BHS BAND WARMUP PACKET - BASSOON

Fingering Chart 1

Intonation Tendencies 2

Long-tones 4

Circle of Fifths 5

Articulation 6

Flexibility/Technique 8

Scales 13

Chorales 18

“Need to Know” 24

Theory 25

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D#3/Eb3 Fast E3 F3 F#3/Gb3 F#3/Gb3 Alternate

Attribution, www.terryewe11.com, 2010.

German System Bassoon Fingerings (G3 to 1)5)

1 1

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G3 G#3/Ab3 G#3/Ab3 Alternate A3 A#3’Bb3

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B3 C4 C#4/Db4 C#4/Db4 fast C#4/Db4 Alternate

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D4 D#4Eb4 E4 F4 F#4iGh4

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F4. Gb4 Alternate G4 G4:Ab4 A4 A#4 Bb4

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B4 C5 C#5/Db5 C#5/Db5 Alternate D5

Attribution, www.terryewell.com, 2010.

*1’German System Bassoon Fingerings (1J5 to F5, Select Pianisimo Fingerings and Irills)

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A1 L (1[ f— :1

— I — L •(Th Q •4

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Haf Hole? >

D5 Fast, Slur D#5/Eb5 E5 (with E key) E5 (no E key) E5 AlternativeA A A

p . • .U • . P- 0•

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Optional

F5 C#2 ppp F#2 ppp (F#3 use A2 ppphalf hole)

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Ab-Bb2 trill B2-C#3 trill D3-Eb3 trill Start for F3 G3 F3-G3 trill

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Start for C#4-D4 C#4-D4 trill D4-E4 trill Trill G4-A4 Trill A4-B4

_DJAttribution, www.terryewe11.com, 2010.

hTendencies&Ad’ustmentsBassoon

F = Flat (Notes not addressed areS Sharp generalI acceptable)V= Very112H = Half hole

9: I 4 I °j4*

PitchTendency S F or S F or S F or S F

Adjustment No alternate exists Could be either Could be either Could be either UnstableDrop jaw, open throat Use RT3 Use RP3 Stuffy & unstable Add 4, RTI

Check on adding tuning ring, RP2 afternate RT4 - alternate Use W, LT2, LT5 to W, 1, 3if extremely sharp

j &z)9: 1

F VS S S ForS F F

Add 6 toW, I Use RT3, W, Use W, Use RP3, W, Could be either Use 1, 2. Use I, 3, 4,If still flat or l/2H 1,2,3.4, 1/2K 1.2. 3. l!2H 1.2. Unstable 4,5,6 5,6, and either

unstable, reed is 5, 6, LPI. May 4.5, 6. LPI 3, 4, 5, 6 Add 5. 6. RPI LPI or LP2too soft or closed need more open 1/2 to 1.2, 3, LT2

hole to speak better

):

F ForS S S F S

Use 1.3,4,5, Best: 2, LPI, 4, Use W, 112H 1. Use 1,2,3.6 Add LPI orLP2 to Use LT2,LT3, 1,plus either 5, RPI 2,3,4, RPI LT2, LT3. 1,2,3,6 2.3.4,5, RP1

LPI or LP2 Sharper: 2,3,4,5,RTI,LPI orLP2Flatter: 1/2K 1,2. 3,4

Bassoon

LT 8LT7

LT6

Back

high DNot on some

bassoons

high

D LT9hi h

C LT4

LT3

LT2

LT5

Front

0

0

0Eb Epi

Db LP2

RTI

RT2

RT3

RT4

©

0

RP1 FIF# RP2

RP3

(Trill keys not needed for basic fingerings are not included)

The Tuning ocessWoodwinds

Flutes a4.fjgcolos: Play diatonically from top line F up to Bb three or fout times. Tune the Bb 8 cents

sharp. (Note: Rb on piccolo is not always the most centered note. If you find this to be true, tune to top line

F playing up from 3rd space C three or four times. Again tune approximately 8 centS sharp.) Be aware that

many piccolo and flute players tune with more air than needed. This pushes the pitch up considerably. Play

with what Emory Remmington called “aconversational breath. This will give you a more accurate reading.

Be aware of the head joint and its adjustment, as this has a severe influence on the pitch. (Note: Bb above

the staff should be well centered Use frequent checks to see if this note stays constant.)

Oboe: Beingaware of the problems that the reed and instrumentpresent, it is still imperative that we become

conSistent in our approach to tuning. Play diatonically from 1st space F up to 3rd line B b three or four times.

The Bb should be slightly sharp. Then play diatonically from 3rd line Bb up to F three ot four times. The

F, especially the fork fingering, will be slightly sharp. If you use the regular fingering for top line F, the pitch

will tend to be flat. (Note: A reed of approx. 7flnrrn is recommended to achieve the desired pitch without

squeezing.) Const.ant.Iy check 2nd space A and A above the staff as this is the most centered note on the horn.

cifli.. The instrument, reed and bocal have a great deal to do with the pitch of this instrument. Check

the 2nd line Bb and 4th line F, playing to both of them diatonically from below tlrree or four times If these

notes are not close to the required pitch immediately work with the bocals (size 00 to 4 from small to large

or sharp to flat) and the reed lengths. The reed should be 2-1/8 overall and a #2 bocal on a good instrument

should work best. Also be aware of the distance the reed fits on to the bocai Too much or too little wtll cause

the instrument to play far enough Out of tune so that accurate tuning will be impossible. It is important to

note that choosing a qualified student, instrument, reed and bocal Will tend to make (he pitch problems

less frustrating for you and your double reed players.

Clarinet: Check 2nd line G and adjust the barrel (approx. 1/8 inch). Then check low C. If it is sharp, adjust

the middle joint. Finally check 3rd spaceC. If this note is also sharp, adjust the bell. (Note. If this adjustment

further flattens low F then disregard.) Once this is completed, play up to each note, diatonically, three or

four times to insure consistency. (Note: Most student clarinets are built sharp. This 5 why ills imperative

to secure an accurate reading on 2nd line 0 first.)

Alto and Ban Sax: First check 2nd line G. Ii should be very close to the centered pitch. Second check

0 above the staff. This note should register slightly sharp. Play up to these notes diatonically, from D, three

or four times. (Note: Top line F sharp is the best note to check for zero tolerance.)

Ie.ttpi.Sr Follow the same procedure as alto sax. Second line (3 should be almost perfect and (3 above

the staff should be sharp. (Note: 3rd line B is the best note to check for zero tolerance.)

It ts again noted that the quality of the instrument, reed, ligature and mouthpiece play a very

important part in the successful development of acceptable intonationS

page 5

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CD CD CD CD CD C CD CD

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1 1 I

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41

Appendix

:

(c minor)

A

F

D:

(b minor)

A

(f sharp minor

E

(c sharp minor)

C

(a minor)F

G:

(e minor)

(ci minor)

B:

(gminor)

E Circle

of

Fifths

(f minor) D

(b flat minor)

(a flat minor)G

(e flat minor)

B

(g sharp minor)

Articulation29 Lcgat (“dos> j Staccato ( dit

_____

-ZZ

33 Legatoi Staccato etc. Eight and 2 Sixteenths

Acccnts ( dab ) Mar a ( daht )

tiz-

36 2 Sixteenths and an eighth

B

37 Sixteenth Eighth Sixteenth Triplets

z: z: z

‘9 Triplets 1 & 3‘ Dotted Eighth SixteenthI 3 I I 3 I I 3 I I 3 I

9:[, . III I/ / ‘ ‘ / é II

41 Double Tonguing (ta-ka” or da-ga)

9I)

43

Triple Tonguing (ta-ka-ta or da-ga-da” OR “ta-ta-ka or da-da-ga)4—3 1 3 r3n n3 r3 r39: i m I •, N

— — — . I ———— — ———————

48

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III

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ption 1 (unison lip s1ur’ with brass)

Option 2 (octave slur studv with brass lip slur)

23

Options 3, 4, & S (technical patterns with brass lip slurs)1 2 4 5 6 7 8Articulation Patterns:

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12

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1

Warm Up Set 3

Option 1 (unison ‘lip slur ‘with brass)

9

13*

12

1LrOption 2 (octave slur study with brass lip slur)

45

1oj

314

Options 3, 4, & 5 (technical patterns with brass lip slurs)

1 2 3 4 5 6 7 8

Articulation Patterns: J17 JT .f J11 J1

234

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f 9: EJ 1T n

14

Warm UpSet4

Option 1 (unison “lip slur” with brass)

F V F F F F F —

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F‘

- F12 F

13F F if F

Option 2 (octave slur study with brass lip slur)

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—---- ,

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12 13 14

Options 3, 4, & 5 (technical patterns with brass lip slurs)1 2 3 4 S 6 7 8

Articulation Patterns: •‘1 f ,7j•j7

F F F

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Minor Scales (Melodic, Natural, Harmonic)Bassoon

#1

#2

Concert Keys: c, g, d, a, eMelodic Minor

g

Natural Minor__, . — -

Harmonic Minor,—

-

Melodic Minor

Harmonic Minor

Melodic Minor

Natural Minor— — -

Harmonic Mhor- — -

Melodic Minor

Natural Minor

Harmonic Minor1 — — 1

Mejodic Minor

Natural Minor— -

Harmonic Minor

M. Max McKee

Natural Minor

#3

#4

#5

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BAND INFO — “NEED TO KNOW”

Strategies for SMART practice:

1. Play rhythms on one pitch first if difficult

2. Look for patterns

3. Play in a comfortable range first (down an octave?)

4. Isolate one challenge at a time

5. Work slow to fast (use a metronome)

6. Build from the middle

Logical Steps to Effective Intonation

1. Listen for “beats”

2. Make an adjustment; if beats get faster, try the opposite until the beats slow and

eventually disappear.

3. If you have to pinch to make the beats stop, make your instrument shorter

4. If you have to relax to make the beats stop, make your instrument longer

5. When you hear no beats while playing with your normal embouchure you are in tunel

Ways and Steps to Listening

1. If you hear yourself sticking out of the band’s sound you may be playing too loud. This is

BALANCE. See below for info on the Pyramid of Sound.

2. If you adjust your volume and still stick out of the band’s sound, adjust your posture,

embouchure, and breath support to make your tone mesh better. This is BLEND. Think

of putting your sound “inside” other voices...e.g. Alto’s try to fit “inside” the horn sound;

Trumpets try to fit “inside” the tuba sound.

3. If you adjust your volume and tone and still stick out of the band’s sound, you may be

out of tune. This is INTONATION (see above).

4. Always listen down to the lowest instrument, to the people on either side of you, and to

yourself.

The Pyramid of Sound (BALANCE)

1. Higher voices are more easily heard than low voices; therefore to create a more

balanced sound, adjust all dynamics levels as follows.

2. Low voices (tuba, low brass, tenor sax) should be strongest...play at or above the written

dynamic level

3. Middle voices (alto, horn) are the next highest priority...play at or slightly below the

written dynamic level

4. High voices (trumpets, flute, clarinet) should be least prominent...play one level below

the written dynamic level

Scale and Chord Related I Ileory

A scale is a series of single notes which ascend or discend in a pçr within the range of an octave

Because scales are arranged in a stepwise manner, the note names will always be in ,ipliut ficl o,rd,cr

The notes within scales have a specific whole step/half step

intervalic rcj,itinlijp with each other.

C major triad (three note chord) in root position and inversions.

Root Position First Inversion Second Inversion

8ffizZ REE JzZ

-

From Bottom: From Bottom: From Bottom:

root-third-fifth third-fifth-root fifth-root-third

Basic chord types constructed from C:

Major Minor Diminished

lower tlurd lower third ii tiftlt

Interval - the distance between two notes

Half Step - the closest interval between two notes

Whole Step - an interval of two half steps

Third - the distance of two adjacent lines or two adjacent spaces

Scale Degree a notec classification according to its position in the scale

Tonic - the first note of a scale, the “key-note” from which the scale takes its name

Dominant - the fifth scale degree, chords built on this note are dominant’ and normally resolve to the tonic

Leading Tone - the seventh scale degree, it is one half step below tonic and its tendency is to “lead” or rise to the tonic

C major scale (half steps are between scale degrees

3 - 4 and 7 - 8).

Intervals: W w H w w w H

I ii 1I”’”%I II II I.

CDEFGABCScale Degrees: I 2 3 4 ,/‘s 6// 7 8

Tonic Dominant Leading Tone

C natural minor scale lIOwer the 3rd, 6th, and

7th scale degrees a half step).

Itt tervato 14’ H l W I•

Ia

iirnC DEF GABC

Scale Degrees. 1 2 3 4 5 6 7 8

C harmonic minor scale (lower the 3rd and

6th scale degrees a half step).

lntr’n’Hc’ IV hi,’ w H Well H

CDEF GABCScale Degreesr 1 2 3 4 S 6 7 6

C melodic minor scale (ascending lower the 3rd and descending lower the 7th, 6th,

and 3rd scale degrees a half step).

Intenafs, 14’ 11 w W w W H II ‘H

CDEF G ABC BAGF EDC

Scale Degrees 1 2 3 4 S 6 7 & 7 6 5 4 3 2 1

Augmented & Diminish*

Intervals from C

Augmented 4th(tntoDe)

Intervals of the C major scale:

Major 2nd Major 3rd Perfect 4th Perfect 5th Major 6th Major 7th Perfect Octave

Diminished 5

Minor Intervals from C

________________

minor 2nd

4 minor 3rd

_______________

minor 6th

r j minor 7th

Augmented 8th

Augmented Sus 4

raise fifth (mirth replaces third