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The
tenth study by Weissenborn presents two specific challenges due to the dotted eighth and sixteenth
notes. Many students perform the rhythm similar to a triplet rather than the correct sixteenth.
I recognize that historically these might have been performed as triplets. See my article
"In Search of the Borrowed Triplet Upbeat," The Double Reed 31/3 (2008): 95-102. However,
for this study we will perform the rhythm as dotted eighths and sixteenths. Here is
the example incorrectly performed as triplets:
If you err on the side of notes shorter than a sixteenth that is better than longer value
notes. Study #36 presents similar rhythmic issues. Here is the example correctly performed
with sixteenths:
The second issue is that this rhythm often causes students to pulse or accent the longer
notes, the dotted eighth note. Thus the shorter notes are less audible and in addition the
smooth melodic line is interrupted.
There are two regions in the
study that students often change the tempo. The second measure of the second line is often
rushed. Also carefully work with the metronome in the passages with the sixteenth-note triplets
in the last two lines. I try to phrase in four bar units in the first
section. In the middle section up to the fourth line I use two bar phrases.
"Some simple techniques can decrease excessive pressure on wind instrumentalists' hands and
fingers." (William J. Dawson, Fit as a Fiddle, p. 43).
I remember as a student and a young professional my reluctance to use a neck strap in addition
to the seat strap support. I viewed it as a sign of weakness. An injury one day to my
left shoulder, however, required me to use regularly another support for the bassoon.
Immediately I notice not only relief to my left shoulder, but also less weight on my
left hand. I could move my left fingerings better as well! After that time I never went
back to only using the seat strap. Tall people with long torsos will have more
weight of the bassoon on their left hands than short people. While the neck strap was
an improvement for me, it did, however, put additional pressure on my neck and back muscles.
More recently I have been using the body harness instead of the neck strap. The body harness
is great! I encourage you to consider using a body harness with a seat strap when playing
the bassoon.