Half-Diminished Seventh Chord Arpeggios Arranged for Bassoon by Robert D

Home , Diminished seventh chord, Dominant seventh chord, Major seventh chord, Minor seventh chord, Seventh chord

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SCALE, ARPEGGIO, AND INTERVAL STUDIES FOR THE BASSOON

DOCUMENT

Presented in Partial Fulfillment for

the Degree of Doctor of Musical Arts Degree in the Graduate School of

The Ohio State University

Robert D. Jordan, M. M.

*****

The Ohio State University 2001

Document Committee: Approved by Professor Christopher Weait, Adviser

Professor Don Gibson

Professor Katherine Borst Jones Adviser Professor Robert Sorton Music Program UMI Number 3011014

UMI'

UMI Microform 3011014 Copyright 2001 by Bell & Howell Information and Learning Company. All rights reserved. This microform edition Is protected against unauthorized copying under Title 17, Unlteid States Code.

Bell & Howell Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 ABSTRACT

Several scale studies exist for the bassoon in published, unpublished, and out of print forms. These existing scale studies are cumulatively very effective but are not entirely complete either individually or when studied as a whole. This document presents the most complete study of scales, arpeggios and interval studies for the bassoon to date, and provides a comparative analysis of selective existing scale studies for the bassoon.

This comparative analysis covers these five important scale sources:

1) Julius Weissenbom. Method for Bassoon^ 2) Ludwig Milde. 25 Studies in Scales and Chords^ 3) Femand Oubradous, Enseignement Complet du Basson. Cahier 1 and 2^ 4) Simon Kovar. Twentv-four Dailv Exercises for Bassoon** 5) Wemer Seltmann and GOnter Angerhôfer, The Bassoon: A Tutor in Six Volumes. Volumes 1-3®

The end result of this document is a better understanding of existing material and the creation of a new and more complete scale study for the bassoon. Dedicated to Sol Schoenbach

111 ACKNOWLEDGMENTS

I wish to thank my adviser, Christopher Weait, for his direction to and support of this document.

I wish to thank my wife, Nikkiann Economes, who assisted greatly with love and encouragement

I wish to thank Allen Wittig for his assistance in music type-setting.

IV VITA

January 22,1964 ...... Bora - Memphis, Tennessee

1986 ...... B.M. Bassoon Performance, Louisiana State University

1988 ...... M.M. Bassoon Performance, University of Michigan

1988-1991 ...... Graduate Teaching Associate, The Ohio State University

1993 ...... Performance Certificate in Chamber Music, University of Wisconsin-Milwaukee

1993-199 4 ...... bassoonist, Pandean Players

1994-Present ...... Principal Bassoon, USAF Band of Flight

1999-Present ...... Instructor of Bassoon, University of Dayton

PUBUCATIONS

1. R. Jordan, “Some Words on Tempi.” The Double Reed, Vol. 20, No. 2 ( 1997).

2. R. Jordan, “Bassoon Day at University o f Dayton.” The Double Reed, Vol. 23, No. 3 (2000).

FIELDS OF STUDY

Major Field: Music TABLE OF CONTENTS

Page

Abstract...... ii

Dedication ...... ni

Acknowledgments...... iv

Vita...... V

Chapters:

1. Introduction...... 1

2. Description and Analysis of Selected Bassoon Scale Studies ...... 3

3. Description of Scale. Arpeggio and Interval Studies for the Bassoon ...... 27

4. Scale. Arpeggio, and Interval Studies for the Bassoon ...... 33

Bibliography ...... 311

vu CHAPTER 1

INTRODUCTION

The primary purpose of this document is to provide a clear and comprehensive resource for the study and practice of scales, arpeggios, and intervals on the bassoon. The secondary purpose of this document is to demonstrate that a void exists in several important scale sources for the bassoon and that the scale study presented in this document is therefore justified. Although several scale studies exist for the bassoon, these scale studies do not always cover the entire range of the bassoon and many do not cover every key. In some of these existing scale studies, it is often required that the bassoonist transpose exercises into other keys.

Chapter Four of this document contains arrangements of scale, arpeggio, and interval studies for the bassoon. Chapter Three is a comparative analysis of these arrangements to existing important scale sources for the bassoon. The arrangements found in Chapter Four of this document are compilations of similar studies found elsewhere in several bassoon etude books, adaptations of selected scale exercises for the flute, and other exercises which are unpublished, out of print, or otherwise presented here for the first time. Chapter Two of this document provides a comparative analysis of the material presented in Chapter Four to other similar exercises and justifies its need and usefulness in bassoon pedagogy.

During the twentieth century at least three prominent bassoon professors, Simon

Kovar^ , Harold Goltzer®, and Norman Herzberg’, advocated scale practice that covered the entire range of the bassoon. O f these three only one, Simon Kovar, published a book that included his scale studies and it has since gone out of print.'* Other scale studies which are currently available do not always utilize the full range of the bassoon.

Another prominent bassoon professor, Milan Turkovic*, advocates adapting some scale exercises for the flute by Paul Taffanel^ into bassoon scale practice. This process requires transposition. When these exercises are written out for the bassoon, it becomes easier to practice them.

Also missing fix>m the literature of existing bassoon scale studies are studies of some less common scale Qrpes. These less common scale types include major pentatonic, minor pentatonic, blues, octatonic and whole tone scales. It would indeed be useful to have a resource for bassoon that included these less common scales.

This document will provide the bassoonist with the aforementioned material and discussion of some well known bassoon scale studies. CHAPTER 2

DESCRIPTION AND ANALYSIS OF SELECTED BASSOON SC.ALE STUDIES

Description of Selected Scale Studies

In order to appreciate the significance of the material presented in Chapter Four of this document it is important to understand the existing important scale sources for bassoon and then to compare that material to the material in chapter four. This chapter will first discuss several important existing scale sources. For clarification, the pitch nomenclature represents the range of the bassoon. The lowest note presented is B^I and the highest note is E5. The B**l signifies the B** below the bass clef and the E5 signifies the 4*** space E in the treble clef.

A detailed discussion of important scale sources is presented as follows:

1) Julius Weissenbom. Method for Bassoon* 2) Ludwig Milde. 25 Studies in Scales and Chords" 3) Femand Oubradous, Enseignement Complet du Basson. Cahier 1 and '2? 4) Simon Kovar. Twentv-four Dailv Exercises for Bassoon'* 5) Wemer Seltmann and GOnter Angerhôfer, The Bassoon A Tutor in Six Volumes. Volumes 1-3^

In the Cundy-Bettoney 1950 edition of Julius Weissenbom’s. Method for

Bassoon, (henceforth “Weissenbom”), scales and arpeggios occur in different portions of the book. The first section to depict scales and arpeggios is on pages 7-9.

The order of keys is as follows: Major Keys Minor Kevs

F major scale and arpeggio D minor scale and arpeggio B flat major scale and arpeggio G minor scale and arpeggio E flat major scale and arpeggio C minor scale and arpeggio A flat major scale and arpeggio F minor scale and arpeggio D flat major scale and arpeggio B flat minor scale and arpeggio G flat major scale and arpeggio E flat minor scale and arpeggio C major scale and arpeggio A minor scale and arpeggio G major scale and arpeggio E minor scale and arpeggio D major scale and arpeggio B minor scale and arpeggio E major scale and arpeggio F sharp scale and arpeggio A major scale and arpeggio C sharp scale and arpeggio B major scale and arpeggio G sharp scale and arpeggio

Every key is notated for the scale from B*^ to B4.

All of the scales and arpeggios are written out in two octave form from tonic to tonic. In this paper, tonic to tonic should be interpreted as low tonic returning to low tonic. There is an implication that the scales which start on the notes C, D flat. C sharp,

D or E flat can be played in three octaves, but these scales are not written out in three octaves. For these scales, the first three notes are given in the bass clef but not continued

for the full range of the bassoon. Thé range does expand within the publication as seen on page 155 and that note is E5. This occurs in the form of an arpeggio. However, the

range does not expand within this section of the publication. That is to say that the range

in this section is limited to two octave scales. The Weissenbom is a gathering of material

from different sources, therefore, the range is different from section to section.

The next section of the Weissenbom book contains “Twenty-six Practical

Exercises” and is on pages 10-64.

The order of keys is as follows;

Number 1 C major

4 Number 2 C major Number 3 C major Number 4 C major Number 5 C major Number 6 C major, F major Number 7 C major, F major Number 8 C major, A minor Number 9 C major Number 10 F major, F minor Number 11 B flat major Number 12 C major, G major, G minor Number 13 C major, E major, E minor Number 14 F major, D minor, D major, B flat major Number 15 G major, E minor, C major, C minor, B minor, B major, G sharp minor Number 16 B flat major, E flat major, E flat minor, A flat major, C sharp minor, D flat major Number 17 C major Number 18 F major, D minor, D major, G major, B minor Number 19 B flat major, B flat minor Number 20 C major, A minor, E minor, F major Number 21 G major, G major, G minor, E flat major, C minor Number 22 A flat major, F minor, D flat major Number 23 A minor, A major, F sharp minor, E major, C sharp minor Number 24 B major, G sharp minor, F sharp major, G flat major Number 25 B flat major, E flat major, E flat minor, E flat major, C major Number 26 F major, D minor, D major, E minor, G minor, C major

Also in the Weissenbom publication, on pages 65-72, is a section entitled,

“Supplement-Daily Studies: Simple and Varied Diatonic Scales (pages 65-70); Chords”

(pages 70-71).

On pages 64-68, there are twenty exercises to be practiced in major keys.

Exercises 1-8 are in C major. Exercises 9-11 are in F major. Exercise 12 is in C major.

Exercise 13 is the same as Exercise 12, a one octave scale in thirds, but is in G major.

Exercises 14-19 are in G major and Exercise 20 is in A major. Exercises 1-4 are written out in eighth notes. Exercises 5,15, and 16 are in triplets and Exercises 17-20 are written out in sixteenth notes. There are no suggestions for rhythmic variation. These exercises would need to be transposed or written out in other keys to cover the other major tonalities. This type of transposition is key signature modification, i.e., by changing the key signature, one can practice these exercises in other tonalities.

On pages 68 and 69, there are twelve exercises for minor keys. Exercises 1,5,6,

7,8,9, and 10 are in G minor. Exercises 2,3,4, and 11 are in C minor. Exercise 12 is in

B minor. The rhythmic pattern is in straight eighth notes for Exercises 1-5 and 9-12.

Exercise 6 is in a dotted eighth sixteenth pattern. Exercises 7 and 8 are in constant triplets. The range would span the entire instrument if transposed.

On pages 69 and 70, there are six exercises on chromatic scales. No transposition is necessary for these chromatic scale exercises. Exercises 1-5 are in constant eighth notes. Exercise 6 begins in triplets and progresses to sixteenth notes. The range covered in these six exercises is D2 to A** 4.

On pages 71 and 72, four sets of exercises for chords, (or more appropriately arpeggios), are presented. The first set is on page 71 and consists of six exercises in C major covering the range of C2 to 04. These exercises are written in eighth notes, sixteenth notes and triplets, respectively. They outline a C major triad and transposition, key signature modification, would be necessary and is suggested to cover all of the major and minor triads. Only the C major triad is represented in this set of six exercises.

The second set of exercises is on page 71 and consists of five exercises for dominant seventh arpeggios. These exercises are in C major and range 6om G2 to G4. The first three are in eighth notes. The last two are in triplets. Transposition, in the form of key signature modification, would be necessary to cover the other keys.

The third set of exercises is on page 72 and consists of three exercises for diminished seventh arpeggios. These exercises are built on the F sharp diminished chord which consists of F sharp, A natural, C natural, and E flat. At the end of this set of exercises is an outline of the only other two different sounding diminished seventh chords and the instructions are to practice those as well. The other two diminished seventh chords consist of E sharp, G sharp, B natural, D natural, E natural, G natural, B flat, and

D flat. The first two exercises in this set are notated in eighth notes. The third exercise in this set is notated in triplets. The range covered in this set of exercises is from F^2 to A4.

The fourth and final set of exercises in this section is on page 72 and consists of four exercises for various secondary chords of the seventh. The first two exercises are in eighth notes and the last two exercises are in sixteenth notes. The key signature is C major and the range covered in this set is firom D2 to D4. In the fourth exercise, a musical element is added for a scale or arpeggio exercise. That musical element is a ritenuto or slowing down in the last two bars.

On pages 73-88 of the Cundy-Bettoney edition of Julius Weissenbom’s. Method for Bassoon are Carl Almenraeder’s Scale Exercises In All Kevs. (henceforth

“Almenraeder”). ' °

The order of keys for these exercises is:

C major A minor G major E minor D major B miner A major F sharp minor E major C sharp minor B major G sharp minor F major D minor B fiat minor G minor E fiat major C minor A fiat minor F minor D fiat major B fiat minor G fiat major E fiat minor

The Almenraeder scale exercises are notated in every key so no transposition is necessary. The scales are notated in a pattern of a quarter note followed by fourteen eighth notes. The first quarter note of each exercise begins on the lowest tonic note within the bassoon’s range for that particular key signature. The eighth notes ascend up to the next octave and descend down arriving on a quarter note which is scale degree two in that particular key. This pattern is repeated until every scale degree begins the same pattern. These patterns are all articulated with no suggestions given for variants. The total range of the scales is 6om B**l to E'’S. N o arpeggios are given and there are few comments, directions, or musical elements given.

From Ludwig Milde’s, 25 Studies in Scales and Chords*' , (henceforth “Milde”),

the order of keys is as follows:

Study Numberf si Kevs 1,2 C major, A minor 3,4 G major, E minor 5,6 F major, D minor 7,8 D major, B minor 9,10 B flat major, G minor 11,12 A major, F sharp minor 13,14 E flat major, C minor 15,16 E major, C sharp minor 17,18 A fiat major, F minor 19,20 B major, G sharp minor 21,22 D fiat major, B flat minor 23,24 F sharp minor, D sharp minor 25 C major, F major - both chromatic

Every key is notated in Milde’s, 25 Studies in Scales and Chords. The scales and arpeggios are predominantly notated in constant sixteenth notes. Studies 23 and 24 are notated in triplets. The sixteenth notation in study 18 is in the time signature of six-eight.

There are no suggestions for different rhythmical patterns. Every note of the scale is notated for the player, however, the patterns do not descend to the lowest possible note in each key. For example, the lowest note in the C major studies is C2. The lowest note within the key of C is actually Bl. The total range of the scales is from B**l to C5. The scale range does not change or evolve much, if at all, within the publication.

Arpeggios are included near the related scales. The scale studies are odd- numbered and the arpeggio studies are even-numbered. The total range of the arpeggios matches the scale range, which was from B**! in study 9 to D^’S in study 21.

Few comments or musical directions are given in the publication. There is a crescendo in the first, fifth, and sixth bars of study 1. There is a crescendo and diminuendo in bar three of study 1. There are two crescendos and diminuendos in the first bar of study 2. There are no tempos given and no breath points marked. In Volumes One and Two of Femand Oubradous’, Enseignement Complet du

Basson. Cahier 1 and 2, (henceforth “Oubradous”), major and harmonie minor scales, scales in thirds, scales in fourths, and arpeggios are covered/

The order of keys presented is as follows:

Volume 1 : C maior Volume 2: E maior A minor C sharp minor G major A flat major E minor F minor F major B major D minor 0 sharp minor D major D flat major B minor B flat minor B flat major F sharp major 0 minor D sharp minor A major G flat major F sharp minor E flat minor E flat major C sharp major C minor A sharp minor C flat major A flat minor Chromatic Scale

Every key is notated. The scales are rhythmically notated in various even riiythms, other patterns are suggested, and each note of the scale is notated. The total range of scales covers the span of the bassoon from B*’! to E5. Each scale begins and ends on its respective tonic. Arpeggios are included near the related scale and lie within the related scale’s range. They do not change or evolve within the publication. There are tempo markings for the exercises. The only dynamic marking is a crescendo and decrescendo on each vdiole note of the scales in whole notes. There are.no breathing points marked.

10 In Simon Kovar’s bock, Twentv-four Dailv Exercises for Bassoon, (henceforth

“Kovar^, exercises 11, 13, 14, 16, 17, 18, 19, and 23 from pages 62-108 are for scales and arpeggios.

Exercise 11, “Major Scales in all Articulations”, pp. 62-68 is presented in the following order of keys:

F major C major G major D major A major E major B major F sharp major B flat major E flat major D flat major G flat major C flat major

In order to get the full use of this exercise, “transposition” of or writing out scales is necessary, which is to say that the existing notation could be modified by adding or subtracting flats or sharps to the key signature. As the title suggests, scales are presented in all articulations. The scale is rhythmically notated in half, quarter, triplet eighth, sixteenth, sextuplet, dotted eighth- sixteenth-eighth (triple), dotted sixteenth-thirty second

(duple), and sextuplet notes. Every note of the scale is notated and the total range is from

B**l to D5. This exercise is shown in its entirety only in F major. Other major scales are illustrated for reference but these exercises are not notated completely.

Exercise 13, “Harmonic Minor Scales”, pp. 69-74 is presented in the following order of keys:

II A minor E minor B minor F sharp minor C sharp minor G sharp minor D sharp minor D minor G minor C minor F minor B flat minor E flat minor

It is identical to the previous exercise except that A minor is shown as an example and the other scales are referenced. That is to say that the exercise is shown in its entirety only in

A minor. The exercises are abbreviated for the other keys.

Exercise 14, “Melodic Minor Scales”, pp. 74-79, is identical to exercise 13 except that no scales are shown as a complete example, but instead, are all referenced. The scales in this exercise are in melodic minor form and are in the following order of keys:

A minor E minor B minor F sharp minor C sharp minor G sharp minor D sharp minor A sharp minor D minor G minor C minor F minor B flat minor E flat minor A flat minor

12 One subtle difference in exercise 14 is that it includes A sharp minor and A flat minor.

Exercise 13 does not cover those keys, but it does cover their enharmonic equivalents.

Exercises 16 and 17, pp. 80-97 are identical to exercises 11,13, and 14 except that they cover major and minor chords (arpeggios) respectively. Additionally, these exercises contain a quintuplet rhythm. The order of keys for exercise 16, pp. 80-87,

“Major Chords”, is as follows:

F major B flat major E flat major A flat major G flat major G major D major A major E major B major F shfup major *Note: Typically, exercises of this sort begin with C major. However C major is not given in exercise 16.

The order of keys for exercise 17, pp. 88-97 is as follows:

A minor E minor B minor F sharp minor C sharp minor G sharp minor D sharp minor E flat minor B flat minor F minor C minor G minor D minor

13 In the Wemer Seltmann and Günter Angerhôfer book - The Bassoon: A Tutor in

Six Volumes, (henceforth “Seltmann and Angerhôfer”), Volumes One, Two, and Three contain 90 lessons or studies for the bassoon. Scales, scales in thirds, and arpeggios are

introduced in the lessons. Also introduced, in Volume Three, is a step and third pattern or "stepped third” and an octave scale pattern. The first scale introduced is F major and this occurs in Lesson 4. It is a one octave F scale fi'om tonic to tonic. The range is F2 to

F3 12

Seltmann and Angerhôfer use a shorthand notation device thn)ughout the volumes

to indicate notes to be played. This notation device is a slash or line indicating the

missing (non-notated) pitches to be played. An example of this is in Lesson 4 on page

110 of Volume One for the F major scale and appears like this:

F Major Scale

Other scales are introduced in Volume One and occur in this order:

Lesson 11 P- 22 G major in I octane Lesson 13 P- 26 D major in I octan e Lesson 14 P- 28 A harmonic minor in I octave Lesson 15 p. 30 C major in I octa\ e Lesson 16 P- 32 D harmonic minor in I octave Lesson 17 P- 34 G harmonic minor in I octave Lesson 18 P- 36 E harmonic minor in 1 octave Lesson 21 P- 42 B flat major in 2 octaves Lesson 23 P- 46 A major in I octane Lesson 24 P- 48 B harmonic minor in 2 octaves Lesson 25 P- 50 E flat major in 2 octaves Lesson 26 p. 52 C harmonic minor in 2 octaves Lesson 27 P- 54 F harmonic minor in 2 octaves Lesson 28 p. 56 F sharp harmonic minor in 2 octaves

14 Lesson 29 p. 158 E major in 2 octaves Lesson 30 p .161 C sharp harmonic minor in 2 octaves Lesson 31 p. 164 A flat major in 2 octaves Lesson 32 p. 166 D flat major in 2 octaves Lesson 33 p. 169 B major in 3 octaves Lesson 34 p. 171 G sharp harmonic minor in 2 octaves Lesson 35 p . 174 B flat harmonic minor in 3 octaves Lesson 36 p. 176 F sharp major in 2 octaves

Volume Two of the Seltmann and Angerhôfer book contains lesson numbers 37 through 66. In this volume, scales and arpeggios are introduced in two and three octave forms from tonic to tonic. For the most part, the lessons that introduce the major scale also introduce its relative minor scale in its natural form. This is followed by a lesson on that particular minor scale in its melodic and harmonic forms. The same shorthand notation of a slash or line to indicate missing (non-notated) pitches is used in Volume

Two as in Volume One. Suggested variations on articulation of sixteenth notes and triplet notes are made. Those suggestions are on page 110 of Volume Two as follows:

For sixteenth note passages:

Vanants

? ?

For triplet note passages:

\^nonts

15 All the scales and arpeggios are notated in ascending and descending forms. Only the arpeggios are notated in both sixteenth and triplet forms.

The order of keys for the scales and arpeggios in Volume Two of the Seltmann and Angerhôfer book are as follows:

Lesson 37 p. 37 C major and A natural minor Lesson 38 p. 40 A melodic minor and harmonic minor Lesson 39 p. 43 F major and D natural minor Lesson 40 p. 46 D melodic minor and harmonic minor Lesson 41 p. 49 G major and E natural minor Lesson 42 p. 53 E melodic minor and harmonic minor Lesson 43 p. 56 a chromatic scale Lesson 44 p. 59 B flat major and 0 natural minor Lesson 45 p. 63 0 melodic minor and harmonic minor Lesson 46 p. 67 D major and B natural minor Lesson 47 p. 71 B melodic minor and harmonic minor Lesson 48 p. 74 E flat major and C natural minor Lesson 49 p. 78 C melodic minor and harmonic minor Lesson 50 p. 82 A major and F sharp natural minor Lesson 51 p. 85 F sharp melodic minor and harmonic minor Lesson 52 p. 88 a chromatic scale Lesson 53 p. 92 A flat major and F natural minor Lesson 54 p. 96 F melodic minor and harmonic minor Lesson 55 p. 100 E major and C sharp natural minor Lesson 56 p. 104 C sharp melodic minor and harmonic minor Lesson 57 p. 107 D flat minor and B flat natural minor Lesson 58 p. no B flat melodic minor and harmonic minor Lesson 59 p. 114 a chromatic scale Lesson 60 p. 118 B major and G sharp natural minor Lesson 61 p. 121 G sharp melodic minor and harmonic minor Lesson 62 p. 124 G flat major and E flat natural minor Lesson 63 p. 128 E flat melodic minor and harmonic minor Lesson 64 p. 132 F sharp major and D sharp natural minor Lesson 65 p. 135 D sharp melodic minor and harmonic minor Lesson 66 p. 140 a chromatic scale

Each lesson in Volume Two is described below in greater detail: Lesson 37 The C major scale is presented tonic to tonic in 3 octaves, A natural minor Page 37 scale is presented tonic to tonic in 2 octaves. Both are in straight sixteenth Volume Two note patterns. The C major arpeggios are given in sixteenth note and triplet note patterns tonic to tonic in 3 octaves. 16 Lesson 38 The A melodic and A harmonic minor scales tonic to tonic. Page 40 The A minor arpeggio extends to C5 and descends to C2. Volume Two

Lesson 39 The F major scale ascends to CS and descends to B**!. D natural minor is Page 43 presented in 2 octaves with an extension to B^’S. An F major arpeggio is Volume Two presented ascending fiom F2 to C5. The F major arpeggio descends to C2.

Lesson 40 The D minor scale is presented in melodic and harmonic forms from tonic Page 46 to tonic ascending to B**4 and descending to C*2. The D minor arpeggio is Volume Two presented from tonic to tonic and to A4.

Lesson 41 The G major scale is presented from tonic to tonic but extends to B4 and Page 49 descends to C2. The E natural minor scale is presented from tonic to tonic Volume Two and also ascends to a B4 and descends to B1. The G major arpeggio goes up to a B4 and down to D2.

Lesson 42 The E melodic and E harmonic scales and arpeggios are presented in this Page S3 lesson. All of the scales start on E2. The scales ascend to B4 and descend Volume Two to B2.

Lesson 43 A chromatic scale from C2 to a CS is presented in this lesson. A Page 56 diminished arpeggio from A^2 to A'*S is also presented in this lesson. Volume Two

Lesson 44 A B flat major scale in 3 octaves but extended to CS is presented in this Page S9 lesson. The B flat scale begins on B^l. The G natural minor scale is also Volume Two presented and covers the range from a D2 to CS. A 3 octave B flat major arpeggio is presented from B 1 to B**4.

Lesson 4S The G melodic minor and G harmonic minor are presented in scale and P%e63 arpeggio form in this lesson. The range covered is from D2 to B‘*5. Volume Two

Lesson 46 The D major and B natural minor scales are presented in this lesson. The Page 67 D major arpeggio appears in this lesson. The range covered is from D2 to Volume Two D5 for the D major exercises and from B1 to C*5 for tlie B natural minor scale.

Lesson 47 The B melodic minor and B harmonic minor scales are presented in this Page 71 lesson as well as a B minor arpeggio. The range covered is from B2 to Volume Two CfS.

17 Lesson 48 The E flat major and C natural minor scales are presented in this lesson. Page 74 The E flat major arpeggio is also presented. The range covered is from Volume Two B**! - C5.

Lesson 49 The C melodic minor and C harmonic minor scales are presented in this Page 78 lesson. The C minor arpeggio is also presented. The range covered in Volume Two both is from C2 to C5.

Lesson 50 The A major scale and F sharp natural minor scales are presented in this Page 82 lesson. The A major arpeggio is also presented. The range covered is from Volume Two 81 to C*5.

Lesson 51 The F sharp melodic minor and F sharp harmonic minor scales are Page 85 presented in this lesson as well as the F sharp minor arpeggio. The range Volume Two covered is from 81 to C*5.

Lesson 52 A chromatic scale is presented in this lesson. The range is from 81 to C5. Page 88 Some variants for the chromatic scale are given and appear like this: Volume Two

Vihonls

Two forms of a diminished arpeggio appear in this lesson 52. One begins on C2. The

other begins on 81. Some variants for these arpeggios appear like this:

Vanants

18 and this: Vmanis

-yk» - 3'T

Lesson 53 The A flat major and F natural minor scales and the A flat major arpeggio Page 92 appear in this lesson. The range covered is from D**2 to C5. Volume Two

Lesson 54 The F melodic minor scale, F harmonic minor scale, and the F minor Page 96 arpeggio are presented in this lesson. The range covered is from C2 to Volume Two C5.

Lesson 55 The E major scale, C sharp natui’al minor scale, and the E major arpeggio Page 100 are presented in this lesson. The range covered is from BI to C^5. Volume Two

Lesson 56 The C sharp melodic minor scale and C sharp harmonic minor scale as Page 104 well as the C sharp minor arpeggio are presented in this lesson. The range Volume Two covered is from C 2 to C*5.

Lesson 57 The D flat major scale and arpeggio are presented in this lesson. The B Page 107 flat natural minor scale is also presented in this lesson. The range covered Volume Two is from B^’l to D5.

Lesson 58 The B flat melodic minor scale, tie B flat harmonic minor scale, and B flat Page 110 minor arpeggio are presented in this lesson. The ranee covered is from Volume Two Bh to C5.

Lesson 59 A chromatic scale and two augmented arpeggios are presented in this Page 114 lesson. The range covered is from B*’l - B4. The two augmented Volume Two arpeggios begin B*’l and Bl, respectively.

Lesson 60 The B major scale and arpeggio ere presented in this lesson along with the Page 118 sharp natural minor scale. The range covered is from Bl to C*5. Volume Two

19 Lesson 61 The G sharp melodic minor and (} sharp harmonic minor scales are Page 121 presented along with the 0 sharp minor arpeggio. The range is from C*2 Volume Two to B4.

Lesson 62 The G flat major scale arpeggio along with the E flat natural minor scale Page 124 are presented in this lesson. The range covered is from B'*1 to B**^. Volume Two

Lesson 63 The E flat melodic minor and E flat harmonic minor scales are presented Page 128 along vdth the E flat minor arpeggio. The range covered is from B'*1 to Volume Two B**4.

Lesson 64 The F sharp major scale, D sharp natural minor scale and F sharp major Page 132 arpeggio are presented in this lesson. The range covered is from Bl to Volume Two C 5.

Lesson 65 The D sharp melodic and harmoaic minor scales are presented here along Page 135 with the D sharp minor arpeggio. The range covered is from Bl to A*5. Volume Two

Lesson 66 The A chromatic scale is presented in a triplet pattern m this lesson. An Page 140 augmented arpeggio beginning on C2 and an augmented arpeggio Volume Two beginning on D**2 are also presented in this lesson. Four new triplet variants are in this lesson and are as follows:

Vazianis

3 '

The order of keys for the scales and arpeggios in Volume Three of the Seltmann and Angerhôfer book are as follows:

Lesson 67 p. 39 C major Lesson 68 p. 42 C major Lesson 69 p. 46 F major Lesson 70 p. 49 F major Lesson 71 p. 53 G major Lesson 72 p. 57 G major Lesson 73 p. 62 B flat major Lesson 74 p. 66 B flat major Lesson 75 p. 69 D major

20 Lesson 76 p. 72 D major Lesson 77 p. 76 E flat major Lesson 78 p. 80 E flat major Lesson 79 p. 84 A major Lesson 80 p. 89 A major Lesson 81 p. 92 A flat major Lesson 82 p. 96 A flat major Lesson 83 p. 100 E major Lesson 84 p. 104 E major Lesson 85 p. 108 D flat major Lesson 86 p. 112 D flat major Lesson 87 p. 116 B major Lesson 88 p. 122 B major Lesson 89 p. 126 G flat major Lesson 90 p. 130 F sharp major

Volume Three by Seltmann and Angerhôfer presents scales in thirds and scales in a pattern of up a step, down a step, up a third. Also presented in this volume is an octave exercise in ascending and descending scale order. For further clarification, here are some examples as given in Lesson 67, page 39 and Lesson 68, page 42:

C major scale in thirds from Lesson 67:

Variants for C major scale in thirds from Lesson 67:

Wnants

C major scale in “stepped” thirds from Lesson 68:

VSmanB

21 c major scale in octaves and variants from lesson 68: . ±

VinanB

The same shorthand notation of a line or slash to indicate missing (non-notated)

that was used in Volumes One and Two is dso used in Volume Three. All of the

technical studies in Volume Three begin and end on the tonic, although the range is

typically extended in both directions within each technical study. Below is a detailed

description of lessons 67-90. pp. 39-130 from Volume Three.

Lesson 67 The C major scale in thirds in presented in this lesson. The range covered Page 39 is from Bl to C5. Volume Three

Lesson 68 The C major scale in stepped thirds and in octave scales is presented in Page 42 this lesson. The range covered is from Bl to C5. Volume Three

Lesson 69 The F major scale in thirds is presented in this lesson. The range is from Page 46 C2toC5. Volume Three

Lesson 70 The F major scale in stepped thirds and in octave scales is presented in this Page 49 lesson. The range Is the same as is Lesson 69. Volume Three

Lesson 71 The G major scale in thirds is presented in this lesson. The range is from Page 53 02 to C5. Volume Three

Lesson 72 The G major scale in stepped thirds and in octave scales is presented in Page 57 this lesson. The range covered is from Bl to B4. Volume Three

22 Lesson 73 The B flat major scale in thirds is presented in this lesson. The range is Page 62 from B**! to B 4. Volume Three

Lesson 74 The B flat major scale is presented in stepped thirds and octave scales. Page 66 The range is the same as in Lesson 73. Volume Three

Lesson 75 The D major scale in thirds is presented in this lesson. The range is from Page 69 C*2toD5. Volume Three

Lesson 76 The D major scale in stepped thirds and octave scales is presented in this Page 72 lesson. The range is the same as in Lesson 75. Volume Three

Lesson 77 The E flat major scale in thirds is presented in this lesson. The range is Page 76 from B**l to C5. Volume Three

Lesson 78 The E flat major scale in stepped thirds and octave scales is presented in Page 80 this lesson. The range is the same as in Lesson 77. Volume Three

Lesson 79 The A major scale in thirds is presented in this lesson. The range is from Page 84 E2 to C*5. Volume Three

Lesson 80 The A major scale in stepped thirds and octave scales is presented in this Page 89 lesson. The range is the same as in Lesson 79. Volume Three

Lesson 81 The A flat major scale in thirds is presented in this lesson. The range is Page 92 from E ^ to D^5. Volume Three

Lesson 82 The A flat major scale in stepped thirds and octave scales is presented in Page 96 this lesson. The range is the same as in Lesson 81. Volume Three

Lesson 83 The E major scale in thirds is presented in this lesson. The range is from Page 100 Bl to C*5. Volume Three

23 Lesson 84 The E major scale in stepped thirds and octave scales is presented in this Page 104 lesson. The range is the same as in Lesson S3. Volume Three

Lesson 85 The D flat major scale in thirds is presented in this lesson. The range is Page 108 from1 C2 to D**5. Volume Three

Lesson 86 The D flat major scale in stepped thirds and octave scales is presented in Page 112 this lesson. The range is the same as in Lesson 85. Volume Three

Lesson 87 The B major scale in thirds is presented in this lesson. The range is from Page 116 Bl to B4. Volume Three

Lesson 88 The B major scale in stepped thirds and octave scales is presented in this Page 122 lesson. The range is the same as in Lesson 87. Volume Three

Lesson 89 The G flat major scale in thirds is presented in this lesson. The range is Page 126 from D2 to C5. Volume Three

Lesson 90 The F sharp major scale in stepped thirds and octave scales is presented in Page 130 this lesson. The range is from C*^2 to C*5. Lesson 90 is in the enharmonic Volume Three equivalent key signature of Lesson 89.

Comparison of Description of Selected Scales Studies

Cumulatively, the five publications discussed in this paper are quite effective for scale study. However, each publication has its shortcomings. Weissenbom’s, Method for

Bassoon, introduces and develops each scale and arpeggio quite well, but it would be necessary to refer back and forth within the publication to come up with an adequate daily routine. It would also be necessary to transpose the supplement section, and that can be very cumbersome. There are no suggestions for riiythmic alterations. It would be helpful

24 and more effective if there were. This also applies for the Carl Almenraedar scales from the same publication.

Milde’s, 25 Studies in Scales and Chords, offers some very good exercises in major, minor, and chromatic tonalities. It comes very close to covering the span of the bassoon range, and is conveniently written out in each key. Each exercise varies from its scale or chordal counterpart Which is to say, scale exercises 1 and 2 are different from 3 and 4. It would probably be an effective and certainly a thorough undertaking to transpose each exercise into every key. The publication does not suggest this nor are any rhythmic alterations suggested. Another missing element in this publication is that not every exercise covers each scale degree of the key. If these changes or additions were made, it would improve its overall effectiveness.

The Oubradous publication. Enseignement Complet du BassotL Cahier 1 and 2, is possibly the most effective of the five publications discussed, in terms of range covered, the elimination of transposition and the suggestions given for rhythmic and articulation alterations. It would be more effective if the bottom range of the bassoon was covered for each key. The melodic minor scales are also missing firom this publication. However, the

Oubradous is the only publication that completely covers enharmonic equivalents.

The Kovar publication, Twentv-four Dailv Exercises for the Bassoon, fills in some of the missing elements from the Oubradous publication. Melodic minor tonalities and exercises that cover the bottom range for each key are included. Extensive transposition would be necessary in this publication.

25 The Seltmann and Angerhôfer publication. The Bassoon: A Tutor in Six

Volumes, covers a great deal of material and is indeed very effective. Of the scale publications discussed in this document, it contains the most complete display of minor scale forms by showing all three forms of the minor scale. However, it does not cover minor scales in thirds and the bottom range of the bassoon is not covered in every exercise. The short hand notation device of a slash or line for non-notated notes is problematic, and it is more cumbersome than the Weissenbom publication if one wanted to reference each key.

When exercises are completely written out or transposed, they are certainly easier to see and practice. The use of key signature modification would be helpful. Therefore, the likelihood that they would be practiced is increased. A merger of the Oubradous publication, where most of the exercises are written out and the Kovar publication, where more exercises are presented, would be a welcome addition to the bassoon etude literature.

26 CHAPTER 3

DESCRIPTION OF SCALE. ARPEGGIO AND INTERVAL STUDIES FOR THE BASSOON

Chapter Four of this document contains the scale book. Scale. Arpeggio, and

Interval Studies for the Bassoon by Robert D. Jordan*^. This book provides the bassoonist with many scale patterns which are completely written out. This chapter will give a detailed discussion of Chapter Four. The arrangements of exercises found in chapter four are of various exercises found in flute studies, unpublished exercises, expansions of privately published exercises, or new exercises never before available to the bassoonist. Those exercises will be discussed in some detail, and where applicable, the source of the exercise will be cited.

Pages 33 through 50 of Chapter Four are transcriptions taken from the flute book,

17 Grands Exercices Journaliers de M écanisme pour Flûte^ written by Paul Taffanel and

Philippe Gaubert This exercise pattern repeats the first flve ascending and descending notes of a scale four times. It is followed by a pattern which begins on the seventh degree of the next chromatic key modulation up and moves stepwise to the third scale degree of the respective new key. This pattern is repeated three times and on the descent of the fourth repeat, a skip of a third occurs on the fourth scale degree to the second scale

27 degree. These scale patterns are repeated until the full range of the bassoon is covered.

Pages 33 through 41 are in major keys and pages 42 through SO are in harmonic minor keys.

On pages 51 through 53, two octave scales in all keys are written out in straight sixteenth notes for the bassoon’s entire range. The key signatures are in ascending chromatic order, include all enharmonic equi\ aient key signatures, and cover the full range of the bassoon. The scales on pages 54 through 62 are in the major, natural minor, harmonic minor, and melodic minor forms respectively. On pages 63 through 68 are scales in the harmonic minor form that go directly into the melodic form for each key.

Pages 69 through 93 contain scale exercises derived from the privately published book of exercises for bassoon by William Winstead'**. However in the book by William

Winstead, this particular scale exercise is completely written out only in the key of C major. The bassoonist is asked to transpose the exercise into all other major and harmonic minor keys. That is to say that the bassoonist must mentally change the key signature for this exercise fix>m C major to all other keys. The exercise in Chapter 4 of this document is written out in all major and harmonic minor keys. Suggested dynamics and articulations are made at the beginning of the exercise.

The “fluency scale” pattern is as follows: Begin on the tonic note of each scale and ascend stepwise one octave and a step then descend stepwise downwards turning around on the third scale degree and repeat this pattern until two octaves have been covered and a scale pattern has begun on each scale degree. This particular exercise is very similar to one also found in the flute book by Paul Taffanel and Philippe Gaubert’ .

28 As in the previous section of chapter four, the order of keys is in ascending chromatic order fiom the lowest range of the bassoon to the highest

Pages 94 through 97 of Chapter 4 contain an extended range scale study used by students in the bassoon studio of Robert K. Thompson’^ . Robert K. Thompson was a bassoon student of Harold Goltzer. Harold Goltzer developed his patterns after Simon

Kovar's scale routine*® . In this scale exercise, the bassoonist begins a pattern on the lowest note on the bassoon and ascends stepwise upwards eighteen scale degrees and then descends downwards to the original starting note. The bassoonist then moves the starting note up one scale degree and repeats the pattern. The exercise continues until the full range of the bassoon is covered in all major keys. This exercise is to be practiced in eighth notes, triplets, sixteenths, and sextuplets.

On pages 98 through 100 is an interrupted scale pattern also used by Robert K.

Thompson and Harold Goltzer. It can also be found in a modified form that does not cover the entire range of the bassoon in a book entitled. The Complete Bassoon Scale

Book.*’ This scale exercise pattern is similar to the extended scale pattern described above. A downward skip of a third occurs after every fourth note when ascending up the scale pattern. An upward skip of a third occurs when descending down the scale pattern.

Pages 101 through 124 contain two octave scales in thirds written out for the entire range of the bassoon. Each of these scales in thirds exercises begins and ends on the tonic note of the key it is in. These pages contain the following order of scale forms: major, natural minor, harmonic minor, and melodic minor respectively. These exercises are completely written out in straight sixteenth notes. The key signatures are in ascending

29 chromatic order with all enharmonic equivalent key signatures included. The extended range scale study in thirds on pages 125 through 130 is similar to the extended range scale study previously mentioned.

The scale exercises on pages 131 through 154 are the same as the scales on pages

101-124 except that the scales are in fourths. Pages 155 through 178 show scales in

fifths. Pages 179 through 202 show scales in sixths and pages 203 through 214 show

scales in sevenths. Each of these exercises is in the same order of key signatures, range

and rhythm as the scale in thirds exercises.

Pages 215 through 222 contain two and three octave chromatic scales. Starting

notes for the three octave chromatic scales include every note from B*’l to E2. For the

two octave chromatic scales, the starting notes include every note from B**l to E3.

Pages 223 through 237 contain two octave whole tone, major pentatonic, minor

pentatonic, octatonic, and blues scales respectively. The starting note for each of these

scales is B^l through E3. Enharmonic equivalent scales are also used in all of these

scales shown.

On pages 238 through 258, two octave major, minor, major seventh chord, minor

seventh chord, dominant seventh chord, half-diminished seventh chord, and fully-

diminished seventh chord arpeggios are presented. They are arranged in ascending

chromatic key signatures and all enharmonic equivalent key signatures are included. The

full range of the bassoon is covered firom B**! to E5.

Pages 259 through 307 contain an interval study that covers the following

intervals on the bassoon: minor seconds, major seconds, minor thirds, major thirds,

30 perfect fourths, augmented fourths, perfect fifths, minor sixths, major sixths, minor sevenths, and major sevenths. Each of these intervals is written out and the entire range of the bassoon is covered. The intervals are written out four times in sixteenth notes and appear in both ascending and descending patterns.

The final pages of Chapter Four, pages 308 through 309, offer some suggestions for rhythmic and articulation variations that can be applied to the previous exercises presented in the chapter. These suggested variations provide the user with several options to expand their practice regime.

It should be noted that the order of keys in Chapter Four occurs in a chromatically ascending fashion and that each scale or exercise begins on the lowest note of the bassoon. The rationale for this is twofold. First, it helps to reinforce the primary range of the bassoon. Secondly, it allows bassoonists of an intermediate level to gradually refine their skill in the high register. By emphasizing the primary register of the bassoon, the bassoonist will be able to focus on good tone production since the low and primary registers are acoustically easier to produce witli less air pressure than the high register.

By building on the low and primary registers of the bassoon, essentially extending the range one note at a time, it is then more likely that a good tone quality will be produced in the high register.

Now that a clearer description and comparison of existing bassoon scale studies has been made and a new scale study has been created, we can appreciate the importance of this new scale, arpeggio, and interval study better. All of the scale, arpeggio and interval exercises have been completely written and the entire range of the bassoon is

31 covered in this new study. This sets it apart from existing studies and is an improvement that provides the bassoonist with a more comprehensive source for the practice of scales, arpeggios and intervals.

32 Chapter 4 Scale, Arpeggio, and Interval Studies Daily Major Scale Mechanics By Paul Tqffimel& Philippe Gaubert Arrangedfor Bassoon by Robert D. Jordan

■ s fS i J J

33 Daily Major Scale Mechanics

34 Daily Major Scale Mechanics

j j i-i j j j j j

35 Daily Major Scale Mechanics : = = ^j = j -”_^_i = = = • : ■ ^ • j = -: z/ * g J J-Jrn-rm i ^ < W.. J rrrnmj j-.: Ë:f * * ^ J fJj ^ ^ ^ J Æ- ■y tygT"*'****- *'* » y■ * * —■;--*"11"^

11 ^ #a — ^ f a _ ^ r»rT n 1 r r fl U L L u m u i r e à F a ■’tjifiiifü lü'ÜIfBIfÜU'Ë L l f t o r ^

? t i £ ; i l i f ü. a ^ F #a ^- "- «-a * #a _- rrrrrrri. a F "FF#

36 Daily Major Scale Mechanics

^^^^^= E = = ^ È = iE = = = ^= == = =È E = = = = ^ ^ ^

y f r rr » - »?

37 I I

% I

» 1 I . > 1 1 I n 1 1 n

I 'r m Daily Major Scale Mechanics

39 Daily Major Scale Mechanics

40 Daily Major Scale Mechanics

41 Daily Minor Scale Mechanics By Paul Tqffimel & Philippe Gaubert Arranged for Bassoon by Robert D. Jordan

^ 5 1

42 Daily Minor Scale Mechanics

1 j t t I FTT TTTTT J jbab* * * j J JUt J-2-- * • J

43 ! i I Î u rrr I

I I •o I: I:; Î ( P f f ;i

i?« Daily Minor Scale Mechanics rrrfrrfrrrr-fftrrrrrrrrr.rrrB fUrüifÜlrLüiniiiiiin

,'wir:^+wirrn.wrrr.r:wprHw

rrrrriiirrrrriiirr^

46 Daily Minor Scale Mechanics '.>t,ifrr‘rrrrrfrrrimLii;mjüJJ[Ë

47 Daily Minor Scale Mechanics

48 Daily Minor Scale Mechanics

49 Daily Minor Scale Mechanics

50 Major Scales Arranged fo r Bassoon by Robert D. Jordan

Bb Major

BMqor t h i J i i------__ M ' M l *1

Cb Major - ^ f r r n r i f f~ f~ p —P f f W ------1 ■ > \ > W

CMq'or

------J J J

C# Major

^ I l f #-■■ ■■ ■ ■ " W Ç I 4 -TT>frr-ffi TT* t p —P F n — j f £ y

Db Major _

D Major afrOiifJTnijT fp i

51 Major Scales

Eb Major

F Major

Gb Major JffJg

G Major jj I T O j II

AbMajOT II

AM^or ^ % - n

BbMiÿor

52 Major Scales

BMiy'or =C ty jm firJittËfBfffrirrri rri

Q> Major

CM^or

c#Major

Db Major

D Major »

Eb Major

EMqor

53 Natural Minor Scales Arranged for Bassoon by Robert D. Jordan

A# Natural &#tor Scale S i

Bb Natural Minor Scale

B Natural Minor Scale

C Natural bGnor Scale

C# Natural Minor Scale

D/ I'lauucuNatural Minor ATAIUUfc Scale OV4UC ^ t^jjs-P ^u u ^rrrirrij n r i i j j j n D#'>'iV Natural NBnor jjri Scale f7iiLii;rrrrirrLi nn ujj^ n

54 Natural Minor Scales

Eb Natural Minor Scale

E Naturalouuot Minor muiui Scale owuc m m

F Natural Minor Scale * «

F# Natural Minor Scale

G Natural Minor Scale g

G# Natural Minor Scale

Ab Natural Minor Scale

A Natural Mmor Scale

A# Natural Minor Scale =3

55 Natural Minor Scales Bb Natural Minor Scale

■ ■ ■ I

B NaturalU Minor XVXIUVA Scale ^

C Natural Minor Scale

C# Natural Nfinor Scale

D Natural Minor Scale

D# Natural Minor Scale

Eb Natural Minor Scale

E Natural Minor Scale

56 Harmonie Minor Scales Arranged for Bassoon by Robert D. Jordan

A# Harmonic Minor Scale

Bb Harmonic NQnor Scale ^ 1 k L— M " f ! - 0 m f P ^f f r ‘~r F a J T l ^ — ----- — I' ■ J O ^

B Harmonic Minor Scale ^ HI T i l 1" ------

C Harmonic Minor Scale 1 k P i — ---- Ml ilillJ **** -=

C# Harmonic Minor Scale r p F — ------I ^J-lfciiÉ* 1L

D Harmonic NGnor Scale r r r r t o i f i j j

D# Harmonic Minor Scale 'I [ f l J Æ k # E

57 Harmonie Minor Scales

Eb Hannonic Minor Scale .

E Hannonic Minor Scale

F Hannonic Minor Scale

i>h>

(# Harmonic Minor Scale g ' »* p_i.5n m a

G Harmonic Minor Scale

G# Harmonic Minor Scale ^ ‘"¥>f tffff rfr .0^1

Ab Harmonic Minw Scale

A Harmonic Minor Scale

58 Harmonie Minor Scales

A# Hannonic Minor Scale

Bb Hamumic bfiiKV Scale T it tri~ '

B Hannonic Minor Scale

C Harmonic Minor Scale

C# Harmonic Minor Scale

D Harmonic A^nor Scale g m D# Harmonic Minor Scale

Eb Harmomc Minor Scale

E Hannonk: Minor Scale

59 Melodic Minor Scales Arranged for Bassoon by Robert D. Jordan

A# Melodic Minor Scale

Bb Melodic Minor Scale

*>i|» ;------P'l T | - W ? T f W f ¥ - ^ ------[ j * C f lii^p^ - L r r r ^ j j j i

B Melodic Minor Scale F- 1 T i l . . f W r r Y i # f IMr—n B ü ------1 I w ™ 1

C Melodic Minor Scale

- -k-li G l i W * * * * '

C# Melodic Minor Scale

t o p f r p J f f l — ------1 - ■ 1 » jjjJJuJ»'*-'! K U 1 ü s y # ^

D Melodic Minor S c a le ^ ^ ^ ^ r f F » i f f T l i"TTW------M f c U 1

D# Melodic ^ n or Scale

> u U ' t i t ! r

60 Melodic Minor Scales

Eb Melodic Mmor :»caie

E Melodic Nfinor Scale „ « . ,

* — w k ' ^ - ^ L L L r '

F Melodick^norScale L. r t o f r f F > i II

P# Melodic Minor Scale u # L ^

t , i f r r r p r ^ r f j r^frrf>.--i d y t i j z j i

G Melodic Minor Scale L . #k m c r n f j j j ' r T ï j — k . 1 1 1 II ■ " — ™ ° - y = f - H —

G# Melodic Minor Scale Ik t),#*:.. rffl.fi .^^^rfrrf T f j V % t f n ■-■ 1 JBI 1 II jj<«r*r,^-M *" - L g

Ab Melodic Minor Scale

* > i k L I. f f f l r ^ r y n

A Melodic KGnor Scale ( ^ - 1

61 Melodic Minor Scales

A# Melodic Minor Scale S Bb Melodic Minor Scale

B Melodic Minor Scale nn^t['«rri ;ff.f -frrriw ^

C Melodic Minor Scale

C# Melodic Minor Scale

D Melodic Minor Scale. è m

D# Melodic bfinor Scale

Eb Melodic Minw Scale

E Melodic Minor Scale I 181

62 Minor Scales in Harmonic and Melodic Forms Arranged for Bassoon by Robert D. Jordan

A# Wnor

Bb Minor

B Minor

63 Minor Scales in Harmonic and Melodic Forms

^ r ^ r r ^ l r p . 9------ÿ------1 t a i i M ^

C# Minor

r--.>pr¥ffi -A b i s —S B E T 1 H fF J 1

i W r r W p . hr k i * i w ^ 9 ------^-----1 ^ S J iL I

D Minor -HH-— p^ ■ p .fte£f I r P J " " " 4 •HJ i

%------h ------1 -H * T — r, JifJT p F T '^ ~ ^ r'rfYh 1 ■ ■ Y 1 1r p 1 - ™ j J - W N = t i

D#NBnor TyT|iltii 1 9 , . . p f r W 1 r B M - r r r r p ’^ ^ B i 1 *t* J J J 3 ^ r l . L j j **»JI

64 Minor Scales in Harmonic and Melodic Forms

3 | ^ m j

9 1 1 |j ■ ■ FT|^ f-pfj—m, WJ h—i---»-- 1 f|Y V& Yrrr |ij * n

E Minor >frrr^f.firri :i:i JTJ* —[liiiif 1 "Tl 1

-*H- 1 5 5 ^ r f r r 1 nr¥fir'frf»MwwM—:------»------1 -= ------hkW=b ~ i —— 1

F Minor k ji f ^fripTT “v jJJj^yyl1 1 4 d ------m *" j jj**'

Wil., ;----- S5 W-*ffJ t ’fPm ■T V 1 lifif N ...n

F# Minor 1 f TY rp„..i

y¥-r*j>tp^fC££l II

65 Minor Scales in Harmonic and Melodic Forms

GMinor

G# Minor

Ab Minor

A Minor

66 Minor Scales in Harmonic and Melodic Forms

A# Minor

Bb Minor

B Minor it . i). I, J J ! 3 ^ I8| ^p£fI [££f ^CÜCfl

R| c£ £ T ^ lCÜi'[Q[j'^l [££fgg , BI t o i>i tier ^ m

67 Minor Scales in Harmonic and Melodic Forms nflT'“ *i frn iji i Lii _u i

[ iif N > I

OMinor

I I

D#fÆnor 3P5

iic -gtp r i

EbNGnor

68 Fluency Scales In Two-Octave Major and Harmonic Minor Scales Arranged for Bassoon by Robert D. Jordan Summary of Dynamics and Articulations

1. forte ascending, forte descending:

2. forte ascending. descending: m m

3. ascending. descending:

4. piano ascending. : descending:

5. z= = -a scen d in g < = : descending:

A# Harmonic Minor

69 Fluency Scale Study

Bb Major

f a

Bb Harmonic Minor

g W

m i • ------— *■» ÿ

70 Fluency Scale Study

BMf^or

9 *

B Harmonic Minor

m i f

71 Fluency Scale Study

Cb9 «▼Aojvra.Major _ ^ ^ I I ^ ? g j g

C Major

72 Fluency Scale Study

C Harmonic Minor

f g

C# Major

J3 7 ^ l ^ r % g ij i II

73 Fluency Scale Study

I ^ S -

T f T p J T S i f f 1 = ± : ' l ' » ------

- * v i A p

IF&k jm .|.l^.| prflitfBSi Jfti , > 1 ::: .::* * J ji" j j l - j —— — 1

Db Major __ ■

*)iil,L. fffl 1 Wiw 1 ^ JS S tj J ^ 1 y 1

t > i i i . L 1 î ( ? 7 l r.^'“C ^ ffT \f' > 1 r [ [ n w # * ± - ~ l :

:«K4:r. t . : U FTT Z^. yTTZTpff- "*^ri,l’|, * k W 5 B - ^ 5 % 7 1

74 Fluency Scale Study

D Major

D Harmonic Minor

Ê $

75 Fluency Scale Study

D# Harmonic Minor a

Ê $

t»M¥

I $

t^L^k @ jg £g g .@ i.@ g g ij * II

76 Fluency Scale Study

Eb Harmonic Minor

^ khj»;b I i II

i Î

77 Fluency Scale Study

E Harm onic Minor

SE m Ï

78 Fluency Scale Study

F Harmonic Minor ? ? 3 i , %

:&% ■ k L r f 1 C T j - k w # T w m w L n j j ' T L H F t1'H- ; i 1

"TVi 1 1---T" r 1 Ÿ" T" ^ iT'Ÿ^ ^ t g # W 1

3 i T O r p n - " r "•'»•— \ 1 / J J * I j — i — II

F# Major

T F f.tiJ ..XH^ J m 1 i l ~ C T r F -----ft ^1 “ i é * Z Z ^ ^ 1 ----H

q* #u(* * ^^rr?T rritfT fT r> ^ 1^:77^55 [ j r j i ™ # - W r f -W ------K— q

^ S r ? P r T ^ ^ ■ "i u=y J ^ r f Ü * "

W ,JI j j

79 Fluency Scale Study

F# Harmonic Minor -

i m

t ^ : k l C Ï Î ^ I

80 Fluency Scale Study

G Major

T»r^gjW ig fn 7 ] i-rTrrrrfif Î tH iL iD T ^ n

r f?T3 « ^ - 1

C Harmonic Minor

81 Fluency Scale Study

G# Harmonic Minor 7

Ab Major S

82 Fluency Scale Study

Ab Harmonic Minor

r " ^ 1^

,1 I S F r f r - ^

83 Fluency Scale Study

A Harmonic Minor

A# Harmonic)mc Mmor Minor " ' ~~__ _

'l' |l| Û.

84 Fluency Scale Study

Bb Major 1^ T O I

Bb Harmonic Minor

-> i H

8S Fluency Scale Study

B Major —

B Harmonic Minor

i V ^ ^ ? Ù i £ ï

86 Fluency Scale Study

Cb Major

j i i I

C Major

* II

87 Fluency Scale Study

C Harmonic Minor

■A— »— ^t\,n.,1. ^W '•* 'G L L frlfrfr% Ij 1 ^ U - - W * ^l ' - - -*—

C#Mapr

9 » I

88 Fluency Scale Study

C # Harmonic Minor

Db Major

l a A f c

89 Fluency Scale Study

D Major

D Harmonic Minor

90 Fluency Scale Study

D# Harmonic Minor

Eb Major

; ; i f - * Il

91 Fluency Scale Study

Eb Harmonic Minor

l8 iM >

E Major

B 1*1*

92 Fluency Scale Study 'X [jffttiff : ig ,Err7 ^,i

------h Nta>y iL

93 Extended Range Scale Study Arranged for the Bassoon by Robert D. Jordan To be practiced in the following key signatures:

Bb Eb Ab i

Db Gb Cb G D i

A E B F# C#

3 g m 3 3 - p — *— rp rffr^ I ~~ #"ri 1 -A ^ 1— — 3 3 3 3 3 3 w XT

94 Extended Major Scales

^ jjjJi % [) I If0 H i % I I

''II' I itf yarcfTi uj

g #

^— ' ^ r i Ml j Q f f ** # = ? - V i « r|__ 3 = = ± ! s H 5 h t f XT

95 Extended Major Scales

» -o-

3 3 mi. .4n-m.vrfrrHi >frrrfffrrrw i > ^ . - m -mm------^ : i ------

' II- ^ iL ^ T ~ y '

j — ^ .-1 ^ 1 -41 -e-

-o-

n jijifl [fiririii 1 0 ' Q- irriijjyjiiji„

96 Extended Major Scales n rftrO'iBi rfcrtf|

% nJ3g>rrrCffiadWiu?Q%i Arpi

97 Interrupted Scale Study Arranged for the Bassoon by Robert D. Jordan To be practiced in the following key signatures:

Bb Eb Ab a k"i. - lk"i.

Gb Cb

p If I,

A E B F# C# *i*t— iM>» - ■ I##**,#

98 Interrupted Scale Study

99 Interrupted Scale Study

100 Major Scales in Thirds Arrangedfor the Bassoon by Robert D. Jordan Bb Major

y s U u i - *

B Mqor

m i ^ = -

•yrir-, i~f'rfT f7'V •¥ («( lu :^=fâêtjip!É6y=ti^ j . . a

C M qa- -ckt------m Fffli . , r r f f f f - 1 J hii ii-rt '

101 Major Scales in Thirds

C# Major

DbD MajorlYUtJUT _ ♦ a

D Major

n rrrrr"'^" i

y iS-teiL L r Ü I r f f i J J!i J J ;} j II

102 Major Scales in Thirds E Major

F Major

--v %

F# Major i

GbLP ATXajVAMajor yi>h>^i< J773j^j^

1(B Major Scales in Thirds G Major

Ab Major

AM^or

IBI>

104 Major Scales in Thirds

K ju itjh t l î ^ T rrpqî'ÊCfffrTw-p — i— w U J 1 r r - f

Cb Major . *

LLM I 1 1 1 1 —

^ M y I I M 1 1 i

^ r P K p f . p _r^-----1

C# Major ^ fk l.l, #, i= ^ 'rfrl^ r£ irB i.rrrrfrfrffJl= i ■Cü: l|!t-^^= E J-^iW ‘ "

■■£jlfrrrrroi=a

105 Major Scales in Thirds

ÜffCHrrirnr r n

D Major

Eb Major

E Major

106 Natural Minor Scales in Thirds Arranged for Bassoon by Robert D. Jordan

A# Natural ^nor Scale

Bb Natural Minor Scale

•TT*T|- j-j I I

m B Natural Minor Scale I

C Natural Minor Scale

107 Natural Minor Scales in Thirds

Natnral Nfinor Scale

n r r r r r r i

D Natural Minor Scale

D# Natural R#ior Scale

Eb Naturalminur Minor acaicScale . .

"^1 ' IIJ fj

108 Natural Minor Scales in Thirds E Naturalcai jnjrniffl^aüiautrrrrfrffMinor acaieScale . a _ i

F Natural Minor Scale

F# Naturalrat Minor Nfinor acaie Scale a ^ ± a =55

G Natural KGnor Scale

m OT/i, I II 109 Natural Minor Scales in Thirds

G# Natural NGnor Scale

Ab Natural Minor Scale

A Natural Minor Scale

A# Natural M nw Scale

H h

110 Natural Minor Scales in Thirds

Bb Natural Minor Scale

B Natural Minor Scale

C' *Natural Minor Scale

C# Natural Minor Scale

111 Natural Minor Scales in Thirds

D Natural Minw Scale

D# Natural NGnor Scale ►

^ 1 t l X J w s J J J J j------J

Eb Natural Minor Scale ^ # &

f ll 1" ÜJJ it** '**■ 1

E Natural Minor Scale

112 Harmonic Minor Scales in Thirds Arranged for Bassoon by Robert D. Jordan

A# Harmonic Minor Scale

Bb Harmonic Minor Scale

B Harmonic Minor Scale ij J N J*

C Harmonic Minor Scale

113 Harmonie Minor Scales in Thirds

C# Hannonic NGnor Scale

r i ^ - -

~9«M t rr**rFp=rf - r 1 1 g------1

D Harmonic Minor Scale p_j > r . r t £ ^ - i £ f f l ' III ^

•fMi t r ¥ r T p r , ' P f m ' 1 w iiin L.I I j

D# Harmonic Minw Scale

^ — F~m rirrrrrrrîTil^^^T[^4-ij t m II i ill" — i

f m P - ^-|r1 yr. 1 j-j j II

Eb Harmonic Minor Scale t v 11.. L 1------m PfFI . ., .».i»»ri»‘lffffff , J T j l Æ 1 k-l N

i j m

114 Harmonie Minor Scales in Thirds

E. HannonicruiEiuuun; Kfinor muiui Scale OLaic _ ii _ #

# E l

F Hannonic NGnor Scale "nrrj,,L— R 'f l

TB-jtTT. •£ £ iiî^ -f 1* f r f f r » ÿ - 4 | ^ T ^ ^ - P 1 — [—1 / » 1/ — II"*™ u 1 r |-^-f-p

F# Hannonic Minor Scale

4K jb-i r r r —BSBsE—SS------^'1 j j j «1 j ^ ^ I^Ly=fci"

r ? - f i — I—1

G Hannonic Minor Scale

■^i> FTT-f^^»lrprrrff—p*rn —w "Ej

i»Li f f ï f k ù ' L ^ g

115 Harmonie Minor Scales in Thirds

G# Hannonic Minor Scale

Ab Harmonic Minor Scale

A Harmonic Minor Scale

A# Harmonic Minor Scale

116 Harmonie Minor Scales in Thirds

Bb Hannonic Minor Scale

l8iVi. £tïfCtfrrf[j.!>ücrn>rr^^j^

B Harmonic Minor Scale

'■ H I, iinnrrT"'" i

C Hannonic Minor Scale

C# Harmonic Minor Scale =55

117 Harmonie Minor Scales in Thirds

D (bnnonic Minor Scale

D# Hannonic Minor S .'fi.rffrTrr-«»r»i*i i»ri»f r f f J f f B U r-r— I 1 1 1 p— 1— m u ------

Eb Hannonic Minor Scale

E Harmonic Minor Scale

118 Melodic Minor Scales in Thirds Arranged fo r Bassoon by Robert D. Jordan

A# Melodic Minor Scale

Bb Melodic Minor Scale

m B Melodic Minor Scale

C Melodic Minor Scale V L Ï , r ï

119 Melodic Minor Scales in Thirds

jiffif.cnjr 1

# F ■> ffrTrrpfgp— 1 1 □ 1 [ { f ■■ p * j ■ j 1 j j - j

D Melodic Minor Scale Wm'f’\ P r f f f • ' ^ 1-- p m = ^ # — — 1 1 1 :------

- g | ! f f f r f f r ^p--,n . ff-i L r f^ y ^ fT T f "I ' J 1 4 . - « 1 .

Eb Melodic Minw Scale A i 11., P I— pffl ffH Jh W «rffi i»rp r^ f W W ^ A Ê â = | [ £ £ j i y = ^ i L ' r M ...... — iwii.,L' -'W 1 ^ ^ fr 1 r kèàj r r r rL r L r I|r[_^^-^ r r .r n M — r— 1

D# Melodic Minor Scale 4 * # i i k #-- 1 |"|' 1 F f 'B Fmf\ FT ftL^irrTrfffe w rjT3J^jt^^^***'^[[cri c ^ j 1 I W ^’1 ^ -----

I k #.l* # TfTrfpr0Pm0^^^r^ ' II »r' ‘■■■^ L-uaj [-1 •’é\» -à é\; \ rj j II

120 Melodic Minor Scales in Thirds

E Melodicloic iwmoracaieMinor Scale ^ ^

F Melodic Minor Scale

Ü-I> t o tLÜ* lln ; [££j I ^

F# Melodic Minor Scale

G Melodic Minor Scale

;»t>i£ifa£fULüu iQjj TH /i

121 Melodic Minor Scales in Thirds

G# Melodic Minor Scale

Ab Melodic Minor Scale

A Melodic Mincw Scale

A# Melodic Minor Scale

122 Melodic Minor Scales in Thirds

Bb Melodic Minor Scale

B Melodic Minor Scale

C Melodic Minor Scale

C# Melodic Minor Scale

Ï7iï''' '

123 Melodic Minor Scales in Thirds

D Melodic NGnor Scale

LLIU I

Eb Melodic Minor Scale , , ^ z

|| r [ J J kiiiW ------

D# Melodic Minor Scale

E Melodic NGnor Scale Z g>t r r f r r p ------1 ' ------

124 Extended Range Scale in Thirds Study To be practiced in the following key signatures:

Bb Eb Ab

Db Gb Cb D - I *

B F# C# j|..t hh - I*A, - - I

125 $

CoI .S I Î i : } I l! : 1 I Extended Range Scale in Thirds Study y^rüüjüjiQjninjjjjii

rrrrrrctraJB rrrCtf^te

127 IIU IIU

-I':) I I N I:: II; S' f : Ï Extended Range Scale in Thirds Study

- c irC tf ^ 0

.‘' t i r LÜI r rj ^ JT] il

IS a s rto o ii fjjj ifrrirj^LOj

129 Extended Range Scale in Thirds Study

130 Major Scales in Fourths Arrangedfor Bassoon by Robert D. Jordan Bb Major

BMqor

. ' j

Cb Major

m a 'h

CMqor g s M g liL L ï l r ' i f

131 Major Scales in Fourths

^ Hi -prF-ÿ- 9 - I ■ ■ -fc------L.------_I ♦ *#** J 1 J ■ -J-^ ^ - _ _ J

Db Major ft*! 1 1 TT^ *—p-h* Tpfrfi :T:nr% ^ * y r r — . r # j 1 tP«*

it ;—^pr^—# p^ p p— 4——Fi—

D Major r f frfi "i j J j J J <* J ^ ij * << m j i l l l J 1 1 w

|j :—1^ P r P--P r » ~ * P--1 ^— —------j ^ » LUgLf,Lr'LL[;

Eb Major e \ i t,------PFW— —>— 0— P M f \ 0 f P r r f r f 1 # - j J J-'l^rrTrTrP J iiiiiii 1 III

^ 1

132 Major Scales in Fourths

E Major

I)» II,It,—f r f r 1r , [r _ V J f , f P i U------= J 1

^ F n n T id j L L U iLW r r r f

1 , 1

"^'.,1 , [ T P J f f I r j i J d l J I ^ r r r f I

Gb Major

-'W

m £kLim f[tuiJ7T]ru_j ,

133 Major Scales in Fourths

G Major

Ab Major

A Major

9* W

Bb Major

m m

134 111 w iMU S

«S' ï t5î §• S' ? R I Major Scales in Fourths

Db Major

D Major

EbMajOT

‘ Mit, ^rrrrrfirÉ^

136 Natural Minor Scales in Fourths Arranged for Bassoon by Robert D. Jordan

A# Natural Minor Scale

Bb Natural Minor Scale

B Natural Mmor Scale I fj'l J JTPI fT i ^ LüJ I

C Natural Minor Scale Ü

137 Natural Minor Scales in Fourths

C# Natural Minor Scale

jt J f r f ^ " " —Pi —

D Natural Minor Scale ijii n p j T ! n r 3 h — » - f . r » r p f r f -1

^ , 1 » . — ^ m - m ------\ i " Q . J 4 ---- D# Natural VQnor Scale r m ? . p- p f r r f 1 T V . J T P J ^ J ^ J ^ # f = r Ü U fJ 1 1 ^ 1

* '1 ,^ 1 ' J?

138 Natural Minor Scales in Fourths

E Natural ^ n o r Scale

F NaturalUliU SVUUUI Minor OUUC Scale . Æ i''i> jTTiJTP^itLJLLiJrrrfi

F# Natural NGnor Scale

G Natural Minor Scale

V lI' tll.rffrf Irr

139 Natural Minor Scales in Fourths

G# Natural A ^ or Scale

i i , , m

Ab Natural MmorMinor Scale m û

A Natural Minor Scale

A# Natural ^ n o r Scale

cLd"d i S

140 Natural Minor Scales in Fourths

Bb Natural Minor Scale

-«M-

B Natural Minor Scale

C Natural Minw Scale

v ' ü j ' L c a "

l8i^E££fDr;.*E££/iIi

C# Natural Nfinor Scale i

141 Natural Minor Scales in Fourths

D Natural Minor Scale _ ^

181,

D# Natural Minor Scale ^rrrrilam rr

‘^iV‘ ^’''‘'frrrriin 'W n jT r

Eb Natural Minor Scale ^ Æ t U i L L f i ü i

E Natural Minor Scale

- # ■

142 Harmonic Minor Scales in Fourths Arrangedfo r Bassoon by Robert D. Jordan

A# Hannonic NGnor Scale

Bb Hannonic NGnor Scale

B Hannonicuiuv Minor iTuuut Scale uvoi^ fTTi Oil [lüJ-i

C Harmonic Minor Scale

m ij nrnffPT^-h-^rrrrrrJdJ

143 Harmonie Minor Scales in Fourths

C# Ibnnonic Minor Scale ir » f

D HarmonicDie Minor Scale m g

D# Harmonic¥uuur Minw Scaleocaic X-*- # I ji^ ;rp rn^h^^ O ijLltfi

Eb Harmonic Minor Scale r i n r eiLjiJi

144 Harmonie Minor Scales in Fourths

E Hannonictonic Minor Scaleacaie ^ ^ J fP PT" tltj I

F Hannonic NQnor Scale L ^

rrp ^ I > r f r

HU-g'-rf 1 - 4 4 J 3 — r - i - f - a ^ T 1 P ' 1 w >iiii—

G Hannonic Minor Scale a

145 Harmonie Minor Scales in Fourths

G# Hannonic Minor Scale

Ab Harmonic Minor Scaleacaie A W £

A Harmonic Minor Scale

g L i J ' d i r

A# Harmonic Minor Scale

146 Harmonie Minor Scales in Fourths

Bb Hannonic kCnor Scale ii]ifirnrrf-|firfTrfi

B Kmnonic Minor Scale a ü j j d ü i U

r [ r [j" 9*Cicr r i f r*F'rfx£i^

C Hannonic Minor Scale

C# Harmonic Minor Scale

* > » # » #, r r f

IB#*#' kù"Ü Ù "[!c[r

147 Harmonie Minor Scales in Fourths

D Hannonic Nfinor Scale a ^

j-m noiuiuuiw ituuui ovoic ^

|glt>{*t »..U 1--- ^ ’^rfrr^ Irl 1 |-t 1 r...r.o.F1 PI p »Q- ^ ------1

Eb Hannonic Minor Scale , . # ^4^L-.|---r«r^rrTrf tJ i -^'lj r 1 i J "11^ ' h—

r r lf[U i[j

E Hannonic Minor Scale -0 ^ a :»

148 Melodic Minor Scales in Fourths Arranged for Bassoon by Robert D. Jordan

A# Melodic Minor Scale c J t i f f f i

l . l , r.0 JT II FTWi Pu —:------\

Bb Melodic Minor Scale . 'T p *** r f - " Ikd -.-fb jijJ L I Til

fk,L.L— r .f . fTfi 1 w "T 1 P I II -,— ------— 1 " f n L 11 ,r ^ J- B Melodic Minor Scale ~ h r ^ — f~i JjW J ^ J » # J J ^ J LI r 1 1

F I nilII1 — ------—, __j» "! ' J 1 ' ,1 ' i — “ C Melodic Minor Scale 1 k--- — ~T—P , P -p %r p V r f i }T\i.[ttj J ^ j W . I . I 1

: ^ = l

149 Melodic Minor Scales in Fourths

C# Melodic Minor Scale

D Melodic Minor Scale

D# Melodic Minor Scale

Eb Melodic Minw Scale

150 Melodic Minor Scales in Fourths

E Melodic Mmor Scale ![■„;/ r d d c i l #

F Melodic1C MinorMmor Scale acaie U t#- #•

'!> f r p P V

F# Melodic Minor Scale r r r r " q j i“L^nrrTrTrf|

G Melodic Minor Scale

151 Melodic Minor Scales in Fourths G# Melodic Minor Scale

Ab Melodic KGnor Scale

A Melodic Minor Scale

A# Melodic Minor Scale j . n i 3 = s

152 Melodic Minor Scales in Fourths

Bb Melodic Minor Scale r f r r ^ r ^ 1/ ^ r \ r 1 fi ill

B Melodic Minor Scale

18.1 t l l r r ^ ! >

C Melodic Minor Scale _ ^ m ■ A trtr— F f r f 1 r f r - k - 1—a = 1 1 1 1 = = * —

C# Melodic Minor Scale t ilt

153 Melodic Minor Scales in Fourths

D Melodic Minor Scale , u . ^ j j j i T i rfrrf"! I f

D# mMelodic c iu u iw Minor m u i u Scale r o u uL/ff c i m

-§ 9 - I >**1^1* j> ...... II

Eb Harmonic Minor Scale

E MeiooicMelodic bOnorMinor Scale acaie a U . m =7 [frrrTrT^ ^ ^

154 Major Scales in Fifths Arrangedfor Bassoon by Robert D. Jordan BbM^r gggggm

B Mqor a 1. 11J1J JIJI rrp JTP'i

L lI j ' T i n

Cb Major s

P F M g f

155 Major Scales in Fifths

C# Major -i 'i V > j*J j I T L ^ L Ü . m w r , '— ^ i r i i j T n I f ^ — P n r — 8 '('* L a J* ‘-—^ —J i ^ J i ' _ J

Db Major yiA, > J PTT j l FT nj..* .i 1 j , «1 — r - ï - f ^i [ p j -1 T - - f ^ f - > r 4 4 a f - l

^ E j 3 i ., r r r » r ar i T m _ n = M 1 F - | — r — \ L l L r L È Ü " ' ^ ^

D Major t o l l , 1 1 n I J T r - . - f - r - f 3 ' lN J — T - Ï - - H H " ^ -f e r U 1 TFT» r r f . * ^ r ^ 1 ------1 — * LiiU iJ LX ii J . I w J .

Eb Major ^ 1 I * . - - - - - J ^ = j = Ê : j = 3 ~ r ~ » ' #.r.fi» r p f l U k U J

= ^ l

156 Major Scales in Fifths

l.^n"w Lnriir

#—0—Æ ~ 1 ~ \ g — «LI— J[ J— ^

F# Major Üjr-JTP jrPi jm 'LpJl ll

Gb Major

'UL UIj I QirIII

157 Major Scales in Fifths

GMaja-

Ab Major r r M - i j i n r

AMiyor

. L "tti te D U j-‘iCxLfLLiLf ^ "

158 I.s i •r» I

CQ II I I n il Major Scales in Fifths

DbMajw

D Major

ii‘ ^ r r r r . f . [ . J ^ t r r r I [j'~r ii

EbMiÿor

r . r . 4 , 1 ■ f-» 1 r h--- 1 — - hi.w = L L li^ "i-tf-iLrr • 1

E Major

160 Natural Minor Scales in Fifths Arrangedfor Bassoon by Robert D. Jordan

A# Natural Minor Scale

'T H T H f Bb Natural Mines' Scale

T I F P -rJjf-t£ p

B NaturaluM Minor inor acaie Scale

I P T l LI j I

C Natural Minor Scale

‘*1'^, L O j ~ I'Tj J J J. J II

161 Natural Minor Scales in Fifths

' * L .Ü , r ^

D Natural Minor Scale

-4*T— ^ — f.'-rrfprrri Ü X r 1 r ^ ij

4 : 1 r p r , r— r Lf 1 r-iiLL

D# Natural Minor Scale ‘X k*! II T3 nV\ F .rprrÎFÎÎrl 1 Y j J ^ ^ ' [ 1 r j r 1 r 1 if

«jwIt,It# t r p f , *— ^ ’» »«» l U i - f t j J ' j 1' j j / =3

Eb Natural Nfinor Scale *3* 1 k L 1— T3 r f 1 -r>rrfffrf=#f=i J ^ J ^ jjL rJir^ n II

f r j i ^ S B ^ 1"L' i»

162 Natural Minor Scales in Fifths

E Natural NGnor Scale

F Natural Minor Scale -p fT W t'dirLM rfr;

F# Natural Minor Scale

■------0 ------1—\ _ • — ±_,. -...... 1 L l L/ —J—J1 . ... -J- II

G Natural Minor Scale

''-Lb W j Ldj I

163 Natural Minor Scales in Fifths

G# Natural Minor Scale

«% I .#

y f r r r Ll L* Ab Natural Minor Scale

■"W ï I A Natural Minor Scale

F - r f I» 1F-f r > r . F=r=Fr f r i — 1 — g r I d u B 1= = J— 1

A# Natural NGnor Scale

d j J

h i h Ll.Lf-1-r-FT t a

164 Natural Minor Scales in Fifths

Bb Natural Minor Scale

L lrL L "W j iLili u ^ '

B Natural Minor Scale i8.i r r r r [ f fr.-ri r,

C Natural Minornor Scale Scale ^ ± J^LtjJrfrfrrfrf

C# Natural Minorlor Scale Scale ^ ± ajLLLTirrrirfrfi

""'Y r r r I r I r [

165 Natural Minor Scales in Fifths

u rtanuai Minoirocaie

■|gi. f 1»=£.. r . ------n III r 1 T 't lX r ^ I" ^ II

D#Natural Minor Scale # # # # II,i. It i"rrrMi.r#f prrrtr |--t ■! Il 1 i'fl "'1

■13 t„lJ f igrrt» will~^Trfr[r ij-Lf-r 1

Eb Natural MIikir Scale r f f f pp.fpfpPrPùÊÊ^ :9FHT rr= ^ y = y i_i—lj__mjb—'JTir..' • ■■!

=LeJ-p,.f p r f r - f ' A,| r- r f __ n la I" 1/ i N r 1 r

E Natural MinorScale tht ■ 1*r # r f rf rf rJia>= ± C -jz a - r U '

l i ^ L . l i d ^ L T 7 =«

166 Harmonic Minor Scales in Fifths Arranged for Bassoon by Robert D. Jordan

A# Hamionic 1Minor Scale T O '|. r n ...... g a f x p . r i I— lUp'pp]IJ* B rm

çk-*#.!# „ #.« T J j 1 T T J 1 y------PBJXlBSI— -—:—\

Bb Hannonic Minor Scale

' L i L B Hannonic Minor Scale

C Hannonic Minw Scale —

167 Harmonie Minor Scales in Fifths

C# % nnonic Minor Scale f J ' 1-^ ^r3i.,.frrrl r'l 't e

D Harmonic Nfinor Scale m

S L f Q c l f ^

D# Hannonic Minor Scale É

F-r * "Ji r— "P

Eb Harmonic Minor Scale

168 Hannonic Minor Scales in Fifths

E Hannonic Minor Scale

j'J'T^Ji^^rrrnr f r r r r r T r ^

F Hannonic VGnor Scale

-J—FPW"1----1--- \ frfrfiirr»*—r—-•—I

F# Hannonic Minor Scale

iL rrn irTi ^ III r J lI

G Hannonic Minor Scale

169 Harmonie Minor Scales in Fifths

G# Hannonic Minor Scale

"TI j-i n J L U J

Ab Harmonic Minor Scale

A Harmonic Minor Scale * ~ r'r rf" '' Lc^ LiOj [iljI'L h H u I

A# Harmonic Minor Scale

!Éï«i m

170 Harmonie Minor Scales in Fifths

Bb Hannonic KGnor Scale

B Hannonic Minor Scale

B . t .r r f ^ ' ' 'f r f. r f '

C Hannonic Minor Scale

C# I^irmonic Minor Scale . « # _ l.t r

171 Harmonie Minor Scales in Fifths

D/ *Hannonic m a ■■■WWW ivNGnor u u v /i iScale t v t i i v

I _LjiTirffrf"iirir

D# HannoniclUUUlW ITXIilUI Minor OVOiC Scale Jl^

...... Lf f r f r fj"~r "

Eb Harmonic Minor Scale

'[}jrïA d d fi

f r f r f ^ ppi>i Yrf / [ j ^ II

E Harmonic Minw Scale

itiFiL I II

172 Melodic Minor Scales in Fifths Arranged for Bassoon by Robert D. Jordan

A# Melodic Minor Scale

Bb Melodic Minor Scale ■ | > > m J|,JT F P I ^ LÛJI

B Melodic Minor Scale

C Melodic ^ nlUUl o r Scale I

a ^ j . , . T n l y i I

173 Melodic Minor Scales in Fifths

C# Melodic Minor Scale

B # W , ' . F 1 = ^ £ ■ — —

D Melodic Minor Scale = y r r n

L c l ; ^

D# Melodic Minor Scale

iV f r p p p H T i i j j j iI jJ I n I

Eb Melodic Minor Scale j ! T P I l L j J l U l £ i

174 Melodic Minor Scales in Fifths

E Melodic Miner Scale

F MelodicUc MinorMinor Scale Scale , , .1 .ru FT djj I ikT r ft r I

F# Melodic Minor Scale

r a - F P p p p [ I »r r

^ W

G Melodic Minor Scale

175 Melodic Minor Scales in Fifths

G# Nfelodic Minor Scale

Ab Melodic Nfinor Scale

m lii'bhi.K L r r r r r f r I A Melodic Minor Scale

^ " " I ' A# Melodic Nfinor Scale

^ L üLilfiLüj I

176 Melodic Minor Scales in Fifths

Bb Melodic Minor Scale

J 'L i *

B Melodic Minor Scale U i J i r

ig.'L ilfU L f 'U li iLkJj Ü '' II C Melodic Minor Scale

C# Melodic Minor Scale I*

177 Melodic Minor Scales in Fifths

D Melodic Minor Scale

D# Melodic Minor Scale

i l l

EbJ Mciuutt;Melodic Minor ivuuur Scale ouuc ^ ^ =S f r [ f “ I* ' r I f r M

E Melodic NGnor Scale

178 Major Scales in Sixths Arranged for Bassoon by Robert D. Jordan

Bb Major

B Mq'or

m I

Cb Major

CMqor TM a r—P" •1 r prr-.-r 1 =j==y— ~a d_Lf 'L llJ

w —.. f —f - M Pta---- 1------M " W j ^ J ' ' j ' j ^ j. y ^

179 Major Scales in Sixths

=-¥frpT'rTi.

' ■ f— f ^ 1 1 — * *»*» 1 r r p J Ji"'^ ------i

Db Major =qâ-;— p r n f r " — I— ' r.TrT rfr rl",! ^ i'% y J ^ J

^ !> I<^s= — ~f~'‘^^T'|-^T'T'l J J 1 = f ------1

D Major 1),#, Fjm fTTJi f' f~T.ri>rrrrpr .1 --- ^ — J— J— IJTtTl M ' ITI r

P— ™T7 M = ------1 [ r l r il J 1* J - j Q . U

Eb Major tii,t., r t n " H P f J ^ J J 1 ^['T=^'r"rTl=rf ; % ± r f f f'rT r r r r '1

P#3. ^ j •' II

180 Major Scales in Sixths

jjajirrrrric&

~grfit*i' ' LXLrr, '. Lr— £r— ^^J J. fM- f — ui------1 "

F Major -rrfrriffrffrrn J r 1 I II ' ' 1 j ' t>L f p r, r. r— ^ m n 11 = n 1 11 ^ ^ 1 r.Lr 1 f [ r '■--J--j. ■ jj------

F# Major —— Ê| $#— #-0-^ rrrrrrfirfrfrrrri ^ r i rl=F#s1 Ü Ü./J ir.uj L.r.,iii.ri fh #,#*.# r f r « -—r—: — 1------\ It J = J

Gb Major BBtSk -nrrti L1— M-H— T— ?— m ^ ^ \ i ÿ ' J ■ -J-.^ ^ [ - 1 4

-2 !-i>^>|i ^ f p [ rf~r"^L L ^ '■' " 181 Major Scales in Sixths

G Major

L L f LtL I Ld-f * Ab Major

AM^or

t k < 4

Bb Major »

L t l f

182 W- «u-

t:.

:i:i .."I

I.s 1 S3 i cr^ i î .■;ï II

m m I Mil Major Scales in Sixths

Db Major i

D Major

^^jdjU Ls'\LLiB

“^’ iririrfhiriri

Iif>^L U L L "I

E Major

"vfrrfFi f I T fT frrrn r

184 Natural Minor Scales in Sixths Arranged for Bassoon by Robert D. Jordan

A# Natnral Scale

Bb Natural Minor Scale J T J J FPI t j j l U L i i j

B Natural Minor Scale

C Natural Minor Scale

185 Natural Minor Scales in Sixths

C# Natural Minor Scale

D Natural Minor Scale m

D# Natural \Gnor Scale

ii'

L l U

Eb Natural Mines' Scale

H \ \ v L d j U l f ^

186 Natural Minor Scales in Sixths

E Natural Minor Scale M

Tirf r . * - r— r— -■F T ) 11 • • • " "i ' ' ~ 1 — ^ r [ r f r~ J J 1 F Natural Minw Scale {V. 1. MTM—. — «—!_ 7 f T .- . r f f p f .1 ^ri rr Ü IÜ tL

‘K 1 |j, L—f—m—P—=—P----- P--- -t-R ------,------w ^ 1 r 1 r w .= I. J II F# Natural Mmor Scale » _ f r r n r r Tti-ri-r.; rffpfpi

la # f . r - r ----- P--- - ^ = m - — 1------1 " » 1 .il.Jii.J- i r 1 r é= i= ---- J ■ J II

G Natural Minor Scale fc-it 11»— M—r . r ■■ r 1 » f p P f f r f p 1 ^ J— ^LLii -ih 1 iw ‘- L L f 1

-1---- j ------1 f r f r f f 1»

187 Natural Minor Scales in Sixths G# Natural Minor Scale

U L L L L d j Ab Natural Minor Scale r r r

A Natural Minor Scale

l i d

L l L I II

A# Natural Minor Scale ^ rLM w JM

188 Natural Minor Scales in Sixths

Bb Natural Minor Scale

B Natural Minor Scale

1 C Natural Minor Scale

C# Natural ^n o r Scale i

189 Natural Minor Scales in Sixths

D Natural Minor Scale # #

D# Natural Minor Scale

L.r r p

Eb Natural Minor Scale

E Natural Nfinor Scale ... f - f

190 Harmonie Minor Scales in Sixths Arrangedfor Bassoon by Robert D. Jordan

A# Hannonic Minor Scale i - m j j p j T I . r r ( j j j [ j j j

Bb Hannonic NGnor Scale

B Hannonic Minor Scale

i ' j ^ ' F P F p I m J lU Ll ü

C Hannonic Minor S c a l e ____ -Yi, jrp K P P T KJjj U

■ r L f —J n 1 1r : ^ s =

191 Harmonie Minor Scales in Sixths

C# Harmonic Minor Scale =22 I'l j J 3B P T F T I iilJ l Ll T L L

D Harmonic NGnor Scale g

D# Harmonic Minor Scale à i

'i' || r 111

Eb Harmonic Minor Scale

# # dll I 'diT

192 Harmonie Minor Scales in Sixths

E Hannonic Minor Scale

l ± L f [ r f p J f

F Hannonic kOnor Scale

F# Harmonic Minor Scale

r m in ' I ' l i L L i L G Harmonic Minor Scale

toLd-rfrl^^

193 Harmonie Minor Scales in Sixths

G# Ibnnonic Minor Scale

i''i F F CiLLf Ld-f r r r j £

Ab Hannonic Minor Scale

M j ' L U W

i HLLL l L A Harmonic Minor Scale

A# Harmonic Minw'^y^diriifrFfTrffrfri Scale

■■I. f-r r , f I [ ^ r> " r7 flj ii

194 Harmonie Minor Scales in Sixths

Bb HarmoniclomcMmor^caie Nfinor Scale # # ,

B Harmonic Minor Scale

C Harmonic Minwwscaie Scale # # L *

C# Harmonic Minor Scale

195 Harmonie Minor Scales in Sixths

D Hannonic Kfinor Scale

i8i.rif rr,>LLf.i T-l T i irj

c n: ijiita #—- r ■ r r r f f f - K II r a = M bM = ± r-|» f r f r f r f r ifj

Eb Hannonic Minor Scale

B I.W r «

E Hannonic Minor Scale

r i f j I I r i

196 Melodic Minor Scales in Sixths Arranged/or Bassoon by Robert D. Jordan

A# Melodic Minor Scale

Bb Melodic Minor Scale

B Melodic Minor Scale

n ^ T n r F j i i W

C Melodic Minor!kale _ _ ^ --- t > |l .,- :: i.M 1 1 * n r m , . f - - '^ M f n •4 PB

197 Melodic Minor Scales in Sixths

C# Melodic Minor Scale gfct t-J j

D Melodic Minor Scate ^ F I P J T P 1 1 lUI iI I

T H T n i i m

D# Meiodic Minor Scale

«h 1.#» # r ' p — J T " ' l " l 1 H ------« " » T 1 f ^ J =; --- i

Eb Melodic Minor Scale

198 Melodic Minor Scales in Sixths

E Melodic M nor Scale p l y J f & riL L J iT i

# r m ciuiuv m utui OWOIC r ^m . J t> l 1 !■, :— B = 5 = hp r - r U - i p - — 0 — M h n = y y u ^ ~ L r li j n

» U L L d j F# Melodic Minor Scale

F P tU cU I i lL J I

G Melodic Minor Scale

; L L .-L r-f-r-T -F I'H.

199 Melodic Minor Scales in Sixths

G# ^ lo d k Minor Scale a

Ab Melodic Minor Scale i

A Melodic Minor Scale

USS

A# Melodk; Minor Scale

200 M elodic Minor Scales in Sixths

Bb Melodic Minor Scale

i B Melodic Minor Scale

i C Melodic Minor Scale

C# Melodic Minor Scale

201 Melodic Minor Scales in Sixths

D Melodic Minor Scale

D# Melodic Minor Scale

Eb Melodic Minor Scale

E Melodic bOnor Scale

202 Major Scales in Sevenths Arranged for Bassoon by Robert D. Jordan

Bb Major

Q> Major

CM^'or

C# Major

tfc 1. 1,R R = P P H f f l [JP r.r1 , f r r r 1 ■H TlJffiF f ------1 J r #

Db Major ■ k L------Iffli p r f-& [ j j j ^ j .1 J j L j ' j ' j <11 c g ^

D Major 0 * 1. Iffli m f-P .fi-. f f f P - - E — l - r | J J ^

Eb Major P

J#" IDWLL m

203 Major Scales in Sevenths

E Major 9*

F Major

F# Major

Gb Major

G Major B

Ab Major y j'4>

A Major

BbMtyor

204 Major Scales in Sevenths

B M aw

Cb Major

CM^w

C# Major

Db Major

D Major

Eb Major .

E Major

205 Natural Minor Scales in Sevenths Arranged for Bassoon by Robert D. Jordan

A# Natural Minw Scale

Bb Natural Minor Scale

% B Natural Midot Scale s

C Natural Minor Set P i r r |JT31ffl1 mJË— I n — ^ v \i K • N FI n

C# Natural Minor Scale

D Natural Minor Scale

D# Natural Minor Scale

%Tw # XJV .

Eb Natural Minor Scale

206 Natural Minor Scales in Sevenths

E Natural Minor Scale

F Natural k^nor Scale

F# Natural Minor Scale

G Natural Minor Scale

G# Natural Minor Scale i

Ab Natural Minor Scale 3

A Naturalirai Minor Minor Scale Scale _ ^ ± :_ ± m ^ .

A# Natural Minor Scale

207 Natural Minor Scales in Sevenths

Bb Natural Mnor Scale

B Natural Minor Scale

C Natural Minor Scale

C# Natural Minor Scale

D NaturalNO dot Scale . # Ijïïi fifri D# Natural bOnw Scale

Eb Natural Minor Scale

208 Harmonie Minor Scales in Sevenths Arranged for Bassoon by Robert D. Jordan

A# Hannonic Minor Scale

Bb Hannonic Aunor Scale

B Hannonic Minor Scale i

C. noftiuvuiwHarmonic Minw iTuuut Scale tjvaic

T} » j ii C# Harmonic Minor Scale

D Harmonic Minor Scale

D# Harmonic Minor Scale

Eb&rmonic bOnor Scale

209 Harmonie Minor Scales in Sevenths E Hannonic Minor Scale K £ -HHt—S3J-J-VtfrM rrf• T J^I./] % g *- J F Hannonic Kfinor Scale T = F F # iiti ' 'ml 1II r LC F# Harmonic Minor Scale m n ML I I J—m—* a m m—• G Hannonic Minor Scale

G# Harmonic Minor Scale

Ab Harmonic Minor Scale i r — F A Harmonic Minor Scale

A# mrmonic Minor Scale

2 10 Harmonie Minor Scales in Sevenths

Bb Hannonic Nfinor Scale ^ .

B Hannonic Minor Scale

C Hannonic Minw Scale A P C# Harmonic Minor Scale ^

P D Harmonic bfinor Scale ™ — i

D# Harmonic Minor Scale X#

Eb Harmonic Minor Scaie

E Harmonm NGnor Scale

211 Melodic Minor Scales in Sevenths Arrangedfor Bassoon by Robert D. Jordan OTciuusu xmuuK ouuc

m Bb Melodic Minor Scale _ g~^=l!fdip !t *-Pi— W 1 ojj B Melodic Minor Scale

-J 1-Pi— -

C Melodic Minor Scale '- 9 ^ ,— ir^L y Yi .fri tF f= F = H

C# Melodk Minor Scale ^ l*l«— HI 11 II" P ?. #r *n .rr 1 l ^ .. 1 , ■^-*t f ■U4 ^4 ^ ^ -b ^ D Melodic Minor Scale * > L IT fflff-jrt gr. f» Y.'n pfr.i f ? ------

D# Melodic Minor Scale 7 yT»

Eb Melodic Minor Scale

f i , h r i ï i M m

212 Melodic Minor Scales in Sevenths

E Melodic Nfinor Scale

—f. tf Hfi -ff

F Melodic Minor Scale

F# Melodic Minor Scale I

G Melodic Nfinor Scale

G# Melodic Minor Scale

Ab Melodic Minor Scale

A Melodic Minor Scale a - A

A# Melodic Kfinor Scale 3

213 Melodic Minor Scales in Sevenths

Bb Meiodic Minw Scale

B Melodic Minor Scale

C Melodic Minor Scale

C# Melodic Minor Scale

D Melodic Minor Scale 4 m

D# Melodic Minw Scale

m EbMelodk Minor Scale

E Melodic Nfinor Scale

214 Two Octave Chromatic Scales Arrangedfor Bassoon by Robert D. Jordan

Bb Chromatic Scale

B Ghiomatic Scale

C Chromatic Scale

215 Two Octave Chromatic Scales

■ p x p f f f H r«J *"* pLiU li.li«J^

D Chromatic Scale

Eb Chromatic Scale m

E Chromatic Scale à . f f n r x n I g»f r'T r r i

216 Two Octave Chromatic Scales

F Chromatic Scale g

F# Ghromatic Scale zf' ¥ iii j!üm f T f

G Ghromatic Scale

Ab Ghromatic Scale

217 Two Octave Chromatic Scales

ACbroniatic Scale

ig,»„ Cr¥r^rrl>f#^fjrr^ri P z------■■III kk1 1 ' B fild H— -1

r.iT -rtf p r'l& l'*'' rÈLT 1 ....^ ■ ^ g y Ë j.Ë [S[ f 1 :^=fcdrrrM:glfed

B Quomatic Scale tFr“r r T r B ip»iif«f r M c / ' '

C Chromatic Scale W Ï Ï 7 B f r

218 Two Octave Chromatic Scales

C# Chromatic Scale i|i| J33!üppTr*rr''frifeE=££ÊE££üË ^ £ ^

D Quomatic Scale

Eb Quomatic Scale

2 1 9 Three Octave Chromatic Scales Arranged for Bassoon by Robert D. Ionian

Bb Qmxnatic Scale

B Chromatic Scale

220 Three Octave Chromatic Scales

C Quomatic Scale 3

T r*’r r . 1.

C# Quomatic Scale

t t r ' t o a a i

D Quomatic Scale

221 Three Octave Chromatic Scales

Eb Cbtomatic Scale I jj i|i I III I

E Quomatic Scale

222 Whole Tone Scales {Key signatures are included only for the purpose o f reducing the number o f accidentals) Arranged for Bassoon by Robert D. Jordan

Bb Whole Tone Scale I Cb Whole Tone Scale I B Whole Tone Scale

I C Whole Tone Scale

D Whole Tone Scale W

Eb Whole Tone Scale Whole Tone Scales

E Whole Tone Scale W

F Whole Tone Scale

F# Whole Tone Scale

Gb Whole Tone !

G Whole Tone Scale a

Ab Whole Tone Scale

A Whole Tone Scale

Bb Whole Tone Scale

224 Whole Tone Scales

Cb Whole Tone Scale

B Whole Tone Scale

C Whole Tone Scale

C# Wholei Tone Scale

Db Whole Tone Scale

D Whole Tone Scale

Eb Whole Tone Scale

E Whole Tone Scale

225 Major Pentatonic Scales Arranged for Bassoon by Robert D. Jordan

Bb Miyor Pentatonic Scale

B Mtgor Pentatonic& warn WWW Scale wvcuw

'I'll ijjjjJTinrrj

Cb Major Pentatonic Scale

C Mqtx’ Pentatonic Scale

C# Major Pentatonic Scale

Db Major Pentatonic Scale

D Major Pentatonic Scale I j j j iMjj irrr^ ^ ^

Eb N^or Pentatonic Scale

' I't j m rrfrLiijirTn

226 Major Pentatonic Scales

E Major Pentatonic Scale É #

F MajoriTAajva. Pentatonic c^w uiaïuiuv Scale ^ ■‘t ffTi o u I L üj I TT] j

F# Major Pentatonic Scale #

Gb Major Pentatonic Scale ^ V JTTJ (-.[jU* I Lë

G MajorJT jnsuuuuuu;Pentatonic Scale oisuc ^ r FPr

Ab MajOT Pentatonic Scale

A Mtyor Pentatonic Scale

Bb Major Pentatonic Scale ^

‘*ii rrnrfrfif^ M ^

227 Major Pentatonic Scales

B Mqor Pentatonic Scale i ^ î f - n r

Cb Major Pentatonic Scale ^ :QFrt', - 1 P T r 1^ 3 r r r r r ^ *1 r r p » J — f ^ '■ n c,;.u 'i.ixr c Mqor Pentatonic Scale g ■pifikkf ^ r r p f. r-|—^=F=f=M r #3)R t C = "^ ... Ll l i j ' - c#Major Pentatonic Scale . ~ q r r . t » L — - . F r r f f i P r f f f . f f i ^ i p i p s 4 -' k . . j— 1 - "L' L i,y - rifiCil Db Major Pentatonic Scale ^ « 9 k ,1,, ^ ^ f r f L T i a ,| f f f f r r k ^ i-P-f k r 1 / 1, [,K ...... ™* — k"li 1 1 ' iit u /r il D Major Pentatonic Scale « # 1 = t>i|. - r " r '* 1* ^ ^ » k r k k . - — » ■ ^ biiJii.L^ L i - J a U - l - —— ^iiiiiiit r r '' Eb Major Pentatonic Scale . - f f r k k ^ : f ,k.»^--,:,.» - k A , W - T '4 l

E Major Pentatonic Scale

228 Minor Pentatonic Scales Arrmged for Bassoon by Robert D. Jordan

A# NGnor Pentatonic Scale

'S'iü I c iir ™ I JTJ'31 II Bb Minor Pentatonic Scale ? B Minor Pentatonic Scale I luLü I j j j j j

C Minw Pentatonic Scale :f" ^''^1 fri '"tt7 C# Minor Pentatonic Scale

' I ' l I J T i i I I r 1 1 ' ^ ULLf l - m i Î D Minor Pentatonic Scale m f D# hfinor Pentatonic Scale

Eb Natural Minor Scale

229 Minor Pentatonic Scales

E Minorirrentatomc&caie Pentatonic Scale ^

j m ujjiLLLT u i j I rn i F -I"fvuuurMinor Peotatonk rcMuumuu .rrn-rri Scale ouuc m ^ m P# k/Bnor Pentatonic Scale

G Minorr Pentatonicreniaionic Scaleacaie JL £ a . rm o i: I LIU I'Tn j

G# NGnor Pentatonic Scale r i ’’^

Ab Minor Pentatonic Scale

A Minw Pentatonic Scale

' f f

A# NGnor Pentatonic Scale £ £ Jb i'i-,i.ffTiLLJJ‘ifr r F r r tj’ i[jM

230 Minor Pentatonic Scales

Bb Minor Pentatonic Scale

B Minor Pentatonic Scale ' r r m C Minor Pentatonic Scale

C# NGnor Pentatonicatonic acaie Scale ^ æ ^ a ^ P|. r f fJ r r r r 1=]

D Minor Pentatonic Scale. - . Æ A ^ Æ ^ . g jurf'TFir frn irm, « D# Minor PentatonicmejIirrnrr'^^'^fllTTfrrrni Scale Scale m # # Eb Natural Minor Scale

E NGnor Pentatonic Scale

231 Octatonic Scales Arrangedfor Bassoon by Robert D. Jordan

Bb Octatonk: Scale

B Octatonic Scale

Cb Octatonic Scale

C Octatonic Scale

C# Octatonic Scale i p

Db Octatonic Scale

D Octatonic Scale

Eb Octatonic Scale =51

232 Octatonic Scales

E Octatonic Scale

F Octatonic Scale

F# Octatonic Scale

Gb Octatonic Scale

G Octatonic Scale

Ab Octatonic Scale

A Octatonic Scale É

Bb Octatonic Scale

233 Octatonic Scales

B V/VUUUtUVOctatonic ScaleiJVCU^ _ I .

Cb Octatonic Scale

C# Octatonic Scale

Db Octatonic Scale =3

D Octatonic Scale

Eb Octatonic Scale m £

E Octatonic Scale

234 Blues Scales Arrangedfor Bassoon by Robert D. Jordan

Bb Blues Scale

j O T J i ^ E H d B Blues Scale «V l i i i i % m V Cb Blues Scale LL

C BluesIUC5 Q«UC Scale L m ' rJ*[rtjI rY Æ f C# Blues Scale

Db Blues Scale B 0 S I . w jai'l^ ftrrffn rQ u i j j j j ii

D Blues Scale t-jjSS J1P.ntfULu.tiu J.JAJf

Eb Bluesm» o«ucScale PA ± A

235 Blues Scales

E Blues Scale

W / r r T 1 F#^ Blues Scale ■ y Jî] ^ ♦ JïTïp, I I

Gb Blues Scale

G Blues Scale

Ab Blues Scale

Bb Blues Scale

236 Blues Scales

B Blues Scale

Cb Blues Scale

^ j r c Blues Scale

Db Blues Scale

f t r ï ï i II

Yq.fYr#rY^ ;

237 Major Chord Arpeggios Arranged for Bassoon by Robert D. Jordan

Bb Major Aipeggk) f

' ■ ' T n r f r 1 T r Cb Major Arpeggic F r F ... _i — ------i ' " ' 1 "1 j J 1 1 1 1 J—

CM^or Arpeggio

— r— T— F — T— J ----- a ------—:------1 J ' •* r 1 1 1 ------ë--- j — C# Major Arpeggio thtjn #. p r p ' I -J------

Db Major Arpeggic > - 4 * 1 + - ; ---- ! — r — f— r r ----- H •# J 1 ' k ,1 i i Ii i t J * J j " D MajOT Arpeggio — - # -

Eb Mfÿw Arpeggio ■»-

238 Major Chord Arpeggios

E Major Arpeggio

F Major Arpeggio

F# Major Arpeggio à

Gb Major Arpeggi(

G Major Arpeggio

Ab Major Arpeggio

A Mrgtx’Arpeggio

Bb Major Arpeggio

239 Major Chord Arpeggios

B Mqor Arpeggio r r i J Cb Major Arpeggio

CMqor Arpeggio

C# Major Arpeggio

Db Major Arpeggio

D Major Arpeggio

Eb Major Arpeggio

E Major Arpeggio à

240 Minor Chord Arpeggios Arranged for Bassoon by Robert D, Jordan

A# Minor Aipeggk)

Bb Minor Aipeggio j 7 ' n I r i H " ! I

B Minor Aipeggio

C Minor Aipeggio

C# Minor Aipeggio •p r p a —I------\ - ...... 1 ^ 1 » JTj ,J èz r 1 1 1 1------é J D Minor AipeggioI iTi , I r I m

D# Minor Aipeggio i

Eb Minor Arpeggio

241 Minor Chord Arpeggios

E Minor Aipeggio

F Minor Arpeggio

. y . \)* \y

F# Minor Aipeggio

G Minor Aipeggio

G# Minor Arpeggio a

Ab Minor Aipeggio

A Mmor Arpeggio

A# ^ n o r Aipeggio ¥ i p r r f

242 Minor Chord Arpeggios

r r f f f 1 r 1 1 II ...... 1 r 1 J * r B Minor Aipeggio - g______a • ^ Ilf------=--- f---- — F— r — 0 ------1 ' r r [ J

C Minor Aipeggio 1 jj,------p --- *— - f W f f F » J------1 J Ml 1 1 n r#—' I- [ [ — ^ i l r r

C# NGnor Aipeggio > J i ------. --- f- n.1 f r . ■ J =n a ^ r r r '■ D Minor Aipeggio -fcH-i— = ------f - r l a r r f £ = 5 —P—T— f--- i ------1 1 . 1 1 r __ ...... j - L t f a f " T ...... 1

D# Minor Arpeggio ± OM #.jtm % ^ f I l a f I fwl ^ - — ■------J | '^1 I 1 ■ ■ ■ -1 1, J f ^

Eb Minor Aipeggk) ^ ^ ± ^ ' K L

EA^nor Aipeggio * > » r r i f li f f r 1

243 Major Seventh Chord Arpeggios Arranged for Bassoon by Robert D. Jordan

Bb Major 7th Chord

B M^or 7th Chord

Cb Major 7th Quxd

jT irrjf kr-n^'j

C M^or 7th Chord iXJi IÜ rj ■Tj 'T]f C# Major 7th Chwd ; T T 3

Db Major 7th Chord

D Major 7th Chord

Eb M^ot 7th Chord s.-fm ü i; IÜ U a #

244 Major Seventh Chord Arpeggios

E Major 7th Chord

F Major 7th Chord a

P# Major 7th Chord

Gb Major 7th Chord

G Major 7th Chord

Ab Major 7th Chord

A M^'or 7th Chord

Bb Major 7th Chord

245 Major Seventh Chord Arpeggios

B MqorTthOiord

Q> Major 7tb Cbotd

CMqorTtbOionl 7

C# Major 7th Chord r pf

Db Major 7th Chord

D Major 7th Chord

Eb Ma|w 7th Chord

E Major 7th Chord

246 Minor Seventh Chord Arpeggios Arranged fo r Bassoon by Robert D. Jordan

A# Minor 7 th Chord

Bb Minor 7th Chord r 1 r r « - wi«p^ 1 JJ ' ' U J ^ B Minor 7th Chord ....^ |i»I— --- ^g T f~ r 1 r r r » / t ' i"i i ^ ^ 1# ■B' C Minor 7th Chmd ^ 1 k "'T f r r f ^ t Jt ' j- 1 -* •' CiH -w------“ C# VGnor 7th Chord ' r r r f 1 liJ ^ 1 J1I—' 0# hfinor 7th Chord ihi w n m r T " j-j u4 - ul t x ^ J 4 r r m J---- = f t - ...... D# hCnor 7th Chord 4k !.#» It -f-f I f r f » I J 1 iJi II lid • ■ ' 1 4 ... " EbNGnor 7th Chord . 9«1 ii|L1.— p r rr rTY r ^ J J - CJJJ— 1 1 JW - — ^

247 Minor Seventh Chord Arpeggios

E Minor 7tb Chord

# F Minor 7th Chord

F# Minor 7th Chord

G Minor 7th Chord .rm irrfiffrry^

G# Minorft «7th ftftft ChordWftftWftft» A L ü ; . i ^ u #

Ab Minor 7th Chord

AMhu»’7tbQK»d

A# Nunor 7th Chord I

248 Minor Seventh Chord Arpeggios

Bb Minor 7th Chord a

B Minor 7th1 Chord u _ ^ _

C Minor 7th Chord y L^i p r T B

C# Minor 7th Chord ^^Tv:j urn 3

r f |gi -T------1 l - p a ] II

D# Minor7th 7th Chord Chord m # # a #

Eb Nfinor 7th Chord

E Minor 7th Chord

249 Dominant Seventh Chord Arpeggios Arranged for Bassoon by Robert D. Jordan

Bb Daninant 7th Chord

B Dominant 7th Chord

Cb Dominant 7th Chord

' m h j jTB'txiIf I ClL f P Tj Î C Dominant 7th Chord I J'TB [ iiJ I f C# Dominant 7th Chord ¥ T J I I" I' I"} ' Cl" r r f Db Dommant 7th Chord

D Dominant 7th Chord 31

Eb Dominant 7th Chord

fiK J T T f liJ #

250 Dominant Seventh Chord Arpeggios

E Dominant 7tb Chord M l. # F Dominant 7tb Chord I I ■I'L r n n i

Dominant 7th Chord

Gb Dominant 7th Chord

G Dominant 7th Chwd rm . ,r , a f r

Ab Dominant 7th Chord

A Dommant 7th Chord

Bb Dmninant 7th Chord

251 Dominant Seventh Chord Arpeggios

B Dominant 7tb Chord

Cb D

C Dominant 7th Chord

C#Dominant 7th Chord

Db Dominant 7th Chord i 0

D Dominant 7th Chord

Eb Dominant 7th Chord Î p

E Dominant 7th Chord

a m

252 Half-Diminished Seventh Chord Arpeggios Arranged for Bassoon by Robert D. Jordan Bb Half-Diminished 7th Chord

B Half-Diminished 7th Chord

Cb Half-Diminished 7th Chord G i i C Half-Diminished 7th Chord n r r j f

C# Half-Diminished 7th Chord

Db Diminished 7th Chord

D Half-Diminished 7th Chord

Eb Half-Diminished 7th Chord

I o T i I

253 Half-Diminished Seventh Chord Arpeggios

E Half-Diminished 7th Chord

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254 Half-Diminished Seventh Chord Arpeggios

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3 0 9 ENDNOTES

' Julius Weissenbom, Method for Bassoon. Revised by Fred Bettoney, Boston, MA: Cuntfy- Bettoney (Carl Fischer), 1950.

^ Ludwig Milde, 25 Studies in Scales and Chords. New York: International, 1950.

^ Fernand Oubradous, Enseignement Complet du Basson. Paris: Leduc, 1938.

* Simon Kovar, Twentv-four Dailv Exercises for Bassoon. New York: S. Kovar, 1951.

* Wemer Seltmaim and GQnter AngerhOfer, The Bassoon: A Tutor in Six Volumes. Leipzig:

Deutscher Verlag fur Musik, 1978-1985.

* Robert Thompson, Personal Interview. 1991.

^ Norman Herzberg, Lecture/Master Class, International Double Reed Society Convention. 1991.

* Milan Turkovic, Lecture, John Miller Bassoon Symposium. 1991.

’ Paul Taf&nel and Philippe Gaubert, 17 Grands Exercices Journaliers de Mécanisme pour Flûte.

Paris: Leduc, 1958.

Weissenbom, 73-38.

" Milde, 2-27.

'* Seltmann and AngerhOfer, 110.

" Robert D. Jordan, Scale. Ameggio and Interval Studies for the Bassoon. Yellow Springs, OH:

Jordan, 2000.

William Winstead, Lesson Handout 1996.

Robert Thompson, Lesson Handout 1991.

'* Christopher Weait Advising Session. 2001.

Boosey & Hawkes, The Complete Bassoon Scale Book. New York: Boosey & Hawkes, 1994.

310 BIBUOGRAPHY

17 Grands Exercices Journaliers de Mécanisme pour Flûte. Paul Taffanel and Philippe Gaubert Paris: Leduc, 1958.

25 Studies in Scales and Chords. Ludwig Milde. New York: International, 1950.

The Bassoon: .4 Tutor in Six Volumes. Wemer Seltmann and GQnter Angerhôfer. Leipzig: Deutscher Verlag fOr Musik 1978.

The Complete Bassoon Scale Book Boosey & Hawkes. New York: Boosey & Hawkes, 1994.

Enseignement Complet du Basson Fernand Oubradous. Paris: Leduc, 1938.

Methodfor Bassoon. Julius Weissenbom. Revised by Fred Bettoney. Boston: Cundy- Bettoney (Carl Fischer), 1950.

Scale, Arpeggio and Interval Studies for the Bassoon Robert D. Jordan. Yellow Springs, OH: Jordan, 2000.

Twenty-four Daily Exercises for Bassoon Simon Kovar. New York: S. Kovar, 1951.

311