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Michael Burns

University of North Carolina at Greensboro, Music Performance, Faculty Member

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Bassoon Professor, School of Music, Theatre and Dance, University of NC at Greensboro
Yamaha Performing Artist
Archivist, International Double Reed Society
Principal Bassoon Asheville Symphony
Principal Bassoon NC Opera
Principal Bassoon Orchestra Pro Cantores
Bassoon Forecast Music
Bassoon Blue Mountain Ensemble
www.michaelburnsbassoon.com
Phone: 3363345970

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University of California, Los Angeles

University of Music and Performing Arts Graz (Austria)

Hochschule für Musik Hanns Eisler

Katherine Butler Schofield

King's College London

Konstantinos Kardamis

Ionian University

Gareth Dylan D Smith

Boston University

Ruben López-Cano

Escola Superior de Música de Catalunya

Columbia University

Norwegian University of Science and Technology

Armando Marques-Guedes

UNL - New University of Lisbon

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Papers by Michael Burns

Some Thoughts on Practicing

Every Musician is told at some point that they need to practice. This advice may come from a teac... more Every Musician is told at some point that they need to practice. This advice may come from a teacher, band director, conductor, section leader, or from numerous other sources but how often are they told what to practice, and more importantly how to practice? In this article I would like to outline some hints and suggestions concerning the practice process.

The Benefits of Wind Quintet

This article is intended to encourage band directors to organize their talented woodwind and bras... more

Teaching Woodwinds: A Method and Resource Handbook for Music Educators

Michael Burns, bassoon

Regions of the Bassoon Reed Blade

The Bassoon Reed Manual: Lou Skinner's Theories and Techniques (review)

Notes, 2002

of the strengths of the book is its dependence upon primary source materials, carefully documente... more of the strengths of the book is its dependence upon primary source materials, carefully documented, as the basis for constructing the history. I found the lack of footnotes disconcerting at first, but gradually came to accept Logan’s decision to place attribution information in the text itself or in an appendix. The readability is definitely enhanced by this approach and it is possible, though not necessarily easy, to identify the sources of quotations or to establish authority for questionable statements. As someone who spent over twenty years associated with the Indiana University School of Music, I found the book to be fascinating reading and believe Logan accomplished what he set out to do: explore the administrative decisions that led to the development of the school as it exists today. In many ways, he succeeds in capturing the essence of the institution, with its foibles and failures as well as its many triumphs, without deviating from an objective, dignified prose style that shows respect for the many individuals who contributed to the history. I would recommend the book highly for anyone interested in higher education in music in the United States.

Some Typical Bassoon Problems, Their Possible Explanations, and Solutions

Made available courtesy of Yamaha Corporation of America: http://www.yamaha.com/ *** Note: Figure... more Made available courtesy of Yamaha Corporation of America: http://www.yamaha.com/ *** Note: Figures may be missing from this format of the document Article: Response Problems These can especially happen in a performance situation where the player is usually somewhat nervous and tension leads to a tightening up of the throat, jaw and lips. Low Notes A lack of response in the low register is most often caused by not having the lower jaw lowered enough. Other possible causes are: a reed that is too closed or too resistant, leaks in the instrument the player not totally covering the tone holes, or the keys not being sufficiently depressed.

Relative Thicknesses of the Bassoon Blade

How to choose a Double Reed Player

Bassoon Pedagogy: A Panel Discussion at the 2003 IDRS Conference

The IDRS 2003 Conference in Greensboro North Carolina had a theme of "pedagogy revisited" and one... more The IDRS 2003 Conference in Greensboro North Carolina had a theme of "pedagogy revisited" and one of the events consisted of a Bassoon Pedagogy Round Table in which several distinguished international panellists were asked to discuss aspects of bassoon pedagogy in front of an audience. Prior to the conference. each panellist was sent a list of questions to answer by the moderator and co-host of IDRS 2003. Michael Burns, The following are the answers to those questions sent in advance and dispersed at the round-table as a handout. Burns then asked each of the panelists to illuminate their answers more in person which led to some wonderful additional inter-:haw amongst these bassoonists as well as question and answer sessions with the audience. I would like to once again thank my colleagues for their expertise and willingness to share their ideas.

Side Views of Some Possible Reed Profiles

Parabola is my goal. It allows for the back of the blade to be thinner to aid response, while jus... more

Some Thoughts on Reedmaking

• Follow the Grain! • You can take cane off, but you can't put it back on! • "The Enemy of Good i... more • Follow the Grain! • You can take cane off, but you can't put it back on! • "The Enemy of Good is Better"-don't try and tweak an adequate reed. It is WAY too easy to do too much and ruin it. • Patience is definitely a virtue-take your time with adjusting reeds. Don't try to do too much at any one time on a reed. They need time to adjust to the changes that you have made and settle in. • We all learn by trial and error. Learn from your mistakes as well as from your successes. The more reeds you make, the more you will learn. • Balance is all-important! But, there are several types of balance, e.g.: Symmetrical-one blade vs. the other at the same point Symmetrical-one side of the spine to the other on the same blade Asymmetrical-relative thickness of the front vs. the back of the reed Asymmetrical-relative thickness of the spine to the rails • A good reed is (usually) a compromise. In order to have reeds that respond in all registers, loud and soft, short and long, tongued and slurred, with a good sound and stable pitch they may not be excellent in ANY of these areas. It is possible to make specialized reeds that, for example, tongue particularly well, or are fantastic in the high register but they may not perform all other duties satisfactorily.

Strategies for Teaching the Bassoon Embouchure

Reedmaking Notes: A Step-by Step Description of the Construction of the Reed

Music Written for Bassoon by Bassoonists: An Overview

In his article on the bassoon in the New Grove Dictionary of Music and Musicians, William Waterho... more In his article on the bassoon in the New Grove Dictionary of Music and Musicians, William Waterhouse, the prominent British bassoonist and scholar, lists some of the earliest known works written for bassoon 1. Several pieces are listed that feature it either as part of an ensemble or in combination with one or two other solo instruments. It is worth noting that the first known composition for the bassoon alone is by a bassoonist, Fantasia per fagotto solo, a set of variations, appears in a collection written by Bertoloméo de Selma y Salaverde, a seventeenth century Spanish monk, bassoonist, and composer who published the Libro de Canzoni, Fantasia e Correnti in Venice in 1638 2. This work is also notable in that it descends down to a low Bb (Bbl), a note which was not believed to be possible on the instruments of that time, leading to speculation that perhaps he was already using a four-keyed bassoon 3. A dedicatory sonnet accompanying the Libro de Canzoni, Fantasie e Correnti praises Selma y Salaverde for his skill on the bassoon 4. Bertoloméo was bassoonist to the Archduke Leopold of Austria and the florid variations indicate a high technical proficiency'. 5 FAMOUS BASSOONIST COMPOSERS OF THE PAST Janis Fletcher. in her book The Paris Conservatoire and the Contest Solos for Bassoon, talks of the number of compositions written by the professors of bassoon at the Conservatoire. She says that "with few exceptions. . the bassoon professors were obviously expected to compose competition solos as well as teach and perform." 19 Thirteen professors at the Conservatoire composed for the bassoon and are discussed below along with a partial listing of their works for bassoon. Also, chapters 38 through 40 of Will Jansen's book The Bassoon, Its History, Construction, Makers, Players and Music contain a "Biography of bassoon players of the past" and give several examples of bassoonists who performed their own compositions with reviews from AMZ quoted and translated 20 , From these, and other sources an impressive listing of prominent bassoonist composers appears. This chapter focuses on those that are most well-known as bassoonists and composers. along with some others that are less well-known today but have contemporary reviews addressing their fame at the time and the performance of their own bassoon works. The following is a chronological listing by birth year of bassoonist composers: Bertoloméo de Selma y Salaverde, and Giovanni Antonio Bertoli (1605-I669) are mentioned previously in this chapter. They published the first known solo work for bassoon, and the first set of solo sonatas for bassoon respectively. Girolamo Besozzi (1704-1778) was "undoubted[ly] Italy's most celebrated bassoonist of the past." He "came from a family of renowned woodwind players," and taught amongst others. Felix Reiner. 21 He wrote several sonatas and other woodwind pieces jointly with his brother Alessandro, a famous clarinetist, including a Sonata in Bb major for bassoon and piano, and a set of Duos for oboe and bassoon. Felix Rheiner [Reiner] (1732-1782) was a famous German virtuoso who "made several concert tours through France and England." 22 His father was a bassoonist in the Prince Bishop's Bodyguard Oboe Corps in Eichstätt. and was Felix's first teacher of bassoon and the fundamentals of music 23. In 1750 he joined the music corps of a Bavarian Infantry regiment in Munich lead by Duke Clemens. The Duke sponsored Felix and his wife to take a trip to Italy, where he was able to study with Girolamo Besozzi. 24 He appears in two portraits, one of which is depicted in both the New Grove Dictionary and MGG articles on the bassoon, and in Jansen. Fétis said ''he was considered as the most talented artist of his time on the bassoon." 25 He performed as a soloist at the Concerts Spirituel playing his own Concerto on the 28th and 31st of March, 1763. 26 Georg Wenzel Ritter (1748-1808) ''was a very famous solo performer, making many concert tours." 27 Hodges calls him "the greatest bassoon teacher of the eighteenth century, and the virtuoso for whom Mozart wrote the bassoon part in his Sinfonia Concertante in Eb, K. 297b". 28 In a letter to his father written the third of December 1777, Mozart refers to ''Herr Ritter, a fine bassoon-player. ." who was going to Paris. While there he performed several times with success at the Concerts Spirituel, playing his own Concerto on December 25th. l777 29. Ritter's students included Etienne Ozi, Georg Friedrich Brandt, Carl Bärmann, Christoph Gottlob Schwarz, and many other virtuosos and fine players. 30 François Simonet played both bassoon and horn. He taught at the Paris Conservatoire only from 1793 until 1798. 31 He wrote several works, including 6 Duets for Two Bassoons, op. 1 (1791), and 3 Trios for Clarinet, Bassoon, and Horn (1791). Jean Pierre Toulon (1749-1799) taught at the Paris Conservatoire from 1793 until 1799. His works include Six Duets, Twelve Airs Varies, and a bassoon solo. Etienne Ozi (1759-1813) taught at the Paris Conservatoire from 1793 until 1813. He "enjoyed a national reputation as a bassoon virtuoso." 32 Hodges quotes Fétis as saying that Ozi may be "considered as the finest artist who has perfected this instrument in France." 33 Ozi wrote several works for bassoon including: 8 Concertos for bassoon and orchestra; several sonatas; 3 Symphonies Concertantes for clarinet and bassoon; and ''one of the first ... comprehensive tutors] for the bassoon" the Méthode de basson,.. avec des airs et des duos (1788) 34. He re-edited this work to become the Méthode nouvelle el raisonnée pour le basson. In the AMZ of April 1804, a reviewer wrote the following brief I, but very complimentary statement about Ozi's performance of one of his own Concertos: He plays in such a way that one wishes, every tenor voice would sing like his bassoon.'' 35 The 'July 1816 AMZ reviewing a performance by a bassoonist named Pons of one of Ozi's bassoon Concertos considered the Concerto to be "one of the best written for bassoon." 36

Music Written for Bassoon by Bassoonists: An Overview

Some Thoughts on Bassoon Vibrato

Strategies For Teaching the Bassoon Embouchure By MICHAEL BURNS

The Contrabassoon as Pedagogical Tool

Response Issues on the Bassoon: Cracking Low Notes, Cracking High Notes, Bocal Flex-Voicing-Foghorn Effect

Some Thoughts on Practicing

Every Musician is told at some point that they need to practice. This advice may come from a teac... more Every Musician is told at some point that they need to practice. This advice may come from a teacher, band director, conductor, section leader, or from numerous other sources but how often are they told what to practice, and more importantly how to practice? In this article I would like to outline some hints and suggestions concerning the practice process.

The Benefits of Wind Quintet

This article is intended to encourage band directors to organize their talented woodwind and bras... more

Teaching Woodwinds: A Method and Resource Handbook for Music Educators

Michael Burns, bassoon

Regions of the Bassoon Reed Blade

The Bassoon Reed Manual: Lou Skinner's Theories and Techniques (review)

Notes, 2002

of the strengths of the book is its dependence upon primary source materials, carefully documente... more of the strengths of the book is its dependence upon primary source materials, carefully documented, as the basis for constructing the history. I found the lack of footnotes disconcerting at first, but gradually came to accept Logan’s decision to place attribution information in the text itself or in an appendix. The readability is definitely enhanced by this approach and it is possible, though not necessarily easy, to identify the sources of quotations or to establish authority for questionable statements. As someone who spent over twenty years associated with the Indiana University School of Music, I found the book to be fascinating reading and believe Logan accomplished what he set out to do: explore the administrative decisions that led to the development of the school as it exists today. In many ways, he succeeds in capturing the essence of the institution, with its foibles and failures as well as its many triumphs, without deviating from an objective, dignified prose style that shows respect for the many individuals who contributed to the history. I would recommend the book highly for anyone interested in higher education in music in the United States.

Some Typical Bassoon Problems, Their Possible Explanations, and Solutions

Made available courtesy of Yamaha Corporation of America: http://www.yamaha.com/ *** Note: Figure... more Made available courtesy of Yamaha Corporation of America: http://www.yamaha.com/ *** Note: Figures may be missing from this format of the document Article: Response Problems These can especially happen in a performance situation where the player is usually somewhat nervous and tension leads to a tightening up of the throat, jaw and lips. Low Notes A lack of response in the low register is most often caused by not having the lower jaw lowered enough. Other possible causes are: a reed that is too closed or too resistant, leaks in the instrument the player not totally covering the tone holes, or the keys not being sufficiently depressed.

Relative Thicknesses of the Bassoon Blade

How to choose a Double Reed Player

Bassoon Pedagogy: A Panel Discussion at the 2003 IDRS Conference

The IDRS 2003 Conference in Greensboro North Carolina had a theme of "pedagogy revisited" and one... more The IDRS 2003 Conference in Greensboro North Carolina had a theme of "pedagogy revisited" and one of the events consisted of a Bassoon Pedagogy Round Table in which several distinguished international panellists were asked to discuss aspects of bassoon pedagogy in front of an audience. Prior to the conference. each panellist was sent a list of questions to answer by the moderator and co-host of IDRS 2003. Michael Burns, The following are the answers to those questions sent in advance and dispersed at the round-table as a handout. Burns then asked each of the panelists to illuminate their answers more in person which led to some wonderful additional inter-:haw amongst these bassoonists as well as question and answer sessions with the audience. I would like to once again thank my colleagues for their expertise and willingness to share their ideas.

Side Views of Some Possible Reed Profiles

Parabola is my goal. It allows for the back of the blade to be thinner to aid response, while jus... more

Some Thoughts on Reedmaking

• Follow the Grain! • You can take cane off, but you can't put it back on! • "The Enemy of Good i... more • Follow the Grain! • You can take cane off, but you can't put it back on! • "The Enemy of Good is Better"-don't try and tweak an adequate reed. It is WAY too easy to do too much and ruin it. • Patience is definitely a virtue-take your time with adjusting reeds. Don't try to do too much at any one time on a reed. They need time to adjust to the changes that you have made and settle in. • We all learn by trial and error. Learn from your mistakes as well as from your successes. The more reeds you make, the more you will learn. • Balance is all-important! But, there are several types of balance, e.g.: Symmetrical-one blade vs. the other at the same point Symmetrical-one side of the spine to the other on the same blade Asymmetrical-relative thickness of the front vs. the back of the reed Asymmetrical-relative thickness of the spine to the rails • A good reed is (usually) a compromise. In order to have reeds that respond in all registers, loud and soft, short and long, tongued and slurred, with a good sound and stable pitch they may not be excellent in ANY of these areas. It is possible to make specialized reeds that, for example, tongue particularly well, or are fantastic in the high register but they may not perform all other duties satisfactorily.

Strategies for Teaching the Bassoon Embouchure

Reedmaking Notes: A Step-by Step Description of the Construction of the Reed

Music Written for Bassoon by Bassoonists: An Overview

In his article on the bassoon in the New Grove Dictionary of Music and Musicians, William Waterho... more In his article on the bassoon in the New Grove Dictionary of Music and Musicians, William Waterhouse, the prominent British bassoonist and scholar, lists some of the earliest known works written for bassoon 1. Several pieces are listed that feature it either as part of an ensemble or in combination with one or two other solo instruments. It is worth noting that the first known composition for the bassoon alone is by a bassoonist, Fantasia per fagotto solo, a set of variations, appears in a collection written by Bertoloméo de Selma y Salaverde, a seventeenth century Spanish monk, bassoonist, and composer who published the Libro de Canzoni, Fantasia e Correnti in Venice in 1638 2. This work is also notable in that it descends down to a low Bb (Bbl), a note which was not believed to be possible on the instruments of that time, leading to speculation that perhaps he was already using a four-keyed bassoon 3. A dedicatory sonnet accompanying the Libro de Canzoni, Fantasie e Correnti praises Selma y Salaverde for his skill on the bassoon 4. Bertoloméo was bassoonist to the Archduke Leopold of Austria and the florid variations indicate a high technical proficiency'. 5 FAMOUS BASSOONIST COMPOSERS OF THE PAST Janis Fletcher. in her book The Paris Conservatoire and the Contest Solos for Bassoon, talks of the number of compositions written by the professors of bassoon at the Conservatoire. She says that "with few exceptions. . the bassoon professors were obviously expected to compose competition solos as well as teach and perform." 19 Thirteen professors at the Conservatoire composed for the bassoon and are discussed below along with a partial listing of their works for bassoon. Also, chapters 38 through 40 of Will Jansen's book The Bassoon, Its History, Construction, Makers, Players and Music contain a "Biography of bassoon players of the past" and give several examples of bassoonists who performed their own compositions with reviews from AMZ quoted and translated 20 , From these, and other sources an impressive listing of prominent bassoonist composers appears. This chapter focuses on those that are most well-known as bassoonists and composers. along with some others that are less well-known today but have contemporary reviews addressing their fame at the time and the performance of their own bassoon works. The following is a chronological listing by birth year of bassoonist composers: Bertoloméo de Selma y Salaverde, and Giovanni Antonio Bertoli (1605-I669) are mentioned previously in this chapter. They published the first known solo work for bassoon, and the first set of solo sonatas for bassoon respectively. Girolamo Besozzi (1704-1778) was "undoubted[ly] Italy's most celebrated bassoonist of the past." He "came from a family of renowned woodwind players," and taught amongst others. Felix Reiner. 21 He wrote several sonatas and other woodwind pieces jointly with his brother Alessandro, a famous clarinetist, including a Sonata in Bb major for bassoon and piano, and a set of Duos for oboe and bassoon. Felix Rheiner [Reiner] (1732-1782) was a famous German virtuoso who "made several concert tours through France and England." 22 His father was a bassoonist in the Prince Bishop's Bodyguard Oboe Corps in Eichstätt. and was Felix's first teacher of bassoon and the fundamentals of music 23. In 1750 he joined the music corps of a Bavarian Infantry regiment in Munich lead by Duke Clemens. The Duke sponsored Felix and his wife to take a trip to Italy, where he was able to study with Girolamo Besozzi. 24 He appears in two portraits, one of which is depicted in both the New Grove Dictionary and MGG articles on the bassoon, and in Jansen. Fétis said ''he was considered as the most talented artist of his time on the bassoon." 25 He performed as a soloist at the Concerts Spirituel playing his own Concerto on the 28th and 31st of March, 1763. 26 Georg Wenzel Ritter (1748-1808) ''was a very famous solo performer, making many concert tours." 27 Hodges calls him "the greatest bassoon teacher of the eighteenth century, and the virtuoso for whom Mozart wrote the bassoon part in his Sinfonia Concertante in Eb, K. 297b". 28 In a letter to his father written the third of December 1777, Mozart refers to ''Herr Ritter, a fine bassoon-player. ." who was going to Paris. While there he performed several times with success at the Concerts Spirituel, playing his own Concerto on December 25th. l777 29. Ritter's students included Etienne Ozi, Georg Friedrich Brandt, Carl Bärmann, Christoph Gottlob Schwarz, and many other virtuosos and fine players. 30 François Simonet played both bassoon and horn. He taught at the Paris Conservatoire only from 1793 until 1798. 31 He wrote several works, including 6 Duets for Two Bassoons, op. 1 (1791), and 3 Trios for Clarinet, Bassoon, and Horn (1791). Jean Pierre Toulon (1749-1799) taught at the Paris Conservatoire from 1793 until 1799. His works include Six Duets, Twelve Airs Varies, and a bassoon solo. Etienne Ozi (1759-1813) taught at the Paris Conservatoire from 1793 until 1813. He "enjoyed a national reputation as a bassoon virtuoso." 32 Hodges quotes Fétis as saying that Ozi may be "considered as the finest artist who has perfected this instrument in France." 33 Ozi wrote several works for bassoon including: 8 Concertos for bassoon and orchestra; several sonatas; 3 Symphonies Concertantes for clarinet and bassoon; and ''one of the first ... comprehensive tutors] for the bassoon" the Méthode de basson,.. avec des airs et des duos (1788) 34. He re-edited this work to become the Méthode nouvelle el raisonnée pour le basson. In the AMZ of April 1804, a reviewer wrote the following brief I, but very complimentary statement about Ozi's performance of one of his own Concertos: He plays in such a way that one wishes, every tenor voice would sing like his bassoon.'' 35 The 'July 1816 AMZ reviewing a performance by a bassoonist named Pons of one of Ozi's bassoon Concertos considered the Concerto to be "one of the best written for bassoon." 36

Music Written for Bassoon by Bassoonists: An Overview

Some Thoughts on Bassoon Vibrato

Strategies For Teaching the Bassoon Embouchure By MICHAEL BURNS

The Contrabassoon as Pedagogical Tool

Response Issues on the Bassoon: Cracking Low Notes, Cracking High Notes, Bocal Flex-Voicing-Foghorn Effect