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LSU Historical Dissertations and Theses Graduate School

1980

A Tenor-Clef Reader for the Bassoonist.John A. BivinsLouisiana State University and Agricultural & Mechanical College

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Recommended CitationBivins, John A., "A Tenor-Clef Reader for the Bassoonist." (1980). LSU Historical Dissertations and Theses. 8169.https://digitalcommons.lsu.edu/gradschool_disstheses/8169

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\ a TENOR-GLEF HEADER FOR THE BASSOONIST

A MonographSubmitted to the Graduate Faculty of the

Louisiana State University and Agricultural and Mechanical College

in partial fulfillment of the requirements for the degree of

Doctor of Musical Artsin

The School of Music

John A, Bivins M.M., Auburn University, 1975

December, 1980o ^

UMI Number: DP69556

All rights reserved

INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted.

In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed,

a note will indicate the deletion.

Dissertation Publishing

UMI DP69556

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MANUSCRIPT THESES Unpublished theses submitted for the Master's and Doctor's

Degrees and deposited in the Louisiana State University Library are available for Inspection. Use of any thesis is limited by the rights of the author. Bibliographical references may be noted, but passages may not be copied unless the author has given permission. Credit must be given in subsequent written or published work.

A Library which borrows this thesis for use by its clientele is expected to make sure that the borrower is aware of the above restrictions.

LOUISIANA STATE UNIVERSITY LIBRARY

2 7 4 - 76/ f30,at,

* 2 ?

To John P. Patterson

CONTENTS

Introduction .Chapter One ....................................

Introduction to the tenor clef; fingering chart; melodies in the tenor clef

Chapter T w o .................... - 27Major scales and arpeggios;melodies and excerpts in the major mode

Chapter T h r e e ........................ 36Minor scales and arpeggios;melodies and excerpts in the minor mode

Chapter Four.................. 44Study and excerpts in thirds

Chapter Five................... 51Study and excerpts in fourths

Chapter S i x ..................... 57Melodies and excerpts in fifths

Chapter S e v e n ................... 63Studies and excerpts in sixths

Chapter E i g h t ................... 72Study and excerpts in sevenths

Chapter Nine............... f 77Study and excerpts in octaves

Bibliography . 82

ill

ABSTRACT

This monograph is an instruction hook for developing the bassoonist’s reading fluency in the tenor clef. It is intended for the student who has attained a moderate level of technical development. Its nine chapters introduce the tenor clef and present studies, excerpts, and melodies in an order of gradually expanding interval sizes.

An unusual feature of this monograph is the use of bass-clef guideposts for the tenor-clef melodies in Chapter One, as well as a fingering chart in tenor and bass clefs. Also, original clef signs are given at the beginning of excerpts when the excerpt has been shifted to the tenor clef.

Melodies included are chorale melodies from the chorales of J.S. Bach, psalm tunes from the Genevan Psalter, and American and British folksongs. The studies are original. The excerpts are drawn from the standard orchestral, solo, and chamber literature. All are themes or passages of some beauty or Importance in the bassoonist's repertoire. Excerpts from the more contemporary literature of the twentieth century have been avoided in general in this monograph, on the grounds that the material appropriate for excerpting from this body is generally too difficult for the bassoonist of moderate means, and more importantly, does not lend Itself to intelligent interpretation out of context.

iv

INTRODUCTION

The accomplished bassoonist is expected to read fluently in the tenor clef^ as well as the bass clef, for composers and publishers utilize the tenor clef in band, orchestral, chamber, and solo music.A survey of the major instruction books for bassoon reveals that the bassoonist usually begins instruction in the bass clef, and is not introduced to the tenor clef until he has achieved a moderately advanced performance level. Often this introduction occurs in a performance situation, without adequate preparation. Inadequate preparation is the result of insufficient explanation of the use of the tenor clef, and the lack of developmental studies for fluency in tenor-clef reading. Most bassoon instruction books give only cursory explanation of the tenor clef, proceeding immediately to advanced studies utilizing wide leaps and awkward passage work in the tenor clef, and frequent alternation between bass and tenor clefs.^

The work presented here, intended for the bassoonist of moderate fluency, is organized to minimize the tension generated in the novice tenor-clef reader when exposed to passages printed in the tenor clef.This tension is generated from two sources: first, from anxiety thatthe reader will not be able to read the passage and thus not be able to play it? and second, that he will be unable to maintain his concentration

*The tenor clef is defined as the placement of the C clef sign on the ascending fourth line of the staff, indicating c , Apel, Willi. Harvard Dictionary of Music, 2nd ed,, s,v. "clef”, pp. 179-180,

^Houser, Steven D. "A Comparative Study of Selected Approaches to Teaching Tenor Clef in Bassoon instruction" (M.A, thesis, The Ohio State University, 1975)# P* 118.

1

to follow the passage to the end, due to the use of wide and difficult intervals. Generally, for the bassoonist, the wider the interval, the more tension is involved in the reading, because more space or distance must be covered on both the page and the instrument to make the linear connection between the two notes. Not all wide intervals are difficult for the seasoned bassoonist; but for the student, most wide intervals are usually considered more vexing than the troublesome small intervals that plague the bassoonist.

Chapter One begins with an explanation of the clef, a fingering chart to reinforce pitch recognition in the tenor clef by associating fingering, pitch placement on the staff, and pitch name, and offers many simple melodies (chorales, English-language folksongs with titles) which are presented in tenor clef with bass-clef reference notes. The student is encouraged to see the whole of each melody, to observe the linear direction or shape of each, and to make mental reference to skips and leaps before playing. The bass-clef guideposts are included as aids to let the reader know that it is not unusual to forget what note he is supposed to be reading, simultaneously guiding the pupil back to the track if he has lost his way.

Chapters Two and Three present all major and minor scales and arpeggios to reinforce pitch recognition in the clef, and melodies and excerpts in the major and minor modes to foster an awareness of tonality which is helpful in later chapters. Chapters Four (thirds) through Nine (octaves) utilize excerpts of some significance to the bassoonist, Many are solo passages, or passages of exceptional beauty or value. Each chapter presents its excerpts in a gradually more difficult ordering.

Some excerpts are composed mainly of the problem interval, while others exhibit the interval only once or twice. In every case, the excerpt is a complete unit so that the student is not left wondering what the sense of it is supposed to be, but rather can find in the excerpt a means of musical communication, ultimately reducing the importance of reading the tenor clef to a role secondary to making music. In this the aim of the book is trues the bassoonist reads the clef to make music for satisfaction, for pleasure, and perhaps, for profit,

An explanation of a few symbols is in order. Brackets enclose metronome markings given by the author when markings in the score are absent, inaccurate, or inappropriate for the purposes of the book.Brackets enclosing a bass or treble clef sign at the beginning of an excerpt indicate that the excerpt appears in the score or the original part in the indicated clef, but has been shifted to the tenor clef because of its appropriateness in the design of the book.

CHAPTER ONEIntroduction to the tenor clef

fingering chart melodies in the tenor clef

In the standard notational practice employed today, four clefs are commonly encountered. Two of these clefs are probably known to the reader already: the treble clef, for most high-pitched instruments;

and the bass clef, which fills the notational needs of most low-pitched instruments. The other two are the alto and the tenor clefs.

The signs for these clefs are stylized letters which indicate where a particular pitch is placed on the staff. The treble clef sign is a stylized G for the G above middle C; that for the bass clef is an F for the F below middle C. The alto and tenor clefs use the same sign, a reversed double C, to indicate middle C, but place it on different lines,treble bass alto tenor

I IG F C G

These clefs are used to avoid excessive dependence on ledger lines.They use the lines and spaces most often employed in the music written for instruments in specific registers: the treble clef for the rangefrom middle C up; the bass clef for the range from middle G down. Alto clef is for instruments whose parts often range equally above and below middle G (viola and trombone); while the tenor clef is for

instruments whose parts are generally below middle C, but do extend above middle C fairly often (cello, trombone, and bassoon).

Middle G is placed in each clef below: treble alto tenor bass

i %-t?G C C G

Prom this may be seen several things:

The names of the lines and spaces of the tenor clef are:

a _______

22 22a

D F A C E E G B D F C GIt is easier to read notes belonging to the high register of

the bassoon (above middle C) in the tenor clef that in the bass clef because the tenor clef calls for fewer ledger lines.

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Both the tenor and bass clefs focus on the ascending fourth line of the staff, but the focal notes are a fifth apart:

O' r-T A ^.... iw SI-----------------------

F (C) C (F)Because the music written for the bassoon ranges over the

entire compass of the instrument, the bassoonist must often shift between bass and tenor clefs. Knowing the interval of this change of clef to be a fifth may be of some help in reading. More useful is reading the

tenor clef as a separate entity, not as a 'transposition' of the bass clef. Toward this end, the reader is encouraged to choose some pitches for guideposts to serve as tools for finding his way in the tenor clef thicket. The following are recommended:

tftr- 5 --------------’------- — ----- ---------n w . .✓ _

---------------------- 27

G F F G CThe remainder of this chapter, following the fingering chart,

is devoted to developing a sense of linear and intervallic reading.The succeeding chapters continue this approach, each presenting materials concerned primarily with one interval.

FINGERING CHART Schematic diagram of the bassoon

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Spaces for additional fingerings follow the fingering chart.

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Simple melodies are given below in duplicate: once in the bass clef, and once in the tenor clef. Read the bass-clef example first, observing the melodic contour (rise and fall of the line; steps and leaps in the line). Then play the example from the tenor clef, mentally naming the notes as you play.

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Following are exercises in which the melody is given completely only in the tenor clef. Study each exercise before playing. Observe the melodic contour, making note of any skips or leaps. Then try to anticipate them in playing. The bass clef has guideposts for reference.

13

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American Folksong

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The Lane County Bachelor Allegro

American Folksong

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The Blue-tailed Fly Allegretto American Folksong

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When Johnny Gomes Marching Home Alla roarcia American Folksong

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No bass-clef guideposts are given for the following melodies. Continue to survey each before playing.

22

Greensleeves Andante con moto

English Folksong

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LowlandsAndante

Scottish Folksong

BfeE iPu p 5 iBarbara Allen Allegretto

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Londonderry Air Andante cantabile

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The Ash Grove Andantino Welsh Folksong

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&The British Grenadiers Allegretto marziale

English Folksong

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ShenandoahAndante American Folksong

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As a check of your reading, the following short studies shift between tenor and bass clefs, as many of the excerpts in subsequent chapters do,J ~\%0

66

& A tvTfrar_zt_¥~L 9 "V:S e S ?

fj = m17 3

c r ^ c -

i jsi

M m i

The excerpts in the following chapters are representative of the best literature the bassoonist has, None of them are exceptionally easy, many of them are hard, and some are exceptionally difficult.The reader is not expected to play all of them perfectly at performance tempos. Rather, he should approach them for the challenge of discovery and the pleasure of their musical beauty. In this way the reader will be better prepared to enjoy making music when he encounters the complete works from which these excerpts are taken.

CHAPTER TWOMajor scales and arpeggios

melodies and excerpts in the major mode

The scales and arpeggios are given in complete octaves as normally experienced in tenor and bass clefs. Portions of scales in the extreme high register may be omitted initially.

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OSSur le Pont d* Avignon Allegro

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Study

32

The Barber of Seville, Sinfonia G. RossiniAllegro con brio

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34

IV. Molto allegroZ J = 1441

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CHAPTER THREEMinor scales and arpeggios

melodies and excerpts in the minor mode

The three most common forms of the minor mode (natural, melodic, and harmonic) are given below in one-octave examples in the key of A minor. Notice the intervallio differences in the top four notes of each,natural melodic harmonic

-4fYj 7 T r L'^y t % f , 1

The scales that follow az combination as they are o form as it occurs,

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e given using th ften used by com

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three fo Try to

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W.A. Mozart

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CHAPTER POUR Study and excerpts in thirds

Study

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Symphony No. 38 in D Major, K, 50^ "Prague" II. Andante W.A. Mozart

45

Symphony No. 1 in C Major, Op. 21 II. Adagio oantabile con mo to L. van Beethoven

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III, Credo: Andante[J.-51]

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J. Brahms

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4-9

HI. Allegro giocoso

A Midsummer Night's Dream, Incidental Music, Op. 61' F. Mendelssohn No, 5s Allegro appassionato

Appalachian Spring Fast

A. Copland

iCopyright (?) 19^ by Booaey and. K&vkea. Reproduced by permission.

50

Concerto for OrchestraII. Giuoco della Copples Allegretto scherzando

B. Bartok

mp

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4ri/vw > A Af ~ “ l— n r

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of 3oosey and aurins, lac.

CHAPTER FIVE Study and excerpts in fourths

Studyj=ss

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W.A, Mozart

52

Grand Concerto for Bassoon and Orchestra XII. Hondo: Vivace[ J . = 9 6 ]

J,N, Hummel

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Copyright © 1971, Reproduced, by permission of Mueioa Raze.,

J. Brahms

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IV, Allegro con spirito

53

Symphony No. 4' in E Minor, Op. 98 I, Allegro non troppo

J. Brahms

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solo

G.M. von Weber

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F. Mendelssohn

56

Serenade No. 12 in C Minor, K. 388 W.A. MozartIV, Allegro[j * u p ]

Trois NocturnesII. Fetess Anime et tres rythae[J-= 151}

C, Debussy

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A. Copland

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CHAPTER SIX Melodies and excerpts in fifths

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1— fll — — Ci

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W. Billings

Der Freischtltz, Overture Molto vivace G.M. von Weber

W-iuj

The Hebrides Overture, or Fingal's Cave, Op. 26 Allegro moderatoCJ

F. Mendelssohn

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*f —— —

■f f>. / |' kf *

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F. Mendelssohn

Symphony No. 1 in C Minor, Op. 68IV. Adagio J. Brahms

m b j h j t c m m tcrttc • poto * pot© /H A c r « c*y>

Symphony No. 5 in E Minor. Op. 64II. Andante cantahile con alcuna licenzaj

Moderato con animaP.I. Tchaikovsky

CJs«

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Symphony No. 4 in F Minor, Op, J6II. Andantlno in modo di canzone

P.I. Tchaikovsky

r4lS\-f-rfri :tf=rr\A—— 1* ) LXJ Itffl Ir-J-

A Midsummer Night's Dreamt Incidental Musict Op, 6i P, Mendelssohn No, i. Scherzo: Allegro vivaceP = l * l

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Used by permission of Edwin F, K&lmus.

Piano Concerto No. 3 1. Andante S. Prokofieff

Used by permission of Edwin P. Kalmus,

62

Symphony No, 7# Op, 60 "Leningrad." I. AdagioJ = W

V-c. ■ > f If f If.f *f*Tpi

D. Shostakovich

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Used by. pa mission of 2dwin F. Kalaus.

A, Copland

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Copyright (c) 19^ by Boosey aod Hawkes. Reproduced by p«mission.

CHAPTER SEVEN Studies and excerpts In sixths

StudyJ = io4

u a

yn-n # — A-gill ¥>______ fefv;§ h r — tr- r ' i f \ b A > s O: -/ _ ! — LJsLb

— M

f p V C r S f A— __i f... , r. - .

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63

StudyJ=ia ifcT ^ f f T IC v : - bff

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a

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G. Rossini

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3 3 5

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[J = 1603

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r- 1*\ ¥ * T ^ ¥ t r <

in C Major, K. 4; Trio

r 1 — L A . _-L 2 — -j-f-J

25 "Linz” jf.A. Mozart

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f* mf m0 7

S i ii f.

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frf I f a r r f f l

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in D Major, K. 504 "Prague” W.A. Mozart

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IX. Andante con moto

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68

Concerto for Bassoon and Orchestra, K. 191m . Rondos Tempo di minuettoEJ*IM

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Three Pieces for Bassoon and Piano III, Allegroj = nfi

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A Midsummer Night's Dream, Incidental Music, Op. 61 F, M ^ i ^ n No, 7. Con moto tranquillo[J = 100 ]

• VI ± X

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Sonata No. 3 in P Major J.E. GalliardIV. SpiritosoCl=«435 M * 4 ^ r H * 0.. .y"f—T-f----m ------

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M i n C Majo vivace

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Symphony No, k in E Minor, Op. 98IV, Allegro energico e passionato J. Brahms

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Symphony No. i in G Minor, Op. 68 X. Allegro

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CHAPTER EIGHT Study and excerpts in sevenths

StudyJ. =86

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a n i t _ j L "nrmm<nmr~z.

Symphony No. 1 in C Minor, Op. 68H . Andante sostenuto J. Brahms

m - r rifi

Symphony No. k in E Minor, Op. 98 I. Allegro non troppoU = m

J. Brahms

k m w »y yM i I

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A Midsummer Night’s Dream, Incidental Music, Op. 61 P. Mendelssohn No. 5. Allegro appassionato

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75

Symphony No. 6 in F Major, Op, 68 "Pastorale” I. Allegro ma non troppo[J = l oSl

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I * ^ 3 It..__

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Tempo It sostenuto

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CHAPTER NINE Study and excerpts in octaves

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BIBLIOGRAPHY

BooksAdler, Samuel. Sight Singing. New York: W.W, Norton <Ss Company, Inc.,

1979.Apel, Willi. Harvard Dictionary of Music, 2nd ed., s.v. "clef".

Cambridge, Mass.: Belknap Press of Harvard University Press,1969.

Collins, Thomas C,, ed. Music Education Materials. Washington, D.C.: Music Educators National Conference, 1968.

Gillette, John C. "An Annotated Bibliography of Works for Unaccom­panied Bassoon." D. Mus, dissertation, Indiana University, 1977.

Houser, Steven D, "A Comparative Study of Selected Approaches to Tenor Clef in Bassoon Instruction." M.A. thesis, The Ohio State University, 1975*

Langwill, Lyndesay G. The Bassoon and Contrabassoon. New York:W.W. Norton & Company, Inc., 1965.

Lemoine, Henry, and Gustave Carulli. Des Solfeges. Paris: HenryLemoine & Cie, 19 9.

Merriman, Lyle C. Woodwind Research Guide. Evanston, 111.: TheInstrumentalist Co., 1978.

Rasmussen, Mary and Donald Mattran. A Teacher *s Guide to the Litera­ture of Woodwind Instruments. Durham, N.H.: Brass and Wood-wind Quarterly, 1966.

Sawhill, Clarence, and Bertram McGarrity. Playing and Teaching Wood-wind Instruments. Englewood Cliffs, N.J.: Prentice-Hall, Inc.,1962.

Spencer, William The Art of Bassoon Playing, rev. ed. Edited by Frederick A. Mueller, Evanston: Summy-Birchard Co., 19&9.

Voxman, Himie, and Lyle Merriman, compilers. Woodwind Solo and StudyMaterial Music Guide. Evanston, 111.1 The Instrumentalist Co.,1975.

Westphal, Frederick W. Guide to Teaching Woodwinds. Dubuque: Wm. C,3rown Company Publishers, 1962.

Wilkins, Wayne, ed. The Index of Bassoon Music. Magnolia, Ark,: TheMusic Register, 1976.

82

83

Instruction BooksBlazhevich, V, Studies in Clefs# ed. Allen Ostrander. New York:

International Music Corp., 1957.Pink, Reginald H. Introducing the Tenor Clef. Athens, Ohio: Accura

Music, 1968.Hilton, Lewis B. From Bass to Tenor Clef for the Bassoon. Macomb, 111.:

Roger Dean Publishing Company, 1977,Oubradous, Fernand. Enseignement Complet du Bassoon, ler cahier,

Baris: Leduc, 193®.Voxman, Himie, and William Gower, Advanced Method for the Bassoon, vol. I.

Miami, Fla,: Rubank, Inc., 19 2.Weissenbom, Julius, Practical Method for the Bassoon, rev. ed.

Edited by W.F. Ambrosio. Boston: Carl Fischer, Inc,, 19 1.MusicBach, Johann Sebastian. 371 Four-Part Chorales. Wiesbaden: Breitkopf &

Hetrtel, n.d., reprint ed., New York: Associated Music Publishers,Inc., n.d.

Bartok, Bela, Concerto for Orchestra. London: Hawkes and Son, Ltd,,

Beethoven, Ludwig van, Werke. Band 11, Serie 10, No. 7 * ^uintett.Op. 16. Leipzig: Breitkopf and HSrtel, 1862-1888,

_______ . First, Second, and Third Symphonies. London: Ernst Eulen-berg, Ltd., n.d., reprint ed., New York: Dover Publications,Inc., 1976.

_______ . Fourth and Fifth Symphonies. London: Ernst Eulenberg, Ltd.,n.d., reprint ed., New York: Dover Publications, Inc., 1976.

_______ . Sixth and Seventh Symphonies. London: Ernst Eulenberg, Ltd.,n.d., reprint ed., New York: Dover Publications, Inc,, 1976.

_______ . Eighth and Ninth Symphonies. London: Ernst Eulenberg, Ltd,,n d. , reprint ed., New York: Dover Publications, Inc,, 1976.

Boni, Margaret Bradford, ed. Fireside Book of Folksongs. New York:Simon and Schuster, Inc., 19 7.

Book of Praise: Anglo-Genevan Psalter, 1st complete ed, Burlington,Ontario: Committee for the Publication of the Anglo-GenevanPsalter, 1972,

m

Brahms, Johannes. Samliche Werke; Ausgabe der Gesellschaft der Musik- freunde in Wien, vols. 1, 2s Symphonlen fllr Orchester.Leipzig! Breitkopf & H&rtel, n.d,, reprint ed., New York:Dover Publications, Inc , 1974■

Variations on a Theme of Haydn, Opp. 56A and 56B. edited byDonald M. McGorkle. New Yorks W.W. Norton & Company, Inc.,1976.

Coleman, Satis N,, and Adolph Bregman, Songs of American Folks.The John Day Company, Inc., 1942, reprint ed., Granger Index Reprint Series, Freeport, N.Y.s Books for Libraries Press, 1968.

Copland, Aaron. Appalachian Spring, Suite for Orchestra. Londons Boosey and Hawkes, 1944.

Debussy, Claude. Trois Nocturnes. Londons Edition Eulenberg, Ltd., n.d,Donizetti, Gaetano. L'Elisir d*Amore. New Yorks Edwin F. Kalmus, 1968.Galliard, John Ernest, Six Sonatas, edited by Karl Heinz Fuessl and

Arthur Weisberg. New Yorks International Music Company, 1963.Hummel, Johann Nepomuk. Grand Concerto for Bassoon and Orchestra,

edited by Ronald Tyree. London; Musica Rara, 1971.Jacob, Gordon. Concerto for Bassoon and Strings. London; Joseph

Williams, Limited, 1948,Mendelssohn, Felix. Werke. Leipzig; Breitkopf & H£trtel, 1874-1877,

reprint ed., Major Orchestral Works. New Yorks Dover Pub­lications, Inc., 1975.

Mozart, Wolfgang Amadeus Konzert filr Fagott und Orchester, K. 191, edited by H, Kling, Wiesbaden; Breitkopf & Hclrtel, n.d.

_______ . The Marriage of Figaro, K. 492. New Yorks Edwin F. Kalmus,n.d.

_______ , Werke, Serie 9 No. 14; Serenade No. 12, KV, 388. Leipzig;Breitkopf & HStrtel, 1880-1882.

_______ . Werke, Serie 8, vol. III. Symphonlen. Leipzig; Breitkopf& HStrtel, 1880-1882, reprint ed., Later Symphonies. New York; Dover Publications, Inc., 1974.

Prokofieff, Sergei, Plano Concerto No. 3 in C Ma.jor, Op. 26. New York; Edwin F. Kalmus, n.d.

Respighi, Ottorino The Fountains of Rome. Milan: G. Ricordi e C., 1918.Rossini, Gioacchino. The Barber of Seville. New York; C.F. Peters, 1932.

85

_______ Eight Overtures. New Yorks Edwin F. Kalmus, n.d.Schubert, Franz. Mass in E-Flat Major. New Yorks Edwin F. Kalmus, n.d, . Symphony No. 8 in B Minor. Op. 90, London: Ernst Eulenberg,

Ltd,, n.d,Shostakovich, Dimitri. Symphony No 7. Op. 60. New Yorks Edwin F,

Kalmus, n.d.Stevens, Halsey. Three Pieces for Bassoon and Piano. New York: G.F.

Peters Corporation, 1958,Stravinsky, Igor. Firebird Suite, reorchestration of 193-9. New York:

Edwin F. Kalmus, n.d.Tchaikovsky, Peter Ilyich, Symphonies Nos. 4t 5, 6. New Yorks Edwin

F. Kalmus, n.d,Verdi, Giuseppi. Messa di Requiem. New York: Edwin F. Kalmus, n.d.Villa-Lobos, Heitor. Ciranda das Sete Notas. New York: Southern

Music Publishing Co., Inc., 1961.Wagner, Richard, The Flying Dutchman. New York: Edwin F. Kalmus, n.d. _______. Siegfried. New York: Edwin F. Kalmus, n.d.Weber, Carl Maria von. Concerto, Op. 75» rev. ed. Edited by Sol

Schoenbach. Boston: Cundy-Bettony Co., Inc,, 19 9._______ , Der FreischUtz Overture, Op. 77. New York: Edwin F, Kalmus,

n.d,_______ . Hungarian Fantasy. Boston: Cundy-Bettony Co., Inc., n.d.

VITA

John Alfred Bivins was bom April 18, 1952 in New Brunswick, New Jersey, the son of Dr. and Mrs. James A, Bivins. He graduated from Bowdon High School, Bowdon, Georgia, in 1970. He attended Auburn University, Auburn, Alabama, where, in 1974, he received the Bachelor of Music degree cum laude in bassoon. He was named the President's Award winner for the School of Architecture and Fine Arts, and the recipient of the Blanca Renard Memorial Scholar­ship as the outstanding music student of that year. He earned the Master of Music degree in piano in 1975.

Following a year's teaching appointment at Auburn University, Mr. Bivins attended Louisiana State University, Baton Rouge, Louisiana, where he earned the Doctor of Musical Arts degree in bassoon in 1980.

Since 1978 Mr. Bivins has been Assistant Professor of Music at Columbus College, Columbus, Georgia, He performs as principal bassoonist in the Columbus Symphony Orchestra, and in the Columbus College Woodwind Quintet, and in the chamber music ensemble, Winds and Ivories.

Mr Bivins is married to the former Cynthia Ann Hinton.They have two sons, Jeff and Henry.

86

EXAMINATION AND THESIS REPORT

Candidate: John A. B iv in s

Major Field: Performance - Bassoon

Title of Thesis: A T e n o r-C le f Reader fo r th e Bassoon

Approved:

r 7Major Professor and Chairman

Dean of the Graduate School

E XA M IN IN G COM M ITTEE:

Date of Examination:

f - 2- - Cp 0