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Stravinsky, Igor. Rite of Spring

Entries arranged by opening solo first, then second solo

Stravinsky, Igor. Rite of Spring. Corey, Gerald (25 May 1995).

D5:
     Eb
 x o x | o o x Ab
d           F#

Stravinsky, Igor. Rite of Spring (opening?). de Gomar, Juan. In Apfelstadt, Marc and Klimko, Ronald. Bassoon Performance Practice, Teaching Materials, Techniques and Methods. Idaho: University of Idaho, 1993, p. 55. Recommends fingerings for B4 and C5 found in Cooper pp. 305 and 320.

B4:                    C5:
    Eb                     Eb
x x o | x x o F        x o o | x x o F
c                      c

B4:

C5:


Stravinsky, Igor. Rite of Spring, mm. 1-15. Moritz, Frederick. "A Dissertation on the Use of Alternate Fingerings for Some of the High Register Notes on the Heckel and Heckel- Type Bassoons." The Double Reed 8/3 (Winter 1985): 28-33. The notes are numbered in the music below. The reader is strongly encouraged to refer to the article, since the fingerings below recur throughout the solos.

In measure 1 start C5 with Cooper p. 322 (no D speaker key):

C5. Note #1:
    Eb
x o o | o o o
c

For grace-notes B4 and C5, and sixteenth note B4:

B4. Note #2:          C5. Note #3:
x x o | x o o F       x o o | x o o F
c                     c

B4:

C5:

Alternate B4 fingering for the same passage and other B4-C5 grace notes in the passage (see pp. 31 and 33 of the article). No C5 fingering given.

B4. Note #2:
    Eb
x x o | x x
c

G4 sixteenth (second beat of measure 1):

G4.  Note # 5:
    Eb
o / x | x o o F

E4 sixteenth (second beat of m. 1):

E4.  Note #6:
    Eb
x o x | o o x

B4 sixteenth (second beat of m. 1):

B4.  Note #7:
    Eb
x x o | x o o F
 a c#

A4 with the fermata (third beat of m. 1):

A4. Note #8:
    Eb
x x x | o o x
 a c#

A4 in measure 2, second beat:

A4. Note #9:
    Eb
/ x x | o o x Ab
c

D5 in measure 2. Same as Cooper p. 338:

D5. Note #10:
     Eb
 o o x | o o x Ab
d

Grace-note G4 in measure 2. Optional half- hole of the L. H. D hole:

G4. Note #11:
    Eb
o x x | x o o
       Bb

A4, last eighth of measure 2. Same as Cooper p. 275:

A4.  Note #12:
    Eb
x x x | x o x
 a c#  Bb

Bb4 in measure 4 (at rehearsal number 1):

Bb4. Note #13:
    Eb
x x x | x x o
 c       E

Gb4 in measure 5 (3/4 bar). Same as Cooper p. 230:

Gb4. Note #14:
    Eb
o x x | x x o
       Bb

F#4 in measure 15 (3 after rehearsal number 3):

F#4. Note #15:
    Eb
/ x x | x x o F

Grace-note A4 in m. 15 (3 after rehearsal number 3). Same as Cooper p. 288:

  
   A4. Note #16:
    Eb
x x x | o o o F  
 a c#

D#4 in m. 15:

D#4. Note #17:
    Eb
o x x | o o o
   c#


Stravinsky, Igor. Rite of Spring, opening C5. Porwit, Timothy. In Apfelstadt, Marc and Klimko, Ronald. Bassoon Performance Practice, Teaching Materials, Techniques and Methods. Idaho: University of Idaho, 1993, p. 60. Start with fingering for C#5 then switch to C5 when reed vibrates.


Stravinsky, Igor. Rite of Spring, second solo at rehearsal number 12, m. 25, and following. Ewell, Terry B. (20 August 1994). For Bb4-Cb5 grace-notes use Cooper p. 291 or 292 and open L. H. C hole for Cb5. For downward slur to Gb4 use Cooper p. 226.

Bb4:                    Cb5:
    Eb                      Eb
x x x |(x) x o F        x x o | (x) x o F
 a c#                    a c#

Bb4:

Cb5:


Stravinsky, Igor. Rite of Spring, second solo, m. 25, Cb5-Bb4 grace-notes. Houser, Roy. In Klimko, Ronald. Bassoon Performance Practices and Teaching in the United States and Canada. Idaho: University of Idaho, 1974, p. 64.

Bb4:                   Cb5:
 x x x | x x x F       x x o | x x o F
d       Bb            d       Bb

Bb4:

Cb5:

Stravinsky, Igor. Rite of Spring,mm. 25-28. Moritz, Frederick. "A Dissertation on the Use of Alternate Fingerings for Some of the High Register Notes on the Heckel and Heckel-Type Bassoons." The Double Reed 8/3 (Winter 1985): 28-33. The notes are numbered in the music below. The reader is strongly encouraged to refer to the article, since the fingerings below recur throughout the solos.

Cb5 quarter-note and grace-note in measure 25, at rehearsal number 12 (second solo):

Cb5. Note #1:
x x o | x o o F
 c

Bb4 grace note and sixteenth note in m. 25:

Bb4. Note #2:
x x x | x x o F
 c       E

Gb4 in m. 25. Same as Cooper p. 236 except half-hole L. H. D hole:

Gb4. Note #3:
    Eb
o / x | x o o

Eb4 in m. 25. Same as Cooper p. 191 except add L. H. Eb key:

Eb4. Note #4:
    Eb
x x o | x x x

Last Bb4 in measure 25:

Bb4. Note #5:
    Eb
x x x | x x o
         E

Ab4 in m. 26 without G# ring. Same as Cooper p. 259 except L. H. no whisper key:

Ab4. Note #6:
    Eb
/ x x | o o x

Ab4, with G# ring:

Ab4. Note #6:
    Eb
o x x | o o o F

Db5 in m. 26. Same as Cooper p. 331 except L. H. use only D key; R. H. may add the thumb E key.

Db5. Note #7:
     Eb
 x o x | x o x
d        (E)

Grace-note Gb4 in m. 26. Same as Cooper p. 230 except half-hole L. H. E hole:

Gb4. Note #8:
    Eb
/ x x | x x o
       Bb

Last Ab4 in m. 26. Same as Cooper p. 262 except no whisper key:

Ab4. Note #9:
    Eb
/ x x | x o x
       Bb


Artwork and Graphics by Terry B. Ewell

Copyright 2015-18 by Terry B. Ewell.