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Excellent! We've started a really stupid and pointless thread in our Looping tappistry! OK -- I'm gonna pour some gasoline on a very non-loop oriented thread. There is IMHO no such animal as THE most expressive instrument. What bullshit is that! Spare me the agony of your reasoning, whatever it may be. Travel the world and discover what makes the emotions stir in other cultures. Travel through time and hear how instruments were used in the past. If there is an instrument that typically has proven itself to stir valuable experiences IN YOU -- excellent, wonderful, powerful. Such experiences can be one of the treasures of life. They are alive. And, they are personal. Explaining them is as difficult (if not as futile) as explaining humor. And even if we took a poll of the Inhabitants of Earth and asked them "What is your favorite instrument?" my guess is many will not check the box marked Electric Guitar. And, if we learned that "THE VOICE" is statistically more popular than "Piano" or "Guitar" does that mean that Mozart's Piano Sonatas or Hendrix' Purple Haze would sound better sung by a choir? And if you think I'm full of shit -- that's OK too! It's a big world and I can learn from you, too. Ignorance is expensive. Now -- BEFORE you flame me -- please read this post again. David P.S. John P. -- my posting is not directed at you specifically, but to answer a question you asked -- here is a listing of some bassoon solos and bassoon music... International Double Reed Society Library Holdings - Music: Solo Bassoon ------------------------------------------------------------------------ The following is music for Solo Bassoon. The entries in this list are sorted by Composer. COMPOSER-TITLE-EDITOR 1.Adelberg-Rudow, Vivian-Kaddish 2.Allard, Maurice-Bassoon Method- 3.Allard, Maurice-Tablatur, Trills, Diatonic and Chromatic Scales- 4.Allard, Maurice-Variations sur un theme de Paganini (24e caprice)- 5.Anonymous-Tablature du Basson Ancien (Bassoon Method including etudes and fingering charts for old systems)- 6.Arnold, Malcolm-Fantasy for Bassoon- 7.Bach, Johann Sebastian-Three Suites for Bassoon-Hellyer, Roger 8.Bajeux-Traits Difficiles- 9.Bassoon Excerpts-Bassoon Excerpts from Standard Orchestral Repertoire: Book Two- 10.Bassoon Excerpts-Bassoon Excerpts from Standard Orchestral Repertoire: Book Three (Wagner)- 11.Bassoon Excerpts-Bassoon Excerpts from Standard Orchestral Repertoire: Book Four- 12.Bassoon Excerpts-Bassoon Excerpts from Standard Orchestral Repertoire: Book Five - 13.Bassoon Excerpts-Bassoon Excerpts from Standard Orchestral Repertoire: Book Six- 14.Bassoon Music-Zeitgenssische Musik fr Fagott Solo-Hhnchen, Dieter 15.Batashov, K.-Etudes for Bassoon-Terekhin, R. 16.Bentzon, Jorgen-Studie i Variationsform- 17.Bizey, Prudent & Co.-Tablature du Basson Ancien- 18.Bona, Pasquale-Rhythmical Articulation for Bass Clef Instruments, Parts II and III from the Complete Method- 19.Borsody, Laszlo-Shavings, Nine Pieces for Bassoon Solo- 20.Bozza, Eugene-Graphismes, Graphic Notations: Preparation for the Reading of Different Contemporary Musical Graphic Notations- 21.Capanna, Robert-Remembrance- 22.Chasalow, Eric David-Advent of the Wyvern- 23.Cuciureanu, Georghe-Capriciul 5, Capriciul 6- 24.Cytron, Warren-Wild Mushrooms- 25.Denisov, Edison-Sonate pour Basson seul- 26.Flament, Edouard-Exercises Techniques pour le Basson- 27.Gambaro, J. B.-18 Studies-Kovar, Simon 28.Gower, William-Rubank Advanced Method, Bassoon, Vol. 1 (and Fingering Chart)- 29.Grigoriew, B.-Etiudy na puzon-Kwiatkowski, F. 30.Hachigian, Dorian-Piece for Unaccompanied Bassoon- 31.Israel, Brian-Dance Suite-Garfield, Bernard 32.Jacobi, C.-6 Caprices-Kovar, Simon 33.Jancourt, Eugne-26 Melodic Studies- 34.Kessler, Claude S. ed.-Bassoon Passages: Book Two- 35.Koch, Erland von-Monolog 5- 36.Kopprasch, C.-60 Studies- 37.Kopprasch, C.-Sixty Selected Studies for Trombone (Bassoon), (2 vol.)- 38.Langey-Langey-Carl Fischer Tutor for Bassoon 39.Lerstad, Terje Bjrn-Fagott Solo, Op. 136-Kovar, Simon 40.Mignone, Francisco-16 Valsas para Fagote Solo-Kovar, Simon 41.Milde, L.-25 Studies in Scales and Chords, Op. 24-Allard, Maurice 42.Milde, L.-Concert Studies, Op. 26 (Vol. 2)-Allard, Maurice 43.Milde, Ludwig-25 Concert Studies, Op. 26b- 44.Milde, Ludwig-25 Concert Studies, Op. 26a- 45.Milde, Ludwig-25 Studies on Scales and Argpeggios, Op. 24- 46.Milde, Ludwig-Concert Studies for Bassoon, Op. 26 (2 vol.)- 47.Milde, Ludwig-25 Studies in All Keys for Bassoon-Smith, Linda 48.Mozart, Wolfgang Amadeus-Album of Orchestra Parts for Bassoon I- 49.Mueller, Florian-A Method for Bassoon- 50.Nordensten, Frank Tveor-Poema del sol-posto: Four Studies for Bassoon Solo 51.Orefici, Alberto-Studi Melodici- 52.Oromszegi, Otto-Fifteen Characteristic Pieces in Hungarian Style- 53.Oromszegi, Otto-Tiz Modern Fagott-Etud 54.Oromszegi, Otto-Twenty Advanced Bassoon Studies- 55.Osborne, William-Rhapsody for Bassoon- 56.Oubradous, Fernand-Enseignement Complet du Basson: Preludes and Etudes- 57.Oubradous, Fernand-Enseignement Complet du Basson: 3me Cahier-Whistler, Harvey S. 58.Pares, Gabriel-Daily Exercises and Scales for Bassoon- 59.Pares, Gabriel-Pares Scales for Bassoon- 60.Perle, George-Three Inventions- 61.Persichetti, Vincent-Parable- 62.Pezzi, Vincent ed.-Orchestra Studies for Bassoon from the Works of Peter I. Tchaikovsky- 63.Piard, Marius-16 Characteristic Studies- 64.Piard, Marius-Quatre-vingt 65.Prescott, Gerard R.-The Prescott Technic System for the Bassoon- 66.Presser, William-Partita for Bassoon- 67.Prunty, William-Five Sketches for Bassoon Solo-Kovar, Simon 68.Rnnes, Robert-Liten suite for unge fagottister- 69.Satzenhofer, J.-24 Studies- 70.Schoenbach, Sol ed.-20th Century Orchestra Studies-Mueller, Florian 71.Skornicka, J. E.-Rubank Elementary Method and Fingering Chart- 72.Smith, Linda -A Method for Bassoon-Boehm 73.Stadio, Ciro-Difficult Passages and "Solos"- 74.Strauss, Richard-Orchestral Excerpts from Symphonic Works-Batashov, K. 75.Taub, Bruce J.-Composition: Forme- 76.Terekhin, Roman Pavlovich-Etudes for Bassoon- 77.Uhl, Alfred-Fifteen Etudes-Voxman, H. 78.Van Beurden, Bernard-Music for Solo Bassoon- 79.Vaulet, Albert-Twenty Studies for Bassoon- 80.Vobaron, E.-32 Celebrated Melodies for Trombone- 81.Voxman, Himie-Rubank Advanced Method, Vol. 1 (and Fingering Chart)- 82.Voxman, Himie-Rubank Intermediate Method (and Fingering Chart)- 83.Weait, Christopher-Variations for Solo Bassoon- 84.Weait, Christopher-Bassoon Warm-ups 85.Weissenborn, Julius-Bassoon Studies, Op. 8, No. 1 for Beginners-Ambrosio, W. F. 86.Weissenborn, Julius-Bassoon Studies, Op. 8, No. 2 for Advanced Players- 87.Weissenborn, Julius-Method for Bassoon (with trill table and two fingering charts)- 88.Weissenborn, Julius-Practical Method for the Bassoon, including "Fifty Advanced Studies"- End of the list. http://idrs.colorado.edu/IDRSLib/IDRS.Lib.Holdings/idrscm2.htm and... MUSIC AND RECORDINGS New Music for Bassoon + Concerto for Bassoon and Orchestra (piccolo, flute, clarinet, bass trombone, timpani, percussion, harp, and strings) (3 movements, 15 minutes) By Stephen Paulson : This new and interesting concerto is now available on rental from Theodore Presser Co., Presser Place, Bryn Mawr, Pennsylvania, U.S.A. For a hearing, Mr. Paulson will mail a copy of his tape. The address is: 633 Averill Avenue, Rochester, New York 14607 + Concerto for Bassoon and Orchestra by David Amram Kenneth Pasmanick of Washington, D.C., has commissioned this work which is nearing completion. Pasmanick will perform and record the concerto soon after publication (probably Peters Edition. New York). Mr. Pasmanick has also commissioned another piece for bassoon and orchestra by the American composer, Robert Evett. When available, publisher or source will be listed. + Piece for Bassoon, Piano with Optional Voice By M. William Karlins. Available (rental?) from American Composers Alliance, New York. This piece was mentioned by Steve Basson, principal bassoonist of the Milwaukee Symphony. Mr. Basson notes that this is very good music and suitable for a recital program. + Dialoghi per Fagotto e Pianoforte: -By Miklos Kocsar (Published by Hungarian Government. Write Hans Riedel Musikalienhandlung, Uhlandstrasse 38, 1000 Berline 15, Germany.) Recommended by my friend, Alan Stout, composer at Northwestern University, Evanston Illinois, Mr. Stout also recommends an old piece, "Furchet Euch Nicht" by Ahle, a cantata for voices and four bassoons (in Denkmaler Deutscher Tonkunst. Vol. V. pp. 92-99). + "Chronicon" for Bassoon and Piano - By Joseph Schwantner (Published by Peters Edition. New York) This is an avant-garde work, not too difficult, employing two of the multiple sound effects mentioned in Bruno Bartelozzi's "New Sounds for Woodwinds" (Oxford University Press.) Boston Symphony Chamber Players (Sherman Walt, Bassoon) *Poulenc Trio *Haiff Duo *Villa-Lobos Bachianas-Brasileriras No. 6 (RCA LSC 6184) +Bassoon Solo Recital(Featuring George Zukerman) *Telemann F Minor Sonata *Galliard Sonata in F Major (compilation of movements from F Major and D Minor Suites) *Boismortier Suite in G Major (compilation from Sonatas) (CAMPI SCG 11.005. Italy) *Villa-Lobos Bachianas-Brasileriras No. 6 (RCA LSC 6184) Melos Ensemble of England (William Waterhouse, Bassoon) *Francaix Trio *Poulenc Duo *Boismortier Suite in G Major (compilation from Sonatas) (CAMPI SCG 11.005. Italy) *Francaix Divertimento for Bassoon and String Quintet (Angel 36586) http://idrs.colorado.edu/publications/TWBassoonist/TWB.V1.2/Music.Record .html > -----Original Message----- > From: John Pollock [SMTP:johnpollock@delphi.com] > Sent: Tuesday, August 12, 1997 12:44 AM > To: Loopers-Delight@annihilist.com > Subject: Re: LOOPING PHILOSOPHY (condensed) > > Kim Flint wrote: > > > > Yet more proof that guitarists are the most arrogant people on > earth.... > > Bad day at the office, Kim? > > > Could we please broaden our minds a little bit and stop trying to > prove that > > one approach to music is oh so much more special than another? > There's no > > need to be threatened by someone who's a bit different from you. > Learn from > > the differences, you might grow a little bit. > > 'Kay, my mind's open... Show me any example of a DJ's work that can > make > me feel like, say, Ry Cooder's solo on "Lipstick Sunset" or Amos > Garrett's on "Midnight at the Oasis"-- please! > > For that matter, point out the killer bassoon solo... > > > (and next time you want to make gross generalities about some group > or > > another, recall that you live in texas and there's no shortage of > good > > redneck jokes! :-) ) > > Seems to me there's a profound difference between generalizing about > instruments and generalizing about people. Motley was talking about > instruments. > > And there's scarcely a paucity of Californian jokes here in Texas... > (I'd put a smiley here, but that's not the way I feel right now.) > > > At 07:12 PM 8/11/97 -0500, Mikell D. Nelson wrote: > > >Ian///Shakespace wrote: > > >> A DJ's abilities as a DJ are just as inate as a guitarist's > abilities as a > > >> guitarist... you're born with a certain amount of talent that you > hone > > >> through practice. ... I really don't see a difference between a > guitarist > > practicing his > > >> craft and a DJ practicing his. ... a DJ is grafting, adding > elements and > > >> removing, much the same way as a guitarists picking or strumming > may add or > > >> take away notes from a riff. > > > > > > Creativity can be brought to almost any human endeaver, but that > > >doesn't make two activities equal in a more important sense. A jock > can > > >pick the sample, playback rate, & what context he drops the sample > into. > > >But a guitarist can do equivalent things AND choose tone, phrasing, > & > > >attack; he can bend notes, add vibrato, & play harmonics. The > number of > > >options available for expression affects the power and > expressiveness of > > >the instrument or method. A 7 note thumb piano is not as capable of > > >expressing human emotion as a tenor saxophone. > > > Another way to say this is that if you don't play guitar but want > to > > >play like Alan Holdsworth, then you had better get started; it'll > be a > > >10 or 20 year journey if it's even attainable for you. However, > becoming > > >a great DJ might take a few months to a year and a half; again, if > you > > >have it in you. So... is there a difference in the activities > because > > >one is more difficult. Certainly. If you master a more powerful, > > >expressive medium you can create more emotional, evocative music. > > > Another angle is that the DJ chooses a piece of music (sound), > *that > > >someone else created*, to add to his mix. The guitarist makes the > same > > >choice but uses his own pallet, his own voice. > > > > > > On another, somewhat related, note I have always thought that > some > > >instruments are more expressive than others, and wondered why. Why > are > > >there more sax, guitar, trumpet or violin solos than other > instruments? > > >The best answer I've come up with so far seems to be the point I > was > > >making above about the options. The number of ways an instruments > can > > >shape a note is directly related to it's expressive power. There is > a > > >reason sax is more popular than French horn; or guitar more popular > than > > >banjo. I believe great players can touch us more deeply with these > > >instruments. > > > > > >Look out... incoming... > > > > > >Motley > > > > > > > > > > > ________________________________________________________ > > Kim Flint 408-752-9284 > > Mpact System Engineering kflint@chromatic.com > > Chromatic Research http://www.chromatic.com > > -- > John Pollock > mailto:johnpollock@delphi.com > http://people.delphi.com/johnpollock (Troubador Tech)