1. The tenth study by Weissenborn presents two specific challenges due to the dotted eighth and sixteenth notes. Many students perform the rhythm similar to a triplet rather than the correct sixteenth.

1. 维斯伯恩练习#10介绍了关于附点八分音符和十六分音符的两个具体的挑战。很多学生会吹成三连音的节奏而不是正确的十六分音符。

2. I recognize that historically these might have been performed as triplets. See my article “In Search of the Borrowed Triplet Upbeat,” The Double Reed 31/3 (2008): 95-102. However, for this study we will perform the rhythm as dotted eighths and sixteenths. Here is the example incorrectly performed as triplets:


Line 1

Example (line 1) played with triplets

3. If you err on the side of notes shorter than a sixteenth that is better than longer value notes. Study #36 presents similar rhythmic issues. Here is the example correctly performed with sixteenths:


Example with sixteenths

4. The second issue is that this rhythm often causes students to pulse or accent the longer notes, the dotted eighth note. Thus the shorter notes are less audible and in addition the smooth melodic line is interrupted.


Example poorly played

Example played correctly

5. There are two regions in the study that students often change the tempo. The second measure of the second line is often rushed. Also carefully work with the metronome in the passages with the sixteenth-note triplets in the last two lines.


Line 2

6. I try to phrase in four bar units in the first section. In the middle section up to the fourth line I use two bar phrases.


Line 1, phrasing

4 Measure Phrases

Line 4, two measure phrases

2 Measure Phrases


7.“Some simple techniques can decrease excessive pressure on wind instrumentalists’ hands and fingers.” (William J. Dawson, Fit as a Fiddle, p. 43).


8. I remember as a student and a young professional my reluctance to use a neck strap in addition to the seat strap support. I viewed it as a sign of weakness. An injury one day to my left shoulder, however, required me to use regularly another support for the bassoon. Immediately I notice not only relief to my left shoulder, but also less weight on my left hand. I could move my left fingerings better as well! After that time I never went back to only using the seat strap.


9. Tall people with long torsos will have more weight of the bassoon on their left hands than short people. While the neck strap was an improvement for me, it did, however, put additional pressure on my neck and back muscles. More recently I have been using the body harness instead of the neck strap. The body harness is great! I encourage you to consider using a body harness with a seat strap when playing the bassoon.