Saint-Saens Op.168 Sol Major Fagot ve Piyano Sonatına Pozisyon Önerileri
Bu makale, Camille Saint-Saëns’in fagot literatüründeki en önemli eserlerden biri olan fagot sonatının üstesinden gelinmesi zor parmak pozisyonlarına alternatif çözüm önerilerini içerir. Ayrıca, sonatın bütün bölümlerinin form ve müzikal yapısı da genel olarak incelenmiştir. Fagot icracıları özellikle enstrümanın 3. oktavdaki pozisyon geçişlerinde zorlanırlar. Her zaman kullanılan ve bilinen temel pozisyonlar uygulandığında icracıların hata yapma riski yüksektir. Bu makalede gösterilen ve önerilen parmak pozisyonlarının risk yüzdesini önemli ölçüde azalttığı gözlemlenmiştir. Amaç, bu sonatı çalarken zorluklarla karşılaşan ve üstesinden gelmekte zorlanan öğrencilerimize ve meslektaşlarıma çeşitli alternatif pozisyonlar önermektir. Bu sayede de daha rahat ve korkmadan çalabilmelerine katkı sağlamaktır. Bu makalede Saint-Saëns op.168 Fagot ve Piyano sonatının önemi, neden yazıldığı, nerede yazıldığı ve kime ithaf edildiği belirtilmiştir. Riskli pozisyonları içeren notalar ve pozisyonların gösterildiği şekiller alt alta gösterilmiştir. Literatür taramasında konuyla ilgili kitaplar araştırılmış ve incelenmiştir. Önerilmiş olan parmak pozisyonları sadece Camille Saint-Saens’ın fagot sonatında değil, özellikle orkestra sololarında, hızlı geçişlerde ve diğer tüm teknik zorluğu olan parçalarda da kullanılabilir.
Position Recommendations for Saint-Saens’ Op.168 Sol Major Bassoon and Piano Sonata
This article includes an alternative solution to the difficult finger positions of the bassoon in op.168 Bassoon and Piano Sonata, one of Camille Saint-Saëns’ most important works for that instrument. In addition, the structure of the work will also be examined. Bassoon players have a high risk of making mistakes when they play using common finger positions, especially when difficult positions in the 3rd octave transition are played. The facilities in the positions shown in this article considerably reduce likelihood of error. The aim of this article is to present some alternative positions that may occur from above difficulties. This article tells the importance of op.168 Bassoon and Piano Sonata, why was it written in the last year of his life, where was it written, and to whom it was dedicated. In the literature review, books related to the subject were examined. Suggested finger positions can be applied not only in this sonata but also can be used in many other difficult pieces, especially in fast passages in orchestra solos.
Camille Saint-Saëns’ bassoon sonata, which is a fixture in the graduation screening curriculum of almost all conservatories, is considered to be one of the most difficult pieces of music to play . Bassoon players have a high risk of making mistakes when they play using common finger positions, especially when the difficult positions in the 3rd octave transition are played. The facilities in the positions shown in this article considerably reduce the likelihood of error. The aim is to present some alternative positions that may occur from above difficulties. Camille Saint-Saëns’ bassoon sonata is even now one of the most important sonatas; it is still played in every competition in the world. Even though this work is technically difficult, most bassoon players find it to be a pleasant challenge. In the exams, both the juries and the students are aware of the usual trouble spots. Most of them still remain unsolved and risky but this can be improved by the musicians. Alternative positions to those taught in conservatories can be deployed or we can develop and apply resonance, intonation, and sound quality with some keys to be added to the basic technical positions. For instance, First movement, 30–31. Bars: The numbers next to the notes indicate the octave of the note. The fingering chart, underneath the notes with hard passages of the work, was prepared by using the “Essentials of Bassoon Technique,” which was prepared by Lewis Hugh Cooper and Howard Toplansky. In addition, this article describes the importance of this sonata, why was it written in the last year of his life, where was it written, and to whom it was dedicated. Saint-Saëns was influenced by the local music in the countries to which he travelled during the last period of his life. The best example of this tranquility and simplicity is the way Saint-Saëns structures the Sonata for Bassoon, the last of the three pieces. Sonatas usually follow a tried and trusted style of three movements: an assured, enthusing first movement, a slow middle movement, and a fast finale. Saint-Saëns turns this model on its head for this piece. A fast first movement is followed by an even faster second and then the final movement is marked Adagio. Saint-Saëns probably wrote this last movement as a swan song, a farewell from a composer who was now seen as yesterday’s man. If so, then perhaps the Saint-Saëns of the 1880s, celebrated as the greatest of all French musicians, could not resist one last fanfare, and this sorrowful goodbye is given a final, laconic flourish. During my student years, the most challenging issue when playing bassoon was the transitions of the third octave voices and their very different positions in relation to each other. Due to this, even working for hours on scales was not enough to get over some of the passes. The reason for my research and studies in this area is to help students and my colleagues. I have found that my students can master a lot of difficult positions if they use my chart. In their concerts they are more relaxed and confident with the bassoon. As a result, it is not so difficult to play Camille Saint-Saëns’ bassoon sonata by applying the finger charts found in this article. The positions I have shown are very easy to perform in fast passages. It is useful to use basic finger positions in both legato and slow passages.
