The First Complete Weissenborn, op. 8, #1 & #2 (Morelli) - BSN
Composer: Weissenborn, Julius
Publisher: Carl Fischer
The First Complete Weissenborn, op. 8, #1 & #2
by Julius Weissenborn (1837-1888) - German bassoonist, teacher and composer
Ludwig Milde (1849-1913) - Czech bassoonist and composer
For the first time, Weissenborn’s Method and both volumes of his Opus 8 Studies are presented in one book, revised and expanded by noted bassoonist and teacher Frank Morelli. This edition includes Ludwig Milde’s Scale and Chord Studies, a new and innovative Study Key, and additional lessons that introduce all notes beyond high Bb to high E. The book offers comprehensive, basic, and advanced pedagogical instruction from Julius Weissenborn as well as Frank Morelli through various studies, methods, and techniques. With thirty-six newly added duets based upon popular themes and many important orchestral bassoon solos, fingering charts, and a revised and expanded glossary, this is a truly complete landmark volume.
Although some product descriptions list this is a spiral-bound book, this is NOT the case. It has a perfectly normal book binding that is designed to lay flat when open. For the spiral-bound version, click here.
From the publisher:
This new edition, supplanting the Bettoney version, is based upon Weissenborn’s original versions.
For the first time, the Method and the contents of Op. 8, Volumes 1 and 2 are presented in one book.
Milde’s Scale and Chord Studies remain.
Very little has been removed from the previous Bettoney edition.
• For the First time, a Comprehensive Study Key has been included, linking each lesson in the method to other parts of the book appropriate for study at that lesson’s level of advancement. This allows the student and teacher to coordinate the entirety of the book’s contents into a fully integrated method.
Opus 8, Vol. 1 has been integrated into this new edition as follows:
• Exercises in Part I (Essential Kinds of Expression) have been revised so that they are now incorporated into the First 20 lessons of the original Method.
• Exercises in Part II (Tenor Clef) are now introduced within the Method, starting with Lesson XXI A.
• The contents of Parts III (Scale Exercises in all Keys), IV (Arpeggios, Chord Exercises), V (Chromatic scales) and VI (Progressions in thirds, fourths, sixths, octaves and tenths) have been redistributed into the Anhang (Supplement to the Practical Exercises), as well as into two new sections entitled “Advanced Methods for Improving Intonation, Tone Production,Tonguing and Finger Technique” and “Intermediate Studies from Op. 8, Vol. 1.”
• Part VII (Embellishments) has been integrated into the section “Ornamentation Studies”
Other improvements in The First Complete Weissenborn Method and Studies include:
• Revised, modernized and expanded Introduction with modern illustrations.
• Frank Morelli’s “The Basics of Bassoon Playing” and “Advanced Methods for Improving Intonation, Tone Production, Tonguing and Finger Technique” offer comprehensive basic and advanced pedagogical instruction.
• A new section, “Intermediate Studies,” from Op. 8, Vol. 1, provides an important bridge to the more advanced studies that follow.
• Newly added lessons introduce all of the notes (from high B to high E), used by Weissenborn in his Fifty Advanced Studies (Op. 8, Vol. 2), but not introduced in his Fagott-Schule.
• The tenor clef, introduced in Lesson XXIA, is then included in subsequent lessons, so that the student gains mastery of this clef while learning the notes for which it is most often used.
• Bonus Duets have been added to each lesson, beginning with Lesson II. These thirty-six duets, designed to enhance the learning experience, are based upon popular themes and many of the most important bassoon solos from the orchestral repertoire.
• Newly added “Fun Facts,” offer welcoming and tantalizing information while encouraging greater musical appreciation and curiosity.
• Modernized Fingering and trill charts
• A revised and expanded glossary of definitions of musical terms found in this volume.
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