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Alternative Strategies for the Refinement of Bassoon Technique Through the Concert Etudes, Op

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Alternative Strategies for the Refinement of Bassoon Technique Through the Concert Etudes, Op Alternative Strategies for the Refinement of Bassoon Technique Through the Concert Etudes, Op. 26, by Ludwig Milde Item Type Electronic Dissertation; text Authors Zuniga Chanto, Fernando Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 09/10/2021 13:14:01 Link to Item http://hdl.handle.net/10150/145124 ALTERNATIVE STRATEGIES FOR THE REFINEMENT OF BASSOON TECHNIQUE THROUGH THE CONCERT ETUDES, OP. 26, BY LUDWIG MILDE by Fernando Zúñiga Chanto ______________________________ Copyright © Fernando Zúñiga Chanto 2011 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2011 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Fernando Zúñiga Chanto entitled Alternative Strategies for the Refinement of Bassoon Technique Through The Concert Etudes, Op. 26, by Ludwig Milde and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts Date: 4/18/2011 William Dietz Date: 4/18/2011 Jerry Kirkbride Date: 4/18/2011 Brian Luce Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. Date: 4/18/2011 Document Director: William Dietz 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Fernando Zúñiga Chanto 4 ACKNOWLEDGMENTS First, I would like to express my gratitude to my parents, for their unconditional support, their encouragement, and for letting me pursue my dreams. I also have to thank my wife, Orquídea, for her support and help during the completion of this project. Next, I would like to thank Dr. William Dietz, who has been extremely supportive and has been a mentor, a teacher, and a friend. I express my sincere appreciation to Isabel Jeremías, my first bassoon teacher and my inspiration to play the bassoon. Without her, I would not be a bassoonist today. I must thank my doctoral committee members, Professor Jerry Kirkbride and Dr. Brian Luce, for their patience and their support assisting me during the years of my doctoral studies. Their help and advice has been invaluable. Finally, I wish to express my gratitude to the Universidad de Costa Rica, for their financial and moral support during my doctoral studies. 5 TABLE OF CONTENTS LIST OF EXAMPLES ........................................................................................................ 9 LIST OF MUSICAL EXAMPLES ................................................................................... 10 ABSTRACT .................................................................................................................... 11 CHAPTER 1 INTRODUCTION .................................................................................... 12 A. Preface ................................................................................................................. 12 B. The Concert Etudes, Op. 26 ................................................................................ 13 CHAPTER 2 LUDWIG MILDE ..................................................................................... 16 A. Biographical Information .................................................................................... 16 B. Historical Context of the Concert Etudes, Op. 26 ............................................... 17 CHAPTER 3 ELEMENTS OF BASSOON TECHNIQUE ............................................. 19 A. Rapid Single Tonguing ........................................................................................ 19 B. Half-hole .............................................................................................................. 19 C. Flicking ................................................................................................................ 20 D. Extreme ranges .................................................................................................... 20 E. Downward Slurs .................................................................................................. 21 F. Tempo – Endurance ............................................................................................ 22 G. Final Decrescendo and Physical Modifications .................................................. 22 H. Vibrato ................................................................................................................. 23 CHAPTER 4 THE CONCERT ETUDES, OP. 26 ........................................................... 25 A. Organization ........................................................................................................ 25 6 TABLE OF CONTENTS - Continued B. Selected Etudes ................................................................................................... 27 1. Concert Etude no. 4 in C minor ...................................................................... 27 a) Harmonic and Formal Analysis ............................................................... 27 b) Advanced technical difficulties ............................................................... 28 Staccato ............................................................................................... 28 Leaps and half-hole ............................................................................. 30 Register changes ................................................................................. 31 Inner Rhythmic Subdivision ............................................................... 33 2. Concert Etude no. 9 in C♯ minor .................................................................... 34 a) Harmonic and Formal Analysis ............................................................... 34 b) Advanced technical difficulties ............................................................... 34 Sustained tones in the low register at a soft dynamic level ................ 34 Tuning adjustments in the low register ............................................... 35 Endurance ........................................................................................... 36 Slurs in extended passages .................................................................. 37 Challenging intervals .......................................................................... 38 Vibrato ................................................................................................ 40 Staccato ............................................................................................... 41 Flicking ............................................................................................... 43 3. Concert Etude no. 25 in C♯ minor .................................................................. 44 a) Harmonic and Formal Analysis ............................................................... 44 7 TABLE OF CONTENTS - Continued b) Advanced technical difficulties ............................................................... 44 Long staccato passages ....................................................................... 44 Large slurred intervals ........................................................................ 44 Hemiolas ............................................................................................. 45 4. Concert Etude no. 34 in E♭ major and Polonaise for bassoon and piano ...... 47 a) Harmonic and Formal Analysis ............................................................... 47 b) Advanced techniques present in the piece ............................................... 48 Endurance ........................................................................................... 48 Difficult intervals ................................................................................ 49 Scales and Arpeggios .......................................................................... 51 Rapid triplets ....................................................................................... 56 Style .................................................................................................... 57 C. Arrangements ...................................................................................................... 58 1. Two Bassoons ................................................................................................. 58 2. Bassoon and Piano .......................................................................................... 58 3. Bassoon Quartet .............................................................................................. 59 CHAPTER 5 CONCLUSION.........................................................................................
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