the


compositions.

With
the
creation
of
these
performance
guides
and
analyses
of


Gubaidulina's
bassoon
works,
I
believe
that
more
bassoonists
will
be
willing
to


explore
these
incredible
pieces.





 3

 Chapter
One


An
Historical
Background
of
Extended
Techniques:
Bartolozzi
and
Penazzi


The
bassoon
repertoire
of
the
last
half‐century
has
featured
explorations
into


uncharted
territory
in
terms
of
tonality
and
timbre.

Bruno
Bartolozzi’s
1967


publication,
New
Sounds
for
Woodwinds,
introduced
a
great
variety
of
unusual


timbres
and
effects
that
are
capable
on
woodwind
instruments.

Bartolozzi


discovered
that
woodwind
instruments
are
able
to
achieve
new
sonorities,
both


monophonic
and
multiphonic,
without
any
physical
alteration
to
the
instrument


itself.

These
effects
are
produced
by
using
a
variety
of
different
fingerings,


embouchure
tensions
and
positions,
air
speeds,
and
tongue
motions.

In
his


publication
Bartolozzi
emphasized
the
fact
that
new
sounds
could
be
achieved
when


performers
deviated
from
the
standardized
manner
of
performing
technique
that


stresses
the
“purity
and
‘beauty’
of
sound
obtained
through
uniformity
of
timbre.”1



He
noted
that
contemporary
music
does
not
require
expression
only
through
beauty


of
sound
but
that
there
are
infinite
possibilities
for
sound
phenomena
that
can
be


organized
within
musical
constructs.

Bartolozzi
presented
composers
of


contemporary
woodwind
music
with
a
variety
of
sonorities
that
go
beyond
the


standard
single,
"beautiful"
tones.
These
new
“extended
techniques”
included


harmonics,
timbral
shifts,
quartertones,
and
multiphonics.

In
this
groundbreaking


text,
Bartolozzi
provided
fingering
charts
and
technical
advice
on
how
to
achieve


these
effects
on
flute,
oboe,
clarinet,
and
bassoon.


Suddenly
composers
had
access


























































1
Bruno
Bartolozzi,
New
Sounds
for
Woodwinds,
trans.
Reginald
Smith
Brindle
(London:

Oxford
University
Press,
1967),
5.



 4

to
an
entirely
new
palette
of
sounds
and
timbres
for
their
creations.
Performers
also


now
had
the
benefit
of
a
pedagogical
reference
for
achieving
these
techniques.




Bartolozzi
contended
that
the
need
for
“new
sonorities”
was
essential
for
the


continued
progression
of
music
using
traditional
instruments.

So
many
composers


were
moving
away
from
traditional
instruments
in
the
search
for
new
means
of


expression,
different
sounds,
and
expanded
realms
of
possibility.

In
addition,
the


invention
and
exponential
growth
of
electronic
music
further
emphasized
the
lack
of


sonic
flexibility
of
the
traditional
woodwind
instruments.

Electronic
equipment


enabled
composers
to
explore
entirely
new
tonalities
and
write
microtonal


melodies.

With
computers
and
other
electronic
equipment,
composers
were
able
to


create
vast
sound
clusters,
phase
shifts,
and
other
effects
never
before
imagined.

In


order
to
compete
with
this,
it
was
necessary
to
discover
new
means
of
sound


production
on
traditional
instruments
without
physically
altering
the
instrument


itself.




Through
exploration,
Bartolozzi
and
his
colleagues
discovered
that


woodwinds
are
capable
of
producing
microtonal
scales
as
well
as
a
variety
of


timbral
effects
by
deviating
from
the
normative
physical
approaches
to
the


instruments.

Until
this
time,
performers
strove
to
master
their
instruments
for
the


production
of
sounds
appropriate
for
the
canon
of
"classical"
art
music.

Due
to
their


mixed
method
of
sound
production
and
extensive
keywork
systems,
woodwind


instruments
present
many
possible
fingerings
for
each
note.

These
differ
from
one


another
in
terms
of
pitch,
timbre,
and
stability
as
well
as
the
obvious
changes
in


physical
technique.

Performers
determine
the
best
fingering
options
for
their



 5

particular
instrument
in
order
to
effectively
perform
with
a
beautiful,
homogenous


tone
with
excellent
intonation.

The
technical
execution
between
notes
is
also
a
large


concern
and
often
performers
will
insert
an
“alternate”
fingering
from
their
normal


choice
in
order
to
more
effectively
navigate
a
technically
challenging
passage.

In


addition,
performers
must
determine
the
correct
reed
setup,
embouchure,
and


airspeed
combination
required
to
produce
beautiful
tones
and
proper
intonation


using
these
fingerings.



In
order
to
create
the
sonorities
introduced
by
Bartolozzi,
performers
often


needed
to
drastically
alter
their
physical
approaches
to
the
instruments.

In
many


cases
these
changes
are
in
direct
opposition
to
the
routine
motions
performers


spend
their
careers
perfecting.

These
techniques
require
the
same
diligent
practice


as
“normal
tones”
so
that
performers
can
execute
them
consistently
and
reliably.


New
Sounds
for
Woodwinds
was
revolutionary
for
its
time
and
expanded
the


performance
capabilities
on
all
orchestral
woodwind
instruments.

Bartolozzi


worked
extensively
with
Sergio
Penazzi,
a
prominent
Italian
bassoonist
and


pedagogue,
to
develop
the
bassoon
portion
of
his
text.

In
fact,
Bartolozzi
mentioned


Penazzi
in
the
acknowledgements
section,
stating
that
that
without
Penazzi’s
help


“this
book
could
never
have
been
written.”

Penazzi
and
Bartolozzi
began


collaborating
in
1961
and
Penazzi
performed
Bartolozzi’s
Concertazioni
for
bassoon,


strings,
and
percussion
on
the
Italian
radio
in
1965.

Penazzi
stated
that
this
work


was
the
first
to
apply
the
extended
techniques
presented
by
Bartolozzi.2





























































2
Sergio
Penazzi,
Metodo
per
fagotto,
Nuova
tecnica
per
strumenti
a
fiato
di
legno
(Milan:


Edizioni
Suvini
Zerboni,
1971),
3.



 6

 Penazzi
further
contributed
to
the
development
of
extended
techniques
by


authoring
a
text
Metodo
per
Fagotto
within
Bartolozzi’s
series,
Nuova
tecnica
per


strumenti
a
fiato
di
legno,
published
in
1971.3
This
text
provides
a
greatly
extended


explanation
of
the
techniques
introduced
by
Bartolozzi
and
gives
increased


guidance
to
performers
on
how
these
sounds
can
be
achieved.

Penazzi
began
his


investigation
of
the
technical
resources
of
woodwinds
in
1958
and
throughout
his


life
he
continued
the
development
and
promotion
of
extended
techniques
on
the


bassoon.4

The
culmination
of
his
efforts
was
realized
in
the
1982
publication
of
the


text;
The
bassoon,
other
techniques:
New
sources
of
musical
expression.

This
137
page


volume
explores
both
“simple
sounds”
and
“multiple
sounds”
in
great
depth
and
is


also
accompanied
by
two
discs
of
recordings
of
Penazzi
himself
playing
examples


from
the
text.

Performers
in
particular
benefitted
from
this
text
as
Penazzi
provided


extensive
fingering
charts
and
embouchure
descriptions.
He
even
used
a
computer


at
the
Centro
di
Sonologica
Computazionale
of
the
University
of
Padua
to
generate


graphs
of
the
soundwaves
generated
by
multiphonics.


While
performers
directly
benefitted
from
the
immense
research
of


Bartolozzi
and
Penazzi,
composers
also
learned
of
new
sounds
and
effects
they
were


able
to
utilize
within
their
works.

In
addition
they
were
also
able
to
provide


performers
with
fingerings
and
notational
systems
to
ensure
proper
production
and


achievement
of
these
sounds.

These
texts
provided
composers
and
performers
with


a
somewhat
“standardized”
system
of
extended
technique
notation
and



























































3
Ibid.



 4
Sergio
Penazzi,
The
Bassoon:
Other
Techniques:
New
Sources
of
Musical
Expression
(Milan:


Ricordi,
1982),
3.



 7

performance
practice.

The
intention
of
Bartolozzi
and
Penazzi
was
to
create
a
long‐

lasting
resource
that
would
be
frequently
utilized
and
help
extended
techniques
to


become
a
commonplace
practice
amongst
performers.

If
composers
used
these
new


sounds
in
their
compositions
the
execution
of
these
timbres
would
need
to
be


included
in
the
general
technique
of
woodwind
performers.




Although
these
resources
were
available
and
some
composers
such
as


Gubaidulina
took
advantage
of
them,
the
results
of
these
endeavors
were
not


enduring.

Currently,
Bartolozzi’s
landmark
text
is
not
widely
available
and
both
of


Penazzi’s
texts
are
no
longer
published.

These
resources
have
not
been
fully


integrated
into
instrumental
pedagogy,
and
therefore
performers
who
approach
a


piece
with
extended
techniques
have
very
little
guidance
for
successful
physical


execution
of
these
effects.




There
are,
however,
new
publications
and
resources
that
are
now
available


to
assist
bassoonists
in
the
mastering
of
extended
techniques.

Dieter
Hähnchen's


2010
text,
Contemporary
Music
for
Bassoon,
addresses
many
of
the
issues
of
notation


and
execution.
He
devised
a
practical
fingering
notation
for
multiphonics
that
he


first
published
in
1986.

He
observed
that
Bartolozzi's
"complex
notation
and


complicated
performance
of
multiphonics
prevented
these
sounds
from
becoming


well
known."5

Hähnchen's
notation
system
is
extremely
helpful
because
each


fingering
can
be
written
in
without
a
template,
so
there
is
no
additional
chart


needed
to
aid
interpretation.

An
additional
and
indispensible
resource
for
extended


techniques
is
the
"Bassoon‐Family
Fingering
Companion"
page
hosted
on
the



























































 5
Dieter
Hähnchen,
ed.,
Contemporary
Music
for
Bassoon
for
Education
(Leipzig:
Friedrich



Hofmeister
Musikverlag,
2010),
15.



 8

International
Double
Reed
Society
Website.6

This
site
is
a
compilation
of
fingerings


from
dozens
of
academic
journals
and
other
pedagogical
bassoon
texts.

There
are


harmonic
fingerings
from
Terry
Ewell
and
Bartolozzi.

The
microtone
fingerings


cover
many
different
octave
divisions
including
quartertone
fingerings
from


Bartolozzi,
Johnny
Reinhard,
and
Scott
Vigder.

There
are
a
number
of
multiphonic


fingerings
of
Bartolozzi,
John
Steinmetz,
and
Don
Christlieb.

These
multiphonics


have
also
been
recorded
by
Terry
Ewell
and
Lisa
Hoyt
and
the
recorded
material
is


available
on
the
website
adjacent
to
the
corresponding
fingering.

The
concept
is
not


only
to
provide
a
resource
for
performers
but
also
to
give
composers
accurate


information
of
possible
sounds
on
the
bassoon
and
what
fingerings
to
indicate.


It
is
evident
that
Gubaidulina
consulted
Bartolozzi’s
text
during
the


composition
of
the
Duo
Sonata
based
on
the
inclusion
of
fingerings
within
her
score


and
the
printed
indication
“fingerings
after
Bartolozzi.”

However,
Gubaidulina


changed
her
notational
style
frequently
between
using
a
numbered
fingering
image


and
written
instructions
about
altering
standard
fingerings.

The
Concerto
for


Bassoon
and
Low
Strings
includes
fingerings
and
key
numbers
for
each
multiphonic,


but
there
is
no
mention
of
Bartolozzi,
only
the
indication
that
these
fingerings


should
create
a
"multiphonic."7

Later
in
the
work,
Gubaidulina
occasionally
did
not


even
provide
fingerings
for
multiphonics
but
rather
used
an
open,
inverted
triangle


as
a
signal
for
the
effect.

Quasi
Hoquetus
has
the
least
guidance
of
the
three
works.





























































 6
http://idrs.org/resources/BSNFING/FINGHOME/HTM



 7
Sofia
Gubaidulina,
Concerto
for
Bassoon
and
Low
Strings
(Hamburg:
Musikverlag
Hans


Sikorski,
2001),
30.



 9

The
multiphonics
in
this
piece
are
notated
as
stacks
of
pitches
with
no
fingerings


provided
or
any
indication
of
which
note
should
be
used
as
the
fundamental.



Neither
Bartolozzi
nor
New
Sounds
for
Woodwinds
are
commonly
known
in


contemporary
bassoon
curricula.

A
performer
who
desires
to
study
and
prepare
the


Duo
Sonata
must
complete
a
monumental
amount
of
research
before
even
beginning


to
practice
the
work.

It
is
necessary
to
discover
the
identity
and
role
of
Bartolozzi


within
the
subject
of
extended
techniques
and
then
obtain
his
text
so
that
the


multiphonic
fingerings
within
the
score
can
be
properly
interpreted.

Subsequently


the
performer
needs
to
research
quartertone
fingerings
and
harmonic
fingerings
for


the
effects
located
within
the
Duo
Sonata.


When
approaching
the
Concerto
for


Bassoon
and
Low
Strings
or
Quasi
Hoquetus
the
amount
of
research
becomes
even


greater.

Without
any
guidance
towards
the
identity
of
the
keys
indicated
by
the


numbers
in
Gubaidulina's
provided
fingerings,
the
performer
must
experiment
to


find
solutions
or
use
other
fingerings
entirely.

Within
the
trio,
the
task
of
finding


multiphonic
fingerings
that
approximate
the
notated
pitch
stacks
is
quite


overwhelming.

The
performer
will
need
to
compile
a
large
assortment
of
possible


multiphonic
fingerings
and
then
perhaps
record
each
within
the
given
texture
to


determine
the
best
fit
for
the
musical
setting.


Finally,
after
all
this
extensive
investigation
the
performer
can
begin
to


experiment
with
the
physical
execution
of
these
new
sounds
to
master
the


techniques
and
later
integrate
them
into
the
musical
texture.

These
techniques


need
diligent
practice
so
that
they
can
be
easily
achieved
and
the
performer
can


prevent
any
breaks
or
hesitations
within
the
musical
line.

These
challenges
are



 10

immense,
and
many
performers
may
be
turned
away
from
these
works
due
to
a
lack


of
guidance.





 11

 Chapter
Two


Explanation
of
Individual
Techniques



 



 Within
the
bassoon
works
of
Gubaidulina,
there
are
many
demands
on
the


performer
to
create
sounds
or
effects
that
are
foreign
from
the
normative
manner
of


playing.

Some
of
these
demands
are
unusual
rhythms
or
pitch
bending
and
others


are
considered
"true"
extended
techniques.

These
extended
techniques
are
those


effects
that
require
the
performer
to
make
a
considerable
change
to
his
normative


playing
procedure.

The
four
"true"
extended
techniques
in
Gubaidulina's
bassoon


works
include
fluttertonguing,
harmonics,
quartertones,
and
multiphonics.

The


historical
origins
and
descriptions
of
these
four
techniques
are
detailed
below.


There
are
other
effects
in
Gubaidulina's
bassoon
works
that
warrant
explanation


and
these
will
be
addressed
in
later
chapters.




A.


Fluttertongue


The
fluttertonguing
technique
has
been
utilized
in
wind
composition
since


the
late
nineteenth
century,
and
it
has
become
a
popular
inclusion
in
music
of
the


twentieth
and
twenty‐first
centuries.

Fluttertonguing
appears
in
orchestral


compositions
of
Strauss,
Debussy,
Mahler,
Shostakovich,
and
Schoenberg,
among


others.
It
is
often
used
to
create
a
specific
emotion
such
as
extreme
intensity
or


aggression.



On
woodwind
instruments,
the
fluttertongue
is
most
commonly
produced
by


rolling
or
trilling
the
tongue
very
quickly
as
in
pronouncing
a
rolled
“r”
in
the



 12

Spanish
languages.

Penazzi
states
that
the
fluttertongue
is
difficult
to
achieve
on


bassoon
because
the
performer
must
simultaneously
apply
pressure
on
the
reed


with
his
lips
to
help
maintain
pitch
and
also
flutter
the
tongue.

This
requires
a


considerable
amount
of
air,
and
Penazzi
warns
that
it
should
only
be
used
on


phrases
and
notes
that
are
not
very
long
in
duration.8

Not
all
performers
are


physically
capable
of
producing
this
effect
independently,
let
alone
when
the
reed,


embouchure,
and
airstream
become
involved.

Gardner
Read
contends
that
the


ability
for
wind
players
to
fluttertongue
is
more
hereditary
than
acquired.9




Those
performers
who
are
unable
to
roll
their
tongue
substitute
a
type
of


“growl”
achieved
with
the
back
of
the
throat.

This
has
been
described
as
similar
to


the
action
of
gargling
a
liquid
in
the
mouth.

Both
fluttering
and
growling
are


possible
on
bassoon,
as
well
as
a
third,
more
vague
option.

Some
performers


advocate
substituting
what
is
commonly
known
as
“diddle
tonguing.”

This
involves


an
imprecise,
quick
wiggling
of
the
tongue
against
the
tip
of
the
bassoon
reed,
either


in
a
vertical
or
horizontal
motion.

The
goal
is
to
intersect
the
airstream
in
a


“fluttering”
motion
to
try
and
approximate
the
sound
achieved
with
a
solid
tongue


roll.

This
is
not
terribly
successful
because
it
is
very
difficult
to
achieve
a
consistent


motion
that
is
fast
enough.

It
is
also
extremely
challenging
because
any
contact
of


the
tongue
with
the
reed
makes
the
continuation
of
the
underlying
tone
less
likely.



This
is
especially
true
in
the
upper
register
of
the
bassoon
where
the
tones
are


unstable
and
rather
sensitive
to
reed
manipulation.




























































 8
Sergio
Penazzi,
The
Bassoon:
Other
Techniques:
New
Sources
of
Musical
Expression
(Milan:


Ricordi,
1982),
60.

9
Gardner
Read,
Compendium
of
Modern
Instrumental
Techniques
(Greensport,
Conn.:


Greenwood
Press,
1993),
144.



 13

B.

Harmonics


The
possibilities
for
production
of
what
Bartolozzi
termed
“new
sonorities”


on
bassoon
are
achievable
due
to
the
fact
that
woodwind
instruments
are
comprised


of
a
mixed
system
of
sound
production.

Each
of
these
systems
has
a
different


intonation
tendency.

The
low
register
of
the
bassoon
consists
of
the
fundamental


tones
of
the
instrument.

These
notes
are
based
on
the
tempered
chromatic
scale
by


the
construction
of
the
instrument.

The
upper
registers
are
comprised
of
various


natural
harmonics
of
these
fundamental
tones,
the
intonation
of
which
is
analogous


to
the
natural
scale.10





Bartolozzi
contends
that
there
are
two
different
types
of
harmonics
possible


on
woodwind
instruments;
natural
harmonics
that
are
derived
from
the


fundamental
tones
of
the
instruments,
and
artificial
harmonics
that
are
derived
from


a
number
of
sounds
of
the
same
pitch
obtained
by
different
fingerings.

These


artificial
harmonics
are
the
tones
that
generally
constitute
the
upper
registers
of
all


woodwind
instruments.

The
most
commonly
utilized
fingerings
for
these
pitches


are
chosen
based
on
intonation,
timbre,
and
ease
of
execution.

For
many
of
these


notes
there
are
dozens
of
possibilities,
such
as
“ninety
eight
fingerings
on
oboe
for
B


above
middle
C
with
a
variety
of
tone
colors”
and
pitches.11

Hähnchen
contends
that


bassoon
has
the
most
overtones
of
all
instruments
and
that
B
flat
1
played
at
a
loud


dynamic
has
around
220
overtones.12



























































10
Bruno
Bartolozzi,
New
Sounds
for
Woodwinds,
trans.
Reginald
Smith
Brindle
(London:


Oxford
University
Press,
1967),
12.

11
Ibid.,
14.



 12
Dieter
Hähnchen,
ed.,
Contemporary
Music
for
Bassoon
for
Education
(Leipzig:
Friedrich



Hofmeister
Musikverlag,
2010),
13.



 14

 In
terms
of
“new
sonorities,”
composers
intend
for
the
“natural”
or
“true”


harmonics
that
are
derived
from
overblown,
unaltered
fundamental
fingerings
and


are
distinguished
by
timbral
differentiations
and
often
intonation
variations
from


normal
tones.




The
bassoon
consists
of
a
“cylyndro‐conical”
shaped
bore
and
overblows
at


the
octave,
producing
even‐
and
odd‐
numbered
partials
of
the
harmonic
series.13

It


has
the
most
flexible
fingering
system
of
any
woodwind
instrument.

The
bassoon


also
features
a
wide
variation
in
pitch
and
response
between
individual


instruments.

There
is
great
variance
with
bassoons
in
regards
to
achieving


harmonics
from
unaltered
fingerings,
and
the
harmonics
are
not
generally
as


reliable
in
production
as
with
other
woodwinds.

Ralph
Verdi
suggests
that,
for
this


reason,
harmonics
on
bassoon
are
“not
recommended
for
universal
performance


with
the
same
degree
of
confidence
as
other
woodwinds.”14

Also,
compared
to
the


other
woodwinds,
there
is
the
least
amount
of
material
in
texts
and
scores
about


production
of
harmonics
on
bassoon.




In
his
Compendium
of
Modern
Instrumental
Techniques,
Gardner
Read


actually
claims,
“normally,
harmonics
are
not
available
to
the
clarinet
or
bassoon.”15



Although
there
is
considerable
variation
in
intonation
and
tone
quality,
the
easiest


true
harmonics
to
produce
on
bassoon
occur
at
the
twelfth
from
the
lowest


fundamentals
of
the
bassoon
from
Bb1
to
C#2
inclusive.

Hähnchen
states
that
these


low
fundamentals
can
be
overblown
into
the
2nd
(octave),
3rd
(twelfth),
4th
(two



























































13
Ralph
Carl
Verdi,
“A
Study
of
Harmonics
for
Woodwind
Instruments”
(Ph.D.
diss.,
The


Catholic
University
of
America,
1999),
409.

14
Ibid.,
429.

15
Read,
Compendium,
56.



 15

octaves),
and
6th
(two
octaves
plus
a
twelfth)
partials.

The
4th
and
6th
partials


require
very
high
lip
pressure,
however,
and
are
better
achieved
through
other


means.16

As
more
tone
holes
are
opened
for
each
higher
fundamental,
the
true


harmonics
become
more
difficult
to
produce.

These
harmonics
of
the
low


fundamentals
are
most
easily
produced
by
altering
the
airstream
and
partially


opening
the
first
tone
hole
of
the
wing
joint.

Harmonics
at
the
seventeenth
are
also


possible
from
the
low
fundamentals
D2
and
E‐flat2,
achieved
by
venting
the
first


two
tone
holes
of
the
wing
joint.

Because
the
timbre
difference
is
very
subtle


between
these
"true
harmonics"
and
the
artificial
harmonics
that
comprise
the


upper
register
of
the
bassoon,
it
is
important
to
not
obscure
the
"true
harmonics"


with
vibrato
during
execution.


C.

Quartertones


The
system
of
microtones
in
music,
or
divisions
of
the
octave
beyond
the


Western
twelve‐tone
chromatic
scale,
has
been
used
throughout
history,
dating
as


far
back
as
Ancient
Greece.

There
are
examples
of
quartertones
used
in
music
by


Vincento
in
the
Renaissance,
Alois
Haba’s
quartertone
piano
in
the
1920s,
Charles


Ives’
Three
QuarterTone
Pieces
of
1918,
Bartok’s
Violin
Concerto
of
1938,
and
music


of
Darius
Milhaud
in
the
1930s
and
1940s.17

Microtonal
composition
became
much


more
prevalent
in
the
latter
half
of
the
twentieth
century
as
composers
continued
to


search
for
new
mediums
of
expression.

Carlton
Gamer
suggested
that
this
increased




























































 16
Hähnchen,
Contemporary
Music,
13.

17
David
Cope,
New
Directions
in
Music,
6th
ed.

(Madison,
Wis.:
Brown
and
Benchmark,
1993),


67.



 16

interest
in
microtones
was
possibly
due
to
a
desire
in
various
arts
to
return
to


fundamentals,
as
microtonal
scale
divisions
were
common
explorations
in
Ancient


Greece.


This
trend
was
analogous
to
Schoenberg’s
twelve‐tone
row
and
serial


compositions,
the
paintings
of
Mondrian,
the
sculptures
of
Brancusi,
and
the


foundations
of
mathematics
that
were
explored
by
Russell
and
Whitehead.18



Microtones
have
many
different
tone
systems
that
range
from
five
to
over


seventy‐two
pitch
divisions
per
octave.19

These
systems
can
be
divided
into
three


distinct
categories.

The
first
category
includes
those
systems
that
are
based
on
the


standard
twelve‐tone,
equal
temperament
system
of
Western
music.


This
consists


of
systems
that
divide
the
octave
into
twenty‐four
and
thirty‐six
notes
per
octave,
as


well
as
other
twelve‐fold
divisions.

The
second
category
includes
divisible
tone


systems
such
as
those
that
separate
the
octave
into
tones
of
numbers
nine,
ten,


fifteen,
eighteen,
etcetera.

The
final
category
is
comprised
of
systems
that
partition


the
octave
into
prime
number
divisions
such
as
eleven,
nineteen,
twenty‐three,


thirty‐one,
fifty‐three,
etcetera.




One
of
the
most
common
systems
in
use
by
composers
is
the
twenty‐four


tone
division
of
the
octave
referred
to
as
the
quartertone
system.

This


nomenclature
exists
because
the
distance
between
each
tone
is
one‐quarter
the
size


of
the
standard
whole
tone
of
the
equal
tempered
chromatic
scale.

The
quartertone


system,
therefore,
divides
each
semitone
of
the
chromatic
scale
exactly
in
half.



Within
the
equal
temperament
system,
each
semitone
is
comprised
of
one
hundred



























































18
Carlton
Gamer
and
Robin
Wilson,
“Microtones
and
Projective
Planes,”
in
Music
and


Mathematics:
from
Pythagoras
to
Fractals
(Oxford:
Oxford
University
Press,
2003),
150.

19
Leo
de
Vries,
“The
Microtone
Question,”
Music
Notation
News
11,
no.
2
(2001):
14.



 17

cents,
a
small
unit
of
measure
that
refers
to
the
pitch
of
each
tone.

Each
quartertone


exists
at
an
interval
fifty
cents
apart
from
the
next.

This
aspect
is
extremely


important
in
establishing
true
quartertones,
and
therefore
the
usage
of
a
chromatic


tuner
that
indicates
cents
and
will
measure
pitch
precisely
is
essential
during


realization
of
these
pitches.


Microtonal
composition
has
become
a
staple
of
avant‐garde
music
in
both


instrumental
and
vocal
genres.

In
the
early
twentieth
century,
Schoenberg


expressed
a
concern
for
the
future
of
microtonal
music
stating,
“the
efforts
made


here
and
there
to
write
music
using
one‐third
and
quarter‐tones
are
destined
to


failure
as
long
as
the
instruments
capable
of
playing
such
music
are
so
few.”20

For


many
years,
string
instruments
were
thought
to
be
the
only
instruments
possible
of


producing
microtones,
due
to
the
ability
of
performers
to
easily
adjust
pitch
with


their
finger
position
on
each
string.




The
work
of
Bartolozzi
and
his
colleagues
for
New
Sounds
for
Woodwind


reveals
that
woodwind
instruments
are
capable
of
producing
sounds
smaller
than


one‐eighth
of
a
tone,
as
well
as
divisions
of
one‐sixth,
one‐quarter,
and
one‐third.21



These
tones
are
not
obtained
through
an
approximate
method
of
lip
adjustment
to


the
normative
fingerings,
but
through
a
well‐defined
system
of
fingerings
for
each


microtone.

The
complex
fingering
system
of
the
woodwind
instruments
introduces


vast
possibilities
for
achievement
of
microtones.

There
are
an
assortment
of


fingerings
for
each
quartertone
that
differ
slightly
regarding
pitch
and
timbre.



These
fingerings
must
be
chosen
based
on
which
achieves
the
best
pitch,
timbre,


























































20
Bartolozzi,
New
Sounds,
26.

21
Ibid.,
27.



 18

and
ease
of
technical
execution
for
each
quartertone,
just
as
a
performer
chooses


their
system
of
“standard”
fingerings
for
the
equal
tempered
scale.




Especially
noteworthy
for
the
production
of
true
quartertones,
the
bassoon
is


notorious
throughout
history
for
its
shortcomings
in
regard
to
intonation.
Hector


Berlioz
noted
in
his
treatise
on
orchestration
and
instrumentation
that
“this


instrument
leaves
much
to
desire
on
the
score
of
intonation
and
precision.”22
It
is


the
least
evolved
of
all
the
woodwinds
in
terms
of
mechanical
and
physical


development
and
produces
a
very
uneven
scale.


Over
twenty‐three
keys
have
been


added
to
the
bassoon
in
attempts
to
solve
these
intonation
problems.

This
extensive


keywork
allows
the
modern
bassoonist
to
create
many
different
fingering


combinations
for
the
same
tone.

It
also
provides
the
bassoon
with
a
natural


propensity
towards
the
creation
of
quartertones
and
other
microtones.




Penazzi
developed
many
fingering
options
for
quartertones
that
he
published


in
his
own
two
bassoon
texts
and
in
conjunction
with
Bartolozzi.

In
addition
to
this,


Johnny
Reinhard,
a
bassoonist
and
composer,
has
done
extensive
research
in


microtonal
production
on
bassoon.

He
has
expanded
Penazzi’s
fingering
chart
with


more
numerous
options
for
each
quartertone.

Reinhard
is
a
strong
advocate
for
the


inclusion
of
microtones
in
modern
composition
and
performance
and
he
promotes


the
practice
of
microtones
just
as
a
performer
learns
other
notes
and
scales
on
the


bassoon.

He
states
that,
“by
retaining
the
orthodoxy
of
a
disciplined
embouchure,
by


studying
the
enclosed
charts,
and
by
consulting
periodically
with
an
enlightened


musician
or
tuning
machine,
one
may
perform
microtonally
with
confidence.

As



























































22
Johnny
Reinhard,
“The
Microtonal
Bassoon,”
The
Double
Reed
10,
no.
2
(Fall
1987):
39.



 19

with
so‐called
‘normal’
fingerings,
one
should
never
simply
‘press
and
blow.’

One


must
hear
a
desired
musical
tone
in
the
mind
before
emitting
sound
in
order
to


insure
its
accuracy.”23




Reinhard
provides
fingering
options
for
both
the
thirty‐one
tone
octave


division
and
the
twenty‐four
tone
octave
division,
or
quartertone
scale.

He


attempted
to
find
fingerings
that
will
work
for
the
majority
of
German
system


bassoons.

Since
bassoons
vary
so
widely
between
each
individual
instrument,
not


every
fingering
will
work
for
every
performer’s
setup.

Reinhard
emphasizes
the


importance
of
perceiving
these
fingerings
as
an
outline
from
which
to
build
a
new


tonal
vocabulary.

Some
of
the
quartertones
have
noticeably
different
timbres
than


their
twelve‐tone
neighbors.

These
can
be
“tamed”
with
embouchure
adjustments


and
tone
hole
shadings
with
the
fingers.

Many
of
the
quartertone
fingerings
are


awkward,
but
“mastering
them
as
one
would
an
etude
will
develop
a
healthy
and


flexible
set
of
hands.”24

The
lowest
octave
of
the
bassoon,
comprised
of
fundamental


tones,
is
the
least
pitch
malleable,
due
to
the
fact
that
these
tones
have
the
fewest


number
of
key
combinations.

The
first
tetrachord
of
the
instrument
must
be


manipulated
with
embouchure
alone
to
achieve
quartertones,
and
then
beginning


with
E2,
additional
keys
can
be
added
and/or
subtracted
to
create
quartertones.



The
possibility
for
quartertone
fingering
options
increases
in
the
upper
registers
of


the
bassoon.




Supporting
Penazzi
and
Reinhard,
Hähnchen
has
determined
that
although
it


is
possible
to
produce
mictrotones
with
a
flexible
embouchure,
if
the
tones
are


























































23
Ibid.

24
Ibid.



 20

indicated
as
accurately
pitched
passing
notes,
they
need
to
be
produced
with


fingerings.
Hähnchen
points
out
that
from
a
technical
point
of
view,
it
is
always


easier
to
sharpen
notes
by
a
quartertone,
and
most
of
these
quartertones
can
be


achieved
by
opening
one
key
beyond
the
standard
fingering
for
the
note.25

In


addition,
the
majority
of
notes
cannot
be
flattened
by
means
of
fingering.

Therefore,


Hähnchen
argues
in
his
2010
text,
Contemporary
Music
for
Bassoon,
that


quartertones
should
only
be
notated
as
a
quarter
step
above
the
adjacent
twelve‐

tone
note.

He
demonstrates
that
adding
an
upwards‐pointing
arrow
to
the
note's


accidental
is
the
clearest
method
of
designating
the
raising
of
the
written
note
one


quartertone.




Hähnchen's
methodology
is
particularly
useful
due
to
the
fact
that
he
is
a


bassoonist
himself,
and
he
aims
to
standardize
notation
for
ease
of
performance.



However,
most
compositions
that
include
quartertones
have
a
wide
variety
of


notational
styles
and
systems.
Some
composers
will
alter
accidentals
with
additional


flags,
slashes,
and
lines
to
indicate
quartertones
and
others
will
use
words,
arrows,


or
abbreviations,
such
as
"1/4,"
in
their
works.

Each
piece
usually
has
its
own
"key"


at
the
beginning
to
explain
the
markings
to
the
performer.

Many
composers
also


liberally
use
markings
for
a
note
to
be
played
a
quartertone
flat,
which
causes


further
difficulty
in
performance
due
to
Hähnchen's
observation
that
the
necessary


fingering
for
the
quartertone
in
this
case
would
not
be
based
upon
the
written
note.



For
example,
if
a
composer
writes
a
Bb
and
indicates
it
should
be
lowered
a


quartertone,
the
performer
would
likely
need
to
use
an
altered
fingering
based
on
A,




























































 25
Hähnchen,
Contemporary
Music,
12.



 21

and
thereby
interpreting
the
note
as
A
raised
by
a
quartertone.

These


inconsistencies
in
notation,
the
difficulties
of
mastering
new
fingerings,
and
the


issues
of
adjusting
the
ear
to
hear
the
fine
tuning
needed
for
accurate
quartertones,


are
the
main
challenges
that
performers
face
when
preparing
pieces
with


quartertones.


D.

Multiphonics


Multitones
or
multiphonics
are
the
simultaneous
generation
of
a
number
of


different
frequency
vibrations
in
the
single
air
column
of
an
instrument.26

These


include
chords
of
unusual
tone
with
more
than
one
component
discernable
as


distinct
pitches.

In
regards
to
reed
instruments,
multiphonics
are
a
result
of
the


reed
and
air
column
vibrating
simultaneously
at
frequencies
that
are
not
simply


related;
meaning
the
higher
frequency
is
not
a
multiple
of
the
lower.27

Multiphonics


fall
into
two
basic
categories
in
regard
to
production.

One
collection
contains


multiphonics
that
can
be
created
when
a
note
from
the
higher
registers
of
the


bassoon
is
played
with
very
little
lip
pressure
or
when
a
note
from
the
low
register


is
played
with
excessive
lip
pressure.

The
other
collection
creates
multiphonics
by


combining
two
different
fingerings.28

The
largest
number
of
possible
multiphonics


belongs
to
the
latter
group.





























































26
Bartolozzi,
New
Sounds,
35.

27
John
Backus,
The
Acoustical
Foundations
of
Music,
2nd
ed.
(New
York:
W.W.
Norton
and
Co.,


1977),
248.


 28
Dieter
Hähnchen,
ed.,
Modern
Music
for
Bassoon
Solo,
(Leipzig:

VEB
Deutscher




 Verlag
für
Musik
Leipzig,
1986),
123.



 22

 


Many
“standard”
fingerings
are
capable
of
producing
multiphonics
if


adjustment
is
made
to
the
normative
embouchure
and
airspeed
for
the
fingering.



These
multiphonics
comprise
the
first
group
mentioned
above.

These
fingerings
are


what
Bartolozzi
terms
“polyvalent,”
because
they
are
capable
of
producing
a
single


sound
and
then,
with
adjustments
to
embouchure
and/or
airspeed,
a
chord
can
be


achieved
without
changing
the
fingering.29

The
easiest
of
these
to
generate
are


those
where
a
high
register
note
is
played
with
a
slack
embouchure
and/or
slow


airstream.

Trying
to
play
notes
from
the
low
register
with
a
very
tight
embouchure


and/or
very
fast
airstream
often
produces
a
single
harmonic
rather
than
a
stack
of


pitches.


Multiphonics
are
more
commonly
created
through
the
addition
or


subtraction
of
tone
holes
in
regards
to
standard
fingerings.

Out
of
the
multiphonic


fingerings
provided
by
Bartolozzi
and
Penazzi
in
their
texts,
around
sixty
are
the


combined
fingering
type.

These
multiphonic
fingerings
work
by
creating
“two
or


more
possible
tube
lengths
for
use
in
the
production
of
a
tone.”30

In
combination


with
adjustments
to
air
in
embouchure
in
some
cases,
the
multiple
tube
lengths


produce
between
two
and
six
composite
tones
in
a
chord.

Out
of
the
dozens
of


partials
that
exist
within
a
single,
“normal”
tone,
the
multiphonic
fingerings
permit


the
sounding
of
certain
partials
and
eliminate
others.

Hähnchen
categorizes
these


combined
fingering
multiphonics
into
nine
basic
fingerings.

The
basic
multiphonics


are
created
using
notes
from
the
lowest
register
of
the
bassoon
and
then
opening



























































29
Bartolozzi,
New
Sounds,
37.

30
Theodore
J.
Lapina,
“Multitone
Fingerings
on
the
Heckel
System
Bassoon,”
NACWPI
Journal


25,
no.
3
(Spring
1977):
20.



 23

the
smallest
possible
tone
hole
that
lies
an
interval
of
a
third
or
fourth
away
from


the
original
fingered
low
note.31

Dozens
more
multiphonics
can
be
created
from


these
nine
basic
fingerings
by
opening
additional
tone
holes
further
up
the
bore
of


the
instrument.

Additional
multiphonics
can
be
produced
from
the
nine
basic


fingerings
or
from
their
variations
just
by
changes
in
air
stream,
lip
pressure,
and


the
inclusion
of
auxiliary
keys
that
lie
further
down
the
bore
of
the
bassoon
than
the


initial
fingering.



 Multiphonic
fingerings
can
produce
chords
of
different
timbre
and
texture.



The
"triple
sonority"
multiphonics
tend
to
be
the
dominant
type
produced
by
the


double
reed
instruments,
although
many
contain
four
or
more
tones.32

Bartolozzi


claims
that
every
multiphonic
fingering
can
be
utilized
to
emit
three
different


chords
simply
by
changing
the
position
of
the
embouchure
on
the
reed.33

While
in


practice
this
is
not
true
for
each
fingering,
there
are
a
number
of
multiphonics
that
a


performer
can
manipulate
with
embouchure
and
airspeed
in
order
to
create
a


variety
of
textures.
There
is
a
wide
degree
of
variation
available
with
the
types
of


multiphonics
that
are
possible,
especially
when
altering
dynamics,
airspeed,
and


embouchure.

Some
multiphonic
fingerings
produce
homogenous
chords
in
which


most
all
the
chord
members
sound
at
the
same
volume
and
with
a
similar
timbre.



These
can
be
most
often
produced
with
altered
fingerings
and
minimal
change
to


embouchure
and
airspeed.

In
his
article
on
multiple
sonorities,
John
Heiss
claimed


these
homogenous
chords
on
bassoon
are
usually
chords
in
second
inversion
or




























































 31
Hähnchen,
Modern
Music,
124.



 32
John
C.
Heiss,
"Some
Multiple
Sonorities
for
Flute,
Oboe,
Clarinet,
and
Bassoon,"


Perspectives
of
New
Music
7,
no.
1
(Autumn‐Winter
1968),
137.

33
Bartolozzi,
New
Sounds,
41.



 24

combinations
of
partials
resulting
from
a
common
fundamental.34

Occasionally,
two


multiphonics
created
from
two
different
fingerings
sound
so
similar
that
it
is
very


difficult
for
the
ear
to
distinguish
between
them.



 Other
multiphonic
fingerings
produce
chords
in
which
the
composite
sounds


vary
drastically
in
regard
to
tone
color
and
dynamic.

Within
the
category
of
these


chords
are
those
that
produce
two
sounds
very
close
together
with
their
relative


harmonics.

These
multiphonics
often
create
the
sound
phenomena
of
‘beats’
caused


by
the
interference
in
sound
vibrations
between
two
sounds
emitted
very
close


together.35

Another
possibility
is
the
creation
of
beats
due
to
the
production
and


interaction
of
differential
tones.

Performers
and
composers
will
often
describe


these
multiphonics
as
having
a
"fluttertongue"
or
"engine
noise"
timbre.

It
is


possible
for
"noises"
to
predominate
in
certain
multiphonics
as
harmonious
partials


are
suppressed.



 Multiphonics
are
relatively
easy
to
create
on
bassoon
due
to
the
acoustic


peculiarity
of
the
instrument.

Owing
to
the
complexity
of
the
bassoon
fingering


system,
there
are
a
large
number
of
possibilities
for
multiphonics.

The
fundamental


fingerings
of
the
low
register
provide
the
most
opportunities
mostly
due
to
the
fact


that
they
involve
the
greatest
number
of
keys.

There
are
thirty‐two
different


multiphonic
fingerings
based
on
B‐flat1
alone.

In
addition
to
the
resources
of


Bartolozzi,
Penazzi,
and
Hähnchen,
Theodore
Lapina
also
did
extensive
research
in


multiphonic
production
on
bassoon.

He
experimented
with
every
standard


fingering
on
the
bassoon,
systematically
opening
and
closing
tone
holes
as
well
as



























































 34
Heiss,
"Multiple
Sonorities,"
137.

35
Bartolozzi,
New
Sounds
42.



 25

making
changes
to
embouchure
and
airspeed.

Lapina
developed
a
chart
that


includes
three
hundred
thirty‐six
fingerings
that
produce
unique
multiphonics
on


bassoon.36

Concerning
the
use
of
special
equipment
such
as
different
bocals
or


reeds
to
produce
these
effects,
Lapina
contends
that
no
alteration
from
a


performer’s
normal
setup
is
necessary.

Rather,
“the
reed
for
playing
solo
or


ensemble
literature
will
produce
multitones,
providing
it
is
a
good
flexible
reed


capable
of
playing
the
entire
range
of
the
bassoon.”37
Hähnchen
also
emphasizes
the


importance
of
having
a
reed
of
accurate
length,
and
that
the
reed
must
not
be
too
old


or
blown
out.

It
is
helpful
to
note
that
in
order
to
successfully
achieve
many


multiphonics,
the
embouchure
must
be
distorted
to
great
extremes,
and
there
must


be
variation
in
the
amount
of
breath
support
and
airspeed.

There
are
additional


lists
of
multiphonics
compiled
in
the
1960s
by
bassoonists
Gary
Echols
and
Sanford


Berry.

In
these
resources,
they
rate
each
fingering
by
how
easy
it
is
to
produce,
and


also
provide
information
about
necessary
embouchure
pressure
and
other
items.



These
fingerings
are
included
in
Charles
Lipp's
dissertation,
New
Compositional


Techniques
for
the
Bassoon.



 Similarly
to
quartertones,
notation
becomes
a
large
issue
for
multiphonics.



There
is
much
variation
in
the
manner
that
multiphonics
are
notated,
and
it
is
often


the
case
that
each
individual
work
will
have
a
new
system
that
needs
to
be


deciphered
by
the
performer.

Some
composers
will
indicate
the
multiphonic
with
a


symbol,
some
provide
stacks
of
partials
or
pitches
desired,
some
provide
fingerings


both
with
numerical
key
designations
or
lettered
key
designations,
some
use


























































36
Lapina,
“Multitone
Fingerings,”
21.

37
Ibid.,
28.



 26

written
out
instructions
for
the
fingerings,
and
some
composers
will
ask
for
the


performer
to
play
any
multiphonic
of
choice.

Although
the
initial
intention
of


Bartolozzi
and
Penazzi
was
to
create
a
consistent
system
for
notating
multiphonics,


their
numbered‐key
system
is
confusing
for
performers
and
requires
repeated


reference
for
retention.

Also,
very
few
composers
have
used
the
system
of


Bartolozzi
and
Penazzi,
but
instead
they
provide
their
own
unique
notation
for
each


work.

As
with
quartertones,
there
is
frequently
a
"key"
at
the
beginning
of
a
work
to


explain
the
labeling
of
multiphonics.

Often
there
is
written
information
within
the


score
or
part,
or
sometimes
there
is
no
indication
besides
a
stack
of
pitches
notated


on
the
staff.

Hähnchen
has
attempted
to
rectify
this
situation
with
the
creation
of


both
of
his
texts,
but
he
insists
that
"without
a
lucid
classification
coupled
with
easy‐

to‐read
notation,
excessive
demands
will
be
made
on
the
performer."38



























































38
Hähnchen,
Modern
Music,
124.



 27

 Chapter
Three


Notes
About
Sofia
Gubaidulina


Sofia
Gubaidulina
was
born
in
1931
in
Tatarstan,
Russia.

She
spent
the


majority
of
her
youth
in
the
capital,
Kazan,
and
studied
piano
at
the
conservatory


there.

Gubaidulina
began
studying
composition
during
her
studies
in
Kazan,
and


after
great
deliberation,
decided
to
pursue
a
degree
in
composition
at
the
Moscow


Conservatory
beginning
in
1954.39

She
struggled
for
quite
some
time
with
this


decision
after
realizing
that
her
energies
could
no
longer
be
divided
between
piano


and
composition
and
that
she
“had
to
choose
between
two
paths.”40




During
her
studies
in
Moscow,
Gubaidulina
was
fortunate
enough
to
have
a


meeting
with
famed
composer
Dmitri
Shostakovich
who
reviewed
some
of
her


works
at
the
time.

Shostakovich
was
impressed
with
Gubaidulina’s
unique
style
and


talent,
and
he
urged
the
composer
to
follow
her
“own
incorrect
path.”41

Gubaidulina


was
left
feeling
fortified
by
his
praise,
later
remarking,
“I
feared
nothing,
and
failure


or
criticism
just
ran
off
my
back,
and
I
was
indeed
able
to
pursue
my
own
path.”42



Gubaidulina
emerged
as
an
intensely
thoughtful
and
planned
composer,
not
always


following
compositional
trends
at
the
same
time
as
her
colleagues.

She


experimented
with
serialism
in
the
late
1960s
toward
the
end
of
its
popularity
and


quickly
moved
away
from
the
intense
structure
and
organization
that
it
required.




























































39
Michael
Kurtz,
Sofia
Gubaidulina,
trans.
Christoph
K.
Lohmann
(Bloomington:
Indiana


University
Press,
2007),
37.

40
Ibid.,
27.

41
Peter
J.
Schmelz,
Such
Freedom,
If
Only
Musical:
Unofficial
Soviet
Music
During
the
Thaw


(Oxford:
Oxford
University
Press,
2009),
261.

42
Kurtz,
Sofia
Gubaidulina,
45.



 28

She
felt
immense
pressure
and
restriction
from
the
Soviet
government
in
regards
to


her
artistic
creativity.

Throughout
the
first
half
of
her
career,
Gubaidulina
endured


setbacks
and
roadblocks
enacted
by
the
government.

She
was
often
considered
too


popular,
and
it
was
thought
by
some
officials
that
her
music
was
performed
too


frequently.

This
resulted
in
the
delay
of
the
premiere
of
her
Concerto
for
Bassoon


and
Low
Strings
among
many
others.


During
the
1970s,
Gubaidulina
frequently
met
with
fellow
composers


Viatcheslav
Artyomov
and
Victor
Suslin
for
improvisatory
performance
sessions


with
unusual
instruments
from
the
Republic
of
Soviet
Georgia,
Armenia,
and


Gruziia.43

This
trio,
self‐titled
"Astrea,"
held
weekly
sessions
of
experimentation.



They
were
fascinated
with
producing
new
sounds
and
timbres
from
these


instruments,
and
they
crafted
compositions
that
explored
these
exotic
and
exciting


sonorities.

This
obsession
with
unusual
sounds
and
effects
is
reflected
within


Gubaidulina’s
compositions
in
her
use
of
quartertones,
glissandi,
multiphonics,


fluttertonguing,
harmonics,
and
other
innovative
methods
of
sound
production.


She


has
remarked,
"the
20th
century
seeks
to
look
into
the
depths
of
its
own
soul
.
.
.
This


inescapable
longing
forces
artists
to
go
inside
sound.

For
this
reason
we
composers


are
preoccupied
with
glissandi,
harmonics,
reverberation."44

She
achieves
a


fascinating
synthesis
of
avant‐garde
and
tradition
by
using
these
contemporary


effects
within
classical
forms
and
structures.




























































43
Kurtz,
Sofia
Gubaidulina,
119‐120.



 44
Vera
Lukomsky,
"'The
Eucharist
in
my
fantasy':
Interview
with
Sofia
Gubaidulina,"
Tempo


206
(October
1998):
33.




 29

 Gubaidulina's
music
features
a
large
emphasis
on
religion,
mysticism,
and


symbolism.

Music
is
a
devout
undertaking
for
her,
and
several
of
her
compositions


have
religious
titles.

She
has
also
worked
to
integrate
several
different
styles
of


music
such
as
jazz
into
her
music,
and
she
has
“made
negotiations
between


serialism,
spontaneity,
communication,
and
tradition
in
her
works.”45

Her


involvement
with
Astrea
had
a
large
impact
on
her
compositional
style,
and


improvisation
became
a
unifying
feature
of
her
works.

The
level
of
freedom
in
each


piece
varies
widely
but
there
are
usually
several
elements
within
the
performance


that
are
left
to
the
interpretation
of
the
performer.

Gubaidulina's
works
each


explore
new
possibilities,
and
for
her,
experimentation
is
part
of
the
compositional


process
as
well
as
a
result.46

She
became
known
for
her
combination
of
Eastern
and


Western
traditions
within
her
music
and
also
for
the
deep
spiritual
and


philosophical
ideals
she
aims
to
express
with
her
musical
compositions.



Gubaidulina
explores
a
wide
variety
of
rhythmic
structures
and
means
of
sound


production
in
her
works
using
diatonic,
chromatic,
and
microtonal
systems.


With
regard
to
her
compositional
style,
she
thinks
“the
ideal
relationship


between
traditional
and
modern
compositional
techniques
is
for
the
composer
to
be


in
complete
command
of
all
methods—new
as
well
as
traditional—but
in
such
a
way


as
to
not
emphasize
either
one
over
the
other.”47

She
is
a
meticulous
and
thorough


composer,
creating
detailed
plans
and
drafts
for
her
compositions.

Many
of
these


sketches
now
reside
in
the
Paul
Sacher
Foundation.

Gubaidulina
has
continuously



























































45
Schmelz,
Such
Freedom,
217.



 46
Anders
Beyer,
The
Voice
of
Music:
Conversations
with
Composers
of
Our
Time,
translated


and
edited
by
Jean
Christensen
and
Anders
Beyer
(Aldershot:
Ashgate
Publishing,
2000),
44.

47
Schmelz,
Such
Freedom,
138.



 30

evolved
throughout
her
compositional
career,
and
as
fellow
composer
Alfred


Schnittke
remarked,
she
has
shown
a
great
acceptance
of
"'alien'
musical
worlds
and


languages."48

Gubaidulina's
early
compositions
feature
usage
of
unusual
sonorities:


"There
was
a
time
in
my
life
when
I
was
actively
involved
in
a
search
for
new


timbres,
new
textures,
new
types
of
an
articulation."49

This
"search"
is
evident
in


her
two
earlier
bassoon
compositions,
the
1975
Concerto
for
Bassoon
and
Low


Strings
and
the
1977
Duo
Sonata
for
two
bassoons.




Later
in
her
career
she
became
focused
on
issues
of
rhythm
and
rhythmic


proportionality
in
musical
form.

During
this
time,
she
was
particularly
fond
of
using


the
Fibonacci
series
as
a
basis
for
musical
form
in
her
compositions.

According
to


Gubaidulina,
"In
the
Fibonacci
series
the
ratio
between
any
two
neighbouring


numbers
approximates
the
Golden
Section,
which
I
understand
as
the
perfect
ratio,


representing
the
universal
proportion
of
life."50

She
began
experimenting
with
the


Fibonacci
series
in
the
early
1980s
and
used
it
to
organize
the
formal
construction


of
the
1985
trio,
Quasi
Hoquetus
for
piano,
viola,
and
bassoon.

In
this
composition,


as
well
as
others
that
feature
the
Fibonacci
series,
the
numerical
symbolism
is
not


audibly
perceptible,
but
instead
provides
a
format
and
plan
for
the
course
of
the


work.


Gubaidulina
describes
herself
as
having
three
different
compositional


periods:
her
early
works
show
an
interest
in
instrumental
timbres
and
different




























































 48
Alfred
Schnittke,
A
Schnittke
Reader,
ed.
Alexander
Ivashkin,
trans.
John
Goodliffe


(Bloomington:
Indiana
University
Press,
2002),
67.


 49
Vera
Lukomsky
and
Sofia
Gubaidulina,
"'Hearing
the
Subconscious':
Interview
with
Sofia


Gubaidulina,"
Tempo,
n.s.,
209
(July
1999):
27‐8.


 50
Ibid.,
28.



 31

sound
qualities,
her
second
period
began
in
the
1980s
when
she
played
with


rhythms
and
numbers,
and
her
more
recent
works
date
from
2001,
where
she
has


been
more
interested
in
quarter
tones
and
different
tuning
systems.51

She
was
able


to
emigrate
from
Russia
in
1990
and
settled
in
the
German
town
of
Appen,
where


she
still
lives
and
composes.

She
remains
one
of
the
most
successful,
popular,
and


dedicated
of
the
modern
Russian
composers.




























































 51
Sofia
Gubaidulina,
"From
Where
I
Sit,"
interview
by
Dimitri
Smirnov,
Gramophone


(September
2001):
23.




 32

 Chapter
Four


Concerto
for
Bassoon
and
Low
Strings



 During
the
1970s,
Gubaidulina
was
working
as
a
composer
in
Moscow,


making
ends
meet
by
writing
film
scores
and
taking
commissions.

She
struggled


with
acquiring
permission
from
the
government
to
premiere
some
of
her


compositions,
as
they
were
not
nationalistic
enough
in
nature
and
did
not
serve
to


glorify
Russia
and
Soviet
life.

Concurrently,
Valery
Popov,
the
famous
Russian


bassoonist,
was
eagerly
searching
to
expand
the
solo
bassoon
repertoire
in


existence.

Popov
was
an
extraordinarily
gifted
bassoonist
with
an
attraction
to


avant‐garde
music.

He
was
a
member
of
the
Moscow
State
Symphony
Orchestra
and


also
taught
at
the
Moscow
conservatory.

He
commissioned
a
large
number
of


bassoon
works
from
Russian
composers,
substantially
increasing
the
volume
of


contemporary
bassoon
repertoire.

Popov
also
"single‐handedly
helped
shaped
the


style
of
these
commissions
by
expecting
technical
brilliance
and
an
abundance
of


extended
playing
techniques."52



 Popov
approached
Gubaidulina
in
1974
and
asked
her
to
write
a
work
for


bassoon.

Gubaidulina
accepted
the
commission
with
enthusiasm
and
devoted


herself
to
understanding
the
nature
of
the
bassoon
and
the
personality
of
the


performer,
Popov.

In
Gubaidulina's
compositions,
the
composer
and
the
performer


are
treated
as
equals.

During
the
compositional
process,
it
was
necessary
for
her
to


fully
explore
the
relationship
between
performer
and
instrument,
and
in
some
way



























































 52
Tama
Kott
and
Olga
Hadley,
"
Contemporary
Russian
Music
for
Bassoon
Part
1:
Sonatas
for


Solo
and
Accompanied
Bassoon,"
The
Double
Reed
28,
no.
2
(2005):
27.



 33

the
performer
usually
participates
in
the
compositional
process
as
well.53

This


attitude
is
reflected
in
the
amount
of
improvisation
that
Gubaidulina
incorporates
in


her
compositions.

The
performer
is
often
given
control
over
certain
elements
such


as
rhythm,
pitch,
and
tempo.


The
amount
and
frequency
of
the
performer's


freedom
varies
widely
between
works,
but
it
is
an
important
element
of


Gubaidulina's
compositional
aesthetic.



 When
Gubaidulina
began
working
on
the
Concerto
for
Bassoon
and
Low


Strings,
she
visited
Popov
at
the
Moscow
Conservatory
and
observed
several
of
his


lessons.

She
remarked,
“I
had
never
heard
a
bassoon
with
such
a
voice
.
.
.
Gradually


I
began
to
penetrate
into
the
essence
of
the
instrument
itself,
to
understand
it
like


some
character
in
a
play.”54

When
she
had
completed
the
score,
she
sent
a
copy
to


Popov,
who
was
delighted
with
the
piece.

He
was
impressed
with
the
large
number


of
extended
techniques
and
unusual
timbres
within
the
concerto.

Popov
thought


that
in
regards
to
technique
that
it
was
a
"sensational
expansion
of
the
bassoon's


possibilities."55



 Upon
completion
of
the
concerto,
Gubaidulina
presented
the
piece
to
the


Commission
for
Chamber
and
Symphonic
Music
in
hopes
of
receiving
some
positive


feedback
that
might
result
in
permission
for
a
performance.

However,
the
work
was


met
with
a
combination
of
criticism
and
praise,
and
Gubaidulina's
struggles
for


performance
allowances
continued
after
denial
from
the
commission.

Several


months
later,
the
Composers
Union
considered
programming
the
Concerto
for




























































 53
Michael
Kurtz,
Sofia
Gubaidulina,
trans.
Christoph
K.
Lohmann
(Bloomington:
Indiana


University
Press,
2007),
116.

54
Ibid.



 55
Ibid.,
117.



 34

Bassoon
and
Low
Strings
for
their
annual
congress
of
the
Moscow
affiliate.

Seratim


Tulikov,
president
of
the
Moscow
affiliate,
objected
strongly
to
this
idea.

Adding
to


this
negative
reaction,

Evgeny
Makarov,
director
of
the
Artistic
Council,
stated
that


Gubaidulina
and
other
composers
like
her
needed
to
be
"cut
off."56

After
much


turmoil
and
struggle,
the
work
was
finally
premiered
on
May
6,
1975
in
the
Hall
of


the
Composers
Union,
Moscow.

The
work
was
conducted
by
Pyotr
Meshchaninov,


and
Popov
performed
the
bassoon
solo
part,
receiving
many
accolades
for
his


performance.

Despite
the
success
of
securing
a
premiere
of
the
concerto,


Gubaidulina
continued
to
experience
difficulties
with
performances
of
the
piece
in


the
future.

For
example,
Edison
Denisov
desired
to
program
the
concerto
for
his


continuing
concert
series,
"New
Works
by
Moscow
Composers."

However,
Denisov


did
not
receive
permission
from
the
government
to
present
the
concerto
until
his


eighth
request;
a
process
that
spanned
several
years
of
effort.



 Gubaidulina
created
an
unusual
work
that
is,
in
many
ways,
an
"anti‐

concerto."

At
times,
the
soloist
and
the
ensemble
have
equal
roles,
and
unlike
the


"classical
concerto"
model,
the
ensemble
of
low
strings
often
presents
new
material


and
develops
motives
independently
of
the
bassoon
soloist.

In
fact,
the
third


movement
is
presented
by
the
strings
alone
after
the
twenty‐two
measure
opening


with
bassoon.

The
form
of
the
work
is
also
unusual
in
that
the
first,
third,
and
fifth


movements
create
an
over‐arching
sonata
form,
while
movements
two
and
four


serve
as
intermezzi.

Although
these
individual
movements
are
based
on
classical


forms,
the
forms
are
not
utilized
in
their
usual
manner
for
this
genre.

Gubaidulina




























































 56
Ibid.



 35

shows
a
foundation
steeped
in
traditional
forms
and
concepts,
but
creates


something
entirely
new
with
her
musical
language
and
dramatic
presentation.

In


the
concerto,
she
strove
to
present
a
"'life‐drama'
of
the
bassoon,
which—like
a


Chaplinesque
representative
of
the
lower
class—is
exposed
to
the
aggressions
of
the


'low
strings.'"57

Gubaidulina
has
portrayed
the
bassoonist
as
an
individual
that
is


provoked
by
the
mob‐like
celli
and
basses.

The
crowd
pinches
and
grabs
at
the


soloist,
attacking
and
mocking
the
musical
motives
that
the
soloist
presents.



Gubaidulina
explained
the
"interactions
between
the
soloist
and
the
surrounding


instruments
are
complex,
contradictory,
as
in
a
dramatic
scene
full
of
action.

The


concerto
includes
moments
of
reconciliation
and
hostility,
tragedy
and
loneliness."58





 The
concerto
presents
great
demands
on
the
performer
to
display
the
wide


range
of
emotions
and
drama
throughout
the
work,
as
well
as
executing
the
difficult


extended
techniques
within
the
appropriate
contexts.

It
is
essential
to
note
that
the


multiphonics
and
fluttertonguing
sections
that
Gubaidulina
includes
are
designed
to


create
a
wider
palette
of
expression,
and
to
give
more
color
and
depth
to
the


emotional
drama
that
unfolds.

These
elements
do
not
exist
merely
to
be
avant‐

garde
or
to
make
the
piece
more
difficult.

These
effects
are
meant
to
be,
and
should


always
be
performed
as,
purposeful
expression
that
is
an
essential
aspect
of
the


music
itself.

Each
element
of
the
work
contributes
to
the
character,
and
therefore


the
performer
must
undertake
the
responsibility
of
learning
and
mastering
these


extended
techniques
seriously.

These
sounds
must
be
a
seamless
extension
of
the


performer's
"traditional"
methods
of
playing.



























































 57
Ibid.



 58
Ibid.,
116. 



 36


 At
the
time
of
the
composition
of
the
concerto,
Gubaidulina
was
heavily


involved
with
her
improvisational
group,
Astrea.

The
influence
of
her
work
with
the


trio
is
clearly
evident
in
the
Concerto
for
Bassoon
and
Low
Strings,
where
many


unusual
sounds
and
effects
are
required
of
all
the
instruments
involved.

Not
only


has
Gubaidulina
expanded
the
expression
of
the
bassoon
part
with
multiphonics,


fluttertonguing,
aleatoric
rhythms,
pitch
bends,
improvisational
sections,
and
other


unusual
sounds,
but
she
also
asks
the
strings
to
play
unusual
harmonics,
ricochet


techniques
with
the
bow,
extensive
quarter
tone
sections,
glissandi,
as
well
as


aleatoric
rhythms
and
improvised
passages.

The
work
also
contains
lengthy


sections
of
jazz
and
pop
music
stemming
from
the
film
music
she
was
composing
at


the
time.
Within
this
concerto,
this
"life
drama"
for
bassoon,
she
has
used
a
wide


variety
of
timbres
and
colors
to
create
characters
as
clearly
and
vividly
as
possible.



Every
sound
has
a
purpose
and
every
section
must
have
character
and
energy.



 37

 Analysis
of
Extended
Techniques
within
the
Concerto
for
Bassoon
and
Low
Strings


with
Performance
Suggestions
and
Solutions


A.
Fluttertongue



 The
execution
of
fluttertonguing
on
bassoon
presents
several
problems,


especially
concerning
the
embouchure
and
airspeed.

The
most
common
technique


of
rolling
the
tongue
produces
an
excellent
fluttertongue
after
solving
a
few
issues
of


execution.




In
general,
the
embouchure
for
the
fluttertongue
needs
to
be
rounded
by


bringing
the
corners
of
the
mouth
inwards
and
forwards.

Also,
the
height
of
the


inside
of
the
mouth
should
be
relatively
narrow,
so
that
it
is
possible
to
move
the


tongue
very
rapidly
between
the
roof
and
floor
of
the
mouth.

The
fluttertongue


must
be
engaged
after
the
note
is
articulated
for
optimal
execution.

To
achieve
the


best
sound
and
highest
level
of
success,
the
tongue
should
be
pulled
rather
far
back


in
the
mouth
with
the
tip
of
the
tongue
hovering
in
the
middle
of
the
mouth
cavity.



This
position
prevents
the
tip
of
the
tongue
from
coming
in
contact
with
the
reed


and
stopping
the
airflow.

Due
to
the
pulled
back
position
of
the
tongue,
it
is
very


difficult
to
articulate
notes
with
a
fluttertongue.

There
is
a
small
amount
of
time


required
for
the
tongue
to
“rebound”
from
the
articulation
and
begin
to
roll
or


flutter.

A
significant
factor
in
this
rebound
time
is
the
fact
that
articulation
on


bassoon
occurs
with
motion
at
the
front
of
the
tongue,
and
the
rolling
motion
of
the


fluttertongue
is
created
with
muscles
at
the
back
of
the
tongue.

It
is
possible
to


practice
this
action
by
using
the
syllable
"too"
for
the
articulation
and
then
a
rolled



 38

"r"
immediately
following.

The
airspeed
required
to
execute
the
fluttertongue
must


be
fast
and
focused
with
a
significant
amount
of
stomach
support.

The
airstream


must
be
intense
enough
to
maintain
the
correct
pitch
and
core
of
the
sound
while


the
tongue
oscillates.

It
is
very
common
for
the
pitch
to
be
flat
when
fluttertonguing,


and
a
faster
airstream
can
be
beneficial
for
this
reason.

It
is
helpful
to
practice
long


tones
with
fluttertonguing
to
further
develop
this
skill.



 The
first
appearance
of
fluttertongue
in
the
concerto
is
in
the
first
movement


at
rehearsal
21.

The
solo
bassoon
has
an
F#4
dotted
quarter
note
with
three
slashes


through
the
stem
and
the
designation
"frull."

This
is
an
abbreviation
of
the
Italian


verb,
"frullare,"
meaning
"to
flutter."

This
note
is
followed
by
a
G#4
eighth
note
with


an
accent
and
only
two
slashes
through
the
stem.

The
fluttertongue
indication


appears
as
three
slashes
on
the
stems
of
notes
with
values
of
a
quarter
note
and


longer,
but
only
two
slashes
appear
on
the
eighth
note
stem
as
if
the
flag
constitutes


the
third
slash
(figure
1).






Figure
1:
Rehearsal
21
of
the
concerto,
movement
1


Taking
into
account
the
crescendo
underneath
both
notes
and
the
breath


mark
following,
the
G#
eighth
note
is
most
likely
a
continuation
of
the
fluttertongue


from
the
previous
note
and
serves
as
an
accented
ending
of
the
phrase.

This
is
the



 39

interpretation
presented
by
Valery
Popov
in
his
recording
of
the
concerto
on
the


compact
disc
Sofia
Gubaidulina:
Works
for
Bassoon.59

This
recording
is
a
fantastic


resource
for
performers
of
the
concerto,
the
Duo
Sonata,
and/or
Quasi
Hoquetus.



Although
Gubaidulina
herself
was
not
involved
in
the
recording
process,
she
had


worked
extensively
with
Popov
on
all
three
of
these
works
in
their
conception
and


development.

In
order
to
successfully
execute
these
two
fluttertongued
notes
from


figure
1,
it
is
important
for
the
performer
to
ensure
that
the
airstream
is
fast
and
the


embouchure
is
providing
enough
support.

If
there
is
not
enough
energy
from
these


two
elements,
a
multiphonic
is
likely
to
be
produced
instead
of
the
fluttertongued


F#4.




This
is
one
of
the
"polyvalent"
fingerings
that
Bartolozzi
mentioned
in
New


Sounds
for
Woodwinds;
a
fingering
that
is
capable
of
creating
a
single
tone
and
also
a


chord
through
changes
to
airspeed
and
embouchure
pressure.

Also,
when
executing


the
fluttertongue
it
is
common
for
notes
to
be
rather
flat
in
pitch,
and
therefore
a


faster
airspeed
and
increased
embouchure
pressure
are
necessary
elements
for
this


technique.

Due
to
the
combination
of
these
factors,
it
is
especially
crucial
for
the


performer
to
have
a
tightened
embouchure
and
use
an
intense
airstream
on
the
F#4


in
this
instance.

The
written
dynamic
of
forte
is
fortuitous
in
this
case,
as
it
also


requires
a
greater
amount
and
intensity
of
air.

In
order
to
successfully
execute
the


G#4
eighth
note,
it
is
best
to
create
an
"articulation"
through
a
pulsation
of
the


airstream
with
the
stomach
muscles,
so
that
the
fluttertongue
motion
is
not


interrupted.

This
works
well
musically
as
there
is
a
crescendo
connecting
the
two




























































 59
Valery
Popov,
Gubaidulina:
Works
for
Bassoon,
Chandos,
1999,
compact
disc.



 40

notes,
and
the
G#
is
a
punctuated
end
to
the
phrase.

Since
it
is
quite
difficult
to


articulate
while
fluttertonguing,
another
option
would
be
to
stop
the
fluttertongue


on
the
F#
before
its
designated
value
so
that
the
tongue
can
successfully
articulate


the
reed
for
the
G#.


The
next
fluttertongue
passage
follows
shortly
afterwards
in
the
first


movement,
beginning
the
second
measure
of
rehearsal
23
and
extending
through


rehearsal
24.

This
section
features
isolated
half
notes
that
ascend
from
G4
to
Bb4.



Each
fluttertongued
note
crescendos
from
ff
to
fff.

Due
to
the
fact
that
these
notes


are
in
the
upper
register,
it
is
best
to
use
a
more
flattened,
"hard
cushion"


embouchure
along
with
strong
core
muscle
support
and
fast
air.

The
fluttertongue


can
be
executed
very
quickly
if
these
notes
are
begun
with
the
air
alone
and
not
with


an
articulation.

Although
this
is
not
standard
practice
for
beginning
a
note
on


bassoon,
using
an
"air
attack"
in
this
register
frees
the
tongue
to
flutter
almost


immediately,
and
it
should
not
cause
any
issues
if
the
embouchure
and
air
are
used


correctly.




In
the
first
movement
at
rehearsal
25
there
is
a
G3
quarter
note
that
is


fluttertongued
and
leads
to
an
accented
Ab3
sixteenth
note.

It
is
clear
in
this
case


that
the
Ab
should
be
articulated
and
performed
as
indicated
(figure
2).






Figure
2:
Rehearsal
25
of
the
concerto,
movement
1



 41

 With
the
execution
of
the
fluttertongue
on
the
G3
it
is
better
to
have
an


embouchure
that
is
slightly
more
open
while
still
maintaining
firm
contact
with
the


lips.

The
"half‐hole"
notes
on
the
bassoon
can
be
especially
finicky
when
a


fluttertongue
is
added
to
them.

The
performer
should
experiment
with
different


embouchure
settings
and
airspeed
to
determine
the
most
reliable
set‐up
for
the


note.

The
forte
dynamic
for
this
note
allows
for
more
confidence
in
execution,
but
it


is
not
recommended
to
use
an
air
attack
for
this
note.

Due
to
the
short
length
of
the


note,
the
tongue
must
move
very
quickly
to
begin
the
fluttertongue
and
then
end
it


in
time
to
articulate
the
Ab.

Using
consistent
abdominal
support
throughout
this


motive
should
help
to
accomplish
positive
results.


The
remaining
fluttertongue
techniques
in
the
first
movement
are
all
in
the


lower
register
of
the
bassoon.

Leading
into
rehearsal
27,
a
trill
on
D#2
is
slurred


with
a
dotted
line
into
a
fluttertongued
D#2
dotted
quarter
note.

This
is
then


followed
by
an
articulated,
fluttertongued
E2
eighth
note.

To
successfully
move


from
the
trill
to
the
fluttertongue
without
a
gap,
it
is
advisable
to
begin
the


fluttertongue
motion
before
ending
the
trill.

Also,
it
can
help
to
move
between
the


fluttered
D#
and
the
fluttered
E
without
an
articulation,
so
that
the
fluttertongue
is


not
interrupted.

Another
fluttertongue
note
is
indicated
in
the
measure
after
27,


where
an
Eb2
is
tied
from
an
ordinary
note
and
then
resolves
to
an
E2
fluttertongue


under
a
slur
(figure
3).

When
moving
from
the
ordinary
Eb
to
the
fluttertongue,
the


performer
should
attempt
to
pull
the
tongue
farther
back
in
the
mouth
leading
up
to


the
Eb,
and
then
tighten
the
lips
slightly
when
beginning
the
fluttertongue.

The
slur



 42

between
the
fluttertongued
Eb
and
E
makes
their
realization
less
problematic
than


the
previous
example.





 The
last
fluttertongue
section
of
the
movement
begins
in
the
following


measure
and
features
chromatic
motion
wandering
between
E2
and
B1
(figure
3).


These
notes
are
all
under
a
continuous
slur
which,
as
stated
previously,
makes
the


fluttertongue
easier
to
achieve.





Figure
3:
Rehearsal
27
of
the
concerto,
movement
1


The
performer
should
focus
on
keeping
the
tongue
motion
relatively


constant
while
changing
fingerings
and
adjusting
the
embouchure
as
needed
for


specific
notes.

Encouraging
the
notes
of
this
register
to
speak
properly
with
a


fluttertongue
can
be
an
issue.

The
airstream
should
be
wide
and
strong
so
that
the


notes
have
a
solid
core.

It
can
be
helpful
to
pull
the
reed
out
of
the
mouth
slightly,


moving
the
embouchure
towards
the
tip
of
the
reed.

Due
to
the
addition
of
the


fluttertongue,
the
lips
can
provide
more
support
for
these
notes
as
compared
to


"normal"
execution
in
this
register.

Although
the
increased
lip
pressure
may
cause


pitch
to
rise,
it
does
increase
the
chance
for
success
of
the
technique
in
this
extreme


register.

Again,
the
performer
should
experiment
with
several
different
physical


setups
for
these
notes,
and
observe
which
changes
create
the
greatest
results.

With


the
longer
slurred
passages
such
as
this,
it
is
very
useful
to
practice
the
phrase



 43

without
the
fluttertongue
technique
to
focus
on
good
musical
shape
and
a
centered


sound.

The
fluttertongue
can
then
be
added
to
that
foundation
to
create
the
altered


timbre.


Gubaidulina
does
not
use
the
fluttertongue
technique
again
until
the
fifth


movement.

It
appears
at
rehearsal
26
with
a
rising
chromatic
line
of
fluttertongued


quarter
notes
spanning
from
F4
to
Bb4.

These
are
all
marked
fff
in
dynamic,
and
the


motive
is
reminiscent
of
the
rising
half
note
line
in
rehearsal
23‐24
of
movement
1.



Here
the
notes
are
shorter
in
length
and
span
a
larger
range,
but
the
same
basic


principles
apply
for
effective
achievement.

A
flattened
embouchure
can
help,
as
well


as
using
an
air
attack
for
each
note.

This
is
particularly
important
in
this
section


from
the
fifth
movement
because
the
duration
of
the
notes
is
so
brief.

Using
a


breath
attack
will
enable
the
fluttertongue
to
begin
immediately
so
that
it
is


perceptible
to
the
audience.




B.

Aleatoric
rhythms
and
unusual
metric
aspects



 The
Concerto
for
Bassoon
and
Low
Strings
contains
a
large
number
of
unusual


metric
and
rhythmic
aspects.

A
great
amount
of
freedom
is
granted
to
the


performers
within
the
work
through
extended
use
of
non‐metrical
passages
and


aleatoric
rhythms
in
all
parts.

Within
her
compositions,
Gubaidulina
has
shown
a


disinterest
in
writing
specific
notes
and
rhythms.

Instead,
she
encourages


improvisation
on
the
part
of
the
performer.

When
coaching
musicians
for
a


performance
of
her
compositions,
she
urges
them
to
change
fingerings
or
notes



 44

however
necessary
in
order
to
create
the
correct
character
of
the
work.60

This


propensity
for
an
improvisation
effect
is
evidence
of
the
influence
of
her
endeavors


with
her
trio,
Astrea,
at
the
time
of
the
concerto
composition.





 Gubaidulina
creates
an
improvised
sense
in
the
concerto
through
several


different
aspects.

One
of
these
is
her
use
of
aleatoric
rhythms.

These
are
passages


in
which
a
series
of
notes
is
written
with
expanding
or
contracting
beams,
indicating


that
the
performer
should
accelerate
or
slow
the
notes
at
will.

If
this
occurs
within
a


metered
section,
then
the
performer
must
create
these
changes
over
a
specific
time


construct.

For
example,
in
the
solo
bassoon
part
at
rehearsal
18
in
the
first


movement,
an
aleatoric
rhythm
is
written
over
one
beat
of
time
in
3/4
meter
(figure


4).






Figure
4:
rehearsal
18
in
the
concerto,
movement
1


However,
there
are
also
passages
that
feature
aleatoric
rhythms
without
a
given


metrical
construct.

In
these
situations,
the
performer
has
even
more
freedom
to


determine
how
quickly
or
slowly
they
wish
to
alter
the
time
relationship
between


notes.

For
instance,
at
rehearsal
3
in
the
third
movement,
a
solo
contrabass
is


provided
with
a
series
of
aleatoric
rhythms
without
a
governing
meter
(figure
5).






























































 60
Julie
Feves
of
California
Institute
of
the
Arts,
interview
by
author,
1
July
2011.



 45

 

Figure
5:
rehearsal
3
in
the
concerto,
movement
3


Here,
the
bass
soloist
is
able
to
determine
his
own
pace
for
each
motive
with
the


only
governance
being
that
he
should
speed
up
the
notes
as
the
beams
get
farther


apart
from
one
another
and
slow
down
as
the
beams
converge.



 Throughout
the
concerto,
Gubaidulina
frequently
uses
non‐metrical
passages


to
create
independence
of
lines.

In
some
instances,
the
solo
bassoon
line
will
be


written
without
meter
while
the
ensemble
continues
underneath
in
steadily


metered
time.

In
these
sections
the
bassoon
dances
freely
above
the
other
lines


until
they
realign
at
the
end
of
the
passage.

For
example,
in
the
first
movement,
the


bassoon
departs
from
the
strings
in
the
third
measure
of
rehearsal
20
and
does
not


meet
up
with
the
ensemble's
meter
until
rehearsal
23
(figure
6).






Figure
6:
rehearsal
21
in
the
concerto,
movement
1



 46


 Other
sections
feature
the
entire
ensemble
in
non‐metric
passages,
where


each
player
determines
his
own
speed
of
performance.

Gubaidulina
usually
labeled


these
portions
in
seconds
in
order
to
indicate
the
specific
length
of
time
that
the


section
should
last.

In
the
first
movement
at
rehearsal
25,
all
of
the
parts
are
labeled


without
meter
in
a
passage
that
should
last
about
twenty
seconds
until
the
next


event
at
rehearsal
26
(figure
7).

Each
part
has
its
own
musical
material
with


individual
phrasing
and
rhythms.

The
bassoon
solo
has
new
material
that
continues


until
rehearsal
26
but
the
string
parts
each
repeat
their
written
notes
until
the


section
is
finished.






Figure
7:
rehearsal
25
in
the
concerto,
movement
1


The
conductor
serves
an
essential
role
in
these
passages
by
keeping
track
of
how


much
time
has
passed
and
then
giving
a
cue
for
the
end
of
the
section.


When
the


bassoonist
is
practicing
alone,
however,
it
is
advantageous
to
use
a
stopwatch
or
a



 47

timer
to
help
indicate
the
exact
time
passage.

Through
this
practice,
the
performer


can
gain
a
better
idea
of
the
relative
speed
of
each
section.





 The
layering
of
these
different
improvised
parts
shown
in
figure
7
creates
an


effect
of

"all
hell
breaking
loose,"61
and
is
Gubaidulina's
method
of
depicting
the


soloist
being
physically
assaulted
by
the
crowd
of
low,
aggressive
strings.

These


non‐metrical
passages
occur
throughout
the
concerto
and
create
unique
timbres


with
a
suspension
of
time.

They
are
particularly
present
in
the
first,
third
and
fifth


movements,
and
occur
both
in
the
solo
bassoon
and
in
the
string
parts.

Typically


indicated
in
the
score
with
a
"turn"
symbol,

they
are
also
indicated
with
slashes


through
the
first
stem
and
beam
of
each
passage
as
seen
in
figure
7
above.

The
fifth


movement
begins
with
non‐metrical
passages
in
the
strings
with
a
metered
solo


bassoon
entrance
at
rehearsal
2.

This
texture
continues
for
a
large
portion
of
the


movement
until
rehearsal
20
where
the
strings
join
the
bassoon's
continuous
2/4


meter.





 Gubaidulina
has
also
created
metrical
interest
with
independent
meters
in


different
parts.

In
the
third
movement
beginning
at
rehearsal
2,
the
solo
bassoon


and
third
cello
parts
diverge
from
the
remaining
strings
with
alternating
meters
of


11/8,
7/8,
5/8,
8/8,
and
4/8
(figure
8).

Meanwhile,
the
other
strings
continue


onwards
in
3/4
meter
creating
instability
and
competing
metrical
accents.






























































 61
Ibid.



 48

 

Figure
8:
rehearsal
2
of
the
concerto,
movement
3


This
metrical
layering
occurs
in
the
first
and
third
movement
primarily,
and
creates


the
atmosphere
of
two
conversations
happening
at
once.





 Gubaidulina
generates
a
sense
of
improvisation
and
freedom
throughout
the


concerto
with
indications
of
rubato,
quasi
cadenza,
and
recitando.

She
also
indicates


taking
time
through
several
means,
including
breath
marks
and
three
different
types


of
fermata
markings.

The
fermatas
used
are
the
typical
rounded
top,
one
with
a


pointed,
triangular
top,
and
one
with
a
square
top.

These
are
used
to
indicate
held


notes,
and
they
are
most
frequently
used
between
notes
to
indicate
pauses,
at
the


ends
of
sections,
and
over
rests
to
extend
their
length.

The
performers
should
agree


on
the
interpretation
of
these
symbols
and
how
each
one
is
different.

There
appears


to
be
a
hierarchy
in
terms
of
length
of
time
with
each
symbol.

In
increasing
order
of


length,
the
shortest
break
is
the
breath
mark,
followed
by
the
triangular
fermata,


then
the
rounded
fermata,
and
then
the
square
fermata
designates
the
longest



 49

length.

The
breath
mark
is
commonly
used
in
music
as
a
short
break,
and
the


rounded
fermata
is
also
a
standard
symbol.

The
triangular
fermata
is
most
similar


in
appearance
to
a
marcato
accent,
which
is
generally
shorter
in
length
than
a


regular
accent.

For
this
reason,
the
triangular
fermatas
are
likely
shorter
in
length


than
the
typical,
rounded
fermatas.

The
square
fermata
is
found
at
the
ends
of


musical
phrases
and
sections,
as
seen
in
figure
9.






Figure
9:
movement
4
of
the
concerto
showing
usage
of
the
square
fermata


Due
to
its
usage
in
this
manner,
it
is
probable
that
this
fermata
is
the
longest
of
all


the
other
time
symbols,
signifying
a
large
pause
and
cadential
effect.

The
square


fermata
is
used
sparingly
throughout
the
concerto,
and
it
is
consistently
utilized
at


the
end
of
a
phrase.

As
seen
in
figure
10,
there
is
interaction
between
all
of
these


symbols
and
the
interpretation
of
their
relative
length
must
be
left
to
the
performer.





 50

 

Figure
10:
movement
3
of
the
concerto
showing
interaction
of
time
symbols



 With
each
of
these
temporal
indications,
Gubaidulina
seeks
for
a
method
to


represent
the
character
of
the
work
as
best
as
possible.

The
importance
is
not


accuracy,
but
rather
feeling,
emotion,
and
expression.

The
performers
should


endeavor
to
interpret
the
symbols
as
a
guideline
for
creating
coherent
phrases
and


sections
that
effectively
convey
the
content
of
the
music.


C.
Multiphonics



 Gubaidulina
utilizes
multiphonics
within
the
second,
fourth,
and
fifth


movements
of
the
concerto,
but
they
present
several
challenges
to
the
performer


when
attempting
to
realize
the
notation.

The
first
instance
of
a
multiphonic
in
the


concerto
is
the
measure
before
rehearsal
3
in
movement
two62
(figure
11).






























































 62
Sofia
Gubaidulina,
Concerto
for
Bassoon
and
Low
Strings
(Hamburg:
Musikverlag
Hans

Sikorski,
2001),
30.



 51

 

Figure
11:
rehearsal
3
of
the
concerto,
movement
2


The
multiphonic
is
represented
by
an
outlined,
inverted
triangle
with
a
line


extending
to
the
right
signifying
duration.

The
triangle
has
a
fingering
notation


provided
above
and
an
asterisk
in
the
score
indicating
that
it
is
a
multiphonic.

The


fingering
notation
is
rather
perplexing,
however,
as
it
contains
circles
representing


tone
holes
for
the
left
and
right
hands,
but
it
also
shows
numbers
signifying
specific


keys
on
the
bassoon.

Without
a
provided
fingering
chart
or
reference,
it
is


impossible
to
know
which
keys
Gubaidulina
is
designating
with
the
numbers
used.



The
bassoon
has
over
twenty
different
keys,
and
each
person
may
interpret
"5"
to
be


a
different
key.

As
Hähnchen
points
out
in
Contemporary
Music
for
Solo
Bassoon,
it
is


not
helpful
to
use
numbered
key
notation
for
extended
techniques
because
the


meaning
of
the
numbers
would
need
to
be
researched
each
time.63




 Therefore,
when
a
performer
begins
work
on
Gubaidulina's
concerto,
finding


fingering
indications
that
are
not
easily
understood
can
be
disconcerting.

At
this


point
the
performer
either
needs
to
do
further
research,
or
ignore
the
indicated


notation
and
use
other
multiphonics
instead.

However,
if
the
performer
has


knowledge
of
other
of
Gubaidulina's
works,
the
search
for
the
identity
of
these


numbers
becomes
clearer.

In
the
Duo
Sonata
of
1977,
Gubaidulina
provides
very




























































 63
Dieter
Hähnchen,
ed.,
Contemporary
Music
for
Bassoon
for
Education
(Leipzig:
Friedrich



Hofmeister
Musikverlag,
2010),
120.



 52

similar
fingerings
for
multiphonics,
with
the
additional
note
of
“fingering
and


number
of
keys
after
Bartolozzi.”64




While
this
gives
further
information
for
discovering
the
explanation
of
the


numbers,
there
is
still
a
large
amount
of
research
the
performer
needs
to
complete.



The
performer
first
must
uncover
the
identity
of
Bruno
Bartolozzi,
a
name
not


familiar
to
most
bassoonists.

Next,
the
performer
needs
to
search
for
Bartolozzi's


text,
New
Sounds
for
Woodwinds,
which
contains
the
appropriate
fingering
charts


with
numerical
details.

As
stated
previously,
this
text
is
out
of
print
and
not
readily


available
for
public
use.

Many
academic
libraries
do
not
own
copies
of
the
text,
and


patrons
often
need
to
request
the
volume
through
interlibrary
loan.

It
is
truly
a


difficult
endeavor
to
obtain
the
necessary
resources
to
merely
interpret
what
is


printed
in
Gubaidulina's
score
before
practicing
these
gestures
can
begin.

Appendix


A
contains
a
pictorial
chart
of
the
multiphonic
fingerings
necessary
for
performance


of
the
Concerto
for
Bassoon
and
Low
Strings
along
with
performance
suggestions


about
changes
to
the
airstream
and
embouchure.

The
physical
manipulations
can


assist
in
successfully
achieving
a
multiphonic
with
each
fingering.

If
these


suggestions
do
not
work
for
every
performer,
they
can
serve
as
a
basic
guideline
of


methods
of
experimentation
and
provide
a
starting
point
for
exploration
into
these


techniques.

The
performer
should
consider
the
fact
that
many
multiphonics
require


a
large
physical
change
from
normal
playing
practices.

The
performer
should
be


creative
in
altering
his
approach,
as
well
as
diligent
in
notating
personal
solutions.





























































64
Sofia
Gubaidulina,
Duo
Sonata
for
2
Bassoons
(Hamburg:
Sikorski,
1998),
9.



 53


 After
the
performer
has
located
information
regarding
the
fingering
notation


for
the
multiphonics,
another
issue
arises
in
that
many
of
the
given
fingerings
do
not


reliably
produce
a
multiphonic.
It
should
be
taken
into
account
that
each


performer's
physical
set‐up
varies
with
reed
and
embouchure,
and
different


bassoons
may
also
produce
different
results
with
multiphonic
fingerings.

However,


through
experimentation
with
other
reeds,
performers,
and
instruments,
many
of


the
multiphonic
fingerings
from
the
concerto
are
too
fickle
and
unpredictable
to
be


used
in
a
performance
setting.

For
example,
the
first
multiphonic
fingering
provided


the
measure
before
rehearsal
5
in
movement
two,
is
generally
defective
in


producing
a
multiphonic
regardless
of
changes
to
embouchure,
air
speed,
or
air


direction
(figure
12).

Provided
Gubaidulina's
insistence
on
character
over
precision,


the
best
option
for
a
performer
in
this
situation
is
to
determine
other
multiphonic


fingerings
that
consistently
work
within
the
musical
context.






Figure
12:
first
multiphonic
in
the
measure
before
rehearsal
5
of
the
concerto,
movement
2



 There
are
no
pitch
references
provided
for
the
multiphonic
fingerings
in
the


concerto,
unlike
later
works
in
which
Gubaidulina
notates
stacked
chords
along
with


fingering
indications.

Due
to
this
fact,
the
performer
will
likely
have
success
using


the
provided
fingering
as
a
foundation,
and
then
experimenting
with
that
fingering



 54

to
discover
a
usable
multiphonic.

There
are
several
multiphonics
within
the
work


that
are
tied
over
from
an
existing
pitch,
so
with
these
instances
it
is
best
to
locate
a


multiphonic
that
contains
the
initial
sounding
pitch
as
part
of
the
structure.

For


instance,
the
multiphonic
shown
in
figure
12
is
tied
from
a
B4.

When
the
performer


begins
searching
for
an
effective
fingering,
the
musical
integrity
would
be


maintained
with
a
multiphonic
that
includes
B4
in
its
stack
of
tones.

A
reliable


fingering
from
Penazzi's
text,
Metodo
per
Fagotto,
involves
an
altered
version
of


Gubaidulina's
provided
fingering:
opening
the
third
tone
hole
of
the
left
hand,
not


opening
the
Eb
key
with
the
left

hand
pinky,
and
then
in
the
right
hand
only
closing


the
second
tone
hole.

(See
Appendix
A
for
a
full
list
of
fingerings)





 When
searching
for
multiphonic
fingering
replacements,
it
is
important
to


consider
the
notes
that
follow
as
well.

The
performer
must
be
able
to
move
through


the
multiphonics
without
great
difficulty
in
terms
of
finger
technique
and


embouchure.

For
example,
the
multiphonic
notated
immediately
before
rehearsal
5


in
movement
two
is
presented
as
a
trill
and
does
not
work
with
the
provided


fingering.

A
very
secure
multiphonic
option
can
be
achieved
by
using
the
provided


fingering,
and
then
merely
opening
the
third
tone
hole
of
the
left
hand
and
opening


the
first
tone
hole
of
the
right
hand.

However,
using
this
altered
fingering
as
a
basis,


there
are
no
possible
ways
to
trill
to
another
multiphonic,
as
is
requested
in
the


score.

Although
this
is
one
of
the
fullest
and
most
stable
multiphonics
that
can
be


achieved
through
altering
the
given
fingering,
it
does
not
work
when
attempting
to


trill
to
another
multiphonic
and
therefore
it
is
not
a
viable
fingering
option.

The



 55

performer
must
search
for
a
multiphonic
fingering
that
will
also
produce
a
trill
to


another
multiphonic
in
order
to
create
the
notated
sounds.



 All
of
the
multiphonics
in
the
concerto
have
a
specific,
musical
purpose.



Gubaidulina
uses
these
effects
to
create
the
character
she
envisioned
for
the
work,


and
it
is
essential
to
consider
the
multiphonics
as
elements
within
a
musical
phrase.



The
multiphonics
are
notated
with
specific
dynamics,
and
many
have
crescendo
or


diminuendo
markings
as
well.

When
choosing
alternate
fingerings
for
multiphonics,


the
performer
needs
to
decide
upon
a
multiphonic
that
is
able
to
be
executed
at
the


designated
dynamic.

Some
multiphonics
will
compress
into
a
single
tone
if
they
are


played
at
a
soft
dynamic,
and
others
cannot
maintain
all
their
tones
when
executed


with
a
crescendo.

These
factors
need
to
be
considered
when
the
performer


experiments
with
fingering
options
and
makes
decisions
for
performance.





 A
final
element
of
the
multiphonics
in
the
concerto
that
proves
confusing
is


the
use
of
graphic
notation
within
the
score.

Because
the
multiphonics
are


represented
by
an
inverted
triangle,
and
not
a
stack
of
pitches
on
a
staff,
it
is


extremely
difficult
to
determine
the
sound
concept
that
Gubaidulina
desired.

It
is


impossible
to
know
whether
these
multiphonics
should
be
consonant
or
dissonant


in
their
construction,
whether
they
should
be
full
or
shallow
in
texture,
and
whether


they
should
favor
higher
or
lower
pitches.

When
there
is
more
than
one


multiphonic
that
occurs
consecutively,
such
as
at
rehearsal
6
in
movement
four,
the


triangles
are
arranged
within
the
space
to
imply
pitch
hierarchy
amongst
them


(figure
13).

The
pitch
within
a
multiphonic
is
either
determined
by
what
tones
are


most
present
in
the
sound
or
by
the
highest
sounding
tone.





 56






Figure
13:
rehearsal
5
of
the
concerto,
movement
4



 Using
relative
position
of
the
top
of
each
triangle
as
a
basis
for
pitch
analysis,


in
figure
13
it
could
be
assumed
that
the
first
notated
multiphonic
is
lower
in
pitch


than
the
second
one,
but
higher
in
pitch
than
the
fourth.

This
appears
to
be
a
logical


conclusion,
and
also
provides
further
guidance
when
considering
replacing
any
of


the
provided
fingerings
that
may
not
work.

When
examining
the
second
half
of
this


example,
however,
further
issues
arrive.

After
the
triangular
fermata,
a
single


multiphonic
with
fingering
is
given,
followed
by
four
more
multiphonic
indications


without
fingerings.

It
is
possible
to
assume
that
the
fingering
for
the
first


multiphonic
should
be
used
for
the
repeated
ones
that
follow.

This
method
creates
a


pleasing
musical
phrase
and
is
in
keeping
with
the
fact
that
each
change
in


multiphonic
sound
throughout
the
score
was
accompanied
by
a
new
fingering


notation.

However,
the
first
triangle
is
notated
at
a
higher
level
than
the
subsequent


triangles
which
could
imply
that
those
four
multiphonics
should
have
a
lower
pitch


level
than
the
first
despite
the
lack
of
a
notated
fingering
change.

Due
to
the


ambiguity
of
the
notation,
this
detail
is
a
decision
that
is
best
left
to
the
performer.
 



 It
is
necessary
to
remember
that
the
ultimate
goal
in
Gubaidulina's
music
is


to
express
the
character
and
convey
the
musical
phrase.

Whatever
choice
is
made,
it



 57

is
essential
that
these
multiphonics
are
clear
and
do
not
"squawk"
whatsoever.



Gubaidulina
claims
that
the
phrase
shown
in
figure
13
is
a
section
of
mysticism
in


the
bassoon
cadenza
of
the
fourth
movement.65

Here,
the
soloist
is
going
through
a


transformation,
and
each
multiphonic
needs
to
be
clear
and
defined.

Gubaidulina


has
voiced
her
comfort
with
performers
substituting
different
fingerings
and


multiphonics
in
this
section,
as
long
as
a
similar
pitch
range
and
shape
is


maintained.

The
last
multiphonic
in
this
section
in
particular
must
not
crack,
as
it


crescendos
to
the
climax.





 Another
confusing
element
of
the
notation
is
Gubaidulina's
use
of
both


outlined
triangles
and
solid
triangles
as
seen
in
figure
13.

If
comparing
the
symbols


to
typical
musical
notation,
it
is
possible
that
the
outlined
triangles
might
be


analogous
to
half
notes,
and
the
solid
triangles
represent
quarter
notes
in
terms
of


rhythm.

This
becomes
increasingly
perplexing,
however,
when
considering
the
solid


lines
extending
from
both
the
open
and
solid
triangles,
presumably
representing
the


temporal
length
of
the
multiphonic.

Also
within
this
passage
there
are
triangles
that


are
given
without
extending
lines,
triangles
that
are
written
with
staccato
markings


above
them,
and
a
triangle
with
both
an
extending
line
and
a
fermata.

Gubaidulina


has
also
given
an
indication
that
this
particular
section
should
last
around
nineteen


seconds
in
duration.

This
is
another
example
of
Gubaidulina's
composed


improvisation
and
freedom
within
the
work.

There
is
a
general
roadmap
for
the


performer
to
follow,
but
many
of
the
decisions
are
left
open
to
personal


interpretation.

The
graphic
notation
for
the
multiphonics
may
be
interpreted
in
a




























































 65
Feves,
interview.



 58

number
of
different
manners,
with
phrase
and
character
guiding
these
decisions.

It


is
particularly
important
for
the
performer
to
have
a
defined
plan
for
reading
these


symbols
and
thoroughly
incorporate
it
into
practice.


D.

Ridendo,
"the
scream,"
and
other
effects



 There
are
several
other
unusual
sounds
that
Gubaidulina
creates
in
the


concerto
that
bear
mentioning.

There
are
two
extended
trill
sections
in
the


concerto,
rehearsal
26
in
movement
one
and
rehearsal
4
in
movement
four,
that


require
attention
and
diligent
practice.

The
first
of
these,
as
shown
in
figure
14,
is


especially
troublesome
as
it
contains
trills
at
the
very
uppermost
notes
of
the


bassoon
range,
E5‐F5.






Figure
14:
rehearsal
26
of
the
concerto,
movement
1


These
trills
are
accompanied
by
extreme
dynamic
changes
as
well
that
can
be


challenging
to
execute
while
still
keeping
a
core
to
the
sound.

An
element
that
may


assist
the
performer
with
these
trills
is
using
a
special
bocal
with
thinner
walls
and
a


smaller
bore.

Also,
it
can
be
good
to
use
a
reed
with
a
slightly
thicker
spine
in
the


back
of
the
reed
to
provide
greater
support
in
the
upper
register.

The
performer


should
take
care
to
ensure
that
these
trills
are
executed
smoothly
and
exactly,



 59

creating
a
serious
and
connected
sound.

All
of
the
trills
in
the
work
should
be
the


range
of
a
half‐step,
and
both
of
these
trill
sections
should
be
presented
as
legato
as


possible
with
minimal
breaks
at
the
points
of
articulation.



 Gubaidulina
requires
an
unusual
trill
technique
of
the
solo
bassoon
in
the


fourth
movement
cadenza
of
the
concerto.

At
rehearsal
2
in
the
fourth
movement,


there
are
a
series
of
pitches
with
jagged
lines
above
each
and
a
notation
that
these


should
be
"fast
lateral
movements
with
a
finger
on
the
E
key"66
(figure
15).





Figure
15:
rehearsal
2
of
the
concerto,
movement
4


In
this
section,
the
performer
should
play
the
written
notes,
and
continuously
trill


the
low
E
key
with
the
right
thumb
on
each
note.

This
will
create
a
small
alteration


in
pitch
on
each
note
and
change
the
timbre
greatly
on
several.


This
section
is
also


labeled
with
the
indication
"con
paura,"
meaning
"with
fear."

The
effect
of
the


trilling
motion
with
the
E
key
should
create
a
sense
of
nervousness
and
trembling


on
each
note.



 "The
scream"
notated
in
the
fourth
movement
cadenza
is
a
subject
of
debate


amongst
performers
of
the
concerto.

Approaching
rehearsal
8
in
the
movement,


Gubaidulina
has
written
a
D5
whole
note
with
a
waving
line
extending
from
it,
and


the
indication
"frai
denti,"
meaning
"between
the
teeth"
(figure
16).

This
culminates



























































 66
Gubaidulina,
Concerto,
48.



 60

in
a
rectangular
box
with
an
"X"
through
it
and
the
instruction
"quasi
'clamore,'"


translating
to
"like
a
'scream.'"






Figure
16:
rehearsal
8
of
the
concerto,
movement
4


The
directive
for
"between
the
teeth"
requires
the
performer
to
place
his
teeth
on


the
reed
itself,
rather
than
the
normative
embouchure
that
would
have
the


performer
curl
his
lips
over
the
teeth
and
then
insert
the
reed
between
the
lips.

The


direct
contact
of
the
teeth
on
the
reed
creates
a
rather
harsh,
thin
sound,
especially


in
this
extreme
high
register
of
the
bassoon.

Also,
placing
the
teeth
onto
the
reed


causes
a
larger
fluctuation
in
the
pitch
and
tone
of
the
note
as
a
result
of
jaw


pressure
than
with
a
normal,
lip‐contact
embouchure.

Using
the
teeth
in
this


manner
can
allow
the
performer
to
create
the
wide
waves
of
pitch
that
are
indicated


in
the
score
on
this
note.





 The
following
"scream"
directive
causes
a
few
more
questions.

Many


bassoonists
choose
to
sing
or
create
a
throat
noise,
while
still
playing
the
preceding


D5
on
bassoon,
in
order
to
produce
a
loud,
raucous
sound
similar
to
a
scream.

Some


performers
have
actually
stopped
playing
the
bassoon
and
emitted
a
purely
vocal


scream.

Others
choose
to
insert
a
particularly
aggressive
multiphonic
that
is


successful
at
an
extremely
loud
dynamic.

Although
Gubaidulina
has
said
that
her


initial
intention
was
to
have
the
sound
created
by
the
first
of
these
three
methods,



 61

she
has
admitted
to
being
satisfied
with
any
number
of
options,
including
the


substitution
of
a
multiphonic.67



 Another
unusual
effect
that
Gubaidulina
includes
in
the
concerto
is
the
two


sections
for
bassoon
labeled
"ridendo"
(alla
saxofono).

These
occur
at
rehearsal
9
in


the
fourth
movement
and
the
measure
before
rehearsal
28
in
movement
5
(figure


17).

The
notes
in
these
sections
are
represented
through
graphic
notation
by


inverted
solid
triangles
with
curved
lines
crossing
horizontally
through
the
middle


of
each
triangle.

Some
triangles
are
isolated
and
others
are
linked
together
with
the


curved
lines
to
form
phrases.

The
triangles
are
presented
at
different
height


positions
within
the
space
of
the
"staff,"
which
presumably
indicates
the
relative


register
of
the
pitches.






Figure
17:
rehearsal
9
in
the
concerto,
movement
4



 "Ridendo"
translates
as
"laughing,"
and
in
this
instance,
the
curved
lines


through
the
triangles
help
to
create
a
"laughing"
sound
by
designating
pitch
bends


on
each
note.

The
precise
notes
are
up
to
the
discretion
of
the
performer,
but


Gubaidulina
has
expressed
a
desire
for
sounds
within
the
high
register
that
are




























































 67
Feves,
interview.



 62

mainly
chromatic
in
relationship.68

There
should
not
be
any
harmonic
implication


within
the
section.

The
character
of
this
section
should
be
tragic,
hopeless,
and


comically
distraught.





 The
performer
should
consider
the
arrangement
of
triangles
vertically
on
the


score
when
working
to
find
a
solution
for
the
notes
he
wishes
to
use.

For
instance,


the
second
"phrase"
following
the
first
breath
mark
begins
on
a
higher
pitch
than


the
first
phrase.

The
easiest
method
of
creating
these
quick
pitch
bends
is
to
use


embouchure
manipulation
on
the
reed.

Because
the
wavy
lines
extend
up
and


down,
it
can
be
inferred
that
the
pitch
bends
should
occur
in
both
of
these
directions


as
well.

It
is
possible
to
create
higher
pitch
by
tightening
the
lips,
closing
the
jaws,


and
pushing
upwards
on
the
reed
with
the
lower
jaw.

Lower
pitches
can
be


obtained
by
loosening
the
lips,
opening
the
jaws,
and
pushing
downwards
on
the


reed
with
the
upper
jaw.

Although
performers
can
greatly
affect
pitch
with
air


speed
and
direction,
in
this
circumstance
it
is
not
advisable
due
to
the
quickness
in


which
the
changes
need
to
occur.

Also,
many
of
these
notes
are
connected
through


slurs,
which
require
the
air
stream
to
be
more
continuous.

It
might
be
possible
to


alter
the
air
stream
drastically
for
the
solitary
pitches
and
then
rely
mainly
on


embouchure
manipulation
to
achieve
the
pitch
bends
on
the
slurred
notes.



 At
the
end
of
the
"ridendo"
section
in
movement
four,
there
is
an
indication


for
"more
and
more
'hang‐over.'"

This
expresses
a
need
for
slower
pitch
bends
and


a
lingering
on
the
lower
half
of
the
pitch
bending.

The
performer
may
also
want
to


slow
the
tempo
at
the
end
of
this
section
to
further
emphasize
this
effect.

The




























































 68
Ibid.



 63

closing
of
the
"ridendo"
section
in
the
fifth
movement
contains
the
additional


directive
"lugubre,"
meaning
"gloomy."

This
is
an
intensification
of
the
tragic


hopelessness
of
the
"ridendo"
from
the
fourth
movement
so
perhaps
a
greater


ritardando
would
be
effective
to
highlight
this
aspect.



 Some
performers
may
feel
comfort
in
writing
a
notated
version
of
these


triangles
along
with
a
rhythmic
construct
for
ease
and
security
in
performance.



Others
may
enjoy
the
challenge
and
unpredictability
of
improvisation
during
the


performance.

A
possible
solution
for
this
section
is
provided
in
Appendix
B.



Performers
can
use
the
same
pitch
structure
in
both
movements
if
they
desire,
or


the
fifth
movement
can
have
a
different
set
of
pitches
from
the
fourth.

If
the


performer
decides
to
use
changed
notes
in
the
fifth
movement,
it
is
best
to
choose
a


lower
general
pitch
level
to
better
convey
the
"gloomy"
atmosphere
of
the
fifth


section.





 In
addition
to
the
pitch
bends
in
the
"ridendo"
sections,
Gubaidulina
also


requires
the
bassoon
to
execute
a
number
of
pitch
bends
throughout
the
fourth
and


fifth
movements.

At
rehearsal
6
in
movement
four,
there
are
downward
pitch
bends


of
a
half‐step
that
occur
twice
(figure
18).

To
successfully
achieve
these,
the


performer
should
flatten
the
upper
note
as
much
as
possible
with
the
embouchure


before
changing
fingerings
for
the
second
note.

With
certain
reeds
and
instruments,


it
may
be
possible
to
achieve
the
lower
note
by
simply
altering
the
embouchure
and


the
air
stream
of
the
upper
note.

Some
instruments
are
flexible
enough
to
push
the


pitch
of
a
note
downwards
by
a
large
amount,
so
it
is
helpful
to
experiment
with


each
of
these
downward
pitch
bends
to
find
the
limits
of
elasticity.




 64






Figure
18:
rehearsals
6
and
7
in
the
concerto,
movement
4



 The
other
pitch
bends
all
involve
an
upward
bend
from
C5
to
Db5.

There
are


many
of
these
that
occur
at
different
rhythmic
intervals
in
the
fourth
movement
at


rehearsal
7
as
seen
in
figure
18,
and
then
several
short
iterations
at
rehearsal
24
in


movement
five.

The
upper
register
of
the
bassoon
is
extremely
pitch
malleable,
and


it
is
easy
for
performers
to
alter
the
pitch
on
these
notes
with
the
embouchure


alone.

For
the
pitch
bends
from
C5
to
Db5
it
is
helpful
to
use
a
standard
C5
fingering


and
add
the
alternate
F#
key
with
the
right
hand
pinky.

This
will
enable
the


performer
to
push
the
pitch
higher
without
the
note
cracking,
and
achieve
a
Db5


without
changing
fingerings.





 Although
the
Concerto
for
Bassoon
and
Low
Strings
presents
a
number
of


unusual
challenges
and
innovative
effects,
these
sounds
are
all
achievable
on


bassoon
and
only
require
a
bit
more
additional
effort
to
master.

The
performer


should
keep
the
character
of
the
music
at
the
forefront
of
all
decisions.

Every
effect


should
be
mastered
technically,
so
that
it
can
be
incorporated
effectively
into
the


musical
phrase
and
realized
at
the
appropriate
dynamic
level.

The
goal
in
learning



 65

these
techniques
is
to
expand
the
possibility
of
sounds
on
the
bassoon,
and
to
be


able
to
utilize
them
to
express
a
wider
range
of
emotions
and
characters.



 66

 Chapter
Five



Duo
Sonata
for
Two
Bassoons


A
few
years
after
the
concerto,
Gubaidulina
wrote
three
consecutive
works


that
each
focused
on
a
single
instrumental
family:
the
Trio
for
Three
Trumpets,
the


Flute
Quartet,
and
the
Duo
Sonata
for
two
bassoons.69

The
Duo
Sonata
was


completed
in
1977,
and
it
was
dedicated
to
Valery
Popov
for
whom
Gubaidulina


developed
great
respect
and
admiration
during
their
collaboration
on
the
Concerto


for
Bassoon
and
Low
Strings.

Popov
and
his
student,
Alexander
Kochetkov


presented
the
premiere
on
May
17,
1978
in
Moscow.

The
Duo
Sonata
is
a
highly


dramatic
work
in
which
Gubaidulina
illustrates
her
religious
devotion
and
her


continuous
search
for
expressing
spiritual
needs
through
using
unusual
sounds
and


textures.

Gubaidulina
displays
her
piety
in
many
of
her
compositions
by
using


sacred
texts
and
often
assigning
titles
with
religious
significance.

In
the
Duo
Sonata,


she
creates
a
prayer‐like
setting
at
the
very
opening
of
the
piece,
where
both


bassoon
parts
contain
material
reminiscent
of
chant.

This
chant
motive
is
a


reference
to
the
Orthodox
monks
of
the
underground
churches
Gubaidulina


attended
while
in
Moscow.

Although
she
would
attend
services
on
occasion,
her


relationship
with
the
church
was
independent,
and
she
maintained
her
own
opinion


about
specific
religious
issues.70

Material
from
chant
appears
several
times
within



























































69
Michael
Kurtz,
Sofia
Gubaidulina,
trans.
Christoph
K.
Lohmann
(Bloomington:
Indiana


University
Press,
2007),
129.


 70
Julie
Feves
of
California
Institute
of
the
Arts,
interview
by
author,
1
July
2011.



 67

the
work,
and
Gubaidulina
uses
these
gestures
as
a
manifestation
of
religious


feelings
and
beliefs.



The
Duo
Sonata
represents
the
height
of
Gubaidulina’s
experimentation
with


extended
techniques
in
her
works
for
bassoon.

The
composition
includes
a
variety


of
harmonics,
fluttertonguing,
multiphonics,
and
quartertones.

These
techniques


occur
throughout
the
thirteen‐minute
composition
in
both
the
first
and
second


bassoon
parts,
creating
unique
characters
and
moods.

Unlike
the
Concerto
for


Bassoon
and
Low
Strings,
Gubaidulina
does
not
have
the
option
of
using
various


timbres
of
stringed
instruments
to
create
a
soundscape.
Therefore,
the
role
of


extended
techniques
in
the
bassoon
writing
is
expanded
as
compared
to
the


concerto.

Gubaidulina
uses
the
different
extended
techniques
as
basic
melodic


material,
as
well
as
to
create
texture
and
articulate
form.

Her
usage
of
quartertones


within
the
work
is
an
attempt
to
depict
the
spiritual
struggles
that
people
endure
in


daily
life.

She
saw
quartertones
as
a
representation
of
darkness,
or
night,
in
contrast


to
the
traditional
Western
twelve‐tone
scale.

She
explains,
"I
understand
it
as
a


unification
of
two
spaces:
the
first
is
the
twelve‐semi‐tonal
space,
and
the
second
is


another
twelve‐semi‐tonal
space
a
quartertone
higher.

For
me
this
is
a
metaphor
of


the
image
and
its
shadow,
or
a
day
and
a
night."71

These
quartertones
help
to


express
darker
issues
in
life,
such
as
feelings
of
insecurity
and
vagueness,
as
well
as


struggles
with
morality.

Gubaidulina
implies
that
these
effects,
just
as
the
spiritual


issues
they
represent,
are
always
approximate
in
a
way.

The
goal
for
the
performer




























































 71
Vera
Lukomsky
and
Sofia
Gubaidulina,
"My
Desire
Is
Always
to
Rebel,
to
Swim
against
the


Stream!"
Perspective
of
New
Music
36,
no.
1
(1998),
28.



 68

is
to
find
his
own
way
through
the
piece
in
order
to
fully
express
the
elements
of


drama,
fantasy,
and
prayer.72


The
Duo
Sonata
is
an
excellent
example
of
Gubaidulina’s
compositional


inclination
to
combine
the
avant‐garde
with
the
traditional
in
order
to
create
a


unique
sonic
fingerprint
for
each
work.

She
elaborates,
“What
I
am
trying
to
do
is


venture
forward
into
the
archaic
patterns,
to
the
basics,
and
from
them
to
create


something
new.

To
pave
the
way
for
the
archaic,
to
make
these
sounds
audible
and


then
to
arrange
them,
this
is
how
I
see
my
task
as
a
composer.”73

The
Duo
Sonata


consists
of
a
classical
sonata
form
paired
with
unique
timbral
elements
and


sonorities
created
through
extended
techniques.

The
piece
is
atonal,
so
rather
than


the
normative
key
relationships
that
define
sonata
form,
the
formal
sections
of
the


Duo
Sonata
are
linked
together
by
both
melodic
material
and
types
of
extended


techniques
utilized.

Whereas
the
concerto
aims
to
depict
the
struggles
of
an


individual
against
the
crowd,
the
Duo
Sonata
is
more
of
a
religious
journey.

This


work
can
be
seen
as
a
metaphor
for
Gubaidulina's
religious
views.

Just
as
she
has


her
own
unique
outlook
on
traditional
religious
rituals,
in
the
Duo
Sonata,
she


provides
a
unique
outlook
on
traditional
classical
musical
forms
with
the
inclusion


of
such
unusual
sounds.


When
examining
the
sonata
from
a
formal
perspective,
it
can
be
seen
that
the


exposition
encompasses
the
first
239
measures
of
the
piece.

Two
distinct
theme


groups
exist
within
the
exposition;
the
A
group
from
measures
1
to
43
and
the
B




























































 72
Feves,
interview.

73
Jefferson
T.
Campbell,
“The
Duo
Sonata
for
Two
Bassoons
by
Sofia
Gubaidulina:
A
Formal


and
Performance
Analysis
with
Comments
on
Extended
Techniques,
Contemporary
Notation
and

Gubaidulina’s
Style.”
(D.M.A.
diss.,
University
of
Nebraska,
2003),
36.



 69

group
of
measures
44‐135.

The
A
theme
group
includes
mostly
tonal
melodies,
with


the
appearance
of
a
single
quartertone
and
several
harmonics.

The
B
group
expands


upon
one
of
the
melodic
ideas
from
the
A
group
with
a
large
number
of


quartertones.

The
quartertone
melody
is
combined
with
a
disjointed
melody
built


with
aleatoric
rhythms
in
the
paired
bassoon
part.

Each
of
these
theme
groups


contains
two
distinct
subsections
based
on
melodic
content.

The
A
theme
group
is


divided
at
measure
22,
and
the
B
theme
group
is
divided
at
measure
64.

Within
the


exposition,
there
are
two
fluttertonguing
sections
that
serve
as
transitions;
both
in


measures
135‐149
and
measures
226‐239.

After
the
complete
A
and
B
theme


groups
and
the
first
transition,
there
is
a
repeat
of
A
subsection
two
from
measures


150‐154.

Then
an
altered
repeat
of
the
entire
B
theme
group
lasts
from
measures


155‐225,
and
the
transition
into
the
development
occurs
in
measures
226‐239.




The
development
section
spans
measures
240‐295
and
contains
numerous


extended
techniques.

The
second
bassoon
covers
a
long‐range
quartertone


chromatic
scale
with
complex
rhythmic
structures.

Above
this,
the
first
bassoon


part
includes
a
variety
of
multiphonics,
multiphonic
trills,
and
high
register
trills


both
with
and
without
fluttertongue.




The
recapitulation
covers
measures
296‐351
and
contains
fragments
from
A


subsection
one
and
B
subsection
one,
but
not
necessarily
in
the
order
that
these


fragments
appeared
initially.

The
Duo
Sonata
concludes
with
a
coda
in
measures


352‐372
that
is
based
on
the
multiphonics
from
the
development
section.

By
using


similar
melodic
motives
and
extended
techniques
to
create
formal
sections,


Gubaidulina
successfully
combines
traditional
and
new
elements
throughout
the



 70

work.

This
cohesion
is
perceptible
to
the
audience,
and
is
a
notable
example
of
the


possibility
of
utilizing
extended
techniques
in
a
musically
satisfying
manner.





 71

 Analysis
of
Extended
Techniques
within
the
Duo
Sonata
with
Performance


Suggestions
and
Solutions


In
addition
to
physical
adjustments
on
behalf
of
the
performer,
there
are
also


possible
modifications
to
equipment
that
can
aid
in
successful
performance
of
the


Duo
Sonata.

The
first
bassoon
part
contains
extended
passages
in
the
extreme
high


register,
many
of
which
are
fluttertongued
and
written
with
loud
dynamics.

It
is


advisable
to
use
a
reed
that
is
thicker
in
the
back
to
aid
execution
of
these
high


register
notes,
and
also
in
order
to
keep
the
fluttertongue
from
collapsing.

Another


factor
that
can
contribute
to
successful
execution
of
the
high
register
is
the


utilization
of
a
special
bocal.

Many
bocals
are
designed
for
ease
of
production
in
the


upper
register
and
are
built
with
smaller
bores,
harder
metals,
and
thinner
walls


than
normal
bocals.




A.
Fluttertongue


Fluttertongue
technique
appears
in
several
places
throughout
the
Duo
Sonata


in
both
the
first
and
second
bassoon
parts.

Performers
are
required
to
fluttertongue


in
both
the
middle
register
of
the
bassoon
and
the
extreme
upper
register.

There


are
several
sections
that
require
extended
fluttertonguing
paired
with
very
loud


dynamics
and
strong
accents.

These
occur
in
both
the
first
and
second
bassoon


parts
in
measures
134
to
148,
and
also
in
both
parts
in
measures
226
to
240
(figure


1).



 72

 

Figure
1:
Measures
135‐138
from
the
Duo
Sonata.



Due
to
the
intense
difficulties
of
articulation
along
with
the
execution
of
the


fluttertongue
and
the
fast
tempo
of
both
these
sections,
it
is
best
to
move
between


notes
without
rearticulating.

This
strategy
helps
to
ensure
a
consistent,


uninterrupted
fluttertongue,
especially
at
the
loud
dynamics
indicated.

In
order
to


help
create
a
sense
of
articulation
between
notes
rather
than
a
large
wash
of
slurred


fluttertongue,
strong
accents
should
be
created
with
the
support
and
breath,


especially
on
the
notated
sforzandi.

Using
the
air
to
accent
these
notes
helps


guarantee
the
continuity
of
the
fluttertongue
timbral
effect,
while
still
working
to


achieve
the
aggressive
dynamic
and
marked
quality
indicated.




 The
second
extended
fluttertongue
section
from
measures
226
to
240


features
fluttertonguing
in
the
extreme
high
register
of
the
bassoon
(figure
2).
These


notes
require
a
very
fast,
focused
airstream
and
a
delicate
articulation
to
speak
even


before
the
addition
of
the
fluttertongue.

These
notes
tend
to
not
speak
clearly
when


attacked
with
a
strong,
forceful
articulation.

For
this
reason,
it
is
even
more


imperative
throughout
this
section
to
try
to
move
between
notes
without


rearticulating.

The
performers
should
allow
a
slightly
longer
reaction
time
between


initial
articulations
and
activation
of
the
fluttertongue
so
that
an
appropriately



 73

graceful
articulation
can
be
used
to
begin
the
sound.

The
aggressive
accents,
as


mentioned
previously,
can
be
created
with
the
abdominal
muscles.
The
performer


must
be
mindful
about
maintaining
an
intense
airstream,
positioned
high
in
the


mouth,
in
order
to
keep
the
core
of
the
tone
present
underneath
the
tongue
motion.






Figure
2:
Measures
238‐239
from
the
Duo
Sonata.


B.

Harmonics



 The
harmonics
notated
in
the
Duo
Sonata
occur
only
in
the
first
bassoon
part


towards
the
beginning
of
the
piece
(figure
3).

The
harmonic
G3
in
measures
23


through
29
is
executed
by
fingering
C2
and
then
opening
a
half‐hole
with
the
first


finger
of
the
left
hand
(Appendix
C).

This
needs
to
be
paired
with
an
embouchure


setup
in
which
the
jaw
is
relatively
open,
and
the
lips
are
cushioned
with
a
slight


increase
of
pressure
on
the
top
lip
to
assist
in
achieving
proper
intonation.

The


airspeed
should
be
slow,
steady,
and
warm
to
ensure
realization
of
the
harmonic
at


the
indicated
soft
dynamic.

The
performer
should
be
willing
to
experiment
with


airspeed
and
embouchure
shape
and
pressure
in
order
to
discover
the
best
result


for
the
harmonic.

It
is
important
to
note
that
the
harmonic
will
respond
rather


sharply
in
pitch,
and
it
is
easy
to
push
the
harmonic
even
higher
in
pitch
with


embouchure
pressure.

Therefore,
the
performer
should
be
certain
to
practice
the



 74

creation
of
the
harmonic
along
with
a
tuner,
so
that
when
the
harmonic
is
paired


with
the
simultaneous
C2
in
the
second
bassoon
part,
the
resulting
twelfth
is
the


correct
size.

After
determining
the
proper
embouchure
and
airspeed
setup,
the


performer
should
spend
time
linking
the
G3
harmonic
to
the
preceding
F‐sharp2
so


that
both
finger
and
embouchure/air
changes
occur
in
coordination.




Figure
3:
Harmonic
G3
in
measures
23‐26
of
the
Duo
Sonata.



 The
F‐sharp4
harmonic
that
occurs
in
measures
36
through
43
can
be


created
by
using
the
fingering
for
D2,
and
then
venting
a
half‐hole
with
both
the
first


and
second
tone
holes
of
the
left
hand
(figure
4).

This
harmonic
requires
very


similar
adjustments
to
the
embouchure
and
air
as
the
G3
harmonic,
and
it
also
tends


to
be
pitched
rather
high.

This
presents
a
greater
challenge
due
to
the
D2
sounding


in
the
second
bassoon
during
the
F‐sharp4
harmonic.

In
order
to
create
the
correct


intonation
for
the
interval
of
a
major
seventeenth
between
the
two
pitches,
the
F‐

sharp
must
be
lowered
approximately
fifteen
cents.

For
ease
of
technical
execution


in
moving
from
the
preceding
G3
to
F‐sharp4
harmonic,
it
is
helpful
to
maintain
the


half‐hole
of
the
left
hand
first
finger,
and
to
focus
on
creating
a
large
half‐hole
with



 75

the
left
hand
second
finger.

This
needs
to
be
accomplished
while
simultaneously


making
the
necessary
adjustments
to
air
and
embouchure.




Figure
4:
F‐sharp4
harmonic
in
measures
36‐43.



C.

Quartertones



 As
mentioned
previously,
quartertones
on
bassoon
are
achievable
by
using
a


complex
set
of
fingerings
that
help
produce
intervals
fifty
cents
apart.

These
tones


should
not
be
produced
by
fingering
a
neighboring
half‐step
and
then
distorting
the


embouchure
and
air
in
order
to
reach
the
approximate
pitch.

This
is
only
advisable


in
the
extreme
low
register
of
the
bassoon
that
is
the
least
pitch
malleable,
or
in


instances
where
the
quartertones
are
descending.

It
is
imperative
to
note
that
these


fingerings
do
not
automatically
produce
quartertones
that
are
in
tune.

Similar
to


standard
fingerings
on
bassoon,
there
are
necessary
adjustments
to
embouchure


and
airspeed
that
must
occur
with
each
note
to
attain
the
proper
pitch.





 Just
as
the
bassoonist
has
a
variety
of
choices
for
fingerings
within
the


tempered
chromatic
scale,
there
are
a
variety
of
choices
for
fingerings
that
create


the
quartertone
scale.

The
earlier
of
the
two
circulating
publications
of
the
Duo


Sonata
(1993)
provides
one
fingering
suggestion
for
each
of
the
quartertones



 76

notated
within
the
piece.

The
challenge
presented
by
this
publication
is
that
the


entire
score
is
in
Russian,
and
therefore
it
is
very
difficult
to
have
any
knowledge
of


what
the
given
numbers
indicate
in
regard
to
keys
on
the
bassoon.

For
instance,
if
a


bassoonist
has
no
reference
chart,
it
is
very
unclear
what
key
#18
might
be.

There


are
over
twenty‐three
keys
on
the
bassoon
and
each
fingering
chart
labels
them


differently.

It
is
imperative
to
know
what
fingering
system
and
labeling
system
is


being
utilized
for
a
specific
work
in
order
to
interpret
fingerings.





 What
is
especially
curious
is
that
the
later
publication
of
the
Duo
Sonata
from


1998,
also
by
Musikverlag
Hans
Sikorski,
does
not
retain
these
quartertone


fingering
suggestions,
although
the
text
of
the
publication
is
in
German
and
English.



This
later
publication
does
provide
fingerings
for
the
multiphonics
within
the
work,


however,
and
it
is
here
that
a
note
is
provided
about
the
fingerings
being
labeled


"after
Bartolozzi."

However,
there
still
remains
a
great
deal
of
confusion
about
these


fingerings
for
a
performer
who
first
approaches
the
work.

New
Sounds
for


Woodwinds
is
not
a
well‐known
resource
and
very
few
bassoonists
are
aware
of


Bartolozzi.

In
addition,
Bartolozzi’s
text
is
not
widely
distributed
and
is
difficult
to


locate.
There
exists
a
number
of
quartertone
fingering
options
provided
by
Penazzi


in
his
texts,
but
these
publications
are
no
longer
in
print
and
are
very
difficult
to


obtain.

Also
exceptionally
helpful
as
a
resource,
is
the
set
of
fingerings
discovered


by
Reinhard
and
presented
within
articles
he
has
published.

All
of
these


quartertone
fingerings
options
that
are
pertinent
to
the
Duo
Sonata
have
been


compiled
into
a
chart
in
Appendix
D.

Through
the
work
of
Bartolozzi
and
Penazzi,


paired
with
the
work
of
Reinhard,
there
are
now
a
number
of
fingering
options
for



 77

each
individual
quartertone
that
vary
in
regards
to
pitch,
timbre,
and
ease
of


technical
execution.
The
discovery
of
these
fingering
resources
is
only
part
of
the


large
amount
of
research
that
must
be
done
on
the
part
of
the
performer
before


even
beginning
the
physical
work
of
practicing.



 Analogous
to
the
process
that
occurs
with
standard
chromatic
fingerings,


each
performer
will
need
to
choose
from
these
options
and
to
develop
his
own
set
of


fingerings
that
produce
the
best
results
based
on
his
physical
setup
with
the


instrument.

These
individual
factors
such
as
reed
style
and
instrument
make
and


model
can
create
a
large
impact
on
the
pitch
and
timbre
of
the
sounds
produced
on


bassoon.

Since
there
is
a
large
variation
between
individual
instruments,
it
is


necessary
to
find
solutions
that
are
crafted
to
the
performer
and
his
instrument.



Fingerings
should
be
chosen
that
generate
close
approximations
in
pitch
so
the


performer
does
not
need
to
excessively
alter
his
embouchure
and
air.

Also,
the


performer
should
consider
choosing
fingerings
that
produce
timbres
that
are


homogenous
and
similar
to
the
tones
that
surround
them.

It
is
essential
to
consider


the
quartertones
as
an
extension
of
the
work’s
tonal
vocabulary,
and
musical
taste


and
expression
should
the
priority
when
making
performance
decisions.





 Within
the
Duo
Sonata,
Gubaidulina
expressed
a
desire
to
combine
avant‐

garde
features
within
traditional
structures
and
settings.

It
is
necessary,
therefore,


for
the
performer
to
master
the
technique
of
quartertone
execution
in
order
to


create
musical
phrases
and
nuance
throughout
the
work.

The
quartertones
should


not
obviously
protrude
from
the
texture
with
poor
intonation
or
unusual
timbre.



This
exploration
process
should
be
one
of
the
first
steps
in
approaching
the
Duo



 78

Sonata,
and
the
performer
must
consistently
consult
a
tuner
while
preparing
all


quartertones
to
guarantee
pitch
accuracy.





 Another
consideration
when
choosing
quartertone
fingerings
is
the
technical


challenges
moving
from
tone
to
tone.

There
are
several
quartertone
fingerings
that


may
create
a
stable
pitch
and
nice
timbre,
but
are
technically
very
difficult
to


achieve
in
context.

The
performer
must
examine
what
tones
precede
and
follow


each
quartertone,
and
make
sure
it
is
possible
to
physically
change
between


fingerings.

In
addition,
many
of
the
fingering
possibilities
involve
the
usage
of
keys


that
are
not
standard
on
every
instrument,
such
as
the
E‐flat
trill
key
and
the
A‐

flat/B‐flat
trill
key.




 The
main
goal
of
mastering
the
quartertone
fingerings
is
for
the
performer
to


convey
accurately
the
dramatic
character
of
the
work.

For
instance,
the
section


beginning
with
measure
165
and
continuing
for
over
forty
measures
contains
soft,


short
quartertone
chromatic
lines
in
the
second
bassoon
part
(figure
5).

These


utterances
are
intended
to
sound
yearning,
searching,
and
moaning
in
nature.

In


order
to
achieve
this,
the
performer
must
execute
these
passages
with
very
fluid


technical
motion
so
that
the
notes
become
seamless
and
almost
like
a
glissando.



The
quartertone
fingerings
chosen
for
this
passage
should
be
ones
that
can
be


linked
together
with
ease
while
sounding
at
the
indicated,
pianissimo,
dynamic
level.



 79

 


Figure
5:
Beginning
of
the
extended,
quartertone
section
in
the
second
bassoon
part.



 Due
to
the
variations
in
keywork
and
physical
characteristics
of
both


performer
and
instrument,
it
is
not
possible
to
create
a
fingering
chart
with
a
single


option
for
each
quartertone.

Appendix
D
displays
several
fingering
options
for


every
quartertone
necessary
in
performance
of
the
Duo
Sonata,
listed
chromatically.



The
fingerings
are
accompanied
with
annotations
regarding
general
pitch,
stability,


timbre,
and
execution
difficulty
of
each
fingering.

Also
provided
for
some
fingerings


are
performance
suggestions
pertaining
to
addition
and
subtraction
of
certain
keys,


as
well
as
airspeed
and
embouchure
manipulation
to
aid
performance.

The


adjustments
to
air
and
embouchure
that
are
required
to
tune
each
quartertone
are


equivalent
to
the
adjustments
required
to
tune
any
equal
tempered
note
on
bassoon.



For
this
reason,
the
annotations
for
the
quartertones
give
a
description
of
the
pitch


tendency
of
each
fingering,
and
the
performer
is
required
to
interpret
necessary


physical
changes
to
his
setup
to
accomplish
successful
production.





 It
is
critical
to
consider
the
inconsistencies
from
performer
to
performer
due


to
the
aforementioned
factors.

Although
these
fingerings
have
been
tested
on


several
bassoons
of
different
manufacture
and
produced
the
same
pitch
tendencies,


flexibility
is
a
key
element
in
successfully
performing
these
extended
techniques.





 80


 Within
Appendix
D,
the
most
reliable
and
suggested
quartertone
fingerings


for
use
in
performance
are
listed
first.

Due
to
the
vast
number
of
quartertones


located
within
the
piece
and
the
speed
at
which
they
must
be
executed,
it
is


important
to
learn
the
chosen
fingerings
thoroughly.

The
quartertone
technique


must
be
facile
enough
so
that
it
can
be
integrated
seamlessly
into
performance,
and


the
quartertones
need
to
be
read
and
interpreted
at
sight.

It
is
extremely
helpful
to


practice
quartertone
scales
while
learning
these
new
fingerings
and
physical
setup


changes.

Practicing
quartertone
scales
also
helps
the
performer
hear
the
precise


quartertone
intervals,
and
consequently
makes
successful
pitch
realization
in


context
more
likely.

In
the
process
of
learning
these
new
techniques,
it
is
just
as


important
to
train
the
ear
to
hear
and
anticipate
the
desired
results
as
it
is
to


practice
the
repetition
of
physical
actions.


D.


Multiphonics



 Multiphonics
introduce
a
variety
of
challenges
within
the
Duo
Sonata.

During


composition
of
the
work,
it
is
clear
Gubaidulina
consulted
Bartolozzi’s
text
as
a


reference
for
possible
bassoon
multiphonic
sounds
and
fingerings.

At
the
first


appearance
of
multiphonics
within
the
score
(measure
240),
Gubaidulina
provides
a


fingering
indication
along
with
the
musical
notation
and
a
note
stating,
“fingering


and
number
of
keys
after
Bartolozzi”74
(figure
6).



























































74
Sofia
Gubaidulina,
Duo
Sonata
for
2
Bassoons
(Hamburg:
Sikorski,
1998),
9.



 81

 Figure
6:
Measure
240
with
fingering
notation
and
reference
to
Bartolozzi.



 As
discussed
previously,
the
difficulties
of
a
performer
in
having
knowledge


of
Bartolozzi’s
text
and
then
obtaining
the
text
to
decipher
the
fingering
indications,


both
present
large
obstacles
in
approaching
the
work.

In
addition,
the
performance


indications
are
not
standardized
throughout
the
work,
as
Gubaidulina
alternates


between
giving
fingering
representations
from
Bartolozzi’s
text
and
providing


written
explanation
of
alterations
to
standard
fingerings.

For
example,
a
particular


multiphonic
written
for
the
first
bassoon
in
measures
250
and
251
is
notated
with


the
indication
to
finger
A
flat
while
adding
the
C
sharp
key
and
opening
the
B
key75


(figure
7).

This
is
a
contrast
to
the
fingering
graphic
shown
above
in
figure
6.

It
is


unclear
why
Gubaidulina
has
chosen
to
notate
the
multiphonics
in
two
different


manners,
and
this
presents
a
challenge
for
the
performer
due
to
the
demands
of


switching
between
notational
systems.





























































75
Ibid.,
10.



 82

 

Figure
7:
Change
in
multiphonic
notational
style
in
measures
250
and
251.



 Another
challenge
is
the
aforementioned
fact
that
there
are
two
publications


of
the
score:
1993
and
1998.

The
earlier
of
the
two
is
published
in
Russian,
so
the


multiphonic
fingerings
that
are
provided
with
written
explanation
are
impossible
to


decipher
if
the
performer
does
not
know
the
Russian
language.

Although
there
are


dozens
of
options
for
creating
multiphonics
based
on
certain
fundamental


fingerings,
these
all
produce
slightly,
or
drastically,
different
sounds.

Gubaidulina


not
only
provides
the
fingering
for
the
multiphonic
she
desires,
but
she
also
supplies


a
pitch
approximation
notated
on
the
staff.

For
this
reason,
it
is
important
for
the


performer
to
attempt
the
production
of
the
multiphonics
as
notated,
or
to
find


solutions
that
achieve
similar
results.





 It
is
evident
that
Gubaidulina
had
a
precise
sound
concept
in
mind
when


using
these
multiphonics
in
the
Duo
Sonata.

They
are
notated
with
specific


dynamics,
they
are
grouped
together
by
similar
timbres
and
pitches
to
create


melodic
lines,
and
they
create
a
textural
progression
in
context
(figure
8).



Gubaidulina
also
links
single
pitches
into
multiphonics
that
continue
to
resonate
the


previous,
single
tone.

Her
composition
showcases
multiphonics
in
a
manner
that
is



 83

organized
and
musical
and
the
performer
should
keep
those
aspects
in
mind
when


preparing
the
Duo
Sonata.

The
performer
needs
to
master
the
multiphonics,
so
that


he
can
utilize
them
in
a
musically
expressive
style
and
create
beautiful
phrases.


Figure
8:
Melodic
line
of
multiphonics
in
measures
266‐267.


Realizing
the
correct
fingering
for
each
multiphonic
is
only
the
beginning


step
in
producing
these
sonorities.

There
also
needs
to
be
considerable
adjustments


to
airspeed
and
embouchure
to
achieve
sounds
similar
to
those
indicated
by


Gubaidulina.

As
noted
by
Bartolozzi,
several
multiphonic
fingerings
will
sound
as


many
as
three
different
chords,
depending
on
air
and
embouchure.

It
is
virtually


impossible
to
determine
exactly
what
tones
are
sounding
within
each
multiphonic,


but
the
performer
can
focus
on
producing
a
texture
that
sounds
similar
to
the


notated
chord.

Just
as
with
the
quartertone
decisions,
the
performer
must


systematically
experiment
with
embouchure
pressures
and
airspeeds
to
determine


the
most
successful
physical
setup
for
each
multiphonic.

As
previously
mentioned,


these
changes
are
often
dependent
upon
individual
characteristics
of
both


performer
and
instrument.





 84

 Appendix
E
provides
a
chart
of
the
multiphonic
fingerings
necessary
for


performance
of
the
Duo
Sonata,
along
with
performance
suggestions
about


manipulation
of
embouchure
and
airspeed.

These
physical
manipulations
help
to


produce
successfully
the
sonorities
that
Gubaidulina
indicates
within
the
score.



Even
if
these
suggestions
will
not
work
for
every
performer,
they
can
serve
as
a


basic
guideline
of
methods
of
experimentation
and
also
can
provide
a
starting
point


for
exploration
into
these
techniques.

As
with
the
performance
of
quartertones,


flexibility
is
an
essential
element
when
approaching
the
execution
of
multiphonics.



The
performer
should
be
creative
in
altering
his
approach
as
well
as
diligent
in


notating
personal
solutions.





 Another
large
issue
that
arises
with
the
interpretation
and
execution
of


multiphonics
within
the
Duo
Sonata,
is
that
some
of
the
provided
notations
will
not


create
a
multiphonic.

For
example,
the
multiphonic
written
for
first
bassoon
in


measure
260
will
not
sound
using
the
provided
fingering,
regardless
of


experimentation
with
air
pressure,
embouchure
tightness,
and
embouchure


position76
(see
figure
9).

In
these
instances
the
performer
should
identify
the


fundamental
fingering
the
multiphonic
is
based
upon,
and
experiment
with
opening


and
closing
tone
holes
to
achieve
a
close
approximation
to
the
written
chord.

To


determine
a
solution
for
the
multiphonic
in
measure
260,
the
performer
should


begin
by
altering
the
standard
fingering
for
A‐flat2.

This
is
the
fundamental


fingering
that
exists
beneath
the
alterations
provided
by
Gubaidulina.

The
indicated


chord
is
a
rather
full
texture
with
five
notated
pitches,
which
also
include
two
whole



























































76
Ibid.,
11.



 85

step
clusters.

The
notated
dynamic
is
mezzo
piano,
so
it
is
essential
to
discover
a


multiphonic
fingering
that
will
respond
at
a
softer
dynamic
level.

It
is
also
very


important
to
find
multiphonic
fingerings
that
are
stable
and
reliable,
so
that
the


performer
can
confidently
execute
them
within
a
musical
context.

The
suggested


fingering
solution
for
the
multiphonic
in
measure
260,
as
notated
in
Appendix
E,
is


to
begin
with
the
standard
A‐flat2
fingering
and
then
open
the
first
tone
hole
of
the


right
hand.

This
produces
a
full‐texture
multiphonic
that
is
easy
to
perform
at
a
soft


dynamic.






Figure
9:
Multiphonic
in
measure
260
that
does
not
sound
with
provided
fingering
notation.



 These
aspects
of
timbre,
texture,
dynamic,
and
stability
ought
to
be
taken


into
account
during
the
experimentation
process,
so
that
the
performer
can
achieve


a
musical
product
that
is
as
close
to
Gubaidulina’s
notation
as
possible.

It
is


necessary
to
perform
these
effects
within
the
musical
atmosphere
that
is
indicated.



While
the
fluttertonguing
sections
of
the
Duo
Sonata
are
loud
and
raucous,
many
of


the
multiphonics
should
be
executed
at
soft
dynamics
and
create
a
delicate
texture


of
sound.

As
emphasized
previously,
this
is
the
key
to
a
successful
performance
of


the
work:
integration
of
unusual
timbral
effects
into
a
traditional
musical
construct.



Although
these
techniques
produce
sounds
that
are
unusual,
they
must
be
executed



 86

with
precision
and
must
sound
natural
to
the
composition.

There
are
several


instances
throughout
the
Duo
Sonata
where
the
indicated
multiphonic
fingering,
or


multiphonic
trill,
will
not
produce
the
exact
desired
result.

Within
Appendix
E
there


are
suggestions
for
alterations
of
fingerings
to
improve
stability
of
these
chords,
so


that
they
may
more
effectively
be
executed
in
the
desired
manner.


Within
New
Sounds
for
Woodwinds,
Bartolozzi
provides
graphic
notation
for


adjustments
to
embouchure
pressure
and
embouchure
position
that
can
assist


performers
in
accomplishing
many
of
these
techniques.

In
the
Duo
Sonata,
these


graphic
symbols
are
occasionally
included
along
with
the
multiphonic
fingerings
to


provide
guidance.

A
large
issue,
however,
is
the
fact
that
taking
the
advice
of
several


of
these
indications
does
not
produce
the
sonority
indicated.

Oftentimes,
altering


the
embouchure
as
indicated
by
Bartolozzi
will
result
in
the
production
of
a
single


tone,
rather
than
a
multiphonic.

For
example,
the
multiphonic
fingering
in
the
first


bassoon
part
in
measure
285
is
accompanied
by
Bartolozzi’s
graphic
notation
for


“slightly
relaxed
lip
pressure”
(figure
10).

This
multiphonic
is
tied
to
a
single
note
in


the
preceding
measure
that
is
accompanied
by
Bartolozzi's
notation
for
"increased


airspeed."

This
implies
that
the
performer
should
begin
the
single
note
with
intense


air
and
then
relax
the
embouchure
slightly
to
allow
the
multiphonic
to
emerge.


Using
this
embouchure
with
the
provided
fingering
and
airspeed
indication,


unfortunately,
will
not
reliably
produce
a
multiphonic
and
is
unlikely
to
produce
a


tone
whatsoever.

In
contrast,
as
indicated
in
Appendix
E,
this
multiphonic
is
most


reliable
with
intense
pressure
from
the
lower
lip
and
jaw,
to
provide
an
upward


direction
of
air.

The
multiphonic
is
very
fragile
and
requires
a
gentle
articulation.




 87

There
also
needs
to
be
precision
with
embouchure
pressure,
otherwise
the


multiphonic
will
not
respond
or
produce
multiple
tones.




Figure
10:
Measures
284‐285
containing
fingering,
air,
and
embouchure
notations
indicating


"increased
air
speed"
with
"slightly
relaxed
lip
pressure."



 There
are
also
examples
of
multiphonic
fingerings
that
require
a
great
deal
of


embouchure
manipulation,
but
are
not
accompanied
by
any
graphic
notation.

The


production
of
the
multiphonic
indicated
in
measure
264
in
the
first
bassoon
part


requires
a
very
open
embouchure,
but
there
is
no
indication
of
this
alongside
the


provided
fingering.

Using
a
standard
embouchure
on
this
fingering
will
not
produce


more
than
one
tone.



 The
performer
must
be
diligent
and
flexible
in
approaching
these
extended


techniques.

Patience
is
required
in
searching
for
the
best
solution
for
each


occurrence,
as
well
as
finding
results
that
suit
the
individual
performer.

The


performer
must
be
willing
to
experiment
with
new
approaches
to
the
bassoon,
and


must
not
be
restrained
by
the
notion
that
there
is
only
one
specific
method
for


achieving
the
musical
lines
that
Gubaidulina
has
written.


 88

 Chapter
Six


Quasi
Hoquetus:
for
Viola,
Bassoon
and
Piano



 The
work
Quasi
Hoquetus
was
written
by
Gubaidulina
in
1984
and
features
a


trio
of
piano,
viola,
and
bassoon.

This
piece
is
separated
from
the
Concerto
and
the


Duo
Sonata
not
only
by
the
change
of
importance
of
the
bassoon
in
the
timbre,
but


also
due
to
its
structure
and
underlying
form.

Quasi
Hoquetus
falls
into
the
second


of
Gubaidulina's
self‐described
compositional
periods.

When
writing
her
earlier


works
she
focused
on
exploring
instrumental
timbres
and
discovering
new
sound


qualities.

Both
the
Concerto
and
the
Duo
Sonata
come
from
this
phase
of


composition.

It
is
understandable
that
both
of
these
works
feature
a
large
variety
of


"sound
effects"
created
by
the
extended
techniques
on
bassoon.

Gubaidulina's


second
period
of
composition
begins
in
the
early
1980's
when
she
began
to


experiment
with
rhythms
and
numbers.

Quasi
Hoquetus
is
one
of
many
works
in


which
Gubaidulina
uses
number
systems,
particularly
the
Fibonacci
series,
to


organize
the
form
of
the
composition.

Her
third
period
evolved
in
the
late
1990's
as


Gubaidulina
began
to
use
quartertones
more
pervasively
and
explore
different
types


of
tunings
in
her
compositions.77



 The
Fibonacci
series
was
often
used
in
works
by
Bartok,
Debussy,


Stockhausen,
Nono
and
others,
but
Gubaidulina's
incorporation
of
the
series
into
her




























































 77
Jennifer
Denise
Milne,
"The
Rhythm
of
Form:
Compositional
Processes
in
the
Music
of


Sofia
Gubaidulina"
(Ph.D.
diss.,
University
of
Washington,
2007),
17.



 89

music
is
extremely
detailed
and
diverse.78

For
Gubaidulina,
the
Fibonacci
series


represents
the
universal
proportion
of
life.

Her
utilization
of
numerical
organization


along
with
expressive
timbres
and
phrases
is
"based
on
the
interlacing
of
Eastern


mysticism
and
Orthodox
symbolism."79

The
concepts
of
religion,
spirituality,
and


freedom
are
pervasive
throughout
all
of
Gubaidulina's
compositions.

The
Concerto


for
Bassoon
and
Low
Strings
details
an
individual
seeking
to
free
himself
from
the


crowd
and
exist
independently,
similar
to
Gubaidulina's
own
relationship
with


religion.

The
Duo
Sonata
is
filled
with
musical
representations
of
Orthodox
chant,


spiritual
lullabies,
and
the
struggle
between
right
and
wrong.

Quasi
Hoquetus
seeks


to
combine
religious
symbolism
with
layers
of
structure
that
speak
subconsciously


to
the
soul.

Gubaidulina
began
to
experiment
with
the
Fibonacci
series
in
1983
as


part
of
a
preoccupation
with
issues
of
"rhythm
and
rhythmic
proportionality
in


musical
form,"
which
she
considered
the
"main
experiment"
in
her
life.80

This


experimentation
was
a
new
venture
to
express
her
thoughts
through
universally


understood
principles.





 Quasi
Hoquetus
translates
into
"almost
a
hocket,"
a
medieval
compositional


technique
in
which
a
melody
is
divided
amongst
two
or
more
voices.

In
this


procedure,
one
voice
sounds
while
the
others
are
silent.

In
Quasi
Hoquetus,
this


technique
is
represented
through
the
interlocking
of
phrases
and
sections
of
the


five‐part
form.

Gubaidulina
used
the
Fibonacci
series
to
organize
the
number
of




























































 78
Valeria
Tsenova,
"Number
and
Proportion
in
the
Music
of
Sofia
Gubaidulina,"
Mitteilungen


der
Paul
Sacher
Stiftung
14
(April
2001):
24.


 79
Ibid.,
23.



 80
Vera
Lukomsky
and
Sofia
Gubaidulina,
"'Hearing
the
Subconscious':
Interview
with
Sofia


Gubaidulina,"
Tempo,
n.s.,
209
(July
1999):
27.



 90

attacks
in
a
phrase.

With
all
three
instruments,
the
number
of
attacks
is
equal
to
a


Fibonacci
series
number.

The
bassoon
and
viola
work
as
a
pair
to
realize
their


number
of
attacks,
whereas
the
piano
is
an
independent
voice.81

Each
phrase
is


separated
by
rests
of
various
lengths
that
contribute
to
the
"hocket"
quality
of
the


work.





 The
bassoon
within
this
piece
has
a
much
smaller
role
as
compared
to
the


previous
two
bassoon
works
of
Gubaidulina.


In
Quasi
Hoquetus,
the
bassoon
is
used


to
create
a
specific
texture
and
timbre.

It
is
a
true
member
of
a
chamber
ensemble,


and
during
the
first
three
sections
of
the
work
the
bassoon
only
serves
to
punctuate


the
ends
of
phrases
with
multiphonic
utterances.

Also,
the
bassoon
part
within
this


work
features
the
fewest
number
of
extended
techniques
in
comparison
to
the
duo


and
concerto.

Quasi
Hoquetus
includes
three
different
multiphonics
for
the
bassoon


and
a
number
of
sections
towards
the
end
of
the
work
that
require
fluttertongue.



The
main
challenges
in
this
work
arise
from
notational
issues
with
the
multiphonics


as
discussed
below.





 Quasi
Hoquetus
was
commissioned
by
Valery
Popov
and
Alexander


Bakhchiyev,
a
pianist
colleague
of
Popov's
also
teaching
at
the
Moscow


Conservatory.
Popov,
Bakhchiyev,
and
the
viola
professor
at
the
Moscow


Conservatory,
Mikhail
Tolpygo,
premiered
the
work
in
Moscow
on
January
16,
1985.



Gubaidulina
dedicated
the
work
to
these
three
men
when
the
work
was
published
in


1985.82

Although
Gubaidulina
continued
working
as
a
composer,
and
as
of
2011
is




























































 81
Milne,
"The
Rhythm
of
Form,"
53.



 82
Sofia
Gubaidulina,
Quasi
Hoquetus:
for
Viola,
Bassoon
and
Piano
(Hamburg:
Musikverlag


Hans
Sikorski,
1998),
2‐3.



 91

still
alive
and
writing,
Quasi
Hoquetus
was
her
last
piece
to
feature
bassoon
in
a


chamber
or
solo
setting.





 92

 Analysis
of
Extended
Techniques
within
Quasi
Hoquetus
with
Performance


Suggestions
and
Solutions



 Similar
to
the
Concerto
for
Bassoon
and
Low
Strings
and
the
Duo
Sonata,
Quasi


Hoquetus
presents
some
challenges
to
the
bassoonist
due
to
its
high
range,
which


extends
up
to
E5.

In
addition,
there
are
some
passages
within
the
piece
that
require


fluttertonguing
in
the
extreme
upper
register,
so
it
may
be
helpful
to
use
an


equipment
set
up
that
facilitates
success
in
that
range.

As
stated
previously,
a


special
bocal
for
upper
register
performance
may
increase
stability
and
accuracy,


and
a
reed
with
a
slightly
thicker
back
will
provide
greater
strength
in
the
high


register
as
well.


A.

Multiphonics



 The
main
issue
regarding
the
multiphonics
within
Quasi
Hoquetus
is
the


manner
in
which
they
are
notated
within
the
score.

As
indicated
previously,
the


notation
of
multiphonics
in
Gubaidulina's
works
is
problematic
due
to
inconsistency


and
lack
of
clarity.

In
this
regard,
Quasi
Hoquetus
provides
a
new
challenge
from
the


other
two
bassoon
works.

There
are
only
three
distinct
multiphonics
within
the


trio,
but
none
of
them
are
accompanied
by
fingering
notation.

Rather,
the


multiphonics
are
written
as
a
stack
of
four
or
five
pitches
on
a
staff
(figure
1).





 93

 

Figure
1:
Two
measures
before
rehearsal
2
in
Quasi
Hoquetus.

The
viola
part
is
the
top
staff
shown


and
the
bassoon
part
is
the
lower
staff.


This
can
be
a
cause
of
great
consternation
for
the
bassoonist,
especially
one
who


does
not
have
any
previous
experience
with
multiphonics.

Because
there
are
no


fingering
indications
to
help
produce
the
chords,
there
is
very
little
information
to


guide
the
performer
towards
a
method
by
which
these
sounds
can
be
created.

If
the


performer
has
knowledge
of
the
resources
provided
by
Bartolozzi,
Penazzi,
Lipp,


Steinmetz,
and
Christlieb,
then
he
will
be
able
to
embark
upon
the
journey
of


researching
these
fingerings
for
the
best
solutions.



 The
most
logical
starting
point
for
this
research
is
to
compile
possible


multiphonic
fingerings
that
involve
an
alteration
of
the
lowest
fundamental
listed
in


each
stack
of
pitches.

The
lowest
indicated
tone
in
the
multiphonic
stack
is
often
the


fundamental
fingering
on
bassoon
that
has
been
altered
to
create
the
multi‐tone


sound.

There
are
usually
several
options
for
each
fingering
on
the
bassoon,
and


many
of
these
are
capable
of
producing
more
than
one
multiphonic
sound
with


alteration
of
airspeed
and
embouchure.

As
shown
in
figure
1,
the
first
appearance
of


a
multiphonic
in
Quasi
Hoquetus
is
two
measures
before
rehearsal
2.

The


multiphonic
features
four
pitches,
the
lowest
of
which
is
F#3.

The
resources
of


Bartolozzi
and
Penazzi
are
not
organized
by
general
pitch
or
fundamental
fingering,



 94

but
rather
the
multiphonic
fingerings
are
organized
by
the
type
of
sounds
that
they


produce.

The
later
resources
of
Lipp,
Christlieb,
and
Steinmetz
are
ordered


chromatically
by
fundamental
fingerings
and
prove
easier
to
navigate
for
the


purpose
of
discovering
fingerings
for
Quasi
Hoquetus.

Most
of
these
resources
also


provide
a
pictorial
representation
of
the
resulting
multiphonic
pitches
on
a
staff


along
with
occasional
guidance
regarding
embouchure
and
air
manipulation.



Although
these
pitches
are
provided
as
a
reference,
it
is
important
to
remember
that


each
performer
may
achieve
different
results
due
to
changes
in
instrument,
reed


style,
and
physical
considerations.





 Returning
to
the
multiphonic
in
figure
1,
unfortunately,
there
are
not
many


multiphonics
that
are
possible
to
achieve
through
alteration
of
the
standard
F#3


fingering.

At
this
point
the
performer
should
search
for
other
multiphonic


fingerings
in
these
resources
that
display
F#3
as
the
lowest
sounding
pitch
in
the


notated
stack
of
resulting
tones.

There
are
several
options
that
will
produce
this


note
as
part
of
the
mutliphonic
stack,
as
listed
in
Appendix
F.

These
fingerings
are


all
possible
solutions
to
use
for
the
multiphonic
notated
in
Quasi
Hoquetus
before


rehearsal
2.

When
experimenting
with
these
multiphonic
fingerings,
it
is
helpful
to


compare
the
resulting
sound
with
the
pitch
stack
that
Gubaidulina
has
indicated
in


the
score.

Although
it
may
not
be
feasible
to
achieve
the
exact
pitches
that
have


been
written,
it
is
the
responsibility
of
the
performer
to
produce
tones
that
are
as


close
as
possible
to
the
notated
timbre.

While
working
with
these
fingerings,
it
is


useful
to
sound
the
written
pitches
on
a
piano,
and
then
compare
that
standard
to


the
multiphonic
sounds
produced
on
bassoon.

Some
fingerings
may
produce
more



 95

than
one
type
of
multiphonic
sound,
depending
on
air
and
embouchure.

The


performer
should
be
diligent
with
his
research
into
these
sounds,
and
notate


discoveries
carefully
to
assist
future
replication.



 The
printed
dynamic
must
be
taken
into
consideration
with
each
of
these


multiphonics,
as
the
creation
of
the
sounds
is
within
a
specific
musical
construct
and


texture.

Each
of
the
three
multiphonics
in
Quasi
Hoquetus
is
intended
to
be


performed
at
a
piano
or
pianissimo
dynamic,
so
it
is
essential
to
discover


multiphonic
fingerings
that
will
speak
at
soft
dynamics
without
great
delay
in
the


sound
production.

It
is
also
important
to
utilize
a
different
multiphonic
fingering


and
sound
for
each
of
the
three
unique
multiphonics
in
the
work.

Besides
the


multiphonic
before
rehearsal
2,
there
is
another
stack
of
pitches
notated
in
the
fifth


measure
of
rehearsal
5
that
is
articulated
twice.

The
third
distinct
multiphonic


occurs
at
rehearsal
11,
and
is
repeated
twice
more
in
the
next
ten
measures
(figure


2).






Figure
2:
Rehearsal
11
of
Quasi
Hoquetus.
.

The
viola
part
is
the
top
staff
shown
and
the
bassoon
part


is
the
lower
staff.



 These
multiphonics
are
each
notated
as
a
different
stack
of
pitches
that


contribute
to
the
musical
structure
and
work
in
tandem
with
the
viola
part.

Even
if


it
is
not
possible
to
discover
multiphonic
fingerings
that
will
produce
the
exact



 96

sounds
that
are
notated
by
Gubaidulina,
it
is
necessary
to
search
for
results
that
are


a
close
approximation
to
the
notated
timbres,
and
that
are
different
from
one


another.

It
is
not
acceptable
to
merely
use
the
same
multiphonic
fingering
for
each


of
these
three
occurrences
within
the
score.

Each
new
multiphonic
should
have
a


distinct
sound,
and
the
multiphonic
used
at
rehearsal
11
should
have
the
fullest


texture
due
to
the
fact
that
there
are
five
pitches
notated
within
that
stack
as


opposed
to
four
pitches
in
the
previous
two
multiphonics.

As
the
performer


experiments
with
fingerings,
embouchure,
and
air
to
find
solutions,
the
musical


purpose
of
each
of
these
effects
must
be
at
the
forefront
of
consideration.



Gubaidulina's
usage
of
these
sounds
is
to
create
a
specific
texture
and
to
punctuate


the
ending
of
each
of
the
first
three
sections
of
the
piece.

It
is
imperative
that
the


mulitphonics
each
have
a
distinct
timbre
and
work
within
the
musical
construct
in


which
they
are
contained.





 One
other
confusing
aspect
of
the
notation
of
the
multiphonics
within
Quasi


Hoquetus,
is
the
additional
instructions
listed
with
the
final
multiphonic
that


appears
at
rehearsal
11
as
shown
in
figure
2.

Along
with
the
stack
of
pitches


indicated
on
the
staff,
Gubaidulina
includes
the
text
"Appl.
A5
+
Kl.
5
+
Kl.
'Piano.'"



These
directions
are
similar
to
the
notations
seen
in
Gubaidulina's
Duo
Sonata,


although
with
slightly
different
wording.

It
would
appear
this
text
directs
the


performer
to
use
a
fingering
for
A
and
then
add
key
#5,
which
Bartolozzi
labels
as


the
Bb
key
in
the
right
thumb,
and
the
"piano"
key.

The
"piano"
key
is
understood


by
many
bassoonists
to
indicate
the
"whisper"
key,
or
the
bottom
key
on
the
wing


joint
that
is
pressed
with
the
left
thumb.

This
key
is
labeled
in
Bartolozzi's
fingering



 97

chart
as
key
#4,
so
it
is
unusual
that
Gubaidulina
would
here
label
it
as
the
"piano"


key.

That
this
fingering
indication
produces
the
standard
fingering
for
Bb2
on


bassoon
and
not
a
multiphonic
is
also
of
concern.

The
standard
fingering
for
Bb2


does
not
readily
produce
a
multiphonic
with
changes
to
air
or
embouchure,
and
the


most
reliable
multiphonics
based
on
this
fingering
involve
the
opening
of
tone
holes


and/or
the
addition
of
keys.





 Another
curious
aspect
of
this
indication
in
the
score
is
the
"A5"
that
is
given


as
the
basic
fingering.

A5
is
not
a
note
that
is
included
within
the
normative
range
of


the
bassoon.

This
pitch
can
only
be
achieved
by
using
a
harmonic
fingering
and,
in


some
instances,
placing
the
teeth
upon
the
lower
blade
of
the
reed.

It
could
be


possible
that
Gubaidulina
intended
to
indicate
A4
instead
of
A5,
or
even
instruct
the


performer
to
use
the
"A"
key
with
the
left
thumb,
which
Bartolozzi
labels
as
key
#2.



The
latter
of
these
two
theories
is
less
likely,
as
it
would
be
impossible
to
press
both


the
"piano"
key
and
the
"A"
key
simultaneously
with
the
left
thumb.

It
is
impractical


to
assume
Gubaidulina's
intention
with
this
text,
but
its
inclusion
within
the
score
is


very
confusing,
as
it
does
not
assist
the
performer
in
any
manner.

Also
unusual
is


the
aspect
that
Gubaidulina
provides
this
textual
information
for
the
multiphonic
at


rehearsal
11,
but
she
does
not
for
the
previous
two
multiphonics
in
the
score.



Fingering
suggestions
for
the
three
multiphonics
in
Quasi
Hoquetus
along
with
air


and
embouchure
alterations
are
located
in
Appendix
E.



 98

B.
Fluttertongue



 The
fluttertongue
technique
appears
rather
late
in
Quasi
Hoquetus,
as
it
is


first
utilized
in
the
second
measure
of
rehearsal
54.

This
section,
which
continues


until
rehearsal
60,
contains
three
repetitions
of
the
initial
fluttertongue
sequence.



The
motive
includes
fluttertonguing
on
three
sixteenth
notes,
B#4,
C#5,
and
D5
that


immediately
follow
a
B#4‐C#5
trill
(figure
3).

Also,
there
are
two
sixteenth
note


iterations
of
B#4
and
C#5
that
are
repeated
an
increasing
number
of
times


preceding
each
subsequent
trill.




Figure
3:
Fluttertonguing
shown
at
rehearsal
55
in
Quasi
Hoquetus.
The
viola
part
is
the
top
staff


shown
and
the
bassoon
part
is
the
lower
staff.



 Due
to
the
difficulty
of
the
fluttertongue
in
this
upper
register,
the
rapid


tempo
of
this
section,
and
the
technical
difficulty
of
the
fingerings
for
these
notes,
it


is
best
not
to
use
articulation
on
the
three
fluttertongued
notes.

Rather,
articulation


can
be
imitated
by
using
abdominal
pulsation
on
each
new
note,
giving
a
slight


accent
to
each
tone.

This
helps
ensure
that
the
fluttertongue
will
continue
through


all
three
notes
and
also
increase
the
likelihood
of
the
notes
speaking
in
this
register.



Additionally,
in
the
cases
where
the
fluttertongue
emerges
from
a
trill
based
on
the


same
pitch,
it
is
best
to
start
the
fluttertongue
motion
early,
especially
since
the



 99

three
fluttertongued
notes
appear
in
rapid
succession.

During
the
trill,
it
can
be


helpful
to
pull
the
tongue
backwards
in
the
mouth
and
prepare
it
for
the
fluttering


motion
so
there
is
little
delay
between
the
two
techniques.





 Beginning
at
rehearsal
58,
there
is
an
extended
fluttertongued
chromatic


scale
that
rises
from
F#2
to
D#5
(figure
4).

Just
as
with
the
other
fluttertongued


motives
in
this
section,
it
is
best
to
refrain
from
articulating
each
new
pitch.






Figure
4:
Beginning
of
the
extended
fluttertongued
chromatic
scale
at
rehearsal
58
of
Quasi
Hoquetus.


The
viola
part
is
the
top
staff
shown
and
the
bassoon
part
is
the
lower
staff.


The
pace
of
the
notes
in
this
section
is
so
rapid
that
by
the
time
the
fluttertongue
can


be
initiated
after
an
articulation,
it
is
already
necessary
to
move
to
the
next
note
due


to
the
notated
rhythm.

For
this
reason,
it
is
better
to
not
begin
any
of
these
notes


with
an
articulation,
but
rather
begin
each
new
group
of
notes
with
an
aggressive


burst
of
air.

The
fluttertongue
should
be
able
to
engage
very
quickly
with
this


approach,
as
the
tongue
can
remain
pulled
back
in
the
mouth
and
prepared
to
begin


the
flutter
motion.

When
beginning
notes
with
the
airstream
alone,
it
is
important


to
have
a
very
fast
and
supported
airstream
with
a
narrow
size.

The
force
of
the


airstream
with
the
air
attacks
should
be
greater
in
the
lower
register,
and
the
speed


of
the
airstream
should
be
greater
in
the
upper
register.

Throughout
this
section,
it



 100

is
helpful
to
focus
on
engaging
the
fluttertongue
quickly
and
keeping
the
motion


steady
throughout
the
changing
pitches.

Due
to
the
quick
pace
of
the
note
changes,


it
is
best
to
not
pulse
each
new
pitch
for
a
sense
of
separation
as
suggested
with
the


previous
two
works.

The
greatest
success
in
executing
the
fluttertongued
notes


from
rehearsal
54
until
60
comes
from
considering
the
notes
as
being
connected


with
a
slur;
therefore,
the
air
stream
and
fluttertongue
motion
can
be
continuous.



 The
second
large
fluttertonguing
section
begins
in
the
measure
before


rehearsal
66
and
continues
through
to
the
end
of
the
piece.

The
first
half
of
this


section
involves
beginning
the
fluttertongue
on
notes
that
are
tied
over
from
a
static


pitch
and
then
starting
the
fluttertongue
afterwards
(figure
5).






Figure
5:
Rehearsal
66
in
Quasi
Hoquetus.


In
order
to
engage
the
fluttertongue
on
held
notes
such
as
these,
it
can
help
to
bring


the
tip
of
the
tongue
farther
back
in
the
mouth
during
the
held
note
in
preparation


of
the
fluttertongue.

This
can
feel
rather
awkward
and
requires
an
increase
in
the


opening
of
the
jaw
and
mouth
cavity.

Conversely,
the
lips
should
exert
more


pressure
on
the
reed
to
help
support
the
note
and
to
compensate
for
the
opening
of


the
jaw.

At
the
point
of
impact
of
the
fluttertongue,
the
air
stream
will
often


intensify
naturally
in
comparison
to
the
static
note,
but
it
is
best
if
the
air
stream


pressure
remains
steady
so
that
there
is
not
an
accent
created
with
the
addition
of



 101

the
fluttertongue.

It
is
useful
to
practice
long
tones
in
this
manner
to
establish
the


best
physical
strategy
for
adding
the
fluttertongue
to
an
existing
tone.

The
pitch
and


dynamic
of
the
note
should
be
preserved
as
much
as
possible,
although
in
these


instances
it
is
beneficial
that
the
written
dynamics
are
forte
and
above,
as
it
is
easier


to
execute
a
fluttertongue
at
a
louder
dynamic.



 Interspersed
with
the
"tied‐over"
fluttertongued
notes
and
continuing
on


until
the
end
of
the
work,
there
are
also
more
rising
chromatic
lines
that
are


fluttertongued
and
articulated.

The
rhythm
in
this
section
is
much
slower
than
the


previous
section
of
rehearsals
54‐60
and
consists
mainly
of
note
changes
at
speeds


of
eighth
notes,
quarter
notes,
and
half
notes.

For
this
reason,
it
is
possible
to


articulate
each
new
pitch
with
the
tongue
before
engaging
the
fluttertongue,
as
the


duration
of
each
note
is
enough
for
the
flutter
motion
to
be
perceptible.

Due
to
the


high
register
of
these
notes,
however,
it
may
ease
response
and
execution
to
use
an


air
attack
approach
with
these
pitches
as
well
and
to
refrain
from
using
a
tongued


initiation
to
each
note.

The
performer
should
experiment
with
both
methods
to


determine
the
best
option
in
terms
of
reliability
and
musical
appropriateness.

As


with
each
of
the
extended
techniques
described
above,
the
main
goal
is
the


realization
of
the
musical
phrase.





 102

 Conclusion


In
the
performance
of
these
extended
techniques
it
is
important
to
remember


Bartolozzi’s
words
of
advice:
“It
must
be
stressed
that
even
the
most
detailed


technical
description
may
not
be
equally
valid
for
every
player
or
instrument.

For


them
to
have
absolute
validity
we
would
have
to
achieve
the
impossible.

Every


player
would
need
to
have
identical
physical
characteristics.

Every
instrument
and


reed
would
have
to
be
precisely
similar.

Inevitably,
different
results
are
to
be


expected,
mostly
through
variety
in
the
shape
of
players’
lips,
different
reeds,


mouthpieces,
crooks,
barrels,
etc.”83

Although
the
suggestions
presented
within
this


text
and
within
the
appendices
may
not
work
for
all
performers,
it
is
important
to


have
options
as
well
as
concepts
of
how
to
overcome
these
obstacles.

Even
if
these


suggestions
are
not
effective
for
every
performer,
the
information
provided
should


assist
performers
in
recognizing
a
process
for
discovering
their
own
solutions.


The
Concerto
for
Bassoon
and
Low
String,
the
Duo
Sonata,
and
Quasi
Hoquetus


present
many
challenges
to
the
performer
with
the
abundance
of
extended


techniques.

These
techniques
require
diligent
research
on
the
part
of
the
performer


to
discover
proper
technical
solutions
with
fingerings
for
the
quartertones,


multiphonics,
and
harmonics
in
each
work.

Also,
the
performer
needs
to
be
flexible


in
his
experimentation
with
airspeed
and
embouchure
to
achieve
properly
these


effects.

It
is
my
hope
that
these
annotated
performance
guides
can
serve
as
a


valuable
resource
to
performers
of
each
of
Gubaidulina's
bassoon
works.

Using
this


























































83
Bruno
Bartolozzi,
New
Sounds
for
Woodwinds,
trans.
Reginald
Smith
Brindle
(London:


Oxford
University
Press,
1967),
90.



 103

guide,
performers
can
choose
from
a
variety
of
possible
fingerings
for
quartertones


and
multiphonics
and
can
gain
insight
into
potential
embouchure
and
air


adjustments
necessary
to
produce
these
effects.

By
overcoming
these
obstacles
of


the
work,
it
is
hoped
that
the
works
of
Gubaidulina
will
be
performed
more


frequently
and
will
be
a
rewarding
experience
for
bassoonists.



 104

 BIBLIOGRAPHY

Backus,
John.

The
Acoustical
Foundations
of
Music,
2d
ed.

New
York:
W.W.
Norton


and
Co.,
1977.



Bartolozzi,
Bruno.

New
Sounds
for
Woodwinds.

Translated
and
edited
by
Reginald


Smith
Brindle.

London:
Oxford
University
Press,
1967.



Beyer,
Anders.

The
Voice
of
Music:
Conversations
with
Composers
of
Our
Time.



Translated
and
edited
by
Jean
Christensen
and
Anders
Beyer.

Aldershot:


Ashgate
Publishing,
2000.





Brennik,
Albert.

“Micro‐Tones.”

Chroma
Report:
the
Chroma
Institute’s
Report
on


Dodecaphonic
Music
Theory
and
on
the
Introduction
of
a
Chromatic
Music


Notation
4,
no.
2
(Fall
2000):
6‐13.





Campbell,
Jefferson
T.

“The
Duo
Sonata
for
Two
Bassoons
by
Sofia
Gubaidulina:
A


Formal
and
Performance
Analysis
with
Comments
on
Extended
Techniques,


Contemporary
Notation
and
Gubaidulina’s
Style.”

D.M.A.
diss.,
University
of


Nebraska,
2003.



Cope,
David.

New
Directions
in
Music,

6th
ed.

Madison,
Wis.:
Brown
and
Benchmark,


1993.




Gamer,
Carlton
and
Robin
Wilson.

“Microtones
and
Projective
Planes.”

In
Music
and


Mathematics:
from
Pythagoras
to
Fractals,
149‐162.

Oxford:
Oxford

University
Press,
2003.



Feves,
Julie,
Professor
of
Bassoon
at
California
Institute
of
the
Arts.

Interview
by


 author,
1
July
2001.



Gubaidulina,
Sofia.

Concerto
for
Bassoon
and
Low
Strings.

Hamburg:
Musikverlag



 Hans
Sikorski,
2001.



________.

Duo
Sonata
for
Two
Bassoons.

Hamburg:
Musikverlag
Hans
Sikorski,
1998.



________.

"From
Where
I
Sit."

Interview
by
Dimitri
Smirnov.

Gramophone,
September



 2001:
23.



________.

Quasi
Hoquetus:
for
Viola,
Bassoon,
and
Piano.

Hamburg:
Musikverlag
Hans



 Sikorski,
1985.



Hähnchen,
Dieter,
ed.

Modern
Music
for
Bassoon
Solo.

Leipzig:

VEB
Deutscher



 Verlag
für
Musik
Leipzig,
1986.



________,
ed.

Contemporary
Music
for
Bassoon
for
Education.

Leipzig:
Friedrich




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Musikverlag,
2010.



Heiss,
John
C.

“Some
Multiple
Sonorities
for
Flute,
Oboe,
Clarinet,
and
Bassoon.”



Perspectives
of
New
Music
7,
no.
1
(Autumn‐Winter
1968):
136‐142.



Kott,
Tama
and
Olga
Haldey.

"Contemporary
Russian
Music
for
Bassoon
Part
1:



 Sonatas
for
Solo
and
Accompanied
Bassoon."

The
Double
Reed
28,
no.
2



 (2005):
27‐40.



Kurtz,
Michael.

Sofia
Gubaidulina.
Translated
by
Christoph
K.
Lohmann.



Bloomington:
Indiana
University
Press,
2007.



Lapina,
Theodore
J.

“Multitone
Fingerings
on
the
Heckel
System
Bassoon.”

NACWPI


Journal
25,
no.
3
(Spring
1977):
19‐38.



Lipp,
Charles
Hebert.

“New
Compositional
Techniques
for
the
Bassoon.”

D.M.A.


diss.,
University
of
Illinois
at
Urbana‐Champaign,
1982.





Lukomsky,
Vera.

"'The
Eucharist
in
my
fantasy':
Interview
with
Sofia
Gubaidulina."




 Tempo
206
(October
1998):
29‐35.



Lukomsky,
Vera
and
Sofia
Gubaidulina.

"'Hearing
the
Subconscious':
Interview
with


 
Sofia
Gubaidulina."

Tempo,
n.s.,
209
(July
1999):
27‐31.



Lukomsky,
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Sofia
Gubaidulina.

"My
Desire
Is
Always
to
Rebel,
to
Swim



 against
the
Stream!"

Perspective
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New
Music
36,
no.
1
(1998):5‐41.



Milne,
Jennifer
Denise.

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Rhythm
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Form:
Compositional
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the
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 of
Sofia
Gubaidulina."

Ph.D.
diss.,
University
of
Washington,
2007.



Penazzi,
Sergio.

Metodo
per
fagotto.

Nuova
tecnica
per
strumenti
a
fiato
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legno.



Milan:
Edizioni
Suvini
Zerboni,
1971.



________.

The
Bassoon:
Other
Techniques:
New
Sources
of
Musical
Expression.

Milan:


Ricordi,
1982.



Popov,
Valery.

Sofia
Gubaidulina:
Works
for
Bassoon.
Chandos,
1999.

Compact
disc.



Read,
Gardner.

Compendium
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Modern
Instrumental
Techniques.

Greensport,
Conn.:


Greenwood
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1993.



Reinhard,
Johnny.

“A
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Ear
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________.

“The
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no.
2
(Fall
1987):
39‐42.





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Rovner,
Anton.

“An
Interview
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the
Composer
and
Bassoonist
Johnny
Reinhard


Concerning
the
Nature
of

his
Musical
Activities,
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Particularly,
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the
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Ivan

Wyschnegradsky.”

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no.
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(November
1998):
1‐5.



Savenko,
Svetlana.

"The
New
Soviet
Music
of
the
Postwar
Avant
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Penderecki:
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Ray



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2003.



Schmelz,
Peter
J.

Such
Freedom,
If
Only
Musical:
Unofficial
Soviet
Music
during
the


Thaw.

Oxford:
Oxford
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2009.





Schnittke,
Alfred.

A
Schnittke
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Edited
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Alexander
Ivashkin.

Translated
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 John
Goodliffe.

Bloomington:
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2002.



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Lawrence.

“Multiphonics.”

The
Musical
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119,
no.
1622
(April
1978):


313.



Tsenova,
Valeria.

"Number
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Proportion
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the
Music
of
Sofia
Gubaidulina."


Mitteilungen
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Paul
Sacher
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14
(April
2001):
23‐28.



Vigder,
Scott.

“A
Table
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the
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1981):
44‐45.



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Leo
de.


“The
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no.
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11‐

21.





 107

 Introduction
to
the
Appendices



 The
fingering
suggestions
in
these
appendices
are
the
result
of
research


compiled
from
a
number
of
different
sources.

The
multiphonics
from
the
Concerto


for
Bassoon
and
Low
Strings,
shown
in
Appendix
A,
are
organized
by
their


chronological
appearance
within
the
score.

The
graphic
fingering
notation
from
the


score
is
shown
in
the
far
left
column,
with
fingering
diagrams
and
annotations


following
in
the
middle
and
right
columns,
respectively.

The
first
fingering
option


shown
is
the
fingering
provided
in
the
score
by
Gubaidulina.

The
numbers
within


the
graphic
notation
images
refer
to
the
fingering
chart
published
within


Bartolozzi's
New
Sounds
for
Woodwinds
(figure
1).







Figure
1:

Bassoon
fingering
chart
from
Bartolozzi's
New
Sounds
for
Woodwinds



 For
the
Duo
Sonata
multiphonics
provided
in
Appendix
E,
an
image
of
each


pitch
stack
from
the
score
is
shown
in
the
far
left
column.

The
fingering
diagrams



 108

that
Gubaidulina
provided
within
the
score
are
not
pictured
in
this
appendix.



However,
the
annotations
in
Appendix
E
identify
which
fingerings
are
supplied
in


the
score.

The
multiphonics
for
Quasi
Hoquetus
in
Appendix
F
are
also
organized
by


images
of
the
pitch
stacks
from
the
score.

Gubiadulina
did
not
provide
any
fingering


information
in
the
score
for
this
work.





 The
annotations
provided
for
all
of
the
fingerings
and
effects
are
the
result
of


extensive
research
of
North
American
bassoonists
and
bassoon
performance.


Every


fingering
may
not
work
for
each
person,
each
reed,
and
each
instrument.

For
this


reason,
there
are
several
options
offered
when
possible
to
ensure
the
greatest


potential
success.

Other
than
Appendix
A,
each
appendix
has
been
organized
to


provide
the
most
effective
option
first.




 In
addition
to
the
fingering
suggestions
listed,
it
is
imperative
for
each


performer
to
experiment
with
adjustments
to
the
embouchure,
syllable
formation,


air
speed,
and
air
direction
in
order
to
discover
the
most
effective
personal
solution


for
each
effect.

It
is
helpful
to
have
a
concept
of
the
desired
sound
before
beginning


the
process
of
experimentation.

For
the
most
useful
results,
the
performer
should


use
a
scientific
approach
to
altering
these
physical
processes
and
take
notes
as
to


the
outcome
of
each
change.

It
is
not
always
possible
to
ascertain
what
mechanism


is
causing
success
if
both
embouchure
and
air
are
changed
simultaneously.



However,
if
changes
to
individual
processes
do
not
produce
desired
results,
the


performer
should
endeavor
to
change
more
than
one
element
in
combination.



There
is
a
strong
interconnectivity
between
the
embouchure
formation
and
air


speed
and
direction.

Frequently,
changing
one
of
these
elements
will
cause
a



 109

sympathetic
change
in
another.

The
annotations
in
the
appendices
offer
guidance


regarding
alterations
to
embouchure
and
air
for
successful
execution
as
well
as


commentary
on
intonation
and
timbre
where
appropriate.




Embouchure
changes



 The
embouchure
can
be
changed
in
many
different
ways
involving
different


pressures
and
positions
of
the
lips
and
jaws.

Embouchure
changes
have
a
large


effect
on
the
resulting
tone
due
to
direct
manipulation
of
the
vibrating
mechanism.




Some
changes
to
the
embouchure
include:


• Making
the
embouchure
more
rounded
and
cushioned
by
bringing
the


corners
of
the
mouth
inwards
towards
the
nose
and
forward.

This
makes
the


lips
more
bunched
together
and
softer
on
the
reed.


• Making
the
embouchure
more
flattened
and
hard
by
bringing
the
corners
of


the
mouth
out
towards
the
ears
and
back.

This
makes
the
lips
more
firm
and


provides
greater
pressure
to
the
reed.




• Closing
the
jaws
of
the
mouth
to
make
a
smaller,
flatter
opening.

This


presses
the
lips
into
the
reed
more
and
has
a
dampening
effect
on
the


vibration
and
sound.


• Opening
the
jaws
of
the
mouth
to
create
a
larger
opening.

This
lessens
direct


control
of
the
lips
on
the
reed
and
allows
the
reed
to
vibrate
more
freely.



 110

Syllable
changes



 When
playing
a
wind
instrument,
it
is
very
useful
to
consider
syllable/vowel


formation
in
the
mouth
in
an
analogous
manner
to
singing.

Vocalists
pay
great


attention
to
vowels
while
singing.

When
wind
musicians
mimic
this
process
it
can


affect
the
tone
and
the
pitch
of
the
resulting
sounds.




Common
vowels
used,
in
order
from
most
open
to
least
open:


OH
(as
in
"toe")


AW
(as
in
"yawn")


AY
(as
in
"way")


I
(as
in
"high")


EE
(as
in
"see")


Air
speed
changes



 The
speed
of
the
airstream
has
a
large
effect
on
the
pitch
of
the
note.

In


general,
faster
air
will
result
in
higher
pitch
whereas
slower
air
will
result
in
lower


pitch.

Many
performers
refer
to
these
changes
as
blowing
"cold
air"
versus
"warm


air."

Cold
air
is
the
result
of
blowing
faster
air
and
warm
air
happens
with
a
slower


air
stream.

The
stomach
muscles
play
the
largest
role
in
making
these
changes.



Using
more
energy
with
the
stomach
muscles
creates
a
faster
airstream.



 111

Air
direction
changes



 In
addition
to
air
speed,
performers
can
also
consider
the
direction
of
the


airstream
when
blowing
into
the
instrument.

With
bassoon,
the
general
procedure


is
to
blow
air
forward
into
the
bocal.

It
is
possible
to
consider
blowing
air


"upwards"
towards
the
ceiling
or
"downwards"
towards
the
floor.

This
creates
a


change
of
the
jaw
positioning
on
the
reed.

Blowing
air
upwards
pushes
the
lower


jaw
forward
on
the
reed
and
creates
an
under‐bite.

Blowing
air
downwards
pulls


the
lower
jaw
back
on
the
reed
and
creates
an
extended
over‐bite.

These
types
of


embouchure
changes
are
a
departure
from
the
normative
physical
set‐up
and


should
therefore
be
considered
last
on
the
list
of
possible
alterations.



 112

 Appendix
A:
Multiphonics
in
the
Concerto
for
Bassoon
and
Low
Strings



Movement
2,
measure
before
 Option
1
 This
is
the
fingering
provided
in

rehearsal
3
 the
score
by
Gubaidulina.

If
the


 embouchure
is
too
tight,
a
single

note
will
occur.

Also,
the

dynamic
must
not
be
too
soft
or

the
multiphonic
will
not
respond,

due
to
the
amount
of
resistance.



 


 Option
2
 This
is
another
option
that
also

sustains
Bb3
as
a
prominent
pitch

in
the
multiphonic.

This
is
an

important
feature,
as
Bb3
is
the

preceding
note
and
leads
directly

into
the
multiphonic.
The
overall

pitches
of
this
fingering
are

lower,
but
the
multiphonic

responds
well
at
a
low
dynamic

level
and
may
be
a
better
choice


 in
the
given
context.


Movement
2,
measure
before
 Option
1
 This
is
the
fingering
provided
by


rehearsal
4,
first
multiphonic
 Gubaidulina.

It
does
not
produce

a
multiphonic
regardless
of

alterations
to
airspeed
or

embouchure.








 Option
2
 This
option
adds
the
whisper
key,

Bb
key,
and
low
Eb
key.

If
the

previous
F#4
is
executed
with
the

fingering
1/2/F
in
the
right
hand,

then
it
will
be
easier
to
create
this

multiphonic.

Between
the
two

notes,
the
embouchure
may
need

to
tighten
slightly,
but
the

whisper
key
is
essential
for

production.





 113

 Appendix
A:
Multiphonics
in
the
Concerto
for
Bassoon
and
Low
Strings



Movement
2,
measure
before
 Option
1
 This
is
the
fingering
provided
by

rehearsal
4,
second
 Gubaiulina
and
it
produces
a

multiphonic
 reliable
multiphonic
trill
with
the

Bb
key,
as
shown
in
grey.

This

multiphonic
fingering
requires
a

looser
embouchure
than
F#4,
or
a

slower
airspeed
in
order
to

execute
the
effect.

This
fingering

is
one
labeled
by
Bartolozzi
as

"polyvalent"
as
it
will
produce
a


 single
tone
and
a
multiphonic.




 Option
2
 This
option
features
the
addition

of
the
low
D
key
as
well
as
the

low
Eb
key
to
help
stabilize
the

multiphonic.

These
two
keys

create
a
multiphonic
with
an

additional
lower
partial
as

compared
to
the
previous
option.



The
trill
should
be
executed
with

the
Bb
key
shown
in
grey.

This

option
is
easier
to
produce
than


 the
previous
fingering.


Movement
2,
one
measure
 Option
1
 This
is
the
fingering
provided
in


before
rehearsal
5,
first
 the
score
by
Gubaidulina.

It
will

multiphonic
 not
produce
a
multiphonic

despite
alterations
to

embouchure
and
air.








 Option
2
 This
fingering
creates
a

consonant
multiphonic
that

continues
to
sound
the
preceding

B4,
as
indicated
by
the
dotted
tie

connecting
the
two
effects.

This

multiphonic
sounds
best
with
a

slightly
relaxed
embouchure
and

slower
airspeed.

The
addition
of

the
low
Eb
key
in
the
left
hand

adds
a
higher,
dissonant
pitch
to


 the
stack.



 114

 Appendix
A:
Multiphonics
in
the
Concerto
for
Bassoon
and
Low
Strings




 Option
3
 This
is
another
option
that
works

well
with
a
relaxed
embouchure

and
slow
airstream.

This

fingering
has
a
more
narrow

range
of
response
and
creates
a

stack
of
pitches
that
is
more

dissonant
than
the
previous

option.

This
effect
must
be

voiced
lower
than
the
preceding

B4
in
order
to
sound.




Movement
2,
measure
before
 Option
1
 This
is
the
fingering
provided
in


rehearsal
5,
second
 the
score
by
Gubaidulina.

This

multiphonic
 fingering
combination
will
not

produce
a
multiphonic,
let
alone
a

trill
between
two
multiphonics.


The
trill
is
intended
to
be
created

with
R2,
shown
in
grey.





 Option
2
 This
fingering
produces
a
very

stable
multiphonic
with
a
good

trill
achieved
with
finger
R3
as

shown
in
grey.

This
trill
can
be

pushed
to
a
loud
dynamic

without
breaking
apart.

Also,
the

relative
pitch
of
this
multiphonic

is
higher
than
the
following

multiphonic
at
rehearsal
5,
which

is
accurate
given
the
graphic


 notation
of
the
score.



 115

 Appendix
A:
Multiphonics
in
the
Concerto
for
Bassoon
and
Low
Strings




 Option
3
 This
is
a
variation
on
the

fingering
provided
in
the
score
by

Gubaidulina.

The
multiphonic
is

stable,
responds
easily
with
a

normal
embouchure,
and
trilling

R3
(in
grey)
produces
a
trill

interval
of
a
2nd.

The

multiphonic
will
also
maintain
its

pitches
throughout
a
crescendo.



 Option
4
 This
option
is
not
as
stable
as
the

previous
fingering.

Trilling
R2
(in

grey)
produces
a
trill
of
a
3rd
and

the
pitches
of
the
multiphonic

tend
to
fail
as
it
is
pushed
to

louder
dynamics.


Movement
2,
rehearsal
5
 Option
1
 This
fingering
produces
a
good


multiphonic
trill
with
the
motion

of
the
Bb
key
(in
grey),
as
long
as

the
embouchure
is
tightened
and

the
airstream
is
steady.

It
is

helpful
to
move
the
embouchure

forward
on
the
reed
to
aid

production.

Beware
of
overdoing

the
diminuendo,
as
the
trill
tends


 to
break
apart
if
played
too
softly.



 This
fingering
is
altered
from
the

provided
notation
in
the
score

only
by
the
addition
of
the
low
Eb

key.

This
key
helps
the

multiphonic
to
sound

immediately,
especially
at
the
sf

dynamic
indicated.



 116

 Appendix
A:
Multiphonics
in
the
Concerto
for
Bassoon
and
Low
Strings




 Option
2
 Another
good
solution
is
to
trill

the
Bb
key
and
the
first
finger
of

the
right
hand
together
(both

shown
in
grey)
which
will
allow

for
a
more
stable
diminuendo.


This
prevents
the
trill
from

failing,
and,
like
the
previous

fingering,
produces
a
downwards

trill.


Movement
4,
rehearsal
5,
first
 Option
1
 This
is
the
fingering
provided
in


multiphonic
 the
score
by
Gubaidulina.

It
is

difficult
to
produce
a
multiphonic

and
requires
extreme

embouchure
pressure
combined

with
a
slower
airstream
in
order

to
do
so.

The
range
of
success
for

the
multiphonic
is
narrow,
and,

for
this
reason,
it
is
not


 recommended
for
use.





 Option
2
 This
fingering
produces
a
stable,

compact
multiphonic
that
can
be

played
at
soft
dynamic
levels

easily.

With
embouchure

changes,
the
timbre
of
the

multiphonic
changes
as
well.

A

more
homogenous
sound
can
be

achieved
with
greater
lip

pressure.


There
is
a
technical
impossibility


 of
closing
the
low
C
key
and
the

whisper
key
simultaneously

unless
the
bassoon
is
equipped

with
a
"French
whisper
key."

Due

to
the
multiphonics
that
follow

this
one,
it
is
not
advisable
to
use

the
whisper
key
lock
to
aid

production.



If
it
is
difficult
to
produce
the

multiphonic
without
the
whisper

key,
the
low
E
key
may
be
used

instead,
as
it
only
slightly
changes

the
timbre
of
the
multiphonic.



 117

 Appendix
A:
Multiphonics
in
the
Concerto
for
Bassoon
and
Low
Strings




 Option
3
 This
is
another
option
based
off

of
the
fingering
provided
by

Gubaidulina.

It
needs
a
firm

embouchure
for
success.

The

multiphonic
produced
is
stable,

but
it
needs
to
be
executed
at
a
mf

dynamic
level
or
louder
in
order

to
be
successful.

The
low
E
key

can
also
be
added
to
this

fingering
to
aid
response.





 Option
4
 This
fingering
produces
a

multiphonic
that
is
higher
in
pitch

than
the
previous
three
options.


It
is
a
little
more
resistant
as
well,

and
produces
a
homogenous,

although
muffled,
timbre.

It

requires
a
firm
embouchure
for

success,
but
it
responds
well
at

lower
dynamic
levels.


Movement
4,
rehearsal
5,
 Option
1
 This
is
the
fingering
provided
in


second
multiphonic
 the
score
by
Gubaidulina.

The

notation
"20B"
indicates
the
Eb

trill
key,
shown
here
between
the

2nd
and
3rd
tone
holes
on
the

wing
joint.

This
is
not
a
standard

key
on
the
bassoon
and
many

instruments
will
not
have
this
as

part
of
the
key
system.

Similarly

to
the
previous
fingering,
care


 
 must
be
taken
to
keep
the

embouchure
relaxed
for
creation

of
the
multiphonic.



 118

 Appendix
A:
Multiphonics
in
the
Concerto
for
Bassoon
and
Low
Strings




 Option
2
 This
fingering
produces
a

multiphonic
that
has
the
same

fundamental
as
the
fingering

provided
by
Gubaidulina.

This

option
is
more
reliable
and

creates
a
full
multiphonic
that
is

not
very
resistant.

The

embouchure
should
be
fairly

relaxed.

If
the
embouchure
is

tightened
too
much,
a
single
pitch


 will
occur
instead
of
a
stack
of

multiple
pitches.


 Option
3
 This
is
an
alteration
to
the

fingering
indicated
in
the
score.


The
absence
of
the
first
finger
in

the
right
hand
aids
response

significantly.

The
embouchure

must
be
relaxed,
as
there
will
not

be
a
response
if
the
lips
are
too

tight.


Movement
4,
rehearsal
5,
third
 Option
1
 This
is
the
fingering
provided
by


multiphonic
 Gubaidulina,
with
the
addition
of

the
whisper
key.

The
whisper

key
helps
to
stabilize
this

multiphonic.

Using
slower
air

helps
to
emphasize
the
lower

partials
of
the
multiphonic
to

effectively
create
a
descending

line
from
the
previous

multiphonic.


 With
both
options
for
this



multiphonic,
the
low
E
key
may

be
substituted
for
the
whisper

key
if
the
technique
is
too

cumbersome
in
the
left
thumb

when
moving
from
the
previous

multiphonic.



 119

 Appendix
A:
Multiphonics
in
the
Concerto
for
Bassoon
and
Low
Strings




 Option
2
 This
fingering
produces
a

multiphonic
that
is
stable,
with

many
pitches,
and
compact
in

timbre.

Although
the

fundamental
of
the
multiphonic
is

lower
in
pitch
than
the
fingering

notated
in
the
score,
the

technique
of
this
fingering
is

much
easier
to
connect
with
both

the
previous
and
subsequent


 multiphonics.

This
is
the
middle

of
three
multiphonics
that
are

connected
underneath
a
slur,
so

ease
of
technique
is
an
important

consideration
in
order
to
achieve

the
proper
effect.

Movement
4,
rehearsal
5,
 Option
1
 This
is
the
fingering
provided
by

fourth
multiphonic
 Gubaidulina.

It
produces
a
very

stable
multiphonic
with
a
full

texture.

Changes
with
air
and

embouchure
will
emphasize

lower
or
higher
partials.

The

main
challenge
with
this
fingering

is
the
awkward
technical

demands.




 



 Option
2
 This
is
an
alteration
of
the

previous
fingering
in
which
the

F#
key
is
omitted.

This
eases
the

technical
demands
of
the

fingering
when
it
is
connected
to

the
other
multiphonics
in
context.


The
resulting
multiphonic
is
full

and
stable,
although
it
is
lower
in

pitch
than
the
previous
fingering.



 120

 Appendix
A:
Multiphonics
in
the
Concerto
for
Bassoon
and
Low
Strings



Movement
4,
rehearsal
5,
fifth
 Option
1
 This
is
the
fingering
provided
by

multiphonic
 Gubaidulina.

It
does
not
create
a

multiphonic
regardless
of

alteration
to
air
and
embouchure.








 Option
2
 This
altered
multiphonic

fingering
is
stable
and
maintains

its
timbre
throughout
an
increase

in
dynamic.

It
requires
an

increased
lip
pressure
for

production.

The
multiphonic
is

rather
resistant
and
is
hesitant
in

response.

Therefore,
care
should

be
taken
to
use
a
gentle

articulation.





 Option
3
 This
is
a
slight
variation
on
the

previous
fingering.

It
also

requires
increased
lip
pressure,

but
this
multiphonic
is
easier
to

articulate
than
option
1.


However,
this
fingering
option

does
not
maintain
its
pitches

when
pushed
to
extremely
loud

dynamics.



 Option
4
 This
fingering
creates
a
very

stable
and
full
multiphonic.

It
is

higher
in
pitch
than
the
previous

two
options,
and
due
to
the

graphic
notation
of
the
score,
it

may
not
be
as
accurate
in
its
pitch

relationship
to
the
previous

multiphonics.

This
same

fingering
is
part
of
a
multiphonic

trill
in
movement
2.





 121

 Appendix
A:
Multiphonics
in
the
Concerto
for
Bassoon
and
Low
Strings



Movement
4,
rehearsal
5,
sixth
 Option
1
 Although
these
multiphonic

multiphonic
and
repetitions
 symbols
do
not
have
any


 fingerings
provided,
the
graphic


 notation
of
the
score
indicates

that
they
should
likely
be
lower
in

pitch
than
the
previous

multiphonic.




 This
fingering
is
extremely
stable

and
can
be
pushed
to
the
loudest

possible
dynamic
without
the


 timbre
breaking.

This
was
an

essential
requirement
of

Gubaidulina
in
the
execution
of

this
section.




 Option
2
 Because
there
is
not
a
new


 fingering
notation
for
these

Repeat
the
 multiphonic
symbols,
the
score

fingering
for
the
 here
could
be
interpreted
as
four

fifth
multiphonic.
 repetitions
of
the
last
multiphonic

fingering.

All
of
the
options
for

the
fifth
multiphonic
have
a
more

limited
dynamic
range,
but
it
is

important
for
the
performer
to

push
the
multiphonic
as
far
as

possible
while
maintaining
all
the

pitches.

Movement
5,
measure
before
 Option
1
 This
is
the
fingering
provided
in

rehearsal
33
 the
score
by
Gubaidulina.

It

requires
extreme
pressure
with

the
embouchure,
as
well
as
a

significant
amount
of
air.

It
is

most
easily
achieved
by
moving

the
embouchure
forwards
to
the

first
wire
of
the
reed.

This

multiphonic
is
not
very
reliable
as

it
is
hard
to
initiate
and
the


 pitches
will
fail
with
a


 diminuendo.



 122

 Appendix
A:
Multiphonics
in
the
Concerto
for
Bassoon
and
Low
Strings




 Option
2
 This
altered
fingering
produces
a

very
stable
multiphonic.

It

responds
well,
even
with
an
sff

attack,
and
all
the
pitches
hold

even
at
a
pianissimo
dynamic

level.

This
is
a
very
good
option

for
achieving
a
multiphonic

within
the
musical
parameters

presented
by
Gubaidulina.



 Option
3
 This
fingering
is
also
an
excellent

option.

The
multiphonic

responds
with
an
aggressive,
loud

articulation,
and
it
will
sustain
at

a
soft
dynamic
with
little
effort

from
the
embouchure.





 Option
4
 This
option
produces
a

multiphonic
that
is
slightly
more

dissonant
and
not
as
stable.


However,
the
multiphonic
is
very

flexible,
and
changes
to
the

embouchure
produce
a
variety
of

different
timbres.





 123

 Appendix
B:
Ridendo
Sections
and
"The
Scream"
in
the
Concerto
for

Bassoon
and
Low
Strings



Ridendo
Sections




 "Ridendo"
translates
as
"laughing,"
the
curved
lines
through
the
triangles

help
to
create
a
"laughing"
sound
by
designating
pitch
bends
on
each
note.

The

precise
notes
are
up
to
the
discretion
of
the
performer,
but
Gubaidulina
has

expressed
a
desire
for
sounds
within
the
high
register
that
are
mainly
chromatic
in

relationship.
There
should
not
be
any
harmonic
implication
within
the
section.

The

character
of
these
sections
should
be
tragic,
hopeless,
and
comically
distraught.




 The
easiest
method
of
creating
these
quick
pitch
bends
is
to
use
embouchure

manipulation
on
the
reed.

Because
the
wavy
lines
extend
up
and
down,
it
can
be

inferred
that
the
pitch
bends
should
occur
in
both
of
these
directions
as
well.

It
is

possible
to
create
higher
pitch
by
tightening
the
lips,
closing
the
jaws,
and
pushing

upwards
on
the
reed
with
the
lower
jaw.

Lower
pitches
can
be
obtained
by

loosening
the
lips,
opening
the
jaws,
and
pushing
downwards
on
the
reed
with
the

upper
jaw.




 At
the
end
of
the
"ridendo"
section
in
movement
four,
there
is
an
indication

for
"more
and
more
'hang‐over.'"

This
expresses
a
need
for
slower
pitch
bends
and

a
lingering
on
the
lower
half
of
the
pitch
bending.

The
performer
may
also
want
to

slow
the
tempo
at
the
end
of
this
section
to
further
emphasize
this
effect.

The

closing
of
the
"ridendo"
section
in
the
fifth
movement
contains
the
additional

directive
"lugubre,"
meaning
"gloomy."

This
is
an
intensification
of
the
tragic

hopelessness
of
the
"ridendo"
from
the
fourth
movement
so
perhaps
a
greater

ritardando
would
be
effective
to
highlight
this
aspect.


 The
following
diagrams
show
possible
solutions
to
the
ridendo
sections
in

the
score.

These
are
interpretations
of
the
graphic
notation
in
the
score.

The

diagrams
show
relative
intervallic
and
rhythmic
relationships
determined
from
the

positioning
of
the
triangles.

There
are
any
number
of
solutions
to
these
sections,
as

long
as
the
results
are
chromatic
in
nature
and
do
not
emphasize
a
key
area.





1.

Movement
4,
rehearsal
9,
first
phrase





 124

 Appendix
B:
Ridendo
Sections
and
"The
Scream"
in
the
Concerto
for

Bassoon
and
Low
Strings



Possible
solution










2.

Movement
4,
rehearsal
9,
second
phrase






Possible
solution










3.

Movement
4,
rehearsal
9,
third
phrase








Possible
solution





 125

 Appendix
B:
Ridendo
Sections
and
"The
Scream"
in
the
Concerto
for

Bassoon
and
Low
Strings







4.

Movement
5,
rehearsal
27,
first
phrase
 




Possible
solution










5.

Movement
5,
rehearsal
27,
second
phrase
 








Possible
solution








 126

 Appendix
B:
Ridendo
Sections
and
"The
Scream"
in
the
Concerto
for

Bassoon
and
Low
Strings

6.

Movement
5,
rehearsal
28




Possible
solution












 127

 Appendix
B:
Ridendo
Sections
and
"The
Scream"
in
the
Concerto
for

Bassoon
and
Low
Strings



The
Scream




 In
movement
4
of
the
concerto
at
rehearsal
8,
there
is
the
indication,
"quasi

clamore,"
or,
"like
a
scream."

Many
bassoonists
choose
to
sing
or
create
a
throat

noise,
while
still
playing
the
preceding
D5
on
bassoon,
in
order
to
produce
a
loud,

raucous
sound
similar
to
a
scream.

Some
performers
have
actually
stopped
playing

the
bassoon
and
emitted
a
purely
vocal
scream.

Others
choose
to
insert
a

particularly
aggressive
multiphonic
that
is
successful
at
an
extremely
loud
dynamic.


Although
Gubaidulina
has
said
that
her
initial
intention
was
to
have
the
sound

created
by
the
first
of
these
three
methods,
she
has
admitted
to
being
satisfied
with

any
number
of
options,
including
the
substitution
of
a
multiphonic.


 For
those
performers
who
find
it
difficult
to
create
a
throat
noise
while

playing
a
D5,
the
following
chart
shows
possible
multiphonic
options.

These

fingerings
produce
multiphonics
that
are
particularly
full
and
raucous
in
texture.


Also,
these
multiphonics
are
stable
at
extremely
loud
dynamics,
which
is
an

essential
feature
for
the
realization
of
this
effect.

It
was
particularly
important
to

Gubaidulina
that
this
multiphonic
did
not
"squawk"
or
collapse
into
a
single
tone.







Movement
4,
rehearsal
8
 Option
1
 This
fingering
produces
a
multiphonic


 with
a
full
timbre
and
it
maintains
the

previous
D5
as
a
pitch
within
the

stack.

It
is
a
good
choice
for
the

technique,
as
there
is
not
much
finger

motion
required
to
move
from
D5
to

the
multiphonic.

The
embouchure

should
be
more
relaxed
than
what
is

required
for
D5.

The
performer


 should
focus
on
executing
the


 
 multiphonic
with
a
lower
pitch

embouchure
configuration.

This

multiphonic
will
hold
its
pitches
well

with
a
crescendo
to
the
loudest

possible
dynamic.


 Option
2
 This
option
works
well
with
fingering

also,
especially
if
the
performer
uses

the
Ab
key
for
D5.

This
fingering

produces
a
full,
stable
multiphonic

that
maintains
pitches
with
a
strong

crescendo.

It
requires
a
lower

embouchure
setup
without
much
lip

pressure.










 128

 Appendix
B:
Ridendo
Sections
and
"The
Scream"
in
the
Concerto
for

Bassoon
and
Low
Strings


 Option
3
 This
option
requires
the
same

embouchure
changes
as
option
2,
but

it
produces
a
slightly
fuller
and
more

stable
stack
of
pitches.

The
technique

with
this
fingering
is
slightly
more

challenging,
but
the
multiphonic
is

very
stable
even
at
the
loudest

dynamics.










 129

 Appendix
C:
Harmonics
in
the
Duo
Sonata
for
Two
Bassoons



1st Bassoon, second measure To execute this harmonic it is helpful
after rehearsal 2 to use increased top lip pressure.
Slower air is helpful for keeping
pitch low enough.

1st Bassoon, rehearsal 4 This harmonic requires increased lip

pressure with the top lip especially
and a slow steady airstream. For
good execution, try to maintain L1
half-hole from the preceding G3 and
then open a large half-hole with L2.


 130

 
 Appendix
D:
Quartertones
in
the
Duo
Sonata
for
Two
Bassoons


E2+1/4 Option 1 This note is slightly sharp, but the pitch

is quite flexible. The tone is brighter
than the adjacent notes.

Option 2 This note is very flat, but it is flexible

and can be brought up to pitch. The
tone is more open.

Option 3 This fingering is a little too sharp. The

addition of the low D key can make this
a good alternative to option 1.

131

 
 Appendix
D:
Quartertones
in
the
Duo
Sonata
for
Two
Bassoons


F2+1/4 Option 1 This pitch is stable and the fingering is

easy to execute, though the tone is a bit
muffled and fuzzy.

Option 2 This has a more open tone but is much

flatter in pitch. This may be too flat for
some instruments, as it is not very
flexible.

F#2+1/4 Option 1 This fingering is slightly flat and

muffled. It requires a large amount of
upwards pressure with the embouchure.

132

 
 Appendix
D:
Quartertones
in
the
Duo
Sonata
for
Two
Bassoons


Option 2 This fingering is slightly sharp and

more open in tone. The low Db key can
be omitted to help lower pitch.

G2+1/4 Option 1 This produces a stable pitch with a

warm tone.

Option 2 Provided by Bartolozzi: There is no

discernable pitch change from G2, only
color change.

Option 3 Provided by Penazzi: This note is

unstable and has barely any pitch
change from G2.

133

 
 Appendix
D:
Quartertones
in
the
Duo
Sonata
for
Two
Bassoons


G#2+1/4 Option 1 This note is very flat and requires a

considerable amount of upward pressure
with the embouchure. The note tends to
collapse before it reaches the correct
intonation.

Option 2 This note tends to be a bit sharp and it

works the best with an open
embouchure. The finger technique is
rather awkward and difficult to achieve
in context.

Option 3 This provides a warm and stable pitch

but it is slightly flat.

A2+1/4 Option 1 This note responds well and has a bright

tone. It is slightly flat and needs
increased embouchure pressure to be in
tune. Adding the low E key with the
right thumb will darken the tone.

134

 
 Appendix
D:
Quartertones
in
the
Duo
Sonata
for
Two
Bassoons


Option 2 This is another good option that is

higher in pitch than the first.

A#2+1/4 Option 1 This pitch is slightly flat but can be

brought up to pitch with a firmer
embouchure and faster air.

Option 2 This pitch is rather flat and requires a

lot of embouchure manipulation to
correct.

Option 3 This fingering is flat and somewhat

unstable.

135

 
 Appendix
D:
Quartertones
in
the
Duo
Sonata
for
Two
Bassoons


B2+1/4 Option 1 This note is very sharp with a somewhat

muted tone color.

Option 2 This fingering produces a note that is

slightly flat, but the tone is more open
than the previous option.

C3+1/4 Option 1 The pitch is a bit flat but the note has a
warm tone. Adding R3 brings the pitch
up but brightens the tone.

Option 2 This note is very sharp with a muted,

muffled tone.

136

 
 Appendix
D:
Quartertones
in
the
Duo
Sonata
for
Two
Bassoons


D3+1/4 Option 1 This pitch is flat with an open tone,

although it is slightly unstable.

Option 2 The pitch is better than the previous

fingering, but the tone is brighter. This
note is also unstable.

Option 3 This note has an open, dark tone and the

pitch is stable. The finger technique is
challenging in context.

D#3+1/4 Option 1 This note is slightly flat but it is very

stable. The fingering is extremely
awkward in the right hand. The C# trill
key can either be opened by rolling the
first finger of the right hand (R1)
upwards, or the B tone hole can be
covered with R2 and R1 can be used to
open the C# trill key.

137

 
 Appendix
D:
Quartertones
in
the
Duo
Sonata
for
Two
Bassoons


Option 2 This pitch is also stable, but the pitch is

sharp. The tone of this fingering is
more open than the previous option.
The whisper key can help with the
execution of this note.

Option 3 This produces a less stable pitch and it

is helpful to use the whisper key for this
fingering as well.

E3+1/4 Option 1 This produces a stable pitch that is flat,

although it is quite flexible and able to
be corrected with the embouchure.

Option 2 The pitch of this note is better and the

note is also stable.

138

 
 Appendix
D:
Quartertones
in
the
Duo
Sonata
for
Two
Bassoons


Option 3 This fingering is difficult to execute and

is likely to be impossible without an Eb
trill key.

*Add Eb trill key

F3+1/4 Option 1 This pitch is quite high and requires a

very open throat and embouchure. It
does, however, produce a warm tone.

Option 2 This note is slightly flat but has a very

thin and bright, loud tone. It is easier to
execute in terms of finger technique, but
it will not sound homogenous in the
texture.

139

 
 Appendix
D:
Quartertones
in
the
Duo
Sonata
for
Two
Bassoons


F#3+1/4 Option 1 This produces a stable and open pitch.

It is slightly flat, which can create issues
with quick embouchure and air changes
if the adjacent F#3 and G3 are generally
sharp in pitch.

Option 2 This produces a pitch that is a little too

flat. The effect of this fingering is
similar to using a normal F#3 fingering
and using increased embouchure
pressure to achieve the quarter-step
pitch change.

Option 3 This note is bright in tone and very

sharp. It is inflexible and difficult to
bring the pitch down enough.

G3+1/4 Option 1 This is flat, unstable, and a little stuffy

in tone. Adding a half-hole with L1 can
help to bring the pitch up.

140

 
 Appendix
D:
Quartertones
in
the
Duo
Sonata
for
Two
Bassoons


Option 2 This note is more challenging to execute

than the previous option but it is more
stable. The pitch is also flat.

G#3+1/4 Option 1 This note is stable but the tone is

slightly muffled. The pitch is generally
high for this fingering.

Option 2 This fingering produces a more open

tone but the pitch is slightly flat.

A3+1/4 Option 1 This produces a tone that is a bit flat

and closed.

141

 
 Appendix
D:
Quartertones
in
the
Duo
Sonata
for
Two
Bassoons


Option 2 This note is more in tune than the

previous option and the tone is also
more open. The finger technique for
this note is challenging.

A#3+1/4 Option 1 This produces a good tone and stable

pitch. Adding either the low C# key or
the low Eb key opens the tone.

Option 2 This fingering produces a bright tone

and stable intonation. The technique is
difficult in context.

Option 3 This produces stable pitch and a

muffled tone. It is also difficult to
produce in context.

142

 
 Appendix
D:
Quartertones
in
the
Duo
Sonata
for
Two
Bassoons


B3+1/4 Option 1 This produces a stable and warm pitch

but it is quite flat.

Option 2 This fingering is a bit flat and the tone

is muffled.

Option 3 This note is close with pitch but the tone

is closed and stuffy. It is also difficult
to execute the fingering in context.

C#4+1/4 Option 1 This note has good intonation and has a

bright tone. The note is slightly
unstable.

143

 
 Appendix
D:
Quartertones
in
the
Duo
Sonata
for
Two
Bassoons


Option 2 This fingering is flatter than the

previous option, but the note is more
stable.

Option 3 This produces a very bright tone

quality. This note is rather sharp and
inflexible.

E4-1/4 Option 1 The pitch here is unstable, but the note

matches the tone of the surrounding
notes and it is easy to execute.

Option 2 This note is more stable than the

previous fingering. It is challenging to
execute with the left thumb technique in
context.

144

 
 Appendix
D:
Quartertones
in
the
Duo
Sonata
for
Two
Bassoons


Option 3 This note is stable but not very flexible.

The tone is extremely bright and it may
not blend well with the other notes
surrounding it in context.

E4+1/4 Option 1 This fingering produces a stable and

warm tone with good pitch. Opening R1
makes the note slightly flatter.

Option 2 This pitch is quite sharp and the tone is

thin and bright.

F4+1/4 Option 1 This is very stable with a good tone.

The technique of this fingering is easy
in context.

145

 
 Appendix
D:
Quartertones
in
the
Duo
Sonata
for
Two
Bassoons


Option 2 Taken from Bartolozzi: This note is

challenging to execute in context and
the pitch is rather flat. The pitch is
close to a normal F4, but the note is
flexible and can be brought upwards
with embouchure and airstream.

F#4+1/4 Option 1 This note is slightly flat but it is very

flexible.

Option 2 This fingering achieves a similar pitch

to the previous option, but it is much
less stable and is likely to fail without
fast enough air speed. Adding the
whisper key can help response.

Option 3 This fingering is from Bartolozzi. It is

very difficult to produce a steady tone
using this fingering.

146

 
 Appendix
D:
Quartertones
in
the
Duo
Sonata
for
Two
Bassoons


G4+1/4 Option 1 This fingering produces a stable, full

tone. The note is flexible in pitch and is
a good tone match to the surrounding
notes.

Option 2 This is a slightly flatter variation of the

previous fingering. It is also flexible
with a good tone. It can help to
experiment with closing the L1 half-
hole and opening the whisper key.

G#4+1/4 Option 1 This is a good match to the surrounding

in tone and pitch and is very easy to
execute technically. The pitch is
slightly high. It is possible to execute
this note while closing R2 to facilitate
technique.

Option 2 This note is slightly flat and dampened

in tone quality. It will collapse into a
multiphonic without a fast enough
airstream.

147

 
 Appendix
D:
Quartertones
in
the
Duo
Sonata
for
Two
Bassoons


Option 3 From Penazzi: This is quite flat with a

thin, stuffy tone. It is challenging to
execute in terms of technique with
surrounding notes in context.

A4+1/4 Option 1 This note is difficult to execute

technically in context, but it is very
stable and the pitch is good.

Option 2 This is unstable with a much brighter

tone. The technique of this fingering is
easier than the previous option.

Option 3 This fingering is slightly unstable and

more muffled in tone. It is flat in pitch
and is also challenging with execution.

148

 
 Appendix
D:
Quartertones
in
the
Duo
Sonata
for
Two
Bassoons


B4-1/4 Option 1 This tone is stable, full, and open. It is

easy to execute in context, although the
pitch is sharp. The articulation is very
difficult for this note.

Option 2 This is another good option, though the

tone is not as open as the previous
fingering. The pitch of this note is more
stable.

Option 3 This note is more sharp than option one,

but it has the same tendencies and
characteristics.

C5-1/4 Option 1 This note is sharp but flexible.

Omitting the Bb key in the right thumb
brings the pitch down and stabilizes the
note.

149

 
 Appendix
D:
Quartertones
in
the
Duo
Sonata
for
Two
Bassoons


Option 2 This fingering is difficult to execute in

context and is likely to be impossible
without an Eb trill key.

*Add Eb trill key

Option 3 This fingering is flat but flexible and it
can be brought up with embouchure.
This fingering is stable and responds
well even with a strong articulation.

C5+1/4 Option 1 This is very difficult to articulate, but it

is stable and can work in context if the
accent in the 1st bassoon after rehearsal
21 is done with the breath. Using the
low Eb key with L4 helps to adjust
pitch.

Option 2 This fingering is difficult to execute in

context. The tone is very bright and
thin, but it is stable and the pitch is
good. The note responds well with
strong articulation. This fingering is
likely to be impossible without an
Ab/Bb trill key.

*Add the Ab/Bb trill key.

150

 
 Appendix
D:
Quartertones
in
the
Duo
Sonata
for
Two
Bassoons


Option 3 This note is bright in tone and flat in

pitch. Removing R2 helps bring the
pitch up. The note is hesitant to
respond with a strong articulation, but it
may be a better choice than option 1.

Option 4 This fingering is likely to be impossible

without an Eb trill key.

*Add Eb trill key

C#5+1/4 Option 1 This is stable and full with good pitch.
It is best to use a gentle articulation in
the execution of this note.

Option 2 This is very challenging to execute and

will not reliably produce a quartertone,
although it is listed as an option by
Penazzi.

151


 Appendix
D:
Quartertones
in
the
Duo
Sonata
for
Two
Bassoons


Option 3 There is little pitch difference initially

from C#5, but the note is very flexible
and can be brought up to pitch with the
embouchure. The note has a full tone,
but requires a gentle articulation for the
best response.

152

 Appendix
E:
Multiphonics
in
the
Duo
Sonata
for
Two
Bassoons


1. 2nd Bassoon, rehearsal 22 This requires a normal,

relaxed embouchure and a
moderately intense airstream.
It can be pushed significantly
with air, but additional
embouchure pressure causes
collapse of the multiphonic
into a single tone. If the low
Eb key is omitted, a
multiphonic with a slightly
higher timbre is produced.

This is the multiphonic

fingering indicated in the
score.
2. 1st Bassoon, fourth measure of reh. This multiphonic produces a
22 large variety of tones and
sounds depending on the
embouchure and air. An
important aspect is to
maintain the tied Db5 as a
sounding pitch within the
texture of the multiphonic. It
is more effective to keep the
exact same air and
embouchure while changing
fingerings between Db5 and
the multiphonic. Sometimes
blowing air downwards
slightly into the multiphonic
change can assist production.
It may help to add the low
Eb key with the left hand
pinky as well.

This is the fingering

provided in the score and
there are not other good
options that sound Db5 as a
prominent tone.

153

 Appendix
E:
Multiphonics
in
the
Duo
Sonata
for
Two
Bassoons
3. 1st Bassoon, fourth measure of reh.
22, second multiphonic


Option 1 This multiphonic has a small
range of response. In
comparison to the B4 that
ties into the multiphonic, the
air speed needs to be much
slower, the embouchure
more open, and the support
less intense. It is helpful to
perform these physical
changes from B4 into the
multiphonic as though it is
an octave slur downwards
from B4. The resulting
multiphonic will be an
homogenous chord with a B4
pitch present in the stack.
Option 2 This option is higher in
timbre than the previous
fingering. Although it
requires a similar
embouchure and airstream to
the preceding B4, this
multiphonic may not be the
best choice as it sounds with
many tones higher than B4.
This provides a sense of
resolution upwards, which
does not fit well in the
context.
Option 3 This is the fingering
provided in the score. It has
a narrow range of response
and does not sound the B4 as
a prominent pitch. The
embouchure can be the same
as the preceding B4 but there
needs to be an increase of
airspeed to get the
multiphonic to sound.
154

 Appendix
E:
Multiphonics
in
the
Duo
Sonata
for
Two
Bassoons


4. 1st Bassoon, fourth measure of reh. Option 1 This altered fingering

22, third multiphonic produces a full multiphonic
that is very stable. It
maintains the previous F4 as
part of the pitch stack, but
requires a slower airstream
than F4.

Option 2 This is another good option

for connecting the F4 into a
multiphonic sound. This
fingering is a bit more
resistant than the first option.
It works well at the
indicated, soft dynamic.

Option 3 This multiphonic has an

extremely narrow range of
response. It requires a firm
embouchure and a very slow,
wide airstream. Holding
over from F4, the
embouchure can remain
constant but the airspeed
must change significantly.
This is the fingering
provided in the score.

155

 Appendix
E:
Multiphonics
in
the
Duo
Sonata
for
Two
Bassoons


5. 1st Bassoon, third measure of reh. Option 1 This fingering will sound a
23 stable multiphonic at a soft
dynamic. When trilling the
low D key (in grey), it
produces a downward trill of
close to a half step. Using a
slower airspeed will
emphasize the lower partials.

This fingering option will

produce many different
timbral options depending on
airspeed and embouchure. It
is used again in example 19.

Option 2 This is an “altered F2”

fingering that provides a
reliable, full multiphonic.
The low D key (seen in grey
on the diagram) should be
trilled slowly to ensure that
both multiphonics will sound
successfully.

Option 3 This fingering provided by

Gubaidulina is very difficult
to produce. It requires an
open embouchure with
increased lip pressure and
slow, intense, steady air. As
with the previous two
options, the low D key (in
grey) should be trilled
slowly.

156

 Appendix
E:
Multiphonics
in
the
Duo
Sonata
for
Two
Bassoons


6. 1st Bassoon, rehearsal 24 Option 1 This multiphonic fingering,

provided in the score, is very
responsive and full. It is
easy to produce using a
normal setup for Ab2.
Experimentation with slight
changes to air speed and
embouchure will create
different timbres.

Option 2 This option produces a more

consonant stack of pitches
than the first fingering. This
multiphonic performs with
easy response at a soft
dynamic. The timbre of the
multiphonic may not be
dissonant enough for the
indicated pitch stack.

Option 3 This fingering creates a

multiphonic with a lower
pitch and more closed sound
than the previous two
options. The embouchure
must be tightened and the
lower jaw engaged to
produce a sound at a soft
dynamic.

157

 Appendix
E:
Multiphonics
in
the
Duo
Sonata
for
Two
Bassoons


7. 1st Bassoon, measure before reh. Option 1 This fingering, seen above in
26 example 6, is a good choice
for this context. The
multiphonic created is
dissonant, sounds an Ab as
part of the pitch stack, and
works at the indicated
dynamic.

mp
Option 2 This is an altered Ab2
fingering that produces a full
multiphonic at a soft
dynamic. This multiphonic
is consonant and stable, but
favors a B pitch more than
Ab.

Option 3 This fingering is provided in

the score by Gubaidulina but
it will not reliably produce a
multiphonic despite
embouchure and air
manipulation.

158

 Appendix
E:
Multiphonics
in
the
Duo
Sonata
for
Two
Bassoons
8. 1st Bassoon, fourth measure of reh.
26
9. 1st Bassoon, sixth measure of reh.
26 and second measure of reh. 27


Option 1 This requires a normal
embouchure and strong air.
The resulting multiphonic is
stable and full. It can be
pushed significantly with the
airstream. This is the
fingering provided in the
score.
Option 2 This option produces a full
multiphonic that responds
easily. The timbre is very
dissonant and many beats
occur within the pitch stack.
Option 1 This requires a moderately
open embouchure and strong
air for the initiation of the
multiphonic. In order to
press the whisper key and
low Bb key simultaneously,
it is necessary to use the
whisper lock. Gubaidulina
provides this fingering in the
score.
159

 Appendix
E:
Multiphonics
in
the
Duo
Sonata
for
Two
Bassoons
10. 1st Bassoon, sixth measure of reh.
26 and second measure of reh. 27
(second multiphonic in each)


Option 2 This fingering is an
alternative to the whisper
lock issues from the previous
option. This multiphonic is
also full and responsive, but
the pitch is slightly higher
than option 1.
Option 3 This fingering is a second
alternative to the whisper key
lock issues. The multiphonic
that results is slightly
resistant and consonant in
timbre. The pitch is higher
than the first two options.
Option 1 This fingering is provided in
the score and responds well
with or without the whisper
key. The multiphonic
requires a strong airstream
and a normal embouchure.
160

 Appendix
E:
Multiphonics
in
the
Duo
Sonata
for
Two
Bassoons


Option 2 This altered fingering option

produces a multiphonic that
is lower in timbre. The
pitches in this option are
slightly more focused.

Option 3 This fingering creates a

multiphonic that emphasizes
the D pitch within the stack.
It works well with a relaxed
embouchure and strong
airstream. There are several
beats that occur within the
sound.

11. 1st Bassoon, seventh measure of Option 1 The creation of this

reh. 26 multiphonic requires a
relaxed embouchure. Too
much upward pressure with
the embouchure causes
collapse of the pitches. The
multiphonic accepts a strong
air stream and is stable. Db
tends to be a prominent pitch
in the stack. This is the
fingering provided in the
score. It is helpful to use the
whisper key lock for this
fingering.

161

 Appendix
E:
Multiphonics
in
the
Duo
Sonata
for
Two
Bassoons
12. 1st Bassoon, one measure before
reh. 27


Option 2 This fingering also
emphasizes Db as a
prominent pitch in the
multiphonic array. The
general pitch of this
multiphonic is much lower
than the previous option. It
requires a firm embouchure
with upward engagement of
the lower jaw.
Option 1 This multiphonic is a trill
from a new fingering back to
the multiphonic shown in
example 11.
Start this trill with relaxed
pressure as with the previous
example. The air must be
intense and well supported.
The first multiphonic should
be executed with the low Bb
pressed, and then the low Bb
should be trilled (shown in
grey). A slower trill will
emphasize the slight pitch
change between the two
multiphonics. It is helpful to
use the whisper key lock for
this fingering to stabilize the
multiphonic.
This is the fingering shown
in the score.
162

 Appendix
E:
Multiphonics
in
the
Duo
Sonata
for
Two
Bassoons


Option 2 This option is based on the

second option shown for
example 11. The
multiphonic should be
started with the low Bb key,
and then the low Bb key (in
grey) should be trilled at the
appropriate point within the
score. This fingering
requires a firm embouchure
with upward pressure from
the lower jaw.

13. 1st Bassoon, second measure of Option 1 This fingering is provided in

reh. 28 the score and is the same
exact fingering that
Gubaidulina indicates for the
first multiphonic after
rehearsal 22, as seen in
example 2. However, the
pitches in the score and the
dynamics are different.

This multiphonic speaks

easily and is very stable,
especially at this dynamic. It
does not require any unusual
manipulation but a more
open embouchure will
produce a fuller texture.
Option 2 This option shows the
addition of the low E key to
the previous fingering. This
creates a louder multiphonic
that can be pushed to even
greater dynamics. It is
slightly lower in pitch than
the first option.

163

 Appendix
E:
Multiphonics
in
the
Duo
Sonata
for
Two
Bassoons
14. 1st Bassoon, second and third
measures of reh. 28


Option 3 This fingering option creates
a multiphonic with a
prominent D# in the texture.
The multiphonic is strong
and full, especially at a loud
dynamic. It does not require
unusual embouchure
manipulation for execution.
Option 1 This multiphonic is a bit
unstable and challenging to
produce. It works best with
a breath attack, otherwise it
often will not respond. It
requires upward pressure
with the lower jaw and a
strong airstream. Adding the
first finger of the left hand
provides much greater
stability and better attack
quality but changes timbre
and tonal structure.
Also, it can help to attack the
note with a half-hole in the
first finger of the left hand.
This can be opened
immediately after the
initiation of the multiphonic,
and a more normative
embouchure structure can be
used. The whisper key lock
is helpful for execution, but
not necessary.
This is the fingering
provided in the score.
164

 Appendix
E:
Multiphonics
in
the
Duo
Sonata
for
Two
Bassoons
15. 1st Bassoon, second and fourth
measures of reh. 29


Option 2 This alternative can be
executed with a more relaxed
embouchure, although it also
responds best with a breath
attack. The pitch of this
multiphonic is much lower
than the previous fingering.
There are many beats within
the sound.
Option 1 This fingering is given in the
score for both multiphonics,
although the multiphonic
pitches are notated
differently. The second
occurrence is comprised of
Ab2, C#4, Gb4, B4, and E5.
This multiphonic speaks
easily and is very stable. It
accepts a large quantity of
air. A relaxed embouchure
setup produces lower pitches.
Option 2 This fingering option creates
a multiphonic that is lower in
pitch with regularly
recurring, machine gun type
beats in the tone. The
multiphonic can be executed
with a normal embouchure
and accepts a strong
airstream.
165

 Appendix
E:
Multiphonics
in
the
Duo
Sonata
for
Two
Bassoons
16. 1st Bassoon, third and fourth
measures of reh. 29


Option 1 The single E4+1/4 tone can
be created with this fingering
and slow air. When moving
into the multiphonic, it is
best to maintain the
embouchure and increase the
air speed considerably.
Adding too much
embouchure pressure will
create C5. The multiphonic
will not work if the dynamic
is too soft. This is the
fingering provided in the
score.
Another option to aid
production of the
multiphonic is to begin the
quartertone with the addition
of the low E key, then
remove the low E key when
moving to the multiphonic.
Option 2 This alteration to the
previous fingering adds the
Ab key with R4. The
additional key produces a
multiphonic that is very
stable, as well as providing
extra assistance for the
initiation of the effect.
166

 Appendix
E:
Multiphonics
in
the
Duo
Sonata
for
Two
Bassoons


17. 1st Bassoon, sixth measure of reh. Option 1 This multiphonic requires a
29 good amount of upward
pressure with the lower lip
and a cushioned upper lip. It
needs very fast air and
requires a gentle articulation.
Too aggressive of a tongue
motion will prevent the
multiphonic from
responding. The sound is
most secure with a breath
attack, or it can be initiated
more easily by moving the
embouchure forward on the
reed. This is the fingering
provided in the score.
Option 2 This fingering creates a
multiphonic that is lower in
pitch than the previous
option. The timbre of the
multiphonic stack is also
more compact in nature. The
embouchure and air required
are similar to option 1.

167

 Appendix
E:
Multiphonics
in
the
Duo
Sonata
for
Two
Bassoons


18. 1st Bassoon, rehearsal 30 Option 1 To execute this trill, it helps

to move further forward on
the reed and engage extreme
upward pressure with the
lower lip and jaw. This
responds best with a strong
articulation and fast, intense
air. Start fingering without
the A key (seen in grey) and
then slowly trill to emphasize
tonal changes.

There are two additional

methods that can aid the
production of this trill. The
initial fingering can be
started with a slight half hole
with the first finger of the
left hand. The half hole
needs to be closed
immediately to achieve the
trill. Also, the trill can be
started with the A key added
for an easier attack. This
will create a downward trill.
Option 2 This is another option for the
trill that responds slightly
better than the first fingering.
The tendencies of this
multiphonic are very similar
to the first option. This
fingering also involves
trilling the A key as shown in
grey.

19. 2nd Bassoon, rehearsal 30 Option 1 This fingering produces a

stable and full multiphonic.
It requires a firmer
embouchure to help
emphasize the G and C
pitches within the sound.

168

 Appendix
E:
Multiphonics
in
the
Duo
Sonata
for
Two
Bassoons


Option 2 This multiphonic fingering is

fairly resistant. It works best
with moderate lip pressure
and a slower airstream. If
the airstream is too intense it
will result in a single pitch.

Option 3 This is the multiphonic

fingering provided by
Gubaidulina in the score. It
is very difficult to produce a
multiphonic with this
fingering and is not a reliable
option.

20. 1st Bassoon, rehearsal 38 Option 1 This unusual multiphonic

trill fingering is shown in the
score and involves the
alternation of the low Bb key
and the Ab key, both shaded
in grey. Using the whisper
key lock increases the
stability of the trill. The
initiation of the trill works
best with the low Bb key
pressed.
*** The multiphonic trill needs a
very covered embouchure
with increased upper lip
pressure. When the Ab key
is pressed, the timbre
becomes much brighter and
louder, so it is helpful to try
and control the sound with
an open throat and syllable.
As mentioned with other
examples, the trill motion
*Alternate trill between should be slow to properly
low Bb key and Ab key. execute the technique.

169

 Appendix
E:
Multiphonics
in
the
Duo
Sonata
for
Two
Bassoons
21. 1st Bassoon, eleventh measure of
reh. 39


Option 2 This trill alternates the low B
key and the low Ab key (in
grey). The execution is very
similar to the first option.
There is much less timbre
change between the low B
and the Ab.
***
*Alternate trill between
low B key and Ab key.
Option 1 This multiphonic also
requires an engaged
embouchure with increased
lip pressure. To achieve the
piano dynamic, it is best to
add more lip pressure and
keep airspeed slow and
steady so that the
multiphonic will remain
stable. This option is easier
to achieve than the provided
fingering due to the ability to
press the Bb and low E key
together with the right
thumb.
170

 Appendix
E:
Multiphonics
in
the
Duo
Sonata
for
Two
Bassoons


Option 2 This fingering produces a

multiphonic that is similar to
the previous option, but
higher in pitch. The
technique in the right hand is
slightly easier, due to the
removal of the pinky keys.
The embouchure and air
should be the same as the
first option. The multiphonic
will respond at a very soft
dynamic.

Option 3 This fingering is shown in

the score, but can be quite
difficult to achieve. The
third finger of the right hand
must press both the alternate
Bb key and the G key.
Another option is to use the
first finger of the right hand
to cover the second tone
hole, the second finger to
press the alternate Bb key,
the third finger for the G key,
and the pinky for the F key.
This assortment is especially
challenging for bassoonists
with small hands. The
embouchure and air
configuration for this
multiphonic is the same as
the previous two options.



171

 Appendix
F:
Multiphonics
in
Quasi
Hoquetus

Multiphonic
before
 Option
1
 This
fingering
produces
a

rehearsal
2
 multiphonic
with
a
full
texture,
with


 F#3
as
a
prominent
tone
at
the


 bottom
of
the
texture.

The

multiphonic
responds
better
at
a

slightly
louder
dynamic
and
it
is

difficult
to
get
any
response
without

an
adequate
airstream.

If
the

embouchure
is
too
tight,
the
F#

partial
is
not
present
in
the
stack
of


 
 pitches.



 Option
2
 This
option
creates
a
multiphonic

that
is
lower
in
timbre
than
the

previous
fingering.

F#3
is
included
in

this
multiphonic,
but
it
is
not
as

prominent
as
it
is
in
option
1.

This

fingering
responds
with
slightly

increased
lip
pressure
and
a
steady

airstream.




Multiphonic
before
 Option
1
 This
fingering
is
taken
from
Penazzi's


rehearsal
6
 Metodo
per
Fagotto
and
is
depicted
as


 containing
the
exact
pitches
indicated

by
Gubaidulina.

This
multiphonic

works
particularly
well
with
the

whisper
key
lock
on.

It
is
resistant,

but
it
is
still
achievable
at
soft

dynamic
levels.

The
embouchure

should
be
relaxed
and
a
gentle

articulation
can
help
encourage


 better
response.






 Option
2
 This
multiphonic
fingering
is
fuller
in

texture
than
the
previous
option,
but

it
is
late
to
respond
after
an
initial

articulation.

The
multiphonic
will

"scoop"
up
out
of
a
single
tone.

This

multiphonic
can
be
produced
with
a

relaxed
or
a
tightened
embouchure,

but
given
the
dynamic
indicated,
a

tightened
embouchure
may
help
with

execution.




172

 Appendix
F:
Multiphonics
in
Quasi
Hoquetus


 Option
3
 This
multiphonic
fingering
produces

a
timbre
that
is
higher
than
the

previous
two.

The
texture
is
still
full

and
B2
is
a
partial
within
the
stack.


This
multiphonic
is
a
good
option

mainly
due
to
its
excellent
response

at
soft
dynamic
levels.

This
is
a
good

choice
for
the
musical
context,

although
the
texture
is
not
consistent

with
the
notation
in
the
score.




Multiphonic
at
rehearsal
 Option
1
 This
fingering
produces
a


11
 multiphonic
that
is
full
and
stable.



 Ab2
is
a
prominent
partial
in
the

stack
of
pitches,
although
some
of
the

upper
partials
are
not
precisely
what

Gubaidulina
notated.

The
best
attack

for
this
multiphonic
can
be
achieved

by
moving
the
embouchure
forward

on
the
reed,
and
by
using
a
slow,

warm
airstream.


 



 Option
2
 This
option
creates
a
multiphonic

that
is
slightly
fuller
in
texture
than

the
previous
fingering.

The
pitch
of

this
multiphonic
is
also
slightly
lower

than
the
previous
one.

The
best

execution
for
this
multiphonic
is

achieved
through
the
same
process

listed
for
option
1.

It
is
helpful
to
use

the
whisper
key
lock
for
this

fingering.





 Option
3
 This
multiphonic
is
very
similar
in

timbre
and
texture
to
option
2,
but

the
technique
is
easier
to
execute.


173