BOO K 1- Bassoon

STANDARD OF EXCEILENCE
COMPREHENSIVE BAND METHOD
By Bruce Pearson

Dear Student:

Welcome to the wonderful world of instrumental music. The moment you pick up your
bassoon, you will begin an exciting adventure that is filled with challenges and rewards. If
you study carefully and practice regularly, you will.quickly discover the joy and satisfaction
of playing beautiful music for yourself, your family, your friends, or a concert audience.

1 hope you have many rewarding years of music-making.

Best wishes,

Practice and Assessment - the key to EXCELLENCE!

Make practicing part of your daily schedule. If you plan it as you do any other activity, you will fin('
plenty o( time for it.
›Try lo practice in the same place every day. Choose a place where you can concentrate on making
music. Start with a regular and familiar warm-up routine, including long tones and simple technical
exercises. Like an athlete, you need to warm-up your mind and muscles before you begin performing.
>Set goals for every practice session. Keep track of your practice time and progress on the front cover
Practice Journal.
▪ Practice the difficult spots in your lesson assignment and hand music over and over, until you can play
ihem perfectly.
Spend time during each practice session using the STANDARD OF EXCELLENCE Book 1 ACCOMPANI-
MENT RECORDINGS and iPAS practice and assessment software. The ACCOMPANIMENT RECORDINGS
ancl iPAS are includeci on two CDs in the STANDARD OF EXCELLENCE ENHANCER KIT, available separately
(Neil A. Kjos MUSiC Company eclition number PW21EK).
▪ Ai the end oí each practice session, play something fun!

ISBN 0-8497-5928-5
e) 1993, 2004 Neil A. Kjos Music Company, 4382 Jutland Drive, San Diego, California.
International copyright secured. All rights reserved. Printed in U.S.A.
WARNING! Governments around the world provide copyright laws to encourage composition and publication of new music.
Anyone copying this music without permission is breaking the copyright law and is subject lo penalties.
Please do not violate copyright laws. Do not copy or reproduce the contents of this book in any way. Thank you!

Vos NEIL A. KJOS MUSIC COMPANY, PUBLISHER W21BN

2

PUTTING YOUR BASSOON TOGETHER

STEP 1
Open your case right side up.Soak your
reed in a small container ofwater. Grease
corks if necessary.

STEP Z
BELL— Hold the boot joint in your left hand.
Using your right hand,put the wingjoint
into the boot joint. Align the inside
curve with the hole for the long joint.

connecting levers

BOCAL

vent
hole
cork
etnizz
whisper
key pad reed

LONG
JOINT WING
JOINT

STEP 3
Using your left hand,push the long joint
into the assembled boot and wing joint.
Align the left hand thumb keys. Engage
the locking mechanism if your instru-
ment has one.

STEP 4
Hold the bell in your right hand and
depress the key with your thumb. Gen-
tly push the bell into place, aligning the
connecting levers. Insert the hand rest
and adjust.

STEP 5
Hook the neck or seat strap to the
bassoon. Hold the bocal near the vent
hole and gently push the bocal into
place. Align the vent hole and whisper
key pad. Put the reed on the bocal and
adjust it to playing position.

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 3

PREPARING To PLAY
STEP 1
Su up straight on the edge of your chair.

STEP 2
Acijust the seat strap or neck strap so the reed touches your
lower lip.

STEP 3
Rest your bassoon against the base oí the left hand index
finger. Position the left hand so the thumb can easily touch
the whisper key.

STEP 4
Adjust the handrest so your right fingers can easily reach the
tone holes.

STEP 5
Curve your fingers on both hands. Keep your wristsstraight.
Your elbows should be away from your body.

PLAYING YOUR BASSOON

STEP 1
Shape your mouth as if saying "whee-too." Relax your lips
and open your mouth so that your teeth are one-half inch
apart.

STEP 2
Pull your jaw back. The jaw is always back while playing.

STEP 3
Cover your bottom teeth with your lower 141

STEP 4
Put the reed in your mouth so the upper lip touches the wire.
Close your lips in a drawstring fashion with equal pressure
on ah l sides of the reed. Feel as though you are saying "ah."

STEP 5
Take a full breath of air and play a long, steady tone.

CARING FOR YOUR

BASSOON
STEP 1
After playing, remove the reed and blow out the excess
water. Place it in the reed holder to dry.

STEP 2
Shake and blow the excess water out of the bocal before
stonng it. Remove each joint and carefully swab each one
out.

STEP 3
Dry each joint, and then wipe the outside oí your bassoon
with a soft, clean cloth. Carefully put away ah l parts of your
bassoon and latch your case.
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 4

FOR BASSOONS ONLY

BASS
CLEF
7: TIME
SIGNATURE
WHOLE
NOTE
WHOLE
REST
Ledger Line Bar Lines A whole note gets A whole rest gets
4 counts in time. 4 counts in time.
4 counts E Ci F
in each Staff
4 A o (1
measure
Measures

1:1 E IS FOR EXCELLENCE

E • E
t): I
9:1 - Ulnr ~I

O = open W = whisper key

• = pressed down h.h. = half hole A double bar line marks the end of the music.

•DELIGHTFUL D'S
D •

•"

▪ TWO OF A KIND
9: 0 o ti

• Use plenty of air.

4 C - SAW
•
9 t 9.1 ti ti

▪ BASSOON REVIEW

9.1 o ti

• Are you playing with a good ernbouchure and hand position?

6 TALENT SHOW

9:1 ti

Fi BASSOON PLATOON
MIK
ti
t O ti

• How is your posture?

W2113N
 5

FOR WOODWINDS ONLY

BASS
CLEF
9: TIME
SIGNATURE 1 WHOLE
NOTE
c) WHOLE
REST
Leciger Line Bar Unes A whole note gets A whole rest gets
/ 4 counts in 2 time. 4 counts int time.
,1
= 4 counts
in each
measure
4
-/ 4 A e
a
o 7 Staff t
Measures

A flat (6) lowers the pitch of a note

FLAT one half step. it remains in effect
B for the entire measure.

11 THE FIRST NOTE

D •
9, ,•
9: o o o MEI
o

•o = open W = whisper key

• = pressed clown o h.h. = half hole A double bar line marks the end of the music.

El THE SECOND NOTE

•
•
9: (I t_1 ti ti

Ej TEA FOR TWO

9: o ti
1~1

Use plenty of air.

4 THE THIRD NOTE

B flat (135) 136
: s%•
T.• 1)0
•
I> When you see a fingering with letters and numbers, refer to page 48.

THREE,OF A KIND

9: t o ti
'Mar

I> Are you playing with a good embouchure and hand position?

6 THREE'S COMPANY

9: be. o ti

WOODWIND WHIRLWIND

How is your posture?

1.4a 1
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FOR THE FULL BAND

BAss 9: TIME WHOLE WHOLE
CLEF SIGNATURE NOTE REST
Ledger Line Bar Unes A whole rest gets A whole note gets
/ 4 counts in 2 time. 4 counts in 2 time.
= 4 counts 4 A

in each
measure
A e
E a
Staff 9:o
V".
Measures

A flat (6) lowers the pitch of a note

FLAT 1o 1,0 one half step. it remains in effect
B for the entire measure.

fl TIME FOR BAND

•
•
o wo
I o

o = open
• = pressed down I> A double bar line marks the end of the music.

THE FUN CONTINUES

•
•
.9:
1,
w•
o 11 11 ti
1
111 WHOLE LOTTA COUNTING

1_, o 11

▪ Write in the counting and clap the rhythm before you play.
4 FOUR SCORE Page 39111*
B flat(Bb) •
•
w•
•
1,0 Lo
o
When you see a fingering with letters and numbers, refer to page 48.
• When you s,ee a page number followed by an arrow, Excellerate to the page indicated íor additional studies.

110 MIX 'EM UP

Li
110 13

6 MELTING POT
9:j 170 o CE

BAND ON PARADE

9:lio 13 o 1,0

• Lines with a medal are Achievement Lines. The chart on page 47 can be used to record your progress.
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 7

HALF NOTE r HALE REST BREATH MARK

9

Each half note gets Each half rest gets

2 counts in time. 2 counts in t time. Take a breath.

9:1 19 r
8 A BREATH OF FRESH MR
)
4: o Li Li
1.0 17 o

Be sure to take a fui' breath of air.

9 SIDE BY SIDE
4_1 Li
4

10 TWO BY TWO
ti 1_1

Ela HALE THE PRICE also played 13/3

'

,r j 1 451 e - 17 o

I> Write in the counting and clap the rhythm before you play.

LEI CARDIFF BY THE SEA Page 391111* Welsh Folk Song

1 1 Li 1 1 pi
jE TWO FOR THE SHOW - Duet
A. 5

9 1 1,0 ej 1 1
B.
9: 17o j J
14 GO FOR EXCELLENCE!

1 1 .13
t'o

W218 N
8

QUARTER NOTE QUARTER REST PHRASE

Each quarter note sets Each quarter rest gets

1 count in t time. 1 count in time. A phrase is a musical thought

9:1(1) rrfr or sentence. Phrases are usually

four or eight measures long.

A QUARTER'S WORTH

91 rrrr 1111 1111

Write in the counting and clap the rhythrn before you play.

16 HOT CROSS BUNS fnglish Folk Song

j 1,0 .,J11 pi
clap
x JJJ JJJJ 1J1 ju u

Ifig AU CLAIRE DE LA [UNE French Folk Song

71t,J1 J 1,e JJJ ri 9 1

Dra‘,v in a breath mark al the end of each phrase.

18 DOWN BY THE STATION Traditional

7:holJ1arlrl 1 1J1 J11 J-

19 EASY STREET
E flat (E b) e

9. 9:pr r rrr rr J r r 1 r 1 tbrr ri JI 1

20 COUNTRY WALK English Folk Song

7:PrrrJ 9 J o JI 1 -6r i,61 rrr

GETTIN' IT TOGETHER

7: 4z, .o 9:1191r o
o rrr
EEI FOR BASSOONS ONLY

7:11,JJJJ JrJr rrrr 1

21
 9

REPEAT SIGN COMMON TIME FERMATA SOLO One person plays.

C SOLI Whole section plays.

= Hold the note or

Repeat from the beginning. Common time means rest longer than TUTTI Everyone plays.
the same as t time. its usual value.

159 MERRILY WE ROLL ALONG Page 39 1111* Traditional

9.1 r JhJJ trr Jii rr O 1

I> Write in the note names beiore you play.

24 LIGHTLY ROW- Duet Traditional

bu O O O
t›.
rr 'yr

r, 1,J•.•
ONE STEP AT A TIME

7'hJJrJ 1 rr r 17 tj J~.

rrr rr 1
Write in the counting and clap the rhythm before you play.

26 GOOD KING WENCESLAS Traditional English Carol

solo/son , Tutti S010/5011 Tutti

9e 71> 1 rrr cJ ait/J

r
SONG OF THE FJORDS Norwegian Folk Song
Solo/Soli Tutti Solo/Sob Tutti

7: .14 ; 1
PO 1 J br, 1111 J 1 bp o 1
28 Composer
your narne
•

9: r r r rrrd JrrJ hJ r r r rrr'

1-111 in the rest oi the measures using the given rhythms and any notes you know. Tiile and play your composition.

29 GO FOR EXCELLENCE!

9. e 5J j J rr 1 rr h ,
1

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lo

TVE TIME SIGNATURE

g = 2 counts in each measure
A tie is a curved line that connects two notes 4 =quarter note gets one count
of the same pitch. Tied notes are played as one
unbroken note.
91(1)r r 1 1

30 WARM-UP
/71
9* ,•
e
• 6i Ty 9

•
• f
_
TIED AND TRUE Page 39 111,

fi rl

r r
Be sure to roll to the half hole finger position.
r
Efi JOLLY OLD ST. NICHOLAS - Duet American Carol
A.
(1/ Iff o
rrrr
ti
JJ r'r
B.

'Y e rrrr rtr JJJJ JJ J J J (1

Ea AMIGOS Mexican Folk Song

u-
r -

Keep on playing'

9:
-r J J J
Write in the counting and clap the rhythm before you play.

34 FARM OUT Traditional

5

7: r J J J 4.

r r r J

r 11

r J J J J I/
r rl

Ea FOR BASSOONS ONLY

J ti .1 J fi 9

r
r
Are you rolling to the half hale íinger position?

W21BN
 11

Key signatures change certain notes throughout

KEY SIGNATURE a piece of music. This key signature means
play ahl B's as B flats and ahl E's as E flats.

36 MARK TIME
A A /7\
J a. t,JJJ JJ1 JJ a JJ pi J

SWEETLY SINGS THE DON KEY - Round Traditional

1. , 2.

9dJ,J J r JJJ <I>

r r •ft
o

38 MARY ANN \Nes( lndies Folk Sors

Solo/Soli Tutti

9' e r o J 1 1 J 61 J
Tutti
Solo/Soli

9:17'rrrr 61 JC d
1 1 tJ
J J JJ
Write in (he note names before you play.

39 CRUSADER'S MARCH 4g
.g1 Traditional

.1.
J rr rl o

Write in (he counting and clap the rhythm before you play.

40 BALANCE THE SCALES

Draw one note or one rest to balance each scale.

41 GO FOR EXCELLENCE!
o
r J
9 5 J 9
J
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12

BALANCE BUILDER
Tonic Subdorninant Dominant Tonic
2 3 4 5 6 r:\ 7 /71
e>

JINGLE BELLS
Band Arrangement J. S. Pierpont (1822 -1893)
arr. Chuck Elledge (h. 1961)
2 3 , 4

61 7
5
6 7

,51 J J J
10
D
J J
14 15 16
o o o
J o

5
17 18 20

J J J J 19jj j
r r
22 23 24

J J r

42 SCHOOL SONG
soto/son , Tutti

J J r J J ir
Solo/So i Tutti
o o o J J o J J

43 FOR BASSOONS ONLY

9:11 r r J rrr rr J J J J
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 13

EIGHTH NOTES Two eighth notes are as long

as a quarter note.

L.1* p II p Lo • •

Each eighth note gets 1/2 count in and t time. 1/2

+=J
1/2 = 1 count

44 WARM-UP
(4o o
9 : 1717 t

45 EIGHTH NOTE ENCOUNTER

91 r r wr r r c_rx r r wr r r cfr :
d;wilij
1 — Jjjj jjj,1 jjjj :
\Airite in the counting for the top line before you play.

46 JIM ALONG JOSIE American Folk Song

9:176'1 r rLS r J r r :_r r J J o

47 EIGHTH NOTE EXPLORER

crJJJJ JJJJ JJJJ JJJ )) :

I> Write in the counting for the top linc before you play.

48 GO TELL BILL Gioacchino Rossini (1792- 1868)

9.(4 r r 1.1 J 6rLr J.17

J LS J J J LS r r r
49 GO FOR EXCELLENCE!

9: 1,r' e Jrr J • J uJ r rkr rr rr J

W2 1 BN
 14

50 EIGHTH NOTE EXPRESS

9

9:t r r r r r r r r
clap

j
JJJ JJ)JJ JJJ,J j)Jj,j
Write in the counting for the top une before you play.

SKIP IT, LOU American Folk Song

soloisoti Tutti

9:,bt r Lir J r J a a
J
soio,s011 Tutti

,,,b r Lr J r J J J
EIGHTH NOTE EXPERT

.9•• r r -r r hir r r •
íJp clap

j
JJJ JJJ 1
Write in the counting for the top line before you play.
JJJJ IJJ 1

MEXICAN MOUNTAIN SONG Mexican Folk Song

r r _r
):bJ r r 9 •
r r
54 BAFFLING BAR LINES

r -r Lrr
9 J
Write in the counting and draw in the bar lines before you play.

.-4011,111

FOR BASSOONS ONLY

9

9:02 J r f i J •
r rl rrCt
P
J
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 15

SLUR PICK-UP NOTE 'Yr r r

A curved line that connects two or more A note that comes before the first full
notes of different pitches. measure of a piece of music.

56 WARM-UP

rl Cl>

• Tongue only the first note of each slur.

la THEME FROM "SYMPHONY NO. 1" Johannes Brahms (1833- 1897)

9

9h 7 9
rt, J br •• o b

58 ERIE CANAL CAPERS American Work Song

J r r c_r IN

Ltv J
):J r J
Jtrr
59 LAUGHING SONG - Round Traditional
1. 2.

91,fij J -r J

60 STAR SEARCH Wolfgang Amadeus Mozart (1756 - 1791)

9 t- Lr J
9 Lr 1
• Draw in the missing notes ior "Twinkle, Twinkle, Little Star" before you play.

61 GO FOR EXCELLENCE! .. -

•J •
11 •
rl r
tir •• •
rrrr r J nJ
1V2 1 UN
16

This key signature means play all B's as B

KEY SIGNATURE flats, all Es as E flats, and all A's as A flats.

62 CLIMBING STAIRS

r ,r
5

PO
PIPPO

c_r r r
63 BINGO American Folk Song

o
r7J J 1,J J rrrr
tit
J.

r 11?- rr p r11.
64 THERE'S MUSIC IN THE AIR George E Root(1820 1895)

rr rr
65 THERE'S THE SAME MUSIC IN THE AIR George F Root (1820 1895)

I> Circle the notes changed by the key signature.

íd r o

66 SCALE SKILL Page 39 111111>

111;'0! Jii r r r 9

rl

67 FOR BASSOONS ONLY

A
1,17 44 • •o J o o t • moTra
. J
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 17

DOTTED TIME SIGNATURE

HALF NOTE DYNAMICS

A dot af-ter a note adds half 3= 3 counts in each measure

the value of the note. 4 = quarter note gets 1 count forte(f)- loud
cl+• =J+J=J
2 + 1 =2 + 1 = 3 counts
9:1,11/9)r r r r piano (I') - soft

68 WARM-UP 9 (71

7:1'5 €4 rr r
o
r• a
r r
• o
1
69 CHANNEL THREE

9
•

fr J r rl
rl•

clap I
J J J
pat
I> Write in the counting for the top line betore you play.

70 DOWN IN THE VALLEY American Mountain Song

r r íd r r o

9:1,b, r r r r
f
Eil BROTHER MARTIN - Round Latín American Folk Song
1. + 2.

9:t79 J J
3.

o. 6 o

THE LITTLE FISH Australian Folk Song

1,9 .7: rr r r r J J rrr rr J 61

Dra,A, in a breath rnark at the end of each phrase.

Igg "When
GO FOR EXCELLENCE!
Lave 1s Kind-
Czech Folk Song

Jrr r5r r r J u II
J íd
W2 113N
18

A natural sign cancels a flat or a sharp.

NATURAL 111 remains in effect for the entire measure.

74 WARM-UP
A flat (Ab) •
•

•
J 1 J JJ
•

OLD BLUE Traditional

solo/son Tutti

J J J r 90 J t7

Solo/Soli Tutti

-JI in á
9 trc

76 THIRD TIME AROUND

A;

J rd J la fi J
C:ircle the notes changed by the key signature.

LULLABY - Duet Traditional

A.
,J O
61
rr rr o

B.

J J O E Jrr
Jo
Robert Frost (b. 1942)
78 MINUTEMAN MARCH

9: wlif7 r J J -411n
also played

momo
rrr
79 FOR BASSOONS ONLY Page 40 11111*

9: t>b t 61 J J 61

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 19

ACCENT Attack the note louder.

ist and 2nd Play the first ending the first time through.
Then, repeat the music, skip the first ending,
END1NGS and play the second ending.

ONE-MEASURE Repeat the previous measure.

REPEAT SIGN
Mexican Folk Song
80 MEXICAN HAT DANCE

II 13 J JI 1

J I JI J J J
J13
81 FRÉRE JACQUES - Round French Folk Song
,2. , 3- 9
4.

9: 177
( W

f.
rr
9 oo0
JrJ
82 MORNING MOOD Edvard Crieg (1843 - 1907)

1, 4 J J J fl J J 1
83 MING COURT Page 40 IIII Chinese Folk Song

9 1/h- ár:
o
9:
Write an S under each slur and a T under the tie before you play.

84 GO FOR EXCELLENCE!

o o O
J47
1 •
-• á O tO o. Of
11
O

r J fl" Lrr O J J 1
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20

SAWMILL CREEK
Solo with Piano Accompaniment
Bruce Pearson (b. 1942)

6
2 13 1 4 "'s., '5
11 ,
Bassoon o•
•• O O O OO

Go back to the first repeat sign. --t

4
i 2 I.
I 1 •
1
Piano 1

• 1 1 a
•

7 12. 9 11
• , 10

••
12
I ir
C:P rrrJ3' o
1

2.

• 1 410 o o S
a

9- J Efl F • ir tu

16 17
13 18 9 ,•-\

9 L b, •0-9
mal
J 0 00 J Car essiff 9
eir

• EJ •

J 1 1 1
1,17i,
FF F J J •
1 •
4-1
1.71
Z

20 21^, 22 23 24 25
4): 1
MON --

J 1
.DJ e
•
9.'3, I J 1 J• Z-Z
1993, 2004 Neil A. Kjos Music Company. Page 20 is authorized for duplication to meet specific requirements for festivals,
contests, and competitions. A photocopy may be distríbuted to an accompanist. All copies must be destroyed after the event.
W21BN
 21

Rest the number of measures

LONG REST indicated.
COUnt: 1 2 3 4 2 2 3 4

MONTEGO BAY
Band Arrangement Calypso Song
arr. Chuck Elledge (b. 1961)
1 •4 4 6 5 7 8 in 9

J JJ J
•11

a a 44 a I/ dmmil

1
11 12 13 15 • 16 2
r
14
or
J rJr1 Liw

21!
18 19 20 22 5

rrrr 1 - J IsJ J J n>. >. >,.

1 ist time -f
2.1u3 time p 28
1 I.
23 25 26 27

9: J J rJ J J J
í 2.
29 30 31 32 33> 34> 7- 7- 7-

rr JJJ
7 r r
1

REGAL MARCH Bruce Pearson (b. 1942)

Band Arrangement
arr. Chuck Elledge (b. 1961)
1 2> 131 4 5 6 g

ih e 0
:7
> > „ J J J
1 9 11

1.
8

J
10
r 2.

61
12

r r
13
14 16 18

t, r r J 61 17 r r
121j
19 20 22> > 23> > > > 7- 24>

J r r J > trr5 JJ
25 26 27 28 5 29> > 30>
7:4Y
9b J J F.e J r r J
7- r r
W2 I BN

P5r5s.r?'
•-•
n4.
22

85 WARM-UP
o• o
r
86 FULL OF HOT AIR
B flat (B1,)
• A , r71
• rJ o
o

87 DANZA GIOVANNI Italian Folk Song

88 B7 MAJOR SCALE SKILL

Arpeggio (1hords

9: o l O

George Leybourne 11842 - 1884)

89 THE MAN ON THE FLYING TRAPEZE
1[2.
--,
.J(- r a
JJ J r'wr O r
Co back to the tirst repeat sigo. —t

90 Composer
your rl a MC

I I I ci•

)1,51 J ri J r
Using the given rhythms, draw in notes to complete the melody. Title and play your composition.

!Ir
91 FOR BASSOONS ONLY

o
rrrr O

r r r (1
J
Flick the T2 key to make it easier to play the high Bs.
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 23

KEY SIGNATURE 9: This key signature means play all B's as B flats.

92 LOOK SHARP
E • E
9
rrrr PF J P j rrr
93 AURA LEE C. R. Poulton (d. 1867)

Jr r r rrrr
o.
Jr O 9.

94 BARCAROLLE Jacques Offenbach (1819- 1880)

)
4: 9

rirr o- p
t

95 JUST BY ACCIDENT 41
)›
5

96 F MAJOR SCALE SKILL

O
r J r O

Arpeggio Chords

íi

97 SAILOR'S SONG Page 40 1111.

Solo/Sol' Tutti
o oF O O 79
o 9

98 GO FOR EXCELLENCE! American Folk Song

"This Old Man"
7 7 7-

9:5'1 r r Jrr JJ
1.-V21BN

ri•191!'f
ort,-.1"
.••••••.7710.P
,
24

ti 9 Jo
DA CAPO AL FINE (D. C. AL FINE) SHARP TT
F

Go back to the beginning and play until the Fine. A sharp raises the pitch of a note one half step.
lt remains in effect for the entre measure.

99 WARM-UP
• 9 • 101 9

r•r
100 IN THE POCKET

101 POCKET CHANCE

r a o r

102 STRICTLY BUSINESS

i,b1,
• bo p r O
gr 1

r 0
9

103 SMOOTH SAILING

,
(1 • • a,
r- • O

104 ROSES FROM THE SOUTH Johann Strauss, Jr. (1825 - 1899)

1 9 t,
Jo

(?'

105 THEME FROM "HANSEL AND GRETEL" Engelbert Humperdinck (1854 - 1921)
D.C. al Fine

r •a • ,
fine
• a •'• 5
'
9 O • o

106 FOR BASSOONS ONLY

F sharp (FI) F4

"lo, ,s•• 9:
• 1 rrl$91 rr -rr
ti O
9 O

rr r
‘11/2113N
 25

107 THAT'S A WRAP

rr rr r
108 POLLY WOLLY DOODLE Page 40 1111* American Folk Song

r r - LTIL.rj r. r:f r rrr

f

e 1 : rclaP I r I 1
r
J
r- r -r'r
7 .1
ri
)

2.
9:
~I

)( 1( X g)(

109 VOLGA BOAT SONG Page4OIIII Russian Folk Song

O • O

1
110 Composer
your name
Hand Clappers

ñ J J--).._.
,i P J -
Knee Slappers

ni
J
.f

Compose a duet (accompaniment) part for Knee Slappers. The first measure has been completed for you. Title and
perform your composition.

111 GO FOR EXCELLENCE! Tielman Susato (1500? - 1561?)

"Ronde"
O o o O
9: 1,6 it O
0- 0 O

9
O O o O
o 1

W21BN
26

A single eighth note is half as long as a quarter note.

SINGLE
EIGHTH NOTE gol)= 1/2 count

A dot after a note adds half the value of the note.

DOTTED
QUARTER NOTE + • = =
1 + 1/2 = 1 + 1/2 = 1 1/2 counts

112 WARM-UP - Band Arrangement

9

113 SHORT CUT

9: ,‹.= u
.c.i
. r= r ra: r. 7 ,r•
f
clai) ... ...... .
1 .... .7.7 .. , , i"-J 7 7.7 7
. >1 n 7 I K 1 •

Write in the counting "or the top line before you play.

114 SPOT THE DOTS

•
, .

f
clap i
1 7I i
1 '`
. >( . )( )(. )( )( . )( .)(X )
4 X X X X X X
.777

Feel the pulse oí three eighth notes during each dotted quarter note.

115 ALL THROUGH THE NIGHT Welsh Folk Song

9 • o

French-Canadian Folk Song

116 ALOUETTE Fine

11
,
0
r J r rJr
D.C. al Fine
> > > > > >
• O
O
> >

11§
>

r AM.

117 FOR BASSOONS ONLY

flat (B p)
e -,N

alternate
•
•
•
•R,
r 'r p.
r rr rl

*Use the alternate Bo fingering.

W2 1 BN
 35

152 GRANDFATHER'S CLOCK Page 41 1111 Henry C. Work (1832 - 1884)

Moderato Fine

• Pir
1J . o IR ;• •
o o O •r
.7
tomo -J
D.C. al Fine
01,

9: irsolj
1111
LIP r
Circle the note changecl by the key signature.

African Folk Song

153 KUM BA YAH
Largo
9: r pr r I
o

7: P. I
9
1 t t
1.
ci• t J J O

German Canon
154 GRANT US PEACE - Round
Andante
t.

9: P 9
r rl

nip

9: h,1
2.
rr I

3.

9 95b o J 1
155 GO FOR EXCELLENCE!
Moderato
a o
o P

1
P mf

Pc171
36

MINUET
Solo with Piano Accompaniment
)ohann Sebastian Bach
(1685- 1750)
Moderato 2 3 4

Bassoon

Moderato
3
•

Piano
1.1
.2e

9
O
O
J J 8/
J or
:s

2 5 4 4
1
9
e9

mp

r
2

1011 12 14
6
r ^/e J J
mf
4

Illf

•
o

15 16 17 18 19J20
95 cr Cor J J r jimai J";
N._ O
•O

4 si
9

r J •
J J
V1993, 2004 Neil A. Kjos Music Company. Pages 36 and 37 are authorized for duplication to meet specific requirements for festivals,
contests, and competitions. A photocopy may be distributed to an accompanist. Ahl copies must be destroyed after the event.
W2BN
1
 37

22 23 24
9:

4 mp
Lr á
3

q•

Ge•
• •
J

26 27 28 1291
gleNum
o

30 31 32 33
II dli
o
o o J

.77
• )
1
•

35
37
34
36
38 r:
O
6

Illf — mpird"

rit. -

171f
riI.

W2113N
38

ROCKIN' RONDEAU
Band Arrangement

Based on a theme by
Jean-Joseph Mouret (1682 - 1738)
arr. Chuck Elledge (b. 1961)
Moderato
>-
2 3> > " 4> >-

r r r r O

I 5 1 7
6 8 '9

•r prJtr
mf
O•

rrí
11 13

10
11 12 14

9. JJJ J J
16 17 18 19

i;b1, r r r.r r yj. r r

mp
1 231
21
O 0 0 O O
22

r r 24

r
mf
(..›
25 > > > 26 27 28 >- 29
O
61
•
O O J o.

rit.
r3-CT -31 Allegro 2

9: t,11}1
32 - 33
O O
34

r r r
Itlf

>- >-
35 36 " 37 > 0 0 O O • #
9: 1,12-b r- r O

39
40 41 42 43
O

r r r rJru
46 47> '48>
4
>- >-
JJ
>
• > >
(1

rit.

W21BN
 39

I I EXCELLERATORS- FOR BASSOONS ONLY

7
TIE o SLUR 1,0 t

A tie is a curved line that connects two notes of the same A slur is a curved une that con nects two or more notes
pitch. Tied notes are played as one unbroken note. of different pitches. Tongue only the first note of a slur.

4A
40
, ti

4B
9: ti ti 41) t b(3

12A
4
91 j J 15-
12B

4›,o J -é

J •

23A
• ,
91 XJ7171. rbr J rrr rrd r J Jr
23B
bjJj rr'(17 o
J_ r J r rrr rhr J JJJ
31A
ígV-- ri 5 ti
u
o J
Be sure to roll to the half hole finger position.

31B
J Jr- o
1111141i J,L,
66A
DI,
7:b.
rrrr t o r 1.1 r 41) 1
W21 BN
 40

EXCELLERATORS- FOR BASSOONS ONLY

9.1\
r r
Efi
r
5

J .r"-J J oter

r o

--r r e

rr
108
o C ,
9,1,2 ra
at
•

( r J rr
o

109

rTra
JJ
1/4.2111N
 41
fil EXCELLERATORS- FOR -ASSOONS
R ONLY
128
e a
o a o o

o
ti. •
o

134

r r e

r Crrrr

143

9
9111•9.

9.H r r r rrrr S9
• 90
o

152

,
o
Lie o

W21 BN
42

SCALE STUDIES
Bb MAJOR SCALE

9: #, rr
• Arpeggio

r•
Thirds
• ef -r rr '
e
Jr J
j• o e.
o

E, MAJOR SCALE
o •
• 13
,Arpeggio

ti"
•
o
• 1
9 t›hb il
Thirds 9

9: r- -r•r r r J rr J o

F MAJOR SCALE
Arpeggio

o
r rr r
Thirds o
J r nr r •r
o
9: b rr 1

A2 MAJOR SCALE Arpeggio

9 rJ JJ r JJ r r r•J
Thirds

71,•j J
7: 11}) J
r J J J• J

CHROMATIC SCALE

9:1 5r r tip rr Pf •
rr
 43

RHYTHM STUDIES
4
4`le
18
_ :1 H.511J 4.01 61 11
4
- - -
11 6

•••1 1
Fi 8
JJIIHJIIIJJ111 JJ11:1 I J1111 J1 111J1 111 J1111
9 10
"
I - o• 000 •o o :
1 11 JJ111 JJ111 JJ111
fil
111Ji 1J1 II •:

14

J1 J11 J1
16
1J1J¡ J1Ji IJIJ1 J1J:1 JI1Ji JI1Ji 1J1
iFA 18
61 JJi JJ1 JJ1 .1J1
19 20
JJJ 1.1J.1 JJJ :1 JJ JJ Ji JJ Ji JJ
W2 1 BN
44

RHYTHM STUDIES

24
1JJ IP 1JJJZI

28
ZJJJ:11 JZ
29 30
.77,11.7:J : J ..77J 1J :

•17 1•7:11•7:1 :

11 Z1 Z13 Z1. 11 Z.7:111 :

,
1-7:11-17 1Z11-1":1 ..1
38
1J..1)JJ1J..1)JJ IJJJ..1)1JJJ..1).
39 40
IJJ..1)J1JJ.•.1)J 1 .P) J. .1) 1 J. .1) J.
W2 113N
 45

RHYTHM STUDIES
2
4 Ei
- H - HJI
4
11J 11J th :1 IH :1
6
J J _J iJ Z:11 .77J Hl-7J .r7J 1.17J
FI 8
I 1
4
u E
ci JJJ1 HJJ:11
4
1 J1J J1J J1J J:11 J .1 1 J 1JJ 1JJ :11
6
JJ 1 1JJ 1 1 J 1 J :1 1 1 1
FI 8
JJ11JJHJI 1 JJ 1 J11 :1
9 10
J .7J 1.! J7J J J 1! 01:11
iii
J n J Z.1": :1
W2113N
 46

GLOSSARVINDEX
Accent (p.19)>
Accidentals (pp.6, 18, 24),iy,11
Allegro (p.28)
Andante (p.28)
Arpeggio (pp.22-23, 28, 42)
Articulation (pp.15, 19, 39)
Bach, Johann Sebastian (pp.36-37).
Bar Une (pp.4-6)
Bass Clef(pp. 4-6)
Beethoven, Ludwig van (p.29)
Brahms, Johannes (p.15)
Breath Mark (p.7)9
Chord (pp.22-23, 28)
Chromatic Scale (p.42) , . .
Clarke, jeremiah (p.30)
Common Time (p.9)e
Crescendo (p.29)
Da Capo al Fine(p.24)D.C.al Fine.
Decrescendo(p.29)
Dominan((pp.12, 30)
Double Bar (pp.4-6) U marks the end of the music
Dvoiák, Antonin (p33)
Dynamics (pp.17, 28-29)
Elledge, Chuck (pp.12, 21, 34, 38). . .American composer (b. 1961)
Embouchure (p.3)
Fermata (p.9) 111
lst and 2nd Endings (pp.19-20)
Flat (pp.5-6)1,
Forte(p.17)f
Frost, Robert (p.18)
Grieg, Edvard (p.19)
Handel, George Frideric (p.27)
Harmony (pp.7, 9-10, 12, 18, 21-23,
26.28, 3033,38)
Humperdinck, Engelbort (p.24)
Interval
Introduction (p.32)
Kelley, Daniel E.(p.27)
Key Signature (pp.11, 16, 23)
Largo (p.33)
Ledger une (pp.4-6)
Leybourne, George (p.22)
attack the note louder
sharp, flat, or natural
quick and lively
moderately slow
notes of a chord played one at a time
type of attack used co play a note or
group of notes
German composer (16854750)
divides the music staff into measures
F Clef; read by bassoon, trombone,
baritone, tuba, timpani, & electric
bass
German composer(1770-1817)
German composer (1833-1897)
take a breath
two or more pitches sounded at the same
time
scale of half steps
English composer(1674?.1707)
same as t
gradually play louder
go back lo the beginning and play until
the Fine
gradually play solter
fifth note of a scale; chord built on fifth
note of a scale
Czech composer(1841-1904)
loudness or sofiness of music
mouth formation used co play an
instrument
hold note or test longer iban its usual value
play lst ending first time through; then,
repeat music, skip first endin& and play
2nd ending
lowers the pitch of a note 1/2 step
loud
American cornposer/author (b. 1941)
Norwegian composer(1843-1907)
German composer (1685-1759)
two or more different notes played or
sung at the same time
German composer (1854-1911)
distance between two notes
section of music that precedes the
first theme
American composer(1843-1905)
sharps or flats stated right after the clef;
key signatures change certain notes
throughout a pece oí music
slow
short fines used to extend the staíl
English composer (1842-1884)
Long Rest (p.21)
mason, Lowell (p.33). . .
measure (pp.4-6)
Mezzo Forte (p.28)-tiff
Mezzo Piano (p28) ap
Moderato (p.28). . moderate speed
mouret, Jean-Joseph (p.38)
Mozart, Wolfgang Amadeus(pp.15,
28, 31)
Natural (p.18) h
Offenbach, Jacques (p.23)
One-Measure Repeat (p.19) Y . .
Pearson, Bruce
Phrase (p.8)
Piano (p.17) p
Pick-Up Note(s)(p.15)
Pierpont, J.S.(p12).
Poulton, G.R. (p.23)
Repeat Sign (pp.9, 20)
Ritardando (ritard. or rit.) (p31). gradually slow the tempo
Root, George F.(p.16)
Rossini, Gioacchino (p.13)
Scale (pp.22-23, 28, 42).
Sharp (p.24)# . . raises the pitch oí a note /1 2 step
Slur (pp.15, 39)
Soli (p.9).
Solo (p.9)
Sousa, lohn Philip (p.32)
Staff(pp.4-6)
Strauss, Johann Jr.(p24)
Subdominant(pp.12, 30)
Susato, Tielman (p25). . .
Tempo (pp.28, 31, 33)
Theme (pp.28, 31-32) .
Tic (pp.10, 39). .
Time Signature (pp.4-6, 9-10, 17). . top number tells you number of counts
Tonic (pp.12, 30)
Tutti (p.9)
Variation (pp.28, 31).
Work, Henry C.(p.35). . . .
.rest the number of measures indicated
American composer (1792-1872)
space between two bar lines; also
known as a "bar"
medium loud
medium soft
French composer (1682-1738)
Austrian composer (1756-1791)
cancels a flat or sharp
French composer (1819-1880)
repeat the previous measure
American cornposer/author (b. 1941)
musical thought or sentence
soft
note or notes that come before first
full measure
American composer (1822-1893)
American composer (d.1867)
. repeat from beginning or repeat section
of music between repeat signs
American composer/publisher
(1820-1895)
Italian composer (1792-1868)
. collection of pitches arranged from lów-
est to highest or highest to lowest
curved une that connects two or more
notes of different pilches
whole section plays
one person plays
American composer (1854-1932)
bes and spaces on which music is
written
Austrian composer (1825-1899)
fourth note of a scale; chord built on
fourth note of a scale
Belgian composer (1500?-1561?)
speed of music
. main musical idea in a piece of music
• curved hne that connects two notes of
the same pitch; tied notes are played
as one unbroken note
in each measure; bottom number iells
you the type of note that receives
one count
„ first note oí a scale; chord buil( on first
note of a scale
. everyone plays
. repeated musical idea which has been
slightly changed in some way írom
the original
American composer (7832-1884)

W21BN
 .
4111
iii17

EXERCISE 7
. • te

EXERCISE 23
STANDARD 09..
EXERCISE 41 EXERCISE 55 EXERCISE 70 EXERCISE 84 EXERCISE 104 EXERCISE 122 EXERCISE 136 EXERCISE 146
L notes H notes LJ notes Li notes Li notes E notes U notes Li notes Li notes Li notes
E rhythm Li rhythm [-J rhythm 0rhythm Li rhythm Li rhythm Li rhythm EJ rhythm rhythm ill rhythm
tone Li repeat repeat 0 hand position Ei dynamics E tone 0dynamics II slurs tonguing articulations

EXERCISE 12 E XERCISE 29 EXERCISE 43 EXERCISE 57 EXERCISE 73 EXERCISE 87 EXERCISE 106 EXERCISE 126 EXERCISE 139 EXERCISE 148
LI notes i , notes notes li notes -1 notes Li notes ril notes Li notes notes LI notes
II rhythm n. rhythm LI rhythm rhythm [1 rhythm rhythm Li rhythm rhythm rhythm IIJ rhythm
Fi tone n, hand position 0slurs _ -1 dynamics accents Li hand position E-1 tempo repeat 0 rA

EXERCISE 14 EXERCISE 31 EXERCISE 46 EXERCISE 61 EXERCISE 78 EXERCISE 91 EXERCISE 111 EXERCISE 128 EXERCISE 141 EXERCISE 151
notes Li notes Li notes U notes L.1 notes Li notes Li notes L1 notes Li notes Li notes
rhythm Li rhythm Li rhythm Li rhythm [7] rhythm Li rhythm 0rhythm ii rhythm Li rhythm Li rhythm
Li tone Li tone tonguing Li slurs Li tonguing hand position Li dynamics Li tempo 0tone E articulations

EXERCISE 17 EXERCISE 35 EXERCISE 49 EXERCISE 63 EXERCISE 79 EXERCISE 95 EXERCISE 115 EXERCISE 131 EXERCISE 142 EXERCISE 153
Li notes E notes notes Li notes li notes U notes Ll notes Ll notes Li notes Li notes
Li rhythm Li rhythm rhythm ü rhythm -1 rhythm Li rhythm n rhythm rhythm Li rhythm 0rhythm
Li tonguing Li hand position 0tone U tone Ll hand position Li slurs Lil tone il dynamics r1 tempo U breathing

EXERCISE 22 EXERCISE 39 EXERCISE 53 EXERCISE 67 EXERCISE 82 EXERCISE 98 EXERCISE 117 EXERCISE 134 EXERCISE 143 EXERCISE 155
notes Li notes Li notes Li notes 11 notes L1 notes Li notes II notes LI notes Li notes
ili rhythm Li rhythm 11 rhythm U rhythm rhythm Li rhythm Ll rhythm Li rhythm Li rhythm Li rhythm
0 tone Li breathing tone Li hand position Li slurs Li / El hand position articulations LI tempo Li dynamics
,
48

TH E BASSOON
BASSOON HISTORY
Double reed instruments have existed since
ancient times. The origin of the bassoon itself
dates back at least 500 years, where there
was in use a one-piece instrument with a
double reed made of cane. One name for this
instrument was the dulcian, which carne from
the Latin word meaning "soft and sweet." The
English version was called the curtal.
During the reign of Louis the XIV (1643-1715),
French instrument makers constructed a new
curtal made of four separate pieces, similar
to today's bassoon. Its use rapidly spread
throughout western Europe. Throughout the
1700's keys were added so that more notes
could be played.

In the 1820's, Carl Almenráder redesigned the

bassoon,and through a partnership with Adam Left Thumb
Heckel, developed the German bassoon. It is
this bassoon, with minor changes and
improvements, that is played today in the
United States, most of Europe, and elsewhere
around the world. A French bassoon also T4
exists, and is played mostly in France and T5
some parts of Canada. T6 — Ti
T2
T7—
Today, bassoons are played in bands, orches- -T3
tras, woodwind quintets, and other small
ensembles. Bassoons are usually made of
maple, rosewood, ebonite, or plastic.

Right Thumb Right Fingers

BASSOON SURVIVAL KIT
o
swab O soft, clean cloth
O neck or seat strap O small water container to
O extra reeds soak reeds °R1
reed case • cork grease
pencil method book
band music music stand

*Not ahl bassoons

have this key.

W2 1 13N
BASSOON FINGERING CHART
O - open W = whisper key T = thumb key When more than one fingering is shown, the first is
•= pressed down h.h. = half hole L = left finger key the most commonly used. Additional fingerings,
R = right finger key knovvn as "alternate" fingerings, are used in certain
situations to allow for better technique.
BY C? 8: DE' D# EY E FE'

Ir>

1-4
-7)- 5-15- 1-3-- 17-14" ITT r•
1.,
T-I••
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1 1* T9
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• • • • • • •
•K2 •R2 •R2 •'.: •R2 •R2
•R2

E0 G7 A By C7

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#4* t., #fUb b
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• • • • • • • • • •
• ••• • • • • • •
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W IIP W• _
i li é 1 i é • fl. i •
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W21 131•1