Stravinsky, Igor. l'Histoire du Soldat. Ewell, Terry B. (20 August 1994). In Part 1, Scene 2, after number 5 use Cooper p. 304 without Eb key to keep B4 pianissimo and lower in pitch.
part 1 B4:
Eb
x x o | x x o F
c Bb
In Part 2, Ragtime one measure before rehearsal number 27 keep L. H. A speaker key engaged for both A4 and A3. At number 27 use Cooper p. 288 for the first A4. For the A4-B4-A4 thirty seconds in the 3rd eighth see below.
first A4:
Eb
x x x | o o o F
a c#
A4 in A4-B4-A4: B4 in A4-B4-A4:
Eb Eb
x x x | x o o F x x x | x x o F
c a c# Bb c a c# Bb
Stravinsky, Igor. l'Histoire du Soldat, Ragtime, after rehearsal number 27. Ewell, Terry B. (28 April 1995). From William Winstead. For the A4-B4-A4 combination:
A4: B4 ("move eyebrows"):
x x x | o o x x x o | o x o
a c# a c#
F#4 later:
x x x | x o oStravinsky, Igor. l'Histoire du Soldat, Ragtime, after rehearsal number 27. Harris, Truman. The Double Reed 1/2 (October 1978): 11. First F#4 use Cooper p. 236. Both A4s in the thirty-second note quintuplet use Cooper p. 288. For the B4 in between the A4s use Cooper p. 309.
F#4: A4:
Eb Eb
o x x | x o o x x x | o o o F
a c#
B4:
Eb
x x o | o x o F
a c#Stravinsky, Igor. l'Histoire du Soldat, Ragtime, after rehearsal number 26. Pence, Homer. In Apfelstadt, Marc and Klimko, Ronald. Bassoon Performance Practice, Teaching Materials, Techniques and Methods. Idaho: University of Idaho, 1993, p. 78. On second F#4 use Cooper p. 228. F#4 in quintuplet use Cooper p. 229. One measure before rehearsal number 27 on F#4 Cooper p. 228. Downbeat at rehearsal number 27 for A4 use Cooper p. 278. B4 in the thirty-second note quintuplet use Cooper p. 312.
second F#4 (Cooper p. 228): Quintuplet
F#4:
Eb Eb
1/4 x x | x o o x o x | x o o w
A4: B4:
Eb Eb
x x x | o o o x x x | x x o F
a c# a c# BbHome page