Professional Documents
Culture Documents
2
1. Jig
(from The Water Music)
George Frideric Handel
(1685-1759)
These two pieces were obviously intended to be played in altemation (altemativement), but Handel does not specify
which should come first. In other words, choose either I 11 I or 11 - I - II and see how differently the piece tums out.
In any case I should be delicate and 11 quite robust in character.
I Lively (J. = 80)
#-. .... . . #-' v .
.
p
11 I
• f:. f:. f:~~1: ~ ..... -~
. . ....
tJ
P
1'1 I
. . . . . . . .
~ -r
12 v
(16) II
mf
27
:
• "fi
. . ·
cresc. - f
li I ~ I I
tJ ••. .... I
.-
I r •
··
-""--"
··
·· . = cresc. f
~.
I -,j.
- .
r . ... ... ' ~
.- ::+ J 1i!'
"iII -
-:;J:.
··
pp
- ~
. ......... . ......... . . . . .
~
. . . ~
·· . . . . >. . . . . . . . . .
> I > I
p
··
. >.
.... -:;t ...
~~*~t~~ #-r> i. ~ q~~~
> .
~ ~q~ ~ ~ ~ ~ ~ . . >
5
:
p
>
- >
- I
-
. .
>
. .
. > >
·· . . . . . . . .
. . . . . . . ·
P.P
··
. .
~ ~
i -tf
~ '*f ~ -tf ~ '*f ~ '*f ~ ~
4
9
:
fi' •
~ ~ fi' • fi' • -4f -tf -tf fi' • -4f
pp :if
"*>
·· . . . . >
. . ;, .;,- . .;,- . ..
>
. . . . . . ..
> >
.;,- . .;,- ..
>
~ ··
p
~ft~1I''';
. :> . . .
>11' •
.
:> . . ~ft~ 11'.
. :> . . . -
>11' •
.
:>
13 >
>
• • 1*- 1*-
•
>
. • >
• • 1*- 1*
•
P
. . . ;. . . . .
, ·· . . ,l •
. §' I
.
.
pp
f ··
-t1f . ~ 11' • ;J. 11' •
~
. ~
. -t1f 11' • ":;j. 11' • -t1f .
17
:
>
~
.
>
- I
.
>
- I
.
> >
I I I
··
I I i
I . . . . .
I
I ··
=
4 .=. =
4 ..= .
~ ..
= ~ ~
21
:
>
.
~
-
> I >
- I >
I I I I I I I
, ·· . . . . . .
~>
POCo if
I ··
.
.
= -
~ =
4 ..
= ..
~
";
! -4f -:;f ~
5
3, Fayne would I wedd
Richard Farnaby
(b. c.1594)
Try to get a good forte but without making the sound coarse. Be sure to use your left hand thumb correctly in order to
produce the notes A - B~ - C (as in bar 2) without a 'cough'.
J =60)
Strongly (
- Oi .~ ~ • :--~ ,.h~,.. ~ • - - ,..~.~ _.,...fI.
f mf
fl
. . ;(1 .....
tJ U" --e 'l:i'
.\." • T
f mf
.. I
,
. - I
-• J J
. .., .
.' --- I
I I
-tti- .. . .,.. .
I m cresc. f 11ff
...... ..
.w
" .. I.. .----" .w
. . .
- TI. ,. . - . .
~í
í I
tJ
cresc. I f
.o. -e
I ·· . I
I I -
11
cresc.
16
:
i"""' ;. .;,. f1L ,.. ;--.. ;. .;,. .;,. ,.. ~ . •
,
I
p cresc.
~
ItJ i~1J pu
p
--e-
r í. r
r . '~
21
. I~ ,~ ;, ;,. ~~ ;,
>
't: ~ ~ • .~~ . . ~ V 1':\
f f
11 ~ t:\
---n n
I@) ~
nr"- o
i qr ~
I ··
~
.
J S --. f
I I I 1
~ 7) - -:
The middle section of a minuet, march or dance moven\ent is called the 'trio'. It often features a solo instrument, and this
is a real bassoon solo, just as it appears in the original orchestration. Try to spread the sound through the minims and
avoid heavy tonguing at the start of each bar. The figure in the right hand of the piano part will give you the rhythm.
I~
P
1I-Y 1I-.J .~ . ......:.,/ ... ~
1
-
.
1--1';. - .. ~
I .. .
1 I. .
I I
. . / .
r~r~r~r· '-... 1/ 1
9
:
p---....... ------. ,--..., ~~ ~
~ • ~~
:
1
:
11 oU
~
~---:/
. ~---:/
.
...
..
.
~
I
~
I
~---:/
. ~~
.
~-.:/
1"--1 .
1:;1
··
·· ··
(16)
r. - -r~ -r~ --r· r· r~r· r
.......--:--... .". ~
: :
,~
1I,u
·· --- ~~ I. -..-..
-I
p
•
mf
1
-=== ====- 1
--tJ --tJ
/j'J /j'J ~ /j'J ~I r] P
I ·· \
·· . . . . . . .
~--- .
7
25 .p.
-==
~ ~
=
(111)- ..---. .".. V tt
----
~
.p..
.""'"'" --
rit . a tempo
P
I\~ I
v ··
~J ~J -J-J -j~- t7 7J-Y ~-..!./
·· · . . . . ·
. . . I
~~---
:
Andantino (
------
J = 104)
~
- >
- - ---
-,
( un poco piil mosso)
>
p dolce espr.
I
-==-
mf
I
tJ
··
i
·
I
··
•
I
·
··
I
·
·• fi: ··
·
li mf
.. · ·
· . ·
I · I I I
7
:
>
- > v
- - (rit. )
V
(a tempo)
- - ."
-~ .,.>•-_
"
,
I I i I
··· ·· ·· ··· ··· ··
V · G;I'
·· · · ·
-· I I · ·
8
(un poco piit mosso)
13
. ...--.... - - - .-
p
------ .----- ,..--=------
>
-
, I I I~ I I ~I
I @)
··· ··
r;,,'
·· 0-
·
... ·'
~
I ··
· ·
P
·
/
-- ..
I · I
(piitlento) (a tempo)
19 ~ V
--------
ad lib.
li.~ .,,:. . .~ /'. ~ • ~
I I
- mf
3
--===.-= ===- 3 3
--=-= L
I
- I
,
··· ,
, .,,I
.
,
,
I
@) Go'
I'
mf = mp
·· .
t
·
,
. I
24
-~.".- j."..- '(2: /h".
:
p mp
30
:
~ ~.. fL ,.. • ,..~. .---.. .---.. - 1':\
3 3
=
1---
P
=
1\ I
·
I
··
I
··
- ···
f ~:
1':\
·
I@) · -
= -
--
pp
I ·· ·· .
(2.'
· · - ,
··
I I tJ f O·
9
This is another orchestral rninuet trio featuring the solo bassoon. The repeated notes (e.g. bars 2, 18 and 19) should be
played with slight separation; and where you are not playing the tune, try to be a little softer than the piano (e.g. bars
9-14 and 20-23).
.
,
.
··
I ..
~
p
~ ~ ~~ ~
•
'I!
'" ~ ~~ ~
~
• ··
• •
(8)
: ".-- ~n. -.".. .".. (L 1~ ~
1\ I ~
f
,...--....
• ~ . ~ ..:. -~
ItJ ....
f
....,j
------'
------ I I
I
dim.
I
I ··
I I I •
16 pf;.
~ ~~:r:F~ ~ ~~~F~ ~ ~ ~ ~ ~ ~ ~ V ~ ~.
.
:
1\
~
I
mp
I
..
·
- ·· ~.
. .
p
• .~ .~ • • • • • •
-~. ::
p mp
·· · · . . "
. " "
c.,.'
~-----
f ... Có' . r;, " ('J"
mp dim.
1\ . ~ . ~ 1':\
I
..
··" ··
" "
" o
" 1
~
~
dOtm.I I I I I
P
I ·· ·
(;;'
"
---- (;o"
"
c.,.
"
o oc.,. " Có •
"
""
"
.. • • • • • • "
10
Haydn often wrote brisk and humorous finales to his symphonies, and the bassoon often plays the theme. Play as light1y
as possible and make sure to leam the fingerings in this register thoroughly: after alI, many solos use these notes.
AUegro ( J = 104)
:
~ (
~
~ . ,..--,.. . .~~~ ~~t t .fi. ;, F ~~ ;, . ~~ •
:
1'1 1
p
~
= = 1""--'"
P
t.J
P
--""" .
. -------
r-r
... ..
....."
--"""
.J
~
li! li! ~ . ... .
··
·· . . . . . . ··
--- . ~ ~ '-'" - ~
8
:
mf
f:.~ ;-'". ".~. .~ b;, b• ....-....,.. /1;.
dim.
, 1 ~ fl.~ f:- .----..... ;. .~ ....-.... . ~
. -
~
mf
fL~ r". r'~
dim. - . .
--
·· . . . . . .
- ! ~ li!' li!' li!' li!' ~ li!'
16
~ r=~ ;, r-,.. . .. ~~~ ~~ f:. t ~ .. F ~~ ;, ;, ~~
p = P
fi 1 ~ I~
t.J
P,.... -- *.....". ......,, li! li!
~*
·· .
--""" . .
r-~ .-..-01 ~
.
. . . .
• • - • • -
24
• ~ F ~~ ". ~ ;, ~ F f:. ~
:
p
fi 1 . .....--..... . I
.. . .~
. I
··
..,.
.
mf
(';;
- rr
. P
-(T
1
.,.: mf
o
- ~
. P
fi'
"""-J
11
32
:
11 t. . . . • iIr jL ~ jL .;. fi
mf f
fí í í
,.. ,.. ,..
1\ I
.. '" I
. . . . .
I
I
tJ
··
.:
I
mf
. ·
f
'!' ~ • f
til • •
~
. ~ · ~ ~
. ~
. ~
J =92) .
Allegro moderato'(
.-....
. .
~ /"". .. . ~. . ~ .;.
-.
:
f
- p - 9
I
··
f p
·· . . . lo.
. . . ~
,. ,. . ,. .
r r r r
,
8
• __ /L .;,.. • .j.j,. v----,,--·-·--·-·-----
ftcL-
:
~ ,......."
. -"
~
f
··
. ~ . . ~ ~ . .
. . r . . r r
f
·· .
r ~ ~ 1f1 4f. '4f
-:;fI l~J -lf' '4f
16
:
~ C.;,.. h. .;,.. .~ .. /
"" ..--. a •
p
. ~
· ~ ~ L• J.. lo. . .
··
I r
. r . ,. r
p
··
. 7fJ · ;tI ~ ~r .
~' 7f' 1f'
12
24
.. ;.. ~ o ~
r r
r--. .
nj)~
··
r
. t
• ~ ;. ;. ~
~ I
.
I
FJ.h~
.
I
IJ. ~ J ~
I
:
. . p sempre
~ ~ ~
··
1
1If1 f" V ~
. ~ ~ ~
,.
,
~
32
:
r--: ~.
• 3
.
I
- ---:;- "J! '--' "J!I
. .
P sempre pp
- • . ~;..
r::"\ ;. ?-- -"fF ~
··
I ~
3 !
pp
<
1
. .
( ··
~ )
1
111
l!: l!: ~
f
fl 1 I I-I i J ,r'1 i 1---1 i I 1"""-1. I~J.
u
f
I I 1 I I - I -
..
.g ... ~ ... .g .-4J ~
,.
.
":" ! -d
>
7 . t
• .{'~jt f:~ o .".. ~~~ ~ ~ .jt • ~ ~~.
~
= := mf cresc.
Ir-'I
. I i i J i j I~ ~~
fl I I I I
. . . 1
'u I - 1 I
[ I
! I
I~r (Li
--
< - mf cresc.
,------== ::::::=-
-
( ··
..
J
4 ,. ... . 4' . ~.
I ~
13
14
:
~~.:-- . ~. ;; • .;;. ."... • ,. ~.fI.:f!!.
~
1ft
1'1 I
- : f
- I
.
i [ J
.
i j I~
.
t.
"- v .,
-
r r
= f
., .::::..
[
mp
I ! I
I~J
:
. -
\
r; . .... .... . 4' . CI' I
V 1':\
f -
1':\
-= ::.
rf
Allegro ( J = 96)
• .-- • ~ .- fi.
mf
~
~ ·,,-·111 • ·_111 • .'iI ., ·_111 .... .... ., . . . ." ."
,.../ "- ../
mf: p
·· . . .
6
:
~ .---- .---~ rI'-
~
~ ~ ~
p pp
1'1 I
ItJ • -~ .... •
·111'· ·111 ~ LJ
p P.P
I .
. .
14
13
:
~ .
f
~ 'fII----- ~ •
---- ""
p
'fII- ..
ft I
I~ ., .... ...
~ ..,'* ." "* 11 "*,. /"*
• ~ .,~ ~ *-:jJ.* *-:;J.*
j ni:
\
f
.,
I
'
= p
;::/
------.
.
19
:
.. .. 1'--;---'. ~ 1'-~
. . • 1"'. .
, I
[S
'!'
25
:
. :> :>
~ .
.;,. 'f!:- I'-- '.".. . • .". •
f f ~f
..bl
32
: - ~ ~ fi' ~ I'- ~ .1!... .fi.
I
- - - -- P
..bl
-~
-
tJ 11~· *:.,1' ...... 11~ 11 _TI • ......:.-. 1I~· 1I~" ...... .,r ,,*• ..,,~
~ ~
mp :::::::=- P
-~
----
;:]0..
\
C"'. ...
.
ft· 11'1* •
15
38
p mf
45 .-------:---,.. e. ~ ..:.
p ! "> f
;,. ff
1\
ItJ
I
.......
..
I
- . t:; ~
f-,,
.
~
P > •"- ·11· •./"_11
= ~ ~
f p
~ ··
~
'-'
- ~
• ..
>
52
:
.. • # .á fL .- .----... ~1'-
mf
fl
tJ
··
I
. . . . . . . .
58
p pp
dim. p
16
11. Evening in the Country
(from 10 Etisy Pieces)
Béla Bartók
(1881-1945)
The most important aspect of this piece is the contrast between the slow, expressive sections and the faster parts in strict
time. Don't be worried by the changes of time signature in the slow sections, just count straight through: the crotchet
beat is always the same.
J =63)
Lentorubato(
r;. '(I. . . .. (I. '+ ,;. >....... p. 'fi. .. .". fi. '+ - >,-. ...--.... (I. >
mJ' espr. -
··
mf
1 1 I I I
· ·· ··...-. .
--
..-...
I I I
'-' ....
··
- - ·· .
I
. ·
I
. .
I
. .
I -tJ
:::=- p
·· · . I
. I
. ·· . . . .
14
(;I
. .(1.+
"l:
---
.
7.:-
.
I
. .
I I I
pochissimo rit .
: . . .
· I ,
:
fl
:
..:. 1 ..:. 1 . .
I
~
tJ ~f
I I
~ ~f ~
. . . . I
. I
=
f ·· . .
I
~ i i i
Tempo I
>r:::-
20
:
G.P. .(Ii.--"" .. .".. fi. 11- ~ >,....:
>~-----~
I
mf
/':\
G.P. bn- -17 b~ bn- -o bt;;' -(i-- --..- b';;
··
I
ml
t
··
I
b~ .~ b' .b~ -~
b; y----. c;.
\.:.I
17
34
>
: pp
Tempo I
41
:
G.P. "';:--'fI. .,.. 'li- fL':",~>"", - - - p-".1'" 1'"
(I. :.,. - >,...... ____
1 - 1
G.P.
I ·· ..-.
-..
u
:: ::.::
\ ~ i==-'
. ... ~
.... -f'iP .g-; :.::;
f f -
i ··
\
I I I I I~
.-.
.....,.
.....,
conPed.
48 pochissimo rito
~ fi. - > .. 'fi'- ----.... - - > 1":\
.
ml ------........ p - pp 1':\
fl
:
... 12- ...:::::-... ~
~
··
~~:
.-.
t t.J
........ ~~
.....,.~ u
I
\
·· .-........
'-'
.........
'-"
'--' • r;; • ____•
".......
r;; ::::;
'li
··
Z;. IV
.
(J'
..
Ped. _ _ _\:.I
_ _--'
18
12. Le Piccadilly
Erik Satie
(1866-1925)
This is a march in ragtime style, very similar to the music of Scott Joplin. Eníoy those 'íazzy' rhythms and the surprising
articulation marks, but remember, it's not ali loud! It has a 'trio' (just like the Schubert and Haydn minuets) in a new key;
don't forget the E~s when theyappear.
pp
13
>
f
19
19 Fine
25 Trio
. .. .. r-. ".... . ..
~~ '-.-~ "---'".: ..........
p
.....- - ......
f dim.
fi I ~ ~ ~ ~ ~ ~
:
. b
V V V
, .......
'4V f dim. p
~ ~ ffi;.
I ..
~".",,--,
~"
32
f f
f p = f
ff
GOINGSOLO
(8)
9:~!'1, ~Ir ro I ro
o
11:
p
=
(16) II
-°
22
f
.. ..
mf
r ~ r ~ 1r
-========
J\ ~ ~ I E @'
cresc.
ar lO: L ~Il Cr ii JU1J~~ f
:11
'}: (, 4 r J r IJ r J r IJ rJr r r
5
?:
p .
pp
© 1987 by Faber Music Ltd This music is copyright. Photocopying is illegaL
3
10
,:
-- J. ~~ ~ I ao ?
ao. + .
~ ao ~~ I: J {~ ao ~ I: 62=;#
. . . P
"~#é ~ :±
~ .. ~ I =
.==- .
ar r ti r I
::r- • >
. . .. >
Try to get a good forte but without making the sound coarse. Be sure to use your left hand thumb correctly in order to produce the
notes A - B~ - C (as in bar 2) without a 'cough'.
Strongly ( J =60)
,:~~ Ur: rr UIU rt LrflfrrTr UIE F ItY'Ê ar I
f ~
cresc. f mf
11
cresc.
16
f):; (9
J
I !li cresc. I
4
The middle section of a minuet, march or dance movement is called the 'trio'. It often features a solo instrument, and this is a real
bassoon solo, just as it appears in the original orchestration. Try to spread the sound through the minims and avoid heavy tonguing at
the start of each bar. The figure in the right hand of the piano part will give you the rhythm.
p
9
(16)
5
t}:' 11: , It
p :
rito
27 :"\ ...--.......
'):' C r rrr r
1
9
:
I
I
p
34
Andantino l ( J = 104)
~ >
P doZce espr.
IL rr r tt3fft =
( un poco piu mosso) (rit. ) (a tempo)
6
.~ ~
mf
.. >
g r I cr E ê1 F
" > ~ >V
are F ~
EI (1;
=
rr Er
V-
;
5
(un poco piu mosso')
!h r EI
18 -
!h [
-===:::::::::=: mf -=:::::=- - -= ===
23 (a tempo ')
p mp
30
II
P
~J
~
.r I Er r Enr (Clr
~ 1":\
I II
==
6. Trio from Symphony No. 85 in B~
(La Reine)
Joseph Haydn
(1732-1809)
This is another orchestral minuet trio featuring the solo bassoon. The repeated notes (e.g. bars 2, 18 and 19) should be played with
slight separation; and where you are not playing the tune, try to be a little softer than the piano (e.g. bars 9-14 and 20-23).
!h"1
p
~I [CrrEPI EE E IfEEeE'1 t 1 ai [rEgÚI
p
V
I
[-r'
I
'I1I'JI
D.C. aI Fine
26
=h" r r r Ir r br I E~IF Ê
dim.
F Ir r [ I r l' I
6
7. Finale from Symphony No. 85 in B ~
(La Reine)
Joseph Haydn
(1732-1809)
Haydn often wrote brisk and humorous finales to his symphonies, and the bassoon often plays the theme. Play as lightly as possible
and make sure to learn the fingerings in this register thoroughly: after alI, many solos use these notes.
Allegro (J 104)
~
P
:-'\
(8)
p -===== ===- p
24
9:~& r , - p
-
32
9:~IJ
II
tnJP JP
r
8. Entr' acte from Carmen
Georges Bizet
(1838-1875)
This piece is reaIly for two bassoons playing in unison. It is full of contrasts between loud and soft playing. Can you nearly fade out
altogether at the end? Two things to watch - the change of key at bar 21, and the B - ct trill in bar 14. Leam the piece without the triIl
first, then try it: you will need to finger B~ and triIl with the third finger of your left hand. Ask your teacher to show you how.
p 9
8
.
. 9:#_.. . _. . . . . . . . . ._._. ._._.. . .
~ ~
~ .; I r' !l lia r~ I F IL I
JP
11
3 r-:. .
'If~ rI
11 sempre
9. Tower Hill
Giles Famaby
( c.1563-1640)
The key of E~ may seem tricky at first but it is a common one in music for wind instruments. A~ with the half-hole needs particular
attention not too open! as does the fingering change from there to the B ~ above n. Why not leam the scale of E ~ major at the same
time?
Brisk ( J =92)
> >
tt - . '.
2: ~Ilb (~ r r Ê I r r E Ir cf r r I r r r
• (2 '.
f
.
2\bb 'I jf r Ef f I 'í EJ r G r I{f CEf I r t r Ir t tI
:
>
;:~~b E rt f r I Ê
= ==- 'lnf
=== cresc. =
16
f ~ =
;:~bb rrrffftCIELEfrrr:rlfrcfCrHlur r- V(' II
'lnf cresc. f-e
8
Count carefully when you reach bar 9 and try to observe the dynamic markings. From bar 51 to the end there should be a gradual
diminuendo.
Allegro\( J =96)
mf
. .
;:~b a. I * , VlÊ, I t p
'1 gIe ti I(ei I r1itr ,t I
pp f P
. ~. ..-...
> ê f:. ~ Ê· ".~ ".
25
Ir I r;L I r 1Ê t;t I Ê ti 1
. > . .
,: ~& l 'I ~ l 1l 'I ~ 'I ~ AI F
f f ~
33 • • ~. ~ -
•
> f mf
9
11. Evening in the Coun try
(from 10 Easy Pieces)
Béla Bartók
(1881-1945)
The most important aspect of this piece is the contrast between the slow, expressive sections and the faster parts in strict time. Don't
be worried by the changes of time signature in the slow sections, just count straight through: the crotchet beat is always the same.
mf espr.
r[
:I ~ ~ r Et II [1 r
pochissimo rito
12 ---.., - - >
r'1t'r o
III
Allegretto ( J 132) =
o..
Ireeere ffIl
>
n ~ ~ tE f I ~ J. r
10
:1: I pJ
pochissimo rito
G.P.
- 111
38 G.P.
,
. >
= f ==:==- mf
pochissimo rito
49 ~ _ > f:. ----... - -
,: t Cr Eri' 11:
?-
r r r fll cr r 11 (3 r
>
õ
Ir - II
= p == ===--- pp
10
12. Le Piccadilly
Erik Satie
(1866-1925)
This is a mareh in ragtime style, very similar to the music of Seott Joplin. Enjoy those 'jazzy' rhythms and the surprising artieulation
marks, but remember, it's not allloud! It has a 'trio' (just like the Sehubert and Haydn minuets) in a new key; don't forget the E~s
when they appear.
pp
Ir Ir755Jr p
U 1m I t te Ftt F I
-- ~ .. >
l I
15
9:~
6 r ~ CP.*~ J
, I
Fine
Trio
25
. . . . .
,:~Il J J)'
~. ~.
I:J ~.
j)' - It j rE F3=· I
f dim. p
-======= f
1 ~t
f
ti t tI 1 u fi u ti I ( j 1 1
>
"):~" . ff -, :/ -<=>