2:03 - So, I’m an amateur bassoonist probably best described as “good but not superb” way back in high school. Now, upon retirement, I’m getting back into it (and into contrabassoon as well). My main strengths were tone and lyricism, and my main weaknesses were sight reading and performance virtuosity. Anyway, that perspective in mind, I would put the rock-solid-reliable range high-end a whole-step higher at second-space-treble-clef C. Mine is a late-1940s Czech-made instrument, and it does not have the nominal high-C, E, nor F keys, but I can hit the high C consistently, and up to E with effort.
You can like the very high register of the bassoon. But this register make conflict with other high woodwinds, as they play at the medium registers. Very thin and weak register doesn't make uniformity with the thick and powerful registers of the other instruments. Also, the high register is quite hard to play, if the melody goes with a lot of lips. The very high register is also weak and doesn't project well at quite soft and quite strong dynamics. Thats why you should avoid it
Although he says professional players can play an F5 I would highly advise against it. It’s a really difficult note to play and can only (reliably, with a good reed) be slurred from a high E.
Thanks for the lectures. it helps me to understand the orchestra itsself and to understand the intruments. i work a new orchestra composition and with this videos i can use this knowledge on my composition. Thank you. Maybe i need to come back again to rewatch it.
:) THANK YOU FOR THIS VIDEO! ♥ Suggestion: Not 'riches' but "RICH-ness" is how English speakers say this word :) I hope it helps you. :) It helped me to be understood when I was learning to speak.
Have you spoken with an actual bassoonist? Much of what you say is good, but there are some errors that are obvious to any moderately-competent bassoonist. The standard range is Bb1 to C5. B4 and C5 are no more difficult that F#4, G4, Ab4, A4, or Bb4. Many of the "orchestration" books keep regurgitating the Bb4 limit. They're simply copying each other. You keep repeating that the professional extended range is up to F5. I'd be very cautious about writing above D5, unless in a solo piece, and where I knew the player's ability. The dynamic profile isn't as clear-cut as you're suggesting. Yes, it tends towards loud in the lower notes, and softer-nasal in the upper registers, but it's not a consistent transition; there are notes that stick out. These are different from instrument to instrument, but every reed has an even bigger effect. Bassoonists spend a lot of time trying to play all the notes evenly. And we re-learn the inconsistensies with every new reed. The loudest single note in the instrument is B1. It is inconsistently louder than anything else. At least a whole dynamic marking louder than Bb1 or C2. Do not expect this note to be played any quiter than mf. The quietest note on the instrument is just 3 semitones higher; D2. It is inconsistently quiet and muffled. It's at least two dynamic markings softer than Db2 or Eb2. Do not expect it to be player any louder than mf. Because of this, your example that D2 will overpower D4 is uninformed. If you'd chosen Db2 and Db4, you'd have been correct. Three-part chords: If you're in an ensemble where you have three bassoons, the players _will_ be of a high standard. Most amateur ensembles will have trouble finding even one bassoonist, and rarely two. The safest way to orchestrate for bassoon is to talk to the players. We'll happily tell you what works well, or when you're wasting your time and effort. If it's exposed, we will try to get what we think you're asking for. If it's swamped by other instruments (which will happen almost all the time), we'll either play the minimum effort, or even just leave the whole passage out, because it simply can't be heard. (Handy hint: never write unison for bassoon and trombone.)
@@thesecretsoforchestration wow, very beaitifull piece! Did you publish it anywhere?? Would really like to listen to the whole thing. Btw love your content!!!
Great videos ! Just one thing that disturbs me : ...’the B augmented chord is B D# FX and not G... even if It’s the enharmonic note, It’s not the same... I’m thinking of buying the entire course anyway ! Very good job.
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2:03 - So, I’m an amateur bassoonist probably best described as “good but not superb” way back in high school. Now, upon retirement, I’m getting back into it (and into contrabassoon as well). My main strengths were tone and lyricism, and my main weaknesses were sight reading and performance virtuosity.
Anyway, that perspective in mind, I would put the rock-solid-reliable range high-end a whole-step higher at second-space-treble-clef C.
Mine is a late-1940s Czech-made instrument, and it does not have the nominal high-C, E, nor F keys, but I can hit the high C consistently, and up to E with effort.
"This chord has a quite piercing timbre" proceeds to play a chord that sounds fine to me...
You can like the very high register of the bassoon. But this register make conflict with other high woodwinds, as they play at the medium registers. Very thin and weak register doesn't make uniformity with the thick and powerful registers of the other instruments. Also, the high register is quite hard to play, if the melody goes with a lot of lips. The very high register is also weak and doesn't project well at quite soft and quite strong dynamics. Thats why you should avoid it
Although he says professional players can play an F5 I would highly advise against it. It’s a really difficult note to play and can only (reliably, with a good reed) be slurred from a high E.
Thanks for the lectures. it helps me to understand the orchestra itsself and to understand the intruments. i work a new orchestra composition and with this videos i can use this knowledge on my composition. Thank you. Maybe i need to come back again to rewatch it.
Glad it was helpful!
:) THANK YOU FOR THIS VIDEO! ♥ Suggestion: Not 'riches' but "RICH-ness" is how English speakers say this word :) I hope it helps you. :) It helped me to be understood when I was learning to speak.
Ooh, thank you very much!
@@thesecretsoforchestration You are very welcome, sir. :)
Have you spoken with an actual bassoonist? Much of what you say is good, but there are some errors that are obvious to any moderately-competent bassoonist.
The standard range is Bb1 to C5. B4 and C5 are no more difficult that F#4, G4, Ab4, A4, or Bb4. Many of the "orchestration" books keep regurgitating the Bb4 limit. They're simply copying each other. You keep repeating that the professional extended range is up to F5. I'd be very cautious about writing above D5, unless in a solo piece, and where I knew the player's ability.
The dynamic profile isn't as clear-cut as you're suggesting. Yes, it tends towards loud in the lower notes, and softer-nasal in the upper registers, but it's not a consistent transition; there are notes that stick out. These are different from instrument to instrument, but every reed has an even bigger effect. Bassoonists spend a lot of time trying to play all the notes evenly. And we re-learn the inconsistensies with every new reed. The loudest single note in the instrument is B1. It is inconsistently louder than anything else. At least a whole dynamic marking louder than Bb1 or C2. Do not expect this note to be played any quiter than mf. The quietest note on the instrument is just 3 semitones higher; D2. It is inconsistently quiet and muffled. It's at least two dynamic markings softer than Db2 or Eb2. Do not expect it to be player any louder than mf. Because of this, your example that D2 will overpower D4 is uninformed. If you'd chosen Db2 and Db4, you'd have been correct.
Three-part chords: If you're in an ensemble where you have three bassoons, the players _will_ be of a high standard. Most amateur ensembles will have trouble finding even one bassoonist, and rarely two.
The safest way to orchestrate for bassoon is to talk to the players. We'll happily tell you what works well, or when you're wasting your time and effort. If it's exposed, we will try to get what we think you're asking for. If it's swamped by other instruments (which will happen almost all the time), we'll either play the minimum effort, or even just leave the whole passage out, because it simply can't be heard. (Handy hint: never write unison for bassoon and trombone.)
What's the name of the piece at the starting???
@@sassidicarta9228 this is the short fragment from my symphonic overture
@@thesecretsoforchestration wow, very beaitifull piece! Did you publish it anywhere?? Would really like to listen to the whole thing. Btw love your content!!!
for more information contact me at secretsoforchestration@gmail.com
Great videos ! Just one thing that disturbs me : ...’the B augmented chord is B D# FX and not G... even if It’s the enharmonic note, It’s not the same...
I’m thinking of buying the entire course anyway ! Very good job.
thank you