As the new special editor of this column may I encourage readers of "The Double Reed" to increase their personal involvement with this special section on bassoon fingerings? Other readers and I would appreciate hearing from those of you who have new, unusual or old tried and true mechanical solutions for the many and varied problems we all face in our performance and teaching.
Such sharing of information will serve to solve specific problems for many of our colleagues. However, even more importantly, it also insures continued progress within
our field by serving as a catalyst in the development of innovative new ideas that ultimately benefit all. This column represents one small but important way you may contribute to the advancement of your profession through the sharing of knowledge and expertise with others.
Individuals wishing to contribute to the column should submit suggestions directly to me in any simple but legible form. Those individuals seeking solutions to problems should likewise direct their specific requests to:
L. Hugh Cooper
The University of Michigan
School of Music,
Ann Arbor, Michigan 48105, U.S.A.
L. Hugh Cooper
Ann Arbor, Michigan
As requested in the last issue of The Double Reed here are two solutions for the difficult solo rising to high f'' in Jean Francaix's Divertissement pour petite Orchestre. One approach is for use on bassoons without high e'' keys while the other is for bassoons with the e'' key. In either instance it is advisable to prepare for this beautiful but "cliff hanger" passage by changing to a suitable high register bocal and/or reed. (The Wedgwood -- Allgood model bocals are superlative for this purpose). Incidentally, this challenging 8 bar solo, given in its entirety below, opens the movement and is accompanied only by soft strings.
Esther Froese
Ottawa, Canada
A suggested approach to the very soft and sensitive passage for two bassoons occurring in the first movement of Tchaikovsky's Sixth Symphony, measures 151, 152, and 153. Note that in Ms. Froese's solution the second finger hole on the wing joint must be covered with the left ring finger so that the f# trill key may be activated by the left middle finger: however, on bassoons with the dropped trill key configuration the d may be taken in the normal manner.
Richard M. Polonchak
Washington, D.C.
A very, very soft middle d fingering (Whisper Lock must be on or alternate Whisper Key used)
The second similar solution, not requiring the Alternate Whisper Key or Lock, allows slurring to and/or producing a very controlled octave d'. (L.H. Cooper)
L. Hugh Cooper
Ann Arbor, Michigan
Two solutions for the awkward repeated pattern in the first measure, last line, etude No. 1 of L. Milde's Studies in all Keys Op. 24, as well as similar sequences in solo, ensemble and orchestral passages.
Esther Froese
Ottawa, Canada.
A very secure fingering for the slur to top b-flat in the "Beauty and the Beast" movement of M. Ravel's "Mother Goose" Suite.
Stable and in tune fingerings for a few high register notes. These produce excellent results on a fine Heckel contrabassoon. For this instrument they are stronger and more secure than the fingerings found on Heckel's and other charts.
