Método: Music of the Americas for Bassoon
(Método: Música de las Américas para fagot)

Techniques, Etudes, Melodies, and Excerpts from the Americas and Beyond
(Técnicas, estudios, melodías y extractos de las Américas y más allá)

Lesson Number (select link)	Country of Melodies	Genre of Melodies	Techniques or Concepts	Excerpts (Various Countries)
1	Various		Drones, Long tone, 7-Drive with Dynamics	Ravel, Pictures at an Exhibition, Promenade
2	Various		Articulation 5-drive, Compound Time	Tchaikovsky, Symphony No. 6, opening
3	USA	Shaker Music	Compound Time and Mixed Meter	Ravel, Pictures at an Exhibition, II; Gershwin, Piano Concerto in F
4	Argentina		Practice Methods: Components; Slow-Fast-Accurate	Tchaikovsky, Romeo and Juliet Overture
5	Guatemala		Counting Rests	Schumann, Symphony 3; Quiroz, Una escuela de muchachos
6	USA	Native American	Monotones for Practicing Phrasing	Dukas, Sorcerer’s Apprentice
7	Various	Christmas	Rhythmic and Melodic Studies in 6/8	Corelli, Weihnachtsmusik: Concerto grosso No. 8; Bach, Weihnachtsoratorium, BWV 248/2 Sinfonia
8	Mexico		Practice Method: Rhythms	Beethoven, Symphony No. 6, I
9	Venezuela		Rubato Drives	Villena, 3 Valses venezolanos de concierto, II
10	Mexico		Practicing Rubato with Articulation and Monotones	Respighi, Antiche danze et arie per liuto, Suite No. 2.
11	USA		Practice Method: Fragmentation-Concatenation	Sousa, Semper Fidelis March
12	Brazil		Sixteenth-Note Rhythms with and without Time Signatures	Santo e Oliveira, Responses for the Festivals
13	USA	Spirituals	Syncopation	Sousa, "El Capitan" March; Price, The Oak
14	Various		2-5 Articulation Patterns	Sousa, Washington Post March
15	Various		3-4-5 Articulation	Garcia, Sinfonia Fúnebre
16	Mexico		Triplets	Ponce, Estampas Nocturnas
17	Suriname		Portamento length (4) given by Weissenborn, Subdivisions of 2 and 3	Strauss, Death and Transfiguration
18	Various		Grace Notes, Mixed Meter	Haydn, Smphony No. 85, Trio
19	USA	Hymns	Two Against Three	Mahler, Symphony No. 1, I
20	Cuba		Varied Articulations 3, 4, and 5	Mozart, Serenade No. 12, III