alexisj, Here's another possibility for that pesky passage. IMHO, the fingering problem centers around using the regular high g and high a fingerings. Here's a slight change to 'Micus's' solution.
x x x | o o o F
This fingering (and Micus's) avoids putting down RH3 for high A. If the high A is slightly flat on this fingering, do not despair, there are only 5 people on the planet that will hear that and they will not be at your concert.
Another problem with the passage is often 'rushing' - especially hurrying the first 2 or 3 notes. Here's a practicing strategy by e-mail.
Count the four 16ths and the following 8th note as note numbers 1 through 5. I use a dash between faster notes and a comma between slower ones, SLUR VERY SLOWLY them in a continuous loop using whatever fingerings you decide on:
1-2, 3, 4, 5, (that is fast-fast, slow, slow, slow or 2 eighths, quarter, quarter, quarter). Taking a breath between each group, also do:
1, 2-3, 4, 5;
1, 2, 3-4, 5;
1, 2, 3, 4-5;
yes and even this one
5-1, 2, 3, 4;
You can also make versions with 3 fast notes, starting the first fast note on every note of the famous five.
Eventually, increase the tempo but play the whole series in the same tempo - don't allow yourself to gradually accelerate. Use your friendly metronome as you play them. Best wishes, crw
Principal bassoon, Toronto Symphony (1968 - 1985)
IDRS Honorary Member; Emeritus professor Ohio State University