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Mozart bassoon Concerto.
Our most famous test piece
component at every audition.
I would like to walk through with you the exposition,
the way I think of it musically.
Also, I would like to give you quite a lot of hints and tips...
... to fix things that are generally seen as difficult.
Let’s start with the general phrasing.
Very, very difficult for an audition is that...
... we are nervous.
And usually we have
one third less of air.
So, it’s very important in an audition procedure
to try and find
your air support before going on stage.
So, what I think would be really efficient
is to try and make...
...a three-dimensional interpretation
of the first phrases
without any kind of articulation,
so that you are totally linked to your air support
all the way through,
and just vary the width of sound phrasing through.
So, let’s try and find the balance out our B flat:
I found good sound.
Now, let’s try and phrase the beginning phrase.
What are these two first notes?
Are they similar? Are they the same?
I don’t think so.
I think the first note is a presentation:
Second note is a leaning note.
How do we physically achieve a note that doesn’t move so much?
Well, change the resonance.
First note, very far down with the tongue:
Second note, stops half way: