Sometimes as professional players we hit road blocks in our repertoire. As good as we think we are, and as prepared as we may be, there will always be a passage lurking out there which will require some work. So much of being a bassoon player is about playing in an appropriate and handsome way and blending with an orchestra. I have recently chosen a piece of music for an upcoming recital that is pushing my limits, I will be playing the Franck Cello Sonata on Contraforte. The recital is in about three months and I have in working on this piece for the last three weeks. At this point all of the “fun music” has been rehearsed as much as it needs to be and the technical passages now need to be “woodshed.”
(I had to repair some of the slurs)
I chose the Franck Cello Sonata because it really shows off the upper register of the Contraforte. I’m finding that I’m able to play extreme high note passages in an easier way than on the bassoon. This passage that I selected is one that I am finding to be particularly difficult to get up to tempo. It is getting better each day, but I think it is only due to switching up my practice techniques and thinking about the note groupings in new ways.
For this passage the beginning of measure 4 is a tricky spot, mostly this has to do with the fingering system on the Contraforte. These are the ways that I use to practice it:
These are the ways that I first use to learn a difficult spot of music. If after a few days the passage is still unplayable then I use a few different rhythms to add in. As a side note, I find practicing to be stressful. By micromanaging difficult passages like this, one can create “baby steps” that are achievable everyday. These rhythm studies are a way of taking the notes out of musical context and playing them as a mechanical technical exercise.
This second set of excercises is designed to focus on the notes. These help me when I am having trouble concentrating, or am practicing in the morning and still half asleep. Playing staccato isolated notes is a memorization technique. The sixteenth slurred pattern isolates the finger movement between the notes, I try to have “lightening fast” fingers. Play the note full length and then move to the next fingering as fast and efficiently as possible.
Some other things that I try to keep in mind when I practice, in order to make my sessions as efficient as possible…
-Have a good reed
-Warm up with both long tone and technical exercises
-Have a tuner and metronome on whenever you are playing alone
-Don’t allow yourself to get away with cracked notes or sloppy fingers