Extended bassoon techniques: Filling the pedagogical gap Arno Colin Steyn Thesis submitted in partial fulfilment of the requirements for the degree D.Mus. (Performing Art) in the Department of Music Faculty of Humanities University of Pretoria Supervisor: Dr Hanli Stapela January 2019 Acknowledgments Dr Hanli Stapela, University of Pretoria, Department of Music, for her invaluable contribution, guidance and support throughout this project. Isobel Rycroft, University of Pretoria, Music Library, for her contribution to my research. To my parent’s, Pieter and Elsanne Steyn for their endless love, support and motivation throughout this journey, To my siblings, Elsje Greyling and Dirk Steyn for the encourgament throughtout this study. ii ABSTRACT This thesis addresses the demands of extended techniques imposed by composers on bassoonists in performing their music. Several factors contribute to the difficulties a bassoonist can experience when using performing extended techniques. The lack of an appropriate learning progression focusing on advanced bassoon playing techniques, the ongoing development of these techniques as well as the absence of a consistent approach to bassoon notation exacerbate this situation. A qualitative research approach incorporating practice-led research through the personal involvement of the researcher was used. The research design includes the experiences and experimentations of the researcher. Data was collected under controlled conditions. The researcher utilised a consistent approach to notation as well as fingering charts and audio recordings to report the results of the research. A sound basic understanding of traditional bassoon playing techniques is underscored. A practical teaching approach is taken in the discourse to enable the aspiring bassoonist to master certain techniques, such as circular breathing, tonguing, pitch sliding and the use of multiphonics and microtones. All these technical aspects are illustrated with appropriate examples, exercises and fingering charts to enhance the learning experience. The practice-led research foregrounds most of the pioneer Bruno Bartolozzi’s findings. These and performing some of the works for bassoon by avant-garde composers have underscored the absolute requirement of mastering the various extended techniques. The insights gained from the research should provide the aspirant bassoonist with the insight and practical skill to master extended bassoon techniques. Key words Bassoon, Bruno Bartolozzi, circular breathing, embouchure, glissando, microtonal, multiphonics, pitch-sliding, portamento, tonguing. iii TABLE OF CONTENTS Acknowledgments.................................................................................................... ii ABSTRACT ....................................................................................................... iii LIST OF EXAMPLES ................................................................................................ vi LIST OF EXERCISES .............................................................................................. vii DEFINITIONS ..................................................................................................... viii ABBREVIATIONS..................................................................................................... ix CHAPTER 1. INTRODUCTION AND OVERVIEW................................................ 1 1.1. Introduction ............................................................................................................. 1 1.2. Purpose of the study ............................................................................................... 5 1.3. Research questions ................................................................................................ 6 1.4. Research method.................................................................................................... 6 1.5. Delimitations of the study ........................................................................................ 7 1.6. Outline of the study ................................................................................................. 7 CHAPTER 2. LITERATURE REVIEW .................................................................. 8 2.1. Introduction ............................................................................................................. 8 2.2. Bruno Bartolozzi...................................................................................................... 9 2.2.1 New Sounds for Woodwind by Bruno Bartolozzi ................................................................. 9 2.2.1.1 Monophonic possibilities .................................................................................................. 10 2.2.1.2 Multiphonic possibilities.................................................................................................... 10 2.3. Challenging aspects of extended bassoon techniques .......................................... 11 2.3.1 Challenges of bassoon fingering ...................................................................................... 11 2.3.2 Challenges of an approach to a system of notation for extended woodwind techniques .... 12 2.4. Conclusion ............................................................................................................ 13 CHAPTER 3. RESEARCH METHODOLOGY .................................................... 14 3.1. Introduction ........................................................................................................... 14 3.2. Data analysis and interpretation ............................................................................ 16 3.2.1 Analysing results of circular breathing and extended tonguing techniques ........................ 17 3.2.2 Analysing data of microtonal techniques .......................................................................... 18 3.2.3 Analysing data of multiphonic techniques ......................................................................... 19 3.3. Conclusion ............................................................................................................ 20 CHAPTER 4. EXTENDED TECHNIQUES FOR THE MODERN GERMAN SYSTEM BASSOON .................................................................... 22 4.1. Introduction ........................................................................................................... 22 4.2. Extended bassoon techniques .............................................................................. 23 iv 4.2.1 Circular breathing ............................................................................................................ 24 4.2.1.1 Bubble technique ............................................................................................................. 25 4.2.1.2 Applying circular breathing on the bassoon ...................................................................... 27 4.2.2 Advanced extended tonguing techniques ......................................................................... 32 4.2.2.1 Double-tonguing .............................................................................................................. 33 4.2.2.2 Triple-/Mixed-tonguing ..................................................................................................... 38 4.2.2.3 Flutter-tonguing ............................................................................................................... 41 4.2.2.4 Additional extended tonguing techniques ......................................................................... 43 4.2.3 Pitch-sliding ..................................................................................................................... 44 4.2.3.1 Portamento ...................................................................................................................... 44 4.2.3.2 Glissando ........................................................................................................................ 44 4.2.4 Microtonal system on the bassoon ................................................................................... 53 4.2.4.1 Quarter-tones .................................................................................................................. 55 4.2.4.2 Bassoon quinquepartite-tones .......................................................................................... 61 4.2.5 Multiphonics .................................................................................................................... 62 4.2.5.1 Approaches to multiphonic notations ................................................................................ 64 4.2.5.2 Developing multiphonic tones .......................................................................................... 65 4.2.5.3 Multiphonic fingering chart ............................................................................................... 68 4.3. Conclusion ............................................................................................................ 70 CHAPTER 5. SUMMARY AND CONCLUSION .................................................. 72 5.1. Summary .............................................................................................................. 72 5.2. Conclusion ............................................................................................................ 73 5.3. Recommendations for future research .................................................................. 75 REFERENCES .....................................................................................................