. Orchestration . KWil* I pizz. J)div. mm ffct pizz. 3t± 3± p& m i± f^F* m m ^ 3± gg m 3± *t*r n ^ s i ±± ggg 22 gg gH m mm $± pEE m ±± ggE The most telling examples of the bottom notes of the Bassoon areperhaps to be found on the first page of the Pathetic Symphony andin the Adagio near the beginning of the last Movement. In thelatter of these two examples, both given below, the composer takesthe high Fjf, which is so striking a feature of the opening, andbrings it gradually down in the same tone-colour through two octavesand a fourth. The student should look carefully at the dynamicma
. Orchestration . KWil* I pizz. J)div. mm ffct pizz. 3t± 3± p& m i± f^F* m m ^ 3± gg m 3± *t*r n ^ s i ±± ggg 22 gg gH m mm $± pEE m ±± ggE The most telling examples of the bottom notes of the Bassoon areperhaps to be found on the first page of the Pathetic Symphony andin the Adagio near the beginning of the last Movement. In thelatter of these two examples, both given below, the composer takesthe high Fjf, which is so striking a feature of the opening, andbrings it gradually down in the same tone-colour through two octavesand a fourth. The student should look carefully at the dynamicmarks and differentiate in his mind those which apply only to theperformance of separate short phrases from those which are integralto the passage as a whole. This whole Symphony is a model in thenot unimportant art of phrasing, dynamic marks, balance of expression,and so on. EXAMPLE 156. Adagio Tschaikowsky. Pathetic Symphony. Bassoon. Violas. divisi. Double-Basses, divisi. (sounding an octave lower.). THE BASSOON 241 EXAMPLE 157. Tschaikowsky. Pathetic poco meno che prima. (J = 60.) 2 Bassoons
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