[Bassoon] Anacrusis and Dynamic Control: Mastering Musical Expression…

SUMMARY

Key takeaways

When a piece begins with an anacrusis, lift your center of gravity upward and flow into the next beat, feeling beats 1 and 2 internally before you start playing
Because double reeds can make articulation unpredictable, starting the first note too forcefully will cause the sense of meter to be lost, leaving listeners unable to tell what the time signature is
When playing the same melody with varying dynamics, control your volume while considering your dynamic range and ensuring the sound does not fail to speak
When leaping up an octave from D to D, if air alone is not enough, press the high D key or add the right-hand middle finger, ring finger, and pinky to make the legato connection easier
Distinguish between fermatas on notes and fermatas on rests, and for notes without a fermata, maintain a forward-moving performance that pushes ahead to the next phrase

Anacrusis Performance on Bassoon: Creating Musical Flow

When playing pieces that begin with an anacrusis on the bassoon, feel as though you are lifting your center of gravity upward and flowing into the next beat. Because the bassoon's double reed can make articulation unpredictable, starting the first note too forcefully will leave listeners unable to discern the meter or beat placement. Before playing an anacrusis, always feel beats 1 and 2 internally, and begin producing sound within that upward motion. This article provides a detailed Q&A covering anacrusis performance technique, dynamic control, legato connections, fermata handling, and other techniques for mastering musical expression on the bassoon.

Q&A: Anacrusis and Expression Techniques for Bassoon

Q1: What are the key points when playing a piece that begins with an anacrusis?

A: When a piece begins with an anacrusis, it is important to lift your center of gravity upward and flow into the next beat. Because the bassoon's double reed can make articulation unpredictable, starting the first note too forcefully will cause the sense of meter to be lost. Before playing an anacrusis, always feel beats 1 and 2 internally, and begin producing sound within that upward motion.

Q2: How should I play the same melody with varying dynamics?

A: When playing the same melody with varying dynamics, it is important to consider your dynamic range and control your volume so the sound does not fail to speak. It would be excellent if you can start the music with clear contrast, particularly where the piano passages need to dance.

Q3: How can I connect notes that are difficult to slur?

A: On the bassoon, there are cases where air alone is not enough when leaping up an octave from D to D, for example. If your instrument has a high D key, pressing the high D key will reliably make the connection easier. If your instrument does not have a high D key, adding the right-hand middle finger, ring finger, and pinky will raise the pitch tendency and make the legato connection easier.

Q4: How should I handle fermatas?

A: When there is a fermata along with a double barline, it is fine as long as you can clearly differentiate in your performance how you handle the fermata versus the double barline. When a fermata is on a rest, consider separately whether the fermata is meant to suspend time on the note itself or on the rest. For notes without a fermata, maintain a forward-moving performance that pushes ahead.

🔒

Members only beyond this point

Full article, examples, and practice steps after this heading are for paid members. Sign up or log in to unlock the rest.

ログインして続きを読む

Practice Menu

Step 1: Develop a feel for the anacrusis. Practice feeling beats 1 and 2 internally and flowing into the next beat with the sensation of lifting your center of gravity upward.
Step 2: Practice expanding your dynamic range. Repeatedly practice controlling the same melody from piano to forte, considering your volume capacity.
Step 3: Try different fingerings for notes that are difficult to slur. When leaping up an octave from D to D, experiment with multiple fingering options such as pressing the high D key or adding the right-hand middle finger, ring finger, and pinky.
Step 4: Practice handling fermatas. Think separately about fermatas on notes versus fermatas on rests, and for notes without a fermata, maintain a forward-moving performance that pushes ahead.

⚠️

Key Checkpoints

When playing an anacrusis, the most important thing is not to start the first note too forcefully. Because double reeds can make articulation unpredictable, playing too forcefully will cause the sense of meter to be lost. It is also important to feel beats 1 and 2 internally as you play. When legato connections are difficult, fingering adjustments are also important. Try multiple fingering options such as pressing the high D key or adding the right-hand middle finger, ring finger, and pinky.

Summary

When playing pieces that begin with an anacrusis on the bassoon, it is important to feel as though you are lifting your center of gravity upward and flowing into the next beat. Because double reeds can make articulation unpredictable, starting the first note too forcefully will leave listeners unable to discern the meter or beat placement. Before playing an anacrusis, always feel beats 1 and 2 internally, and begin producing sound within that upward motion. When playing the same melody with overall dynamic changes, it is essential to control your volume while considering your full dynamic range capacity, ensuring the sound does not fail to speak. Notes that are difficult to slur can be resolved through fingering adjustments, such as pressing the high D key or adding the right-hand middle finger, ring finger, and pinky. By clearly differentiating your performance of fermatas, ritardandos, and diminuendos, your musical expression will improve.