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

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Half-Diminished Seventh Chord Arpeggios Arranged for Bassoon by Robert D INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMT NOTE TO USER Page(s) not included In the original manuscript are unavailable from the author or university. The manuscript was microfilmed as received. VI This Is reproduction Is the best copy available UMT 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 By 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 Copyright 2001 by Jordan, Robert Douglass All rights reserved. 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”),
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