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

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ALTERNATIVE STRATEGIES FOR THE REFINEMENT OF BASSOON TECHNIQUE THROUGH THE CONCERT ETUDES, OP. 26, BY LUDWIG MILDE

Fernando Zúñiga Chanto

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

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

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.

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

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

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

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...... 60

APPENDIX A. OCTAVE IDENTIFICATION ...... 62

APPENDIX B. CONCERT ETUDE NO. 4. ANALYSIS ...... 63

APPENDIX C. CONCERT ETUDE NO. 4. ARRANGEMENT FOR TWO BASSOONS...... 65

APPENDIX D. CONCERT ETUDE NO. 4. ARRANGEMENT FOR BASSOON AND PIANO ...... 68

TABLE OF CONTENTS - Continued

APPENDIX E. CONCERT ETUDE NO. 4. ARRANGEMENT FOR BASSOON QUARTET ...... 71

APPENDIX F. CONCERT ETUDE NO. 9. ANALYSIS ...... 74

APPENDIX G. CONCERT ETUDE NO. 9. ARRANGEMENT FOR TWO BASSOONS...... 76

APPENDIX H. CONCERT ETUDE NO. 9. ARRANGEMENT FOR BASSOON AND PIANO ...... 78

APPENDIX I. CONCERT ETUDE NO. 9. ARRANGEMENT FOR BASSOON QUARTET ...... 81

APPENDIX J. CONCERT ETUDE NO. 25. ANALYSIS ...... 84

APPENDIX K. CONCERT ETUDE NO. 25. ARRANGEMENT FOR TWO BASSOONS...... 86

APPENDIX L. CONCERT ETUDE NO. 25. ARRANGEMENT FOR BASSOON AND PIANO ...... 89

APPENDIX M. CONCERT ETUDE NO. 25. ARRANGEMENT FOR BASSOON QUARTET ...... 92

APPENDIX N. CONCERT ETUDE NO. 34. ANALYSIS...... 96

APPENDIX O. CONCERT ETUDE NO. 34. ARRANGEMENT FOR TWO BASSOONS...... 100

APPENDIX P. CONCERT ETUDE NO. 34. ARRANGEMENT FOR BASSOON QUARTET ...... 104

REFERENCES ...... 109

LIST OF EXAMPLES

Example 1. Concert Etude no. 9. Alternate fingering for the G♯1 to E♯1 interval ...... 39

Example 2. Concert Etude no. 9. Fingerings for the interval C♯1 to D♯1 ...... 40

Example 3. Concert Etude no. 34. Normal and alternate fingerings for F♯2 to A♯2 ...... 50

LIST OF MUSICAL EXAMPLES

Musical Example 1. Concert Etude no. 4. Staccato playing in measures 1 to 7 ...... 28

Musical Example 2. Concert Etude no. 4. Practice suggestions for measures 1 to 2 ...... 30

Musical Example 3. Concert Etude no. 4. Notes requiring half-hole in measures 17, 28 and 29 ...... 31

Musical Example 4. Concert Etude no. 4. Leaps between registers in measures 21 to 23 ...... 32

Musical Example 5. Concert Etude no. 4. Inner rhythmic subdivision changes in measures 46 to the end ...... 33

Musical Example 6. Concert Etude no. 9. Suggested places to breathe in the first phrase ...... 37

Musical Example 7. Concert Etude no. 9. Graphic representation of the suggested vibrato in measures 1 and 2 ...... 41

Musical Example 8. Concert Etude no. 9. Measures 13 to 16 ...... 42

Musical Example 9. Concert Etude no. 25. Slurred ascending leaps ...... 45

Musical Example 10. Concert Etude no. 25. Original writing of measures 54 to 63 ...... 46

Musical Example 11. Concert Etude no. 25. Rebarred measures 54 to 63 ...... 46

Musical Example 12. Concert Etude no. 34. Measures 5 and 6, problematic B♭2 to G3 ...... 49

Musical Example 13. Concert Etude no. 34. Measure 96, F♯ to A♯ interval ...... 49

Musical Example 14. Concert Etude no. 34. Arpeggios used ...... 52

Musical Example 15. Concert Etude no. 34. E♭ arpeggio with different articulations .....55

Musical Example 16. Concert Etude no. 34. E♭ arpeggio with different rhythms ...... 56

Musical Example 17. Concert Etude no. 34. Polonaise rhythm ...... 57 11

ABSTRACT

This document demonstrates that study and performance of newly-composed versions of four etudes from Ludwig Milde’s Concert Etudes, Op. 26 (publ. post. 1935) can prepare advanced bassoon students for performance of not only the etudes themselves

(which includes advanced techniques such as rapid single tonguing, double tonguing, difficult slurring, tapering, an execution of complicated scales and arpeggios in the context of a musical passage, half-hole, vibrato, flicking, and control of long notes in extreme registers), but also can be used to address both performing and technical issues not covered in Milde’s study, such as the problems posed by ensemble playing, tone- color, and rhythm.

The project analyzes a selection of four etudes from the Concert Etudes, Op. 26 in terms of harmony and form, explores the technical difficulties found in each one of them and their possible approaches, and provides arrangements for two bassoons, bassoon and piano, and bassoon quartet, giving the student a new palette of options for the study of the

Concert Etudes, Op. 26 and new devices for the improvement of various techniques.

CHAPTER 1

INTRODUCTION

A. Preface

This project centers upon the Concert Etudes, Op. 26, for bassoon by Ludwig

Milde (1849-1913). These fifty studies represent a wide range of musical styles, varied tempos and keys, and may serve as an avenue for presenting various aspects of bassoon technique. Although the title, Concert Etudes, Op. 26, implies that Milde was presenting more than simply another technique ―tutor,‖ the collection, whose primary function is a compendium of concert pieces, functions very well as an advanced technique tutor.1

A selection of four etudes from the Concert Etudes, Op. 26 comprises the body of this project, and each piece is assessed in the following ways: analyzed in terms of harmony and form; reviewed in terms of technical difficulties and possible pedagogical solutions; and they are provided with newly composed accompanying options that offer a variety of pedagogical alternatives for study.

The newly composed accompanying options contain three arrangements. These include a piano accompaniment preserving the original etude in the bassoon part. This version enables the bassoon student to experience collaboration with a pianist. Also, some aspects such as the realization of the implied harmony, steady rhythm and tuning with a tempered instrument are important in the bassoon-piano collaboration. Also included is an arrangement for two bassoons, which preserves the original etude in one

1. Milde also wrote a tutor for bassoon, the Etudes in Scales and Arpeggios, Op. 24 13 part, with an accompanying part of lesser difficulty. This adaptation is intended primarily to be employed by a teacher accompanying the student. This may help the student overcome difficulties such as tuning, tempo and phrasing, as he/she is guided by the teacher. Also, reversing the roles (the teacher plays the original version while the student plays the accompanimental part) means that the teacher can provide a model for the student. By listening to the teacher perform the original etude the student can become aware of the correct tuning, dynamics and other musical elements. Finally, a bassoon quartet arrangement is provided to demonstrate the pedagogical uses of these pieces in a small instrumental ensemble. By distributing the original etude among the four bassoons, the overall difficulty of each part will be considerably lower than the original. In this way, students who lack the technical expertise to play these etudes can begin by performing an easier version that contains snippets of the original. It will, therefore, serve as an introduction to the difficulties found in the original. Also, the students will benefit from the experience and enjoyment found in playing chamber music.

B. The Concert Etudes, Op. 26

The Concert Etudes, Op. 26, by Ludwig Milde is undoubtedly a work with which most bassoonists are familiar, and is often used in a curriculum comprised of other standard method books, including the Weissenborn Advanced Etudes Op. 8, Vol II. Like the Weissenborn, Milde’s etudes have the potential to blend sophisticated musical exercises with advanced technical exercises. 14

At the time Milde wrote these works, the bassoon was mechanically at a stage of development very close to the modern bassoon. Indeed, by 1820, Carl Almenräder (1786-

1843) published his ―Treatise on the Improvement of the Bassoon Including Two

Tables,‖2 in which he explains the stage of development of the bassoon at the time and provides fingerings for the new system. These fingerings are, for the most part, the same ones used in the modern German (Heckel) system.3

Milde wrote several works for the bassoon, including various pieces for bassoon and piano (such as Tarantella Op.20, Andante and Rondo Op. 25, and Polonaise), the

Etudes in Scales and Arpeggios Op. 24, the Concert Etudes Op. 26, the Fourteen Trios for bassoons, the Concertino for Oboe and Bassoon, the Concertino for Bassoon, and two bassoon concertos4. The existence of the Polonaise5 and its abundant similarities with the

Concert Etude no. 34 offer great insights into the pianistic style that Milde might have used for the Concert Etudes, Op. 26. The other pieces for bassoon and piano, Tarantella

Op. 20, and Andante and Rondo Op. 25, also offer insight in what type of accompaniment

Milde preferred when writing for this combination.

2. Charles Koster, ―A Translation of: Treatise on the Improvement of the Bassoon Including Two Tables by Carl Almenräder,‖ The Journal of the International Double Reed Society 14 (1986)

3. The German (Heckel) system is the standard bassoon used in most countries, including the United States. In France, and small pockets in Canada and Brazil, the French (Buffet) system is used. The French system is quite distinct from the German system. These differences reside primarily in the fingering mechanism, the reed style, and a characteristic tone.

4. The Concertino for Oboe and Bassoon, the Concertino for Bassoon, and the two bassoon concertos do not have an opus number.

5. Ludwig Milde, Polonaise. (London: Musica Rara Publications, 1969). 15

Documentation of Milde’s life is limited, but it is generally understood that he was an effective pedagogue, concerned with the lack of materials to assist the advanced player in overcoming the difficulties that increasingly challenging repertoire required.

The polished technique required to perform the Concert Etudes, Op. 26 provides the student a musical context in which to practice and refine his technical skills

This document reviews and discusses technical difficulties found in these works, providing suggestions for dealing with such difficulties. Factors such as range, articulation (staccato, double tonguing, awkward slurs), breathing, complicated fingering patterns, rapid finger technique, finger-tongue coordination, control of long notes in extreme registers, appropriate vibrato usage, flicking, and half-hole techniques are considered in determining the difficulties of each etude.

The Concert Etudes, Op. 26 is a very important resource among bassoonists and bassoon teachers, as shown in the study by Apfelstadt and Kilmko.6 In this study, the authors rank Milde’s Concert Etudes, Op. 26 in positions one (for Volume 1, Etudes 1-

25) and three (for Volume 2, Etudes 26-50) of the forty three most used technical study material at the undergraduate level, and positions five (Volume 1) and seven (Volume 2) of the thirty most used technical study material at the graduate level. Nevertheless, there are few published commentaries concerning their use in a pedagogical sense. In addition, the lack of scholarly analysis of these pieces indicates that an in-depth study of the works may yield information that would specify detailed pedagogical uses for the pieces.

6. Mark Apfelstadt and Ronald Kilmko, Bassoon Performance Practice, Teaching Materials, Techniques and Methods (Moscow, Idaho: The University of Idaho School of Music Publications, 1993), 127-130. 16

CHAPTER 2

LUDWIG MILDE

A. Biographical Information

Ludwig (Ludvík) Milde was born in Prague on April 30th, 1849. He studied at the

Prague Conservatory, finishing his bassoon education in 1867 with Vincenz Gross. From

1868 to 1870 he studied harmony and composition with Professor Xavier Alois

Skuhersky (1830-1882). He also studied organ during this period. His professional engagements took him to Austria, where he held the principal bassoon chair of the opera house in Linz from 1870 to 1872. In 1874 he was teaching at Novi Sad (Serbia) and during this period he also taught at the Bucharest Conservatory (Romania).

From 1886 to 1894 he was appointed Professor of Bassoon at the Prague

Conservatory, where he taught, among others, Julius Fucik (1872-1916), an important figure in the field of military bands, sometimes known as the ―Bohemian Sousa.‖ He also taught piano at the Conservatory. In 1894, Milde resigned from his position at the

Conservatory for health reasons, but he continued to perform for several years. In 1897, he returned to Bucharest to teach. Milde died in Bad Nauheim, Germany in 1913.

B. Historical Context of the Concert Etudes, Op. 26

It is important to understand the value of Milde’s work during the period he performed and taught. By the time Milde was teaching at the Prague Conservatory (1886-

1894), he was a mature performer and an experienced teacher. It is very likely that he knew Ozi’s Nouvelle Méthode de Basson (1803), which was employed as a method book in the Paris Conservatory, but was outdated since it was written for a seven-key bassoon, common to the classical era.

Carl Almenraeder (1786-1846) had established the famous bassoon manufacturing company with Johann Adam Heckel (1812–1877) in 1831. Almenraeder wrote the first tutor for what was to become the Heckel bassoon system. He completed this tutor, the Fagottschule in 1836, but it was not published until 1843. Later, one of the most important tutor books using the new and improved Heckel mechanism for the bassoon was written by Julius Weissenborn, and published in 1887. Weissenborn’s

Praktische Fagott-Schule was designed specifically for the Heckel system.

The works by Weissenborn and Ozi are still in use by many teachers today, proving their educational value in the formative years of a bassoonist. They are usually complemented with Milde’s works when the student has a better understanding of larger forms and has developed a stronger technique. It is uncertain whether or not Milde knew or used these method books, but it is clear that the difficulties found in Milde’s Etudes,

Op. 24 and Concert Etudes, Op. 26 are of a much higher degree than the ones found in any of the books previously mentioned. 18

A review of the standard repertoire composed before Milde shows that there are techniques not explored in the method books available at that time. Some examples include passages reaching up to a high B♭, as found in Mozart’s Bassoon Concerto

(1744). Other techniques include fast staccato passages like those found in Weber’s

Bassoon Concerto (1822), the coda of Weber’s Ungarische Andante and Rondo (1813), and the fast leaps between registers found in Hummel’s Bassoon Concerto (1805). These are all examples of the advanced techniques that are present in Milde’s Concert Etudes,

Op. 26, but they are not very well explored in Weissenborn or other contemporary method books. Milde possibly noticed the lack of didactic materials for these technical challenges, and his pedagogical works explore these difficulties and other ones not present in the existing method books of the day. 19

CHAPTER 3

ELEMENTS OF BASSOON TECHNIQUE

A. Rapid Single Tonguing

Depending on the tempo selected, this can be an issue of endurance. Extended passages requiring rapid repeated tonguing can result in a decline in tempo as the tongue becomes fatigued. This tiring of the tongue can also result in a decrease in the timbral quality of the notes. Although Milde provides no explanatory text, teachers commonly approach these passages in a very structured way, by starting with a comfortable tempo, and slowly increasing it.

B. Half-hole

The half-hole technique is crucial for the production of several notes on the bassoon. These include F♯2, G2, A♭2, G3 and A♭3. The fingerings for F♯2 and A♭2 are nearly identical to the lower octave, but with the left hand index finger slightly uncovering its home hole. The fingering for G2 is a special case, because it is almost identical to the lower octave, but with a half-hole and the resonator (E♭) key. Half-hole technique, when mastered, will insure that the correct second note is produced and not the lower octave or a double octave ―growl.‖

C. Flicking

One of the most important techniques in the bassoon is known as ―flicking‖ and it requires a great deal of time to master. In its most basic execution, flicking is done to facilitate the response of the second octave of the bassoon. The primary notes requiring flicking are A2, B♭2, B2, C3 and D3,7 where flicking is necessary to control the timing of the response of these notes and to avoid the intrusion of the fundamental or the wrong overtone, known as ―cracking.‖ This occurs particularly when a passage is slurred.

D. Extreme ranges

For the present study, the range of the bassoon will be divided into four different registers: low (B♭0 to E1), medium (F1 to F2), high (F♯2 to D3), and extended high (E♭3 to

F4). Playing in the low and the extended high registers present special difficulties for the bassoonist. Each of these registers has its distinct challenges, making playing between these two registers especially difficult.

Low register finger technique is almost completely facilitated by the left hand thumb, while the upper high range fingerings are very complicated, often requiring multiple finger changes for adjacent chromatic notes. Additionally, extended high range notes are usually notated in tenor clef, making reading more difficult for the less experienced student.

7. For the present study, the octaves are designated by the Cooper-Toplansky system, as seen in Appendix A. In this system the number of the octaves starts with C. The first octave of the bassoon, then, will only have two notes (B♭ and B), and is the octave 0. The low C starts the octave 1. As a reference, the open F of the bassoon will correspond to F2, and the middle C in the piano will correspond to C3. 21

In addition to finger technique, response and tuning are very different between these two registers. Finally, the ideal reed scrape for best results in each register is distinct, and the bassoonist usually compromises by making a reed that plays in neither register with ease, but which allows him or her to manage both registers with some minor adjustments of embouchure, throat position and air pressure.

E. Downward Slurs

The acoustical nature of the bassoon makes many downward slurs from the extended high register to high register problematic. Often the use of one of the flick keys will facilitate a successful downward slur with the proper technique and touch.8 Without the proper flick key, the bassoon will often produce a distorted lower note of the slurred interval or a completely wrong pitch, producing an incorrect partial of the harmonic series. The use of a flick key to remedy this problem is considered an advanced technique and is fundamental to the refinement of bassoon performance. Of equal importance to the finger changes in these difficult downward slurs is the role the embouchure and air pressure must play. Embouchure and air pressure adjustments must occur simultaneously with the finger changes.

8. A new system is been developed, called the Weisberg System (in relation to its inventor, Arthur Weisberg), which enables the bassoon to activate the flick keys automatically. Nevertheless, this system is in an early stage of development and is rather experimental. 22

F. Tempo – Endurance

Slow etudes, especially with extremely soft dynamics, are often difficult because of the endurance required of the embouchure muscles. As the embouchure tires, tone quality and intonation are affected. Therefore, the bassoonist should look for points of relaxation in the music to rest and reset the embouchure in the correct position. An advantage and a reason to have etudes with slow tempi in a collection as the Concert

Etudes, Op. 26 is to enhance the endurance of the performer. Another aspect to consider in relation to endurance is the alternate breathing, which is a breathing technique that consists in finding suitable places in the music for exhalation, purging the excessive air and restoring the lung capacity to be able to take a breath.

G. Final Decrescendo and Physical Modifications

One of the refinement techniques that can be practiced with the Concert Etudes,

Op. 26 is the tapering of the last notes of phrases. This is especially difficult because the consistency of pitch has to be maintained. The bassoonist must employ a mix of various physical adjustments including muscle support, air pressure, throat position and modifications to the embouchure to accomplish this natural musical decay without affecting the pitch.

The two different basic types of embouchure, known as hard cushion and soft cushion, can be considered the opposite extremes when discussing approaches to controlling the reed. As explained by Matthew Morris, 23

The hard cushion involves pulling the lips tightly over the teeth and pulling the corners up and back as in smiling (…) In the soft cushion embouchure, the corners of the mouth are pushed forward as in whistling and the lips are kept relaxed. The lips are kept relaxed and the jaw is staggered downward, producing an overbite. The lips are then contracted around the reed like a drawstring.9

Beginner students are usually taught to use one type exclusively as the basic style. Nevertheless, for advanced students, the embouchure must be modified to utilize a range of options between the two divergent basic embouchures. Embouchure modification as a means of tapering a note when used in conjunction with the other techniques, such as adjustments to air pressure and changes in the oropharyngeal cavity, can improve the tapering of final notes.

H. Vibrato

The Concert Etudes, Op. 26 provide an opportunity to practice the use and application of vibrato in a musical context. However, they are not the place to learn how to produce the vibrato. When learning the Concert Etudes, Op. 26, the student is expected to have at least a basic technique for the vibrato, the ability to control it and apply it in different ways.

Vibrato is used as an expressive aid to the player and, with this intention, the musician has to choose in which way it is going to be applied. As stated by Arthur

Weisberg in his book The Art of Wind Playing, there are four basic ways in which this can be done: ―1. A faster or slower vibrato. 2. Vibrato with greater or lesser amplitude.

9. Matthew Blane Morris. ―The Teaching Methods of Lewis Hugh Cooper‖ (DM diss., The Florida State University, 2005), 10-11. 24

3. The vibrato changing during the course of the note. 4. The use of non-vibrato.‖10

Weisberg also explains four different types of application of vibrato, in terms of how to start the vibrato in a note: ―1. A steady vibrato. 2. The vibrato starts after the note starts.

3. The vibrato starts after the note starts and ends before the note ends. 4. The vibrato starts gradually.‖11

10. Arthur Weisberg, The Art of Wind Playing (Galesville, Maryland: Meredith Music Publications, 2007), 130.

11. Ibid, 65. 25

CHAPTER 4

THE CONCERT ETUDES, OP. 26

A. Organization

The work consists of fifty pieces, divided in two volumes of twenty-five etudes each. The collection seems to lack any overall organization, in contrast to the clear key- based organization of Bach’s Well Tempered Clavier12 or Chopin’s Preludes.13 The organization of the Concert Etudes, Op. 26, with the keys corresponding to every etude is shown as follow.

Volume 1 Volume 2

1. C major 14. E♭ minor 26. C minor 37. G♯ minor 2. A minor 15. B minor 27. F minor 38. B♭ major 3. A♭ major 16. E♭ major 28. A minor 39. C♯ minor 4. C minor 17. C minor 29. D major 40. B♭ minor 5. B minor 18. A major 30. A major 41. F major 6. G minor 19. E major 31. B♭ minor 42. A♭ major 7. F minor 20. D♭ major 32. E♭ minor 43. E♭ minor 8. A major 21. E minor (introduction in 44. F♯ minor 9. C♯ minor 22. A major C minor) 45. B minor 10. C♯ minor 23. B♭ minor 33. B major 46. B♭ minor 11. B minor 24. G♭ major 34. E♭ major 47. A major 12. C major 25. C♯ minor 35. D♭ major 48. C♯ minor 13. D♯ minor 36. B minor 49. A minor 50. B♭ minor

12. This work starts in C major, and each pair or prelude and fugue is followed by its parallel minor, and the next one is then raised a minor second, until all the major and minor keys are covered.

13. The first prelude is composed in C major, the next one is in its relative minor, and then follows a close related major key, until the twenty four possible major and minor keys are complete. 26

Examining the key signature of each piece, we can see that there are no etudes in the keys of D minor, F♯ major, G major and B major, and that there are keys that seem to have more prominence than others. The number of occurrences of key signatures in the

Concert Etudes, Op. 26 is the following:

Key Signature Number of Etudes C major 2 C minor 3 C♯ major 2 C♯ minor 5 D major 1 D minor 0 E♭ major 2 E♭ minor 4 E major 1 E minor 1 F major 1 F minor 2 F♯ major 0 F♯ minor 2 G major 0 G minor 1 A♭ major 1 A♭ minor 2 A major 5 A minor 3 B♭ major 1 B♭ minor 5 B major 0 B minor 6

Although this data can provide basic information about which keys are preferred by Milde and which ones are not explored, we should notice that musically, every single piece in the Concert Etudes, Op. 26 is complex enough to explore many different keys, and the fact that one piece is in a determined key does not mean that other keys are not 27 explored in the same piece. In this way, we cannot define as ―easy‖ the etudes that are composed in one of the ―easy‖ keys for the bassoon (such as C major, F major, G major), and the same holds true for the etudes composed in a ―difficult‖ key (such as B♭ minor,

C♯ major).

B. Selected Etudes

The Concert Etudes, Op. 26 are composed for a melodic instrument without any accompaniment. Therefore, the analysis was inferred from the implied harmonies determined by the most logical option considering the outline of the melody and the best chord progression according to the rules of functional harmony. Nevertheless, more than one interpretation was possible when analyzing pieces in this way. The analysis provided is the one I consider most logical and appropriate when taking into account the time period of this work.

1. Concert Etude no. 4 in C minor

a) Harmonic and Formal Analysis

An analysis of this piece reveals that it is in rounded binary form and concludes with a coda, as shown in Appendix B. As its principal key is minor, the B sections moves to the major mediant (III, E♭ major). After a reinforced dominant in the original tonic, with an extended pedal point for seven measures (measures 24 to 29), the piece returns to

C minor, where the recapitulation (A’) starts. A modification in the last part of this 28 section will result in the piece finishing in the tonic C minor and the coda section

(measure 40 to the end) reinforces the tonic key.

b) Advanced technical difficulties

Staccato

The most obvious difficulty (and the one that can be determined at first glance) is that major portions of the piece consist of repeated sixteenth notes at a relatively fast tempo. As seen in Musical Example 1, measures 1 through 7 consist exclusively of repeated staccato notes. Although the staccato markings disappear in measure 3, the melodic style stays consistent with the material presented beforehand, so the following repeated notes should be played staccato.

Musical Example 1. Staccato playing in measures 1 to 7.

When learning this piece, the student should start with a slower tempo than the anticipated performance tempo. Once the tongue has acquired the necessary strength to play repeated notes for an extended period of time, the student should slowly increase the tempo until the anticipated performance tempo is reached. 29

A common issue with passages with repeated fast tonguing is poor coordination between the tongue and the fingers. It is normal to find a student who can play repeated notes in a fast tempo, but who experiences problems when it is not the same note that is repeated. In such case, there should be an examination of the finger technique, which can be easily identified by playing the passage slurred. If there are any inconsistencies in the passage, or if there are ―holes‖ in some of the slurs, then those intervals should be isolated and studied until the fingers that interact in the passage are coordinated enough so the slurred intervals can be played without any problem. After the finger technique is enhanced, the coordination of fingers and tongue should be improved by starting the passage at a slower rate and by using different rhythms. For example, if the passage is a series of repeated sixteenth notes, then the passage could be practiced modifying the rhythm to dotted sixteenth – thirty-second, or the opposite rhythm, and with other variants, as shown in Musical Example 2. In many cases this kind of practice will help to improve the finger and tongue coordination.

The passage shown in Musical Example 1 is a good starting practice for such problems because, although the tonguing is extended and fast, the notes change in a slower rate than the tongue: there are two of sixteenths in the same pitch before switching to another pitch, which gives the player time to prepare for the next fingering and to achieve good coordination.

Musical Example 2. Practice suggestions for measures 1 to 2. The first line is the original version, and all the other lines are different rhythmical variations for practice.

Leaps and half-hole

The passages in measure 17 and in measures 28 and 29 include leaps using G2 as a recurrent note (see Musical Example 3). Since there is a rapid exchange of notes requiring half-hole (F#2, G2 and A♭2) and others that do not, special attention has to be given in these two passages. The results of a faulty half-hole are specific for certain notes and can be used as a diagnostic of this type of problem. If the half-hole is not big enough, the F♯ will produce a double octave sound (sometimes referred to as a ―growl‖). If the half-hole is too large, however, the A♭ will result in a higher pitch in the overtone series

(sometimes referred as a ―squeal‖). 31

Musical Example 3. Notes requiring half-hole in measures 17, 28 and 29.

To improve the execution of this technical issue the student must feel the complete coverage of the hole on the instrument in correspondence to the correct positioning of the index finger of the left hand. Exercises involving rolling the finger back and forth while looking in a mirror and feeling the correct amount of opening will help the student acquire the correct fingering for the half-hole notes. Another exercise consists of approaching the note from the octave below, slowly moving into the half-hole position, so the student notices the amount of opening needed for the note to speak correctly. Also, lifting the finger completely and dropping it into half-hole position will help in playing a fingering that requires a half-hole coming from a note with an open hole. This is the case when moving from F2 to the half-hole notes F♯2, G2 and A♭2.

Some passages present fast leaps between registers that can cause problems adjusting the embouchure, the oropharyngeal cavity and the air pressure, all of which have an ideal placement in each register for pitch, response, and tone quality. The low register of the bassoon requires less air speed and a more open oropharyngeal cavity, 32 while the high and upper high registers require more air speed and less opening of the oropharyngeal cavity. Those adjustments should happen in complete coordination with the fingers, so the notes speak correctly and the pitch and tone color will not be compromised. Adjustment should also take place in the embouchure, which can be more relaxed in the low register (commonly called ―dropping the jaw‖), allowing for easy response and appropriate tuning by letting the reed vibrate freely, while in the high and extended high registers the embouchure should be firm and more focused.

Measures 21 to 23 present ascending arpeggios, starting with the low D, moving upwards by half step. The intervals are B2 to E♭1, E♭3 to E1, D♭3 to F1, and F3 to F♯2, and the leap takes place in the space of a sixteenth note, as noted in Musical Example 4.

Musical Example 4. Leaps between registers in measures 21 to 23.

The accuracy of performance of such leaps can be improved by a comparison of the elements necessary to produce good results of both the upper and lower notes individually. After determining the necessary changes from one note to the other, slowly practice this transition. Once the tone and intonation are balanced between the two problematic notes, the speed can be slowly increased until the desired tempo is reached.

Another exercise to improve register leaps is to practice by adding a rest between the two problematic notes. In Musical Example 3, in the first circled interval, a rest can be inserted between the B2 and the E♭1. In this way the necessary physical adjustments 33 can be made and the student can perceive the required modifications to play this interval correctly. Eventually the rest must be shortened and finally dropped altogether.

Inner Rhythmic Subdivision

In measure 46, the internal pulse changes from duple to triple, with the appearance of two triplets, though the piece ends in a duple subdivision two measures later. In Musical Example 5, we can see that these triplets appear after a half note, and the first one is tied from the half note. At the end of the measure, we are left with five articulated notes that can cause some problems in tempo perception.

Musical Example 5. Inner rhythmic subdivision changes in measures 46 to the end.

The triplets should be clearly stated as such and the use of a small accent in the first note of the second triplet can help in setting the fourth beat of the measure. Also, a triplet subdivision on the sustained C is helpful in setting up the triple internal pulse. The last few measures should be played with very little ritardando, because the triplets function as a metric slowing. If too much ritardando is applied, the overall pulse of the end of the piece can be disturbed.

2. Concert Etude no. 9 in C♯ minor

a) Harmonic and Formal Analysis

An analysis of this piece exposes a rounded binary form concluding with a coda, as shown in Appendix F. As its principal key is in minor mode, the B sections moves to the major mediant (III, E major). The A section is built upon a ternary form (a b a’), and the a’ section applies a modulation by common chord to move to the mediant key (E major). The iv of the original C♯ minor key is reconsidered as a ii in the new key, which works as a predominant in the key of E major.

The B section states the key of the mediant, by means of a basic I-ii-V-I, to return abruptly to the key of C♯ minor, with the dominant chord in its first inversion in measure

18. This section is considered a retransition because it reinforces and expands the dominant of the original key. This retransition leads to the recapitulation in measure 24.

The A’ section is shortened by removing the b and the a’ phrases, replacing them with the coda in measure 28.

b) Advanced technical difficulties

Sustained tones in the low register at a soft dynamic level

This etude’s difficulty resides primarily in its exploration of the low register of the bassoon and is the main piece in the Concert Etudes, Op. 26 to focus on this register.

Low register playing on the bassoon has two inherent difficulties: tuning and response. In general, the lowest register of the bassoon is sharp in pitch. This issue is to be expected 35 particularly when the dynamic is very soft, because the normal method used to achieve a soft dynamic level involves firming the embouchure, which will slightly raise the pitch.

The opening passage, from measures 1 to 4, has to be carefully practiced and, although it should be played at a soft dynamic level, should not be approached too softly since there is a great risk of the first note not speaking. Another issue with this passage is the slurs on the long phrase. A great deal of air support and control should be applied so the slur can be smoothly performed. Another aspect of achieving a successful slur in such a passage is the finger technique, with special attention to the whisper key. Inaccurate use of the whisper key is commonly responsible for response problems in the low register.

Some instruments are equipped with the whisper key lock, which can be used for the first phrase of this etude, since this phrase does not go above A2. A common problem is a faulty assembly or adjustment of the E key’s closure of the whisper key. In any case, the performer should be aware to keep the whisper key closed at all times in the low register of the instrument.

Tuning adjustments in the low register

Some notes on the bassoon pose a special challenge in terms of tuning, especially the low register notes from B♭0 to F1. It is common for D1 and E♭1 to have a much weaker tone quality than their neighboring tones, making it very uneven if a scale is being performed, and making it necessary to adjust the color for those specific notes.

In terms of tuning, it is common that this register is sharp; therefore, a general adjustment in lowering the notes in this register is required. This can be achieved by 36 combining several elements of technique. A relaxed embouchure paired with a relaxed and open oropharngeal cavity will help to lower the intonation level. Also, the precise amount of air pressure should be less than in other registers to help in adjusting the tuning. Another element than can help in correcting tuning for this register is the position of the lips on the reed. Playing closer to the tip of the reed will produce a lower tuning and brighter sound quality.

The right combination of adjustments should result in a good tuning for this register, which should be monitored by the use of an electronic tuner, a well-tuned piano, or any other means to corroborate accurate tuning. However, when using an electronic tuner, care should be taken to avoid tuning ―by eye‖ rather than ―by ear.‖ The electronic tuner should be used in terms of corroboration, and the best way to use it is to look at it after the note has been played, to check the pitch level of the note. In this way the tuning device becomes a useful tool to train the ear.

Endurance

With this piece, as with most of the slow tempo etudes in the Concert Etudes, Op.

26, endurance is one of the most important issues to consider. The long phrases quickly tire the embouchure and the normal consequence of fatigue is ―biting‖ the reed, which results in the pitch going sharp. When this happens, the performer has to compensate to be able to stay at the correct tuning. The best way to avoid this is to look for points of relaxation for the embouchure, which are usually the points where breaths can be taken. 37

Also to be taken into consideration may be the stiffness of the reed and the appropriate air support. Alternate breathing, as explained before, can also be applied in this piece.

In the first phrase of the piece, the phrasing suggests that breaths can be taken in measures 2 and 3, as shown in Musical Example 6. Also important is the implied harmony, as shown in Appendix 6, which also has to be considered when determining the best places to breathe. In the same passage, an obvious place to breathe is in measure 3 between the 4th and 5th beats. Nevertheless, if we pay attention to the implied harmony, the whole measure is under a dominant chord and it will be much more effective to sustain the notes and avoid breathing until the resolution of the dominant at the end of measure 4.

In the same way, the rest of piece should be clearly studied to determine the best places to breathe, taking advantage of those places to relax and reposition the embouchure to minimize exhaustion and lead to an overall more relaxed technique.

Musical Example 6. Suggested places to breathe in the first phrase.

Slurs in extended passages

A slur on a wind instrument is not only achieved by the correct finger technique, but also by using the correct amount of air pressure. The basic way to achieve a successful slur is to adjust the amount of air pressure from the first note to the second 38 note and to time the air pressure to be in place when the second note is to sound. At the same time, if the slur also requires a register change, the embouchure has to adjust to the correct position for the second note in the slur. For an ascending slur, the air pressure usually has to increase and the oropharyngeal cavity has to adjust to a more closed position. The opposite applies to the descending slurs, where the air pressure has to decrease and the oropharyngeal cavity has to move to a more open position.14

In this etude, we find a number of slurs that require special attention. The first one appears in measure 5, in the octave leap from G♯1 to G♯2. Other problematic intervals occur in measure 30, the octave G♯2 to G♯3. In both cases, the air pressure has to be considerably increased to be able to maintain the correct tone color and tuning of the second note. Furthermore, the finger technique has to be carefully considered and all of the fingers have to be completely synchronized to achieve a good slur. An impurity between two notes is usually an indication of either incorrect air pressure adjustment or faulty finger technique. For the first interval it is also crucial to consider the half-hole technique for the G♯2, as explained previously.

Challenging intervals

The passage presented in measures 1-2, 10-11, and 24-25, require a special fingering for the interval of G♯1 to E♯1. The standard fingering for that interval requires of a movement of the little finger of the right hand from the G♯ key to the adjacent F key.

This movement can be troublesome and could be fixed easily by using the alternate G♯

14. Traditionally, the phrase used by many teacher to indicate a lowering of the oropharyngeal cavity is ―drop your jaw‖, or ―open your throat‖. 39 key, which is activated by the thumb of the right hand as shown in Example 1. That fingering leaves the little finger free and in position to activate the F key when needed.

Example 1. Alternate fingering for the G♯1 to E♯1 interval.

Alternate G♯1 E♯1

Another passage in need of special attention is found between measure 28 and the end of the piece. It is the final passage of the piece and the endurance of the embouchure has to be considered. Also, this is the highest passage in this etude and is also the most intense with the only fortissimo marking in the piece. As mentioned before, the key signature of C♯ minor is especially troublesome for the bassoon in terms of awkwardness of fingerings and this passage contains many difficult intervals. The slur from the G♯3 to

C♯4 has to be well prepared and the finger coordination has to be very good, with the necessary air pressure for C♯4 to respond in a correct manner and with a fortissimo dynamic.

It is also important to note the dynamic changes in this phrase and to adjust air pressure and oropharyngeal cavity positioning accordingly so that the tone color is not 40 distorted and the tuning is correct. Also significant is the interval C♯1 to D♯1, present in measure 31. This interval requires the little finger of the left hand to move from the C♯ resonator key to the E♭ resonator key, while the thumb of the same hand moves from the

C key to the D key, as seen in Example 2. Generally, the resonator keys have a ―roller‖ to make this movement easier, but in general, it is a movement that can cause problems in the production of the notes because of the coordination required.

Example 2. Fingerings for the interval C♯1 to D♯1.

C♯1 D♯1

Vibrato

The lyrical character and slow tempo of this etude provides a very good venue to explore the application of vibrato. As explained before, vibrato is one of the expressive elements of bassoon playing that can greatly enhance a performance. The way in which vibrato is utilized should be well planned and prepared so that all the variables can be controlled. The final goal is to make vibrato usage sound natural and organic to the music. However, students may benefit from planning their vibrato. 41

The beginning of this etude, as has been discussed before, has to be carefully performed because of the soft low register and the possibilities of a poor attack. With this in mind, the first note might be played without vibrato, and the first ascending arpeggio could be considered as an ascending line, both in terms of pitch and intensity. If the implied harmony of this measure is examined, we find that the note A1 is actually a dissonance in the chord and is the climax of the first measure. This note must be stressed, and it is at this point that we might use vibrato. In this case, the note could be played initially without vibrato and then with an increasing intensity, which will decrease when the next note is played to disappear entirely when the breath is taken. The same holds true for the second measure. A graphic representation of the first two measures with vibrato is shown in Musical Example 7.

Musical Example 7. Graphic representation of the suggested vibrato in measures 1 and 2.

Staccato

The only two passages that have staccato markings in this piece are in measures

13 and 15, as shown in Musical Example 8. These should be treated with special attention, since Milde is very specific in using staccato for only those two passages.

Musical Example 8. Measures 13 to 16, only passage with staccato markings.

In other works, we can see that staccato is used sometimes as a show of bravura, such as in the Concert Etude no. 4. However, in this etude the staccato required is one of gracefulness. The indication of staccato in this piece is not so much an indication of shortness, but rather a lack of legato, and it should be played more in a ―bouncy‖ fashion.

Although amateur players will just tongue these notes, the gracefulness in the staccato comes from playing it with enough air support for each note and to let the note decay on its own, not stopping it with the tongue. To achieve this effect, the bassoonist should practice these passages slowly, achieving an elegant tone on every note and being careful that each note is speaking correctly. Also, a very short staccato should be avoided completely in this situation and some vibrato could be used when practicing this note slowly. As an analogy, notice how string players use vibrato when playing pizzicato, so that the note keeps vibrating in the instrument. In the same way, the wind players can practice the staccato by using diaphragm vibrato, so the muscles get used to being activated on every note. When increasing the speed of the passage, the vibrato is taken out but the movement of the diaphragm is not, allowing the air support to resonate and produce a beautiful and elegant staccato.

Flicking

There are a few instances in this etude where flicking should be reinforced. The first of these instances occurs in measure 3 on the second half of the 5th beat, where there should be a clean attack in a note that requires flicking. This is the case of the A2 in measure 3, which is tongued, and is the beginning of a slur and will require a flick to insure a clean attack.

The B2 in measure 6 could be enhanced in terms of clarity in the attack with the flicking technique. A passage where flicking is critical to achieve a good ascending slur is in measure 19 on the 3rd beat in the interval E2 to A2.

The passage in measures 29 to 30 is probably the most intricate passage in terms of fingerings in this etude. This passage is slurred, making it more difficult than if it was tongued. Slurred descending intervals, such as the intervals C♯3 to A2 in measure 29, and

G♯3 to D♯3 in measure 30 are often more problematic on the bassoon. For both instances, the use of flicking on the second note of each interval is advisable and practically the only solution to play those intervals with a clean and successful downward slur.

3. Concert Etude no. 25 in C♯ minor

This piece is another example of a fast tempo etude, in which fast finger technique and tonguing are the most prominent elements. It offers a familiar waltz-like rhythm with some rhythmic deviations in the form of hemiolas in the middle section.

a) Harmonic and Formal Analysis

Concert Etude no. 25 follows a rounded binary structure, with a central section in the mediant key of E major. Although the E major section is not extended and quickly resumes the original key of C♯ minor, we can trace the real return to the key of C♯ minor in measure 89, with the return of the first theme after a long sustained dominant chord.

b) Advanced technical difficulties

Long staccato passages

As discussed previously in the Concert Etude no. 4, long passages with staccato can be demanding in terms of strength and stability. In this case, the same strategies can be applied as they were explained in Concert Etude no. 4.

Large slurred intervals

This etude consists mainly of staccato passages, although there is the presence of some slurred passages. These slurred passages tend to appear in larger intervals, which makes it more difficult to play. The intervals in question are the octave G♯2 to G♯3 in 45 measures 1, 9 and 97, the interval D♯1 to E3 in measure 19, and the interval D♯1 to A2 in measure 21, as shown in Musical Example 9.

Musical Example 9. Slurred ascending leaps in Concert Etude no. 25.

For such intervals, the embouchure must be adjusted from an open relaxed position to a more closed , firmer setting, and with more air pressure so that the higher note will speak properly and in tune.

Hemiolas

The use of the hemiola is evident in the middle section of the piece (measures 54 to 85), and in the coda (measures 113 to 120) where, although the time signature is , the writing suggests . The bassoonist should be aware of this rhythmic characteristic, but the time signature’s essential weight on the beats should stay the same, having a natural accent on the downbeat. Otherwise, the phrasing could turn monotonous and boring.

Studying this section, it is noticeable that sometimes the downbeat is within a slur and obscures the downbeat. Even in this case, the natural weight should fall on this beat and the other two beats should be a rebound of this first. It is important to remember the waltz-like character of the piece in this section, especially, so the feeling of one big beat subdivided in three smaller beats prevails instead of a duple inner subdivision. Musical 46

Example 10 shows the original version of the excerpt, and Musical Example 11 show the artificial subdivision effect of the hemiola.

Musical Example 10. Original writing of measures 54 to 63

Musical Example 11. Realized meter in measures 54 to 63.

4. Concert Etude no. 34 in E♭ major and Polonaise for bassoon and piano

a) Harmonic and Formal Analysis

Concert Etude no. 34 shows a very clear ternary form by presenting the first section in E♭ major, a second section in B major, and then a Da Capo indication, to repeat the entire first section.

When we compare Milde’s Polonaise for bassoon and piano with the similar sounding Concert Etude no. 34, we find that it presents nearly a duplicate structure, but contains a different middle section in terms of musical content and key. In the Polonaise, the middle section is in the key of A♭ major rather than the key of B major found in the

Concert Etude no. 34. Also, there is a slight variant at the end of the piece. In the exposition, the Polonaise prepares the new key by transforming the tonic chord into the dominant of the new key. In the Concert Etude no. 34, there is no preparation for the new key. The A section closes in a perfect cadence in the tonic. The modulation into the B section is sudden, without preparation. In this way, by using a Da Capo in Concert Etude no. 34, the piece does not need to rework any materials to finish in a perfect cadence. In the case of the Polonaise, the material at the end of the A section transforms the tonic into the dominant of the subdominant, preparing the key for the B section.

In terms of form, it is interesting that the Concert Etude no. 34 uses a rather unusual key for the middle section, in comparison with the Polonaise. The key of B major is a respelling of the ♭VI of the original key (C♭), and the return to the original key is done by means of an augmented German sixth chord. In the Polonaise, the treatment of 48 the middle section is more traditional. The key of the middle section is prepared by means of a dominant, and the section closes in a perfect cadence. Although there is no preparation for the original key, it is a closely related key and the return to the tonic is not striking at all.

The bassoon parts of the Polonaise and Concert Etude no. 34 are almost identical, except for the middle section. The Polonaise also inserts some extra measures of material in the piano, such as four measures of introduction and several measures between phrases. The middle section, however, is completely different and has no relation with the

Concert Etude no. 34. The technical difficulties found in the Polonaise and the Concert

Etude no. 34 are nearly identical.

b) Advanced techniques present in the piece

Endurance

This etude is probably one of the most extended of the Concert Etudes, Op. 26.

The ternary ―da capo‖ form of this piece, although not foreign to the Concert Etudes, Op.

26, is of special importance to its balance and structure. Nevertheless, the overall length of the etude needs special consideration for recital programming. In the similar Polonaise the composer included a few piano interludes that allow the bassoonist to recover.

However, Concert Etude no. 34 does not have any pauses and becomes more of a challenge for the performer in terms of endurance.

Difficult intervals

In this piece we find several passages that require special attention. The interval

B♭2 to G3 in measures 5 and 6, as shown in Musical Example 12, is indeed a problematic interval, and the issue resides in the half-hole technique. If the G3 fingering is faulty, it is possible that the note will not speak and instead sound a lower partial of this pitch. The common reason for this is opening the half-hole either too little or too much. Another possibility for the faulty G3 is the use of the ―whisper‖ key. The standard fingering for this note requires the whisper key, while the surrounding pitches do not.

Musical Example 12. Measures 5 and 6. Problematic B♭2 to G3.

Another of the intervals that needs special attention and an alternate fingering is the F♯2 to A♯2, present in measure 96, as seen in Musical Example 13.

Musical Example 13. Measure 96, F♯2 to A♯2 interval.

In this case, the normal fingering of F♯ is not advisable because the thumb of the right hand would have to move from the F♯ key to the B♭ key, which are located in 50 extreme positions flanking the low E ―pancake‖ key. With the normal fingering, it is impossible to produce a successful slur in this interval. The alternate F♯, which is activated with the little finger of the right hand, can therefore make this interval possible.

In Example 3, the normal and the alternate fingerings are shown.

Example 3. Normal and alternate fingering for the F♯2 to the A♯2

Normal F♯2 A♯2

Alternate F♯2 A♯2

Scales and Arpeggios

Exploring this piece, we can easily determine that much of its content is based on scales and arpeggios in their basic form. From this examination, we can conclude that the study of this piece will help the bassoonist reinforce the technique necessary to play certain key signatures. An overview of the scales and arpeggios used in this piece in their pure form can help the performer determine special fingerings and techniques involved with the specific scale or arpeggio present in that section. The scales and arpeggios used in this piece is listed:

Measure Scale or arpeggio used 1 B♭ major ascending scale 2 E♭ major broken arpeggio 3 E♭ major ascending arpeggio 4 F minor broken arpeggio 18 G major ascending arpeggio 27-28 C major ascending arpeggio 33 G / D ascending scale 35-37 C major broken arpeggio (added 6th, added minor 7th) 38 F major broken arpeggio 41 G major descending arpeggio 42 A♭ major descending arpeggio 43 A diminished descending arpeggio 44 B♭ major broken arpeggio 47 B♭ major ascending arpeggio 61-62 Chromatic scale 68 B major descending arpeggio 77 F♯ diminished 7th descending arpeggio 80 F♯ major ascending arpeggio 82 F♯ major 7th ascending arpeggio 89 E major ascending arpeggio 90 E♯ diminished 7th descending arpeggio 91 G♯ minor 7th descending arpeggio 92 Chromatic scale 93 B major broken arpeggio 96 D♯ minor ascending arpeggio 97 B dominant 7th ascending arpeggio 52

As shown in the list, we can consider that the piece is built upon the arpeggios of

E♭ major, E♭ minor (D♯ minor), E major, E♯ dimished, F minor, F major, F♯ major, F♯ major 7th, F♯ diminished, G major, A♭ major, G♯ minor 7th, A diminished, B♭ major, B major, B dominant 7th, and C major. All other material is related or based on these same arpeggios. The basic arpeggios that should be practiced are shown in Musical Example

14.

Musical Example 14. Arpeggios used in Concert Etude no. 34.

E♭

E♭ minor

E♯ dim 7th

F minor

F major

F♯

Musical Example 14 continued

F♯ 7th

F♯ dim 7th

G major

A♭ major

G♯ minor 7th

A diminished

B♭ major

B major

B dominant 7th 54

Musical Example 14 continued

C major

The preparatory practice for these arpeggios should be very structured and the student should be able to play them with relative ease before approaching them in the context of the Concert Etude no. 34. The preparation for these arpeggios includes practicing them in a slow tempo, with different articulations (as shown in Musical

Example 15) and with different rhythms (as shown in Musical Example 16). The different articulations and rhythms should also be combined to achieve the maximum number of possibilities.

Musical Example 15. E♭ arpeggio with different articulations

Musical Example 16. E♭ arpeggio with different rhythms

Rapid triplets

The figure of triplets is introduced early in the piece (measure 12) and is a consistent figure throughout the A section of the work. As seen in the score, this figure is always presented slurred, therefore these passages should be prepared accordingly.

A practice suggestion for these passages can be found in Musical Example 2, where the passage can be broken with different rhythms to gradually achieve a steady and stable rhythm, or in Musical Examples 18 and 19, where an arpeggio is broken down with different rhythms and articulations. 57

Style

This piece has a very specific reference regarding its general style and performance. The indication of ―Polonaise‖ rather than a tempo marking provides us with important information with which to determine the general musical conventions that have to be applied to the piece. The history of the polonaise shows that the genre has grown to be very virtuosic and often a polonaise is considered a bravura pieces.

The virtuosic style of such works is evident in the Concert Etude no. 34. Milde manages to expose the polonaise character from the first measure by using the traditional polonaise rhythm. The polonaise is traditionally a ternary form, which is the case of the

Concert Etude no. 34. An important aspect in the traditional performance of a polonaise is the slight deviation of some rhythms. A traditional rhythmic deviation is also found in the Viennese Waltz, where the first beat is slightly shortened and compensated with a slightly elongated second beat. In a polonaise, the first half of the first beat should be elongated and compensated by compacting the following two sixteenth notes, as shown in Musical Example 17.

Musical Example 17. Polonaise rhythm. First line represents the normal rhythm, the second line represents the elongation of the first eight note and the comprising of the following two sixteenth notes.

Although the polonaise rhythm is never presented it its pure form in Concert

Etude no. 34, the underlying rhythm is always in the background of the piece and its character should dominate the melodic line.

C. Arrangements

1. Two Bassoons

The settings of the selected pieces for two bassoons are ideally intended to be performed with an instructor playing the newly composed accompaniment and the student playing the etude. This provides the student with a model of tone, vibrato and tuning to emulate in order to achieve a good blending and style. Furthermore, the teacher can also guide the student in appropriate musical performance. This practice will also prepare the student for experiences in larger ensembles, where sections of two or three bassoons will have to match tuning, sound quality and vibrato. Reversing the parts (the student playing then newly composed part, and the instructor playing the original version) can also help the student by making him/her aware of a high performance standard of the original piece.

2. Bassoon and Piano

The versions arranged for bassoon and piano offer several advantages for the student. The piano plays a complete harmonic realization of the piece, which will offer the bassoonist a reference for the correct tuning and function of the notes. In addition, the piano provides a steady accompaniment, which will benefit the bassoonist by making him 59 aware of any incorrect tempo variations that can happen when practicing the solo version of the piece. These arrangements are also suitable for a performance situation, giving the student an opportunity to broaden their performance experience and showcase their efforts.

3. Bassoon Quartet

The bassoon quartet version of the selected pieces present the original etude distributed among the four bassoons, with all four parts of approximately equal difficulty, but with each part being less demanding technically than the original. The accompanying voices reinforce the implied harmony presented by the melodic line, as well as the character changes between the different sections. In the score provided, the brackets indicate the original portions of the etude in each part. The bassoon teacher can then use this piece for less experienced students, introducing them to the Concert Etudes, Op. 26 before they might be ready to approach them in the original form.

The bassoon quartet is one of the standard chamber groups for the bassoon and these pieces can work as an introduction to such an ensemble as well as to small chamber music groups in general. Many technical and musical elements can be introduced when playing in a bassoon quartet, such as tuning, tempo, sound quality, dynamics, blending, cueing, and other ensemble skills. Since the original etude is distributed among the four parts, the members of the quartet will have to be aware whether they are playing the melody or an accompaniment. In addition, ensemble playing often provides an enjoyable atmosphere to learn musical skills. 60

CHAPTER 5

CONCLUSION

The works of Ludwig Milde are standard pieces in the bassoon literature and they represent a large body of works studied during the formative years of bassoon study. It has been shown in the work of Apfelstadt and Klimko that these pieces are commonly used in a pedagogical way, and that they are, indeed, some of the most frequently utilized teaching materials for both undergraduate and graduate level.

We also have to consider the time period when these pieces appeared, a time when the Heckel system had just been established and a time when there was a need for teaching materials for the Heckel system. The method books of previous generations could be used for this instrument, but they were designed for a less-complex instrument with very different abilities. Milde filled a void in the bassoon repertoire by providing the biggest collection of Concert Etudes for the bassoon by a single composer, a collection designed for the Heckel system that filled the need of an advanced technique book.

Although Milde’s addition to the universal repertoire is indisputable, its application can be broadened with the arrangements provided for two bassoons, bassoon and piano and bassoon quartet. These are among the most common configurations that a bassoonist will encounter in his or her career, and the use of these pieces in those situations contribute to the refinement of a bassoonist’s technique.

Although details of Milde’s life are sparse, we might draw the conclusion that

Milde could have used piano accompaniments for the Concert Etudes, Op. 26 because the 61

Polonaise for bassoon and piano is a reworked version of the Concert Etude no. 34 and also by the fact that Milde taught piano as well as the bassoon. We cannot determine which one is the later version of the piece since there are no specific dates regarding the composition of either work, but the fact that one of the Concert Etudes, Op. 26 exists in the form of a concert piece for bassoon and piano is a good example of the kind of work that Milde could have done with the Concert Etudes, Op. 26.

Many technical issues of advanced technique can be examined and improved by the use of the four Concert Etudes, Op. 26 examined in this paper. The musical and technical issues can be broadened by the arrangements and, in this way, the Concert

Etudes, Op. 26 can serve as a complete exploration and refinement of the bassoon technique.

The level of performance and accuracy that the Concert Etudes, Op. 26 requires from a student will prepare the bassoonist to approach virtually any piece of music from the standard bassoon repertoire. The suggestions for practicing specific technical issues explained in this paper will prepare the bassoonist to have a structured and balanced approach to a piece of music, not only by examining the technique, but also by examining the musical content and structure of the piece.

APPENDIX A. OCTAVE IDENTIFICATION

APPENDIX B. CONCERT ETUDE NO. 4. ANALYSIS

APPENDIX C. CONCERT ETUDE NO. 4. ARRANGEMENT FOR TWO BASSOONS

APPENDIX D. CONCERT ETUDE NO. 4. ARRANGEMENT FOR BASSOON AND PIANO

APPENDIX E. CONCERT ETUDE NO. 4. ARRANGEMENT FOR BASSOON QUARTET

APPENDIX F. CONCERT ETUDE NO. 9. ANALYSIS

APPENDIX G. CONCERT ETUDE NO. 9. ARRANGEMENT FOR TWO BASSOONS

APPENDIX H. CONCERT ETUDE NO. 9. ARRANGEMENT FOR BASSOON AND PIANO

APPENDIX I. CONCERT ETUDE NO. 9. ARRANGEMENT FOR BASSOON QUARTET

APPENDIX J. CONCERT ETUDE NO. 25. ANALYSIS

APPENDIX K. CONCERT ETUDE NO. 25. ARRANGEMENT FOR TWO BASSOONS

APPENDIX L. CONCERT ETUDE NO. 25. ARRANGEMENT FOR BASSOON AND PIANO

APPENDIX M. CONCERT ETUDE NO. 25. ARRANGEMENT FOR BASSOON QUARTET

APPENDIX N. CONCERT ETUDE NO. 34. ANALYSIS

100

APPENDIX O. CONCERT ETUDE NO. 34. ARRANGEMENT FOR TWO BASSOONS

101

102

103

104

APPENDIX P. CONCERT ETUDE NO. 34. ARRANGEMENT FOR BASSOON QUARTET

105

106

107

108

109

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