TABELA DE DIGITAO DE POSIES NO FAGOTE

2
6
12
1. Jig
(from The Water Music)
George Frideric Handel
(1685-1759)
These two pieces were obviously intended to be played in altemation (altemativement), but Handel does not specify
which should come first. In other words, choose either I 11 I or 11 - I - II and see how differently the piece tums out.
In any case I should be delicate and 11 quite robust in character.
I Lively (J. = 80)
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2. In the Hall of the Mountain King
(from Peer Gynt)
Edvard Grieg
(1843-1907)
Accents and staccato markings are essential to this piece. Think of 'staccato' as meaning 'detached' rather than just
'short', so that ' is a little longer than ti! . Play the accompaniment (e.g. bars 1-4) a little more quietly than the melody
(5-8). ,.,
Alla marcia e molto marcato ( J== 120)
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3, Fayne would I wedd
Richard Farnaby
(b. c.1594)
Try to get a good forte but without making the sound coarse. Be sure to use your left hand thumb correctly in order to
produce the notes A - - C (as in bar 2) without a 'cough'.
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4. Trio from Symphony No. 5
Franz Schubert
(1797-1828)
The middle section of a minuet, march or dance moven\ent is called the 'trio'. It often features a solo instrument, and this
is a real bassoon solo, just as it appears in the original orchestration. Try to spread the sound through the minims and
avoid heavy tonguing at the start of each bar. The figure in the right hand of the piano part will give you the rhythm.
Tempo di menuetto ( J= 126)
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5. Theme from Sheherazade
Nikolay Rimsky-Korsakov
(1844-1908)
This is based on a famous bassoon solo, but transposed to an easier key. The original starts five notes higher. Learn it
mst in strict time, then ask your teacher to pIay it more freeIy to show you how it can be more expressive. The extra
tempo indications in brackets may help you.
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9
6. Trio from Symphony No. 85 in
(La Reine)
Joseph Haydn
(1732-1809)
This is another orchestral rninuet trio featuring the solo bassoon. The repeated notes (e.g. bars 2, 18 and 19) should be
played with slight separation; and where you are not playing the tune, try to be a little softer than the piano (e.g. bars
9-14 and 20-23).
Tempo di menuetto ( J= 112)
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16
7. Finale from Symphony No. 85 in B
(La Reine)
Joseph Haydn
(1732-1809)
Haydn often wrote brisk and humorous finales to his symphonies, and the bassoon often plays the theme. Play as light1y
as possible and make sure to leam the fingerings in this register thoroughly: after alI, many solos use these notes.
AUegro ( J= 104)


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8. Entr' acte from Carmen
Georges Bizet
(1838-1875)
This piece is really for two bassoons playing in unison. It is full of contrasts between loud and soft playing. Can you
nearly fade out altogether at the end? Two things to watch the change of key at bar 21, and the B C# triIl in bar 14.
Learn the piece without the triIl first, then try it: you will need to and trill with the third finger of your left
hand. Ask your teacher to show you how.
Allegro moderato'( J=92)
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9. Tower Hill
Giles Farnaby
( c.1563-1640)
The key of E bmay seem tricky at first but it is a common one in music for wind instruments. Ab with the half-hole needs
particular attention - not too open! - as does the fingering change from there to the Bb above it. Why not learn.the scale of
Eb major at the same time?
Brisk ( J =92)
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10. Se a caso madama
(from Le nozze di Figaro)
Wolfgang Amadeus Mozart
(1756-1791)
Count carefully when you reach bar 9 and try to observe the dynamic markings. From bar 51 to the end there should be a
gradual diminuendo.
Allegro ( J = 96)
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7
11. Evening in the Country
(from 10 Etisy Pieces)
Bla Bartk
(1881-1945)
The most important aspect of this piece is the contrast between the slow, expressive sections and the faster parts in strict
time. Don't be worried by the changes of time signature in the slow sections, just count straight through: the crotchet
beat is always the same.
Lentorubato( J =63)
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12. Le Piccadilly
Erik Satie
(1866-1925)
This is a march in ragtime style, very similar to the music of Scott Joplin. Enoy those 'azzy' rhythms and the surprising
articulation marks, but remember, it's not ali loud! It has a 'trio' (just like the Schubert and Haydn minuets) in a new key;
don't forget the E ~ s when theyappear.
Pas trop vite (not too fast) ( J= 88)
pp
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GOINGSOLO
A selection ofeasy classics
for bassoon and piano
arranged hy Graham Sheen
Faber Music Ltd
London
2
lo Jig
(from The Water Music)
George Frideric Handel
(1685-1759)
These two pieces were obviousJy intendedto be played in alternation (alternativement), but Handel does not specify which should
come first. In other words, choose either I - II - I or II I - II and see how differently the piece turns out. In any case I should be
delicate and 11 quite robust in character.
(8)
11: I r
o
ro I ro
p
=
(16) II
-
f
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. .
mf
r r 1r J\ I E@' ar lO: L Cr ii JU1 :11
-======== cresc. f
2. In the Hall of the Mountain King
(from Peer Gynt)
Edvard Grieg
(1843-1907)
Accents and staccato markings are essential to this piece. Think of 'staccato' as meaning' detached' rather than just 'short', 50 that i
is a littIe longer than . PIay the accompaniment (e.g. bars 1-4) a little more quietJy than the melody (5-8).
Alla marcia e molto marcato ( J = 120)
'}: (, 4 r
J
r
IJ
r
J
r
IJ r r
.
r
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r
5
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p .
pp
1987 by Faber Music Ltd This music is copyright. Photocopying is illegaL
3
11
10 .==- . ::r- >
,: I I I .. Iar r ti r I
-- J ao + ao ? ao :J { ao : 62=;# : =
. . . . . . P
15 > ==-. >
,: ti t I&r t f I n?r I'P r-tp rIo.@ @ u rFI
20 ==- =?'
. . . .
>
3. Fayne would I wedd
Richard Farnaby
(b. c.1594)
Try to get a good forte but without making the sound coarse. Be sure to use your left hand thumb correctly in order to produce the
notes A - - C (as in bar 2) without a 'cough'.
Strongly ( J =60)
Ur: rr UIU
rt
LrflfrrTr UIE F ItY' ar I
f
cresc. f
mf
cresc.
f):;
I
J
I
(9
!li
cresc.
16
4
4. Trio from Symphony No. 5
Franz Schubert
(1797-1828)
The middle section of a minuet, march or dance movement is called the 'trio'. It often features a solo instrument, and this is a real
bassoon solo, just as it appears in the original orchestration. Try to spread the sound through the minims and avoid heavy tonguing at
the start of each bar. The figure in the right hand of the piano part will give you the rhythm.
Tempo di menuetto ( J =126)
9
~ r-;
v
p
:
(16)
5
t}:' 11: ,
27
'):'
34
I t
p
rito
:"\ ...--.......
Cr 1
9
r r r I r
:
I
p
:
5. Theme from Sheherazade
Nikolay Rimsky-Korsakov
(1844-1908)
This is based on a famous bassoon solo, but transposed to an easier key. The original starts five notes higher. Leam it first in strict
time, then ask your teacher to pIay it more freely to show you how it can be more expressive. The extra tempo indications in brackets
may heIp you.
Andantino
l
( J = 104)
~
I Lr r
>
tt3fft
=
P doZce espr.
r
( un poco piu mosso) (rit. ) (a tempo)
. ~ ~
.. > " > ~ >V ~ V-
g r I cr E 1 F are F EI (1; rr E r
mf =
;
6
5
(un poco piu mosso')
12 >
!h f1 rt r IF r EI [ [fi wr I Ct r7Th r EI
p
( piu lento') ad lib.
18 - V
!h [ Er [fi t l t [ Ir ::30 IL
3
C! a \0 It}l L Ol
-===:::::::::=: mf -=:::::=- - -= ===
23 (a tempo ')
p mp
30




tUIf4Ug
3
=
3
=
I
I


.
r
I Er r
J
P
Enr (Clr
1":\
I
II
6. Trio from Symphony No. 85 in
(La Reine)
Joseph Haydn
(1732-1809)
This is another orchestral minuet trio featuring the solo bassoon. The repeated notes (e.g. bars 2, 18 and 19) should be played with
slight separation; and where you are not playing the tune, try to be a little softer than the piano (e.g. bars 9-14 and 20-23).
Tempo di menuetto ( J=112)
!h"1 [CrrEPI
E
E E IfEEeE'1 t 1 ai [rEgI
p
-
I I
'I1I'JI
V [-r'
p
D.C. aI Fine
26
=h" r r r Ir r br I F I r r [ I r l' II
dim.
6
16
7. Finale from Symphony No. 85 in B
(La Reine)
Joseph Haydn
(1732-1809)
Haydn often wrote brisk and humorous finales to his symphonies, and the bassoon often plays the theme. Play as lightly as possible
and make sure to learn the fingerings in this register thoroughly: after alI, many solos use these notes.
Allegro (J 104)

P
(8)
:-'\
I fi ['1 1'1 EC 'I 1 CU I I IP'L11 tt 61
tnJP dim.
. --.... .' >:.--...

r
,
vlE UlffFltttlfrII Cilt ftluelh
p
-===== ===- p
24
r
,
- -
p
32

tnJP
JP
II
r
8. Entr' acte from Carmen
Georges Bizet
(1838-1875)
This piece is reaIly for two bassoons playing in unison. It is full of contrasts between loud and soft playing. Can you nearly fade out
altogether at the end? Two things to watch - the change of key at bar 21, and the B - ct trill in bar 14. Leam the piece without the triIl
first, then try it: you will need to finger and triIl with the third finger of your left hand. Ask your teacher to show you how.
Allegro moderato ( J =92)
9
p
. 9:
#
_.......... _.........................._... _.. _.._...........
8

.
.; I r'
!l lia I F I L I
JP
7
n IPd , I9tk 'I IEti tI te hsifE t IR d IrfUI
11
3
r-:. .
r I
11 sempre
9. Tower Hill
Giles Famaby
( c.1563-1640)
The key of may seem tricky at first but it is a common one in music for wind instruments. with the half-hole needs particular
attention not too open! as does the fingering change from there to the B above n. Why not leam the scale of E major at the same
time?
Brisk ( J =92)
(2
>
'. tt
>
- . '.
2: r r Ir r E Ir cf r r Ir r r
f
.
2\bb 'I jf r Ef f I ' EJ rG r I{fCEf I r
t r Ir t t I
:
>
E rt f r I
=====- 'lnf cresc.
=
=
f =
rrrffftCIELEfrrr:rlfrcfCrHlur r- V('
'lnf cresc. f-e
16
II
8
10. Se a caso madama
(from Le nozze di Fgaro)
Wolfgang Amadeus Mozart
(1756-1791)
Count carefully when you reach bar 9 and try to observe the dynamic markings. From bar 51 to the end there should be a gradual
diminuendo.
Allegro\( J =96)
mf
. .
a. I* , Vl, I t gIeti I(ei Ir1itr ,t I '1
p pp f P
. ..-...
. > . . > f:. ".
25
,: l 'I I r l 1l 'I I r;LIr1 t;t I 'I F ti 1 AI
f f
33 -
Oh)' 8
l
Qg:JIJ ,'I
e
'ltfrClcrO{lr I
P P
- r::-,\ .
s ,; I k I. CI r EIrrlf ' VI f I

.
mf P
49
. - ,...... rf! .
. .. '.
=
. \ . .
ff
l

l' Il
trljjjl
> f mf
9
11. Evening in the Country
(from 10 Easy Pieces)
Bla Bartk
(1881-1945)
The most important aspect of this piece is the contrast between the slow, expressive sections and the faster parts in strict time. Don't
be worried by the changes of time signature in the slow sections, just count straight through: the crotchet beat is always the same.
Lento rubato ( J =63)
- >"""'
mf espr.
pochissimo rito
r[ 12 ---.., - - >
o
:I ~ ~ r Et II [1 r r'1t'r III
=
Allegretto ( J 132)
10 o.. >
Ireeere ffIl
:1: I J n~ ~ tE f I ~ J. r
p
pochissimo rito
38
.
, .
>
G.P.
G.P.
-
111
= f ==:==- mf
pochissimo rito
49 ~ _ >
?- f:. ----... - - >
,: t CrEri' 11:

Ir rr rfll cr r 11 (3r
-
II
= p =====--- pp
10
15
12. Le Piccadilly
Erik Satie
(1866-1925)
This is a mareh in ragtime style, very similar to the music of Seott Joplin. Enjoy those 'jazzy' rhythms and the surprising artieulation
marks, but remember, it's not allloud! It has a 'trio' (just like the Sehubert and Haydn minuets) in a new key; don't forget the
when they appear.
Pas trop vite (not too fast) ( J= 88)
4:
Ir Ir755Jr
pp
p
-- .. >
l I U1m I t te Ftt F I

CP

J
,
I
6
r

Fine
Trio
25
. . . .
.
J J)'
I:J

j)'
-
I
t j r
E
F
3=

I

f dim.
p
CC f Eti 1 g 101l!Pr ICE i EGmr i r4 1
.
1 ti t tI 1 ufi u1 ti I (j 1
-======= f f
40 > > . > > > > D.e. aI Fine
tJ ] 1CoC rUI bEi r g 1t; Ei Er --I V;H
. ff -, :/ -<=>