- Even during continuous slurs, always think ahead to the "next note's position" and prepare your thumb accordingly
- For the initial C key, if it is engaged, choose the side that makes it easier to move to the following E or A for a smoother connection
- Where you leave the low register and move to higher notes, the slur is broken, so tap the key to make the articulation clear
- Even when slurs change from groups of four to groups of two, maintain the center of gravity in triple meter (where the rhythmic axis falls)
- At the ending, don't force a decisive stop—breathe into the note like a long tone and let it settle naturally
When long slurs continue in a bassoon etude, both fingers and air tend to focus only on "the current note." In this lesson, using Weissenborn No. 1 as an example, the key points discussed are: prepare your thumb movement by working backward from the "next note", tap clearly where slurs break, and stay conscious of the center of gravity in triple meter to avoid pushing beats.
The Concept of Thumb Movement: Work Backward from the "Next Note" on Bassoon
The reason it feels difficult is that there are many keys to cover from the start, and the thumb tends to fall into a "chasing" motion. Conversely, if you think ahead to where the thumb needs to be for the next note, finger transitions become smoother, and anxiety about tone production within slurs decreases.
Building Physical Awareness: Maintaining Expression with Tapping and Rhythmic Gravity
Where slurs break (such as when entering higher notes), always tap the key to define the articulation. Also, even when slur groupings change, staying aware of where the center of gravity falls within the triple meter prevents unwanted accents on trailing notes and avoids a heavy, pushed feel.
Causes and Solutions
- Step 1: Isolate just the thumb movements, and practice moving slowly while imagining the next note's position in advance
- Step 2: For the initial C key, choose the side that makes it easier to transition to the following E or A (if it is engaged)
- Step 3: Where slurs break, such as when entering higher notes, tap the key to make the articulation clear
- Step 4: For sections where slurs change to groups of fours and twos, practice while counting the center of gravity in triple meter aloud
- Step 5: At the ending, breathe into the note as if playing a long tone, and let it settle naturally
Where crescendo/decrescendo markings appear in the printed music partway through, rather than simply following the rise and fall of the notes, it is shown that you should add more distinct expression where the markings appear. Also, even when the articulation changes slightly before a repeat, it is important not to change where you place the center of gravity. When note groupings change, instead of handling it with "tongue strength," decide on the beat axis first and carry it with your air—this preserves the smoothness of the slurs.
After the repeat, accidentals increase and charming chromatic phrases appear. Rather than powering through with momentum, add a slightly bouncy nuance to create contrast with the preceding long-slur sections, giving the piece shape and variety. However, this "bounce" should not be a push—it should remain a natural spring that stays on top of the triple-meter center of gravity.
Toward the end, there are passages where you may feel the urge to "blast through," but if there is no strong dynamic marking, it is more musical to bring it to a settled close. Rather than cutting off abruptly, maintain the line to the very end with the sensation of "blowing into" the note like a long tone—this creates a satisfying sense of resolution.
To polish Weissenborn No. 1 into a smooth performance, it is essential to work backward from the next note for your thumb, define the contour with tapping where slurs break, and maintain the center of gravity in triple meter. Rather than "trying hard to nail" every detail, building a flow that settles naturally through preparation and rhythmic gravity makes it easier to bring out the expressive character of the bassoon.
