Daphnis Undaunted

Edmonton Symphony Principal Bassoonist Bianca Chambul takes on some of the most wicked passages in the orchestral repertoire.  Here is a deep dive with some ingenious fingerings…

Summertime is both a chance to take a long-awaited rest from the rigours of the past orchestral season and an opportunity to look ahead to the exhilarating and challenging repertoire in the coming year.  One of these exciting programmes in the Edmonton Symphony calendar features the second suite from Maurice Ravel’s Daphnis and Chloe, taking place from May 22 to May 24, 2026.  In preparation for this piece, I’d like to share a set of possible alternate fingerings and practice suggestions for the General Dance.  Here is a recording of Eugene Ormandy conducting the Philadelphia Orchestra, which begins at rehearsal number 193: https://www.youtube.com/watch?v=VRqPdsdZG4g.  I’ll be doing a deep dive on multiple passages from rehearsal 200 onward.  For this article, I’ll be focusing on the principal bassoon part.

While each of these passages may be played with more full fingerings than I am suggesting, I am considering a few factors:
a) looking at probability with the rest of the music I have to learn on the programme;
b) optimizing for speed, assuming that a conductor will take this on the faster side of things; or
c) maybe you are filling in for someone last minute and need to learn this as soon as possible.

A small note: unless otherwise indicated, the fingerings below are what I use consistently for four specific pitches throughout this part:

The fingering charts were created using Bret Pimentel’s Fingering Diagram Builder.  Black indicates toneholes or keys that are covered or pressed based on standard full fingerings, and red indicates keys that are added to what would otherwise be a full fingering.  Light grey indicates that a key may be added or a tonehole may be covered. Unless indicated with a coloured dot above a note in the part, full standard fingerings are used.

EXCERPT NO. 1

The first passage I’ll examine starts 1 measure before rehearsal 202 and ends on the downbeat of 2 measures after rehearsal 202.

Combining the suggested fingerings with solution #2 in the yellow box results in not having to lift up the resonance key for the entire passage.  That is my preferred choice, though with the understanding that B4 is already very sharp and the resonance key exacerbates this problem.  This is why I have suggested solution #1 in pink, which leaves off the resonance key on both B4 and F♯4, bringing down the pitch for both notes.  Slurring to F♯ without the resonance key may also be cleaner depending on your airstream-reed combination.

EXCERPT NO. 2

The second excerpt we’ll dive into begins 1 measure before rehearsal number 203 and ends on the downbeat 2 measures before rehearsal number 204.

The Bb4 in green box #1 is something that I received from Fraser Jackson during a Toronto Symphony Youth Orchestra bassoon sectional in the fall of 2008.  Brighter in colour, it handles loud passages well and consistently produces a clean attack.  In green box #2, sometimes lifting RH 1 can reduce the tendency to crack.  This was a very consistent solution in particular when I was playing on a Fox 222.

A second set of possible alternate fingerings is below.  Keep in mind that these can be mixed and matched.  This first set is what I find to be technically the easiest, but on my instrument (Puchner #7031) can sound like a bit of a glissando if my airstream is too fast.

The A in blue box #2 is not as sharp and unstable as blue box #1, though it is mechanically more awkward when followed by the G♯ fingering marked by the orange circle.  Note that the suggested F♯ fingering is quite flat.  The G♯-G♮-F♯ is mechanically the easiest with this set, but pitch of the F♯ will be make the distance between the F♯ and F♮ narrow.

The second spot in this excerpt involves the repeated measures starting at rehearsal number 203 with A3 and Db4.

When I played on wider reeds, I found that substituting the A flick key for A at the top of the staff when A was followed by any combination of B4, Bb4 or C4 was helpful since it reduced thumb movement in technical passages.  I have been finding that using this on the Herzberg shape makes the A a little too high and therefore causes the interval between A and Bb to be too narrow, but perhaps this may work on a different bassoon.  I recently switched from a 12xxx Heckel to an older Puchner (#7031) and, due to the smaller body of the instrument, sliding from the A flick key to Bb (I vent everything) has become easier.

For the Dbs, here are some solutions that do not use the left-hand C♯ key, which frees up the thumb to flick or vent the C.  Something to keep in mind is that I prefer to vent Bb, B, and C and flick A.

EXCERPT NO. 3

 Below is a somewhat exposed soli passage from rehearsal number 205 to 206 that can be heard faintly at the 2-minute mark in the Ormandy recording before the cellos join the bassoons at the pianissimo.

I received this G4 fingering from Judy LeClair during a pre-Juilliard audition lesson in September 2017.  She uses this in The Rite of Spring to slur down from the high D to the grace note G.  For better cleanliness in this passage, I have modified this fingering to include a double half-hole, pictured in red box #2.

The F♯ that follows this is the same one discussed in the second excerpt, but also modified to include a double-half hole in the right hand depending on which G fingering you prefer.  This F♯ is a standard fingering that replaces the F key with the Bb key and tends to be flatter.

While B4 can be played using the standard high B fingering with the RH Bb key, the fingering substituting the RH Bb key with the F♯ key shown in the box #2 is an option if you need something flatter.  Using the thumb F♯ key will automatically press down the F key (which I have intentionally left blank to indicate that you are not required to manually press it), keeping the pinkie free if you choose to play C♯ using the Ab key.

Two additional flatter high B fingerings that I received from Kevin Harris are shown in green boxes #2 and #3.  The second solution works well in the Ravel Piano Concerto high E solo and is one I use whenever I can in other passages.  The third solution substitutes the standard F key for the Ab key, allowing the pinkie not to slide if you choose to play the C♯ using the Ab key.

Note that all three flatter B4 fingerings work if C♯ is played without the Ab key.  Shifting to the pinkie F♯ in green solution box #2 will be too clumsy if the Ab key is pressed down.

EXCERPT NO. 4

While this passage from rehearsal number 208 to 209 can be played with full fingerings, here are some possible friendlier options:

Because of the long Db fingering I use (shown in pink box #1 and mentioned at the beginning of this article), also known as the “claw” by Benjamin Kamins, the Eb next to it is just a Db-Eb trill fingering that involves lifting LH 3.

There are multiple passages throughout the part where D4 is followed by E4 (see rehearsal 214 to 216 on page 9 of the IMSLP part here).  While I haven’t copied them all in this post, the solutions in dark blue and orange can be applied to these instances as well.  With that said, I would use the full fingering for the final E at the end of this measure.

The speed fingering for Ab4 in pink box #1 is something that I received from Michael Sweeney during a Toronto Symphony Youth Orchestra sectional in spring 2012 for the Infernal Dance in the Firebird Suite.  While the Ab can be played with the standard short fingering in pink box #2, using the F key may be helpful since it will be used for the G natural in the second beat.

EXCERPT NO. 5

D♯4 slurs more cleanly to G♯4 if the Eb resonance key is left down.  On Puchner 7031, I use the Eb resonance key on D♯ most of the time (see beginning of this article), whereas on Heckel 12929, I would only leave it down if it was preceded or followed by a note that required it in a fast passage.

EXCERPT NO. 6

The passage from one measure after rehearsal 216 to 218 is particularly gnarly.  I’ll break this up into two excerpts, starting from 1 measure after rehearsal 216 and stopping at rehearsal 217.

Below is a closer look at the opening measure of this excerpt:

Here is a closer look at the bar right after.  For the eight notes under the red bracket, see the above image for the suggested solutions.

Note that the G♯ in the same measure as the G♮ is missing a sharp.  It should be the same as the second bassoon part below it.  In the score, the principal flute, principal clarinet, bass clarinet, violins and celli are playing a concert G♯ there as well (see page 147 of the full score here).

Most of the time, unless I am slurring to a neighbouring note, I use the D key for high C as shown in purple box #1.  Adding the high D key in purple box #2 gives upward slurs to C greater security, but raises the pitch.  To compensate for this, adding LH 3 makes the high C fingering in purple box #3 quite flat but slurs well up to pitch with extra air pressure.  I use this in the Gb to high C in the opening of The Rite of Spring.

Shared earlier in this post, this fingering was provided by Fraser Jackson during a Toronto Symphony Youth Orchestra sectional in October 2008.  It works well for fortissimo passages.  I use the combination of any of the standard fingerings I shared at the beginning of the article for the final Bb.

When there is a slur to F4 that follows Bb4 in any of the combinations shown in the box with the dark blue circle, I often get a blip where the attack of the note tends to overblow to a higher partial.  Though this is mechanically awkward, adding the low D key shown in the box with the orange circle eliminates this effect.  Using Fraser’s fingering in the previous image eliminates the need to put down the low D key, which is why I prefer it in this context.

I recognize that there are players for whom this is not an issue.  It is possible that I may be using too fast of an air stream and too much of an E vowel.  I share this because it has occurred in other instances (namely, in measures 3 and 4 of Milde Scale Study No. 6 in F major) and these two options have been helpful in adding cleanliness passages that feature this interval.

The remainder of this passage begins 1 measure after rehearsal number 217 and ends at rehearsal number 218.

For the red brackets, see excerpt no. 3 (1 measure after rehearsal 216) for a previously covered solution to this same sequence of notes.

EXCERPT NO. 7

The final passage we’ll take a look at is from rehearsal number 220 to 3 measures before rehearsal number 221.

Here is a closer look at the first bar:

Note that the D♯ to G♯ downward slur fingering first mentioned after rehearsal 214 (excerpt no. 5) works just as well the opposite way here.  The G♯ fingering also makes for a good fortissimo.  I return to the standard full G♯ fingering at the end of the measure.

Note that the F♯s, Gs and G♯s can be swapped out interchangeably or mixed and matched in both solutions.  For intonation and strength reasons, my preferred G♯ is the one shown in the first set of fingerings.

For B4 in the box with the purple dot, it may be possible to either leave the high C key off completely or have the thumb lift off the key early to avoid having to slide down to the A and C♯ keys for the subsequent Bb4 fingering.

If anyone finds anything better than the possible solutions covered here, please let me know.  (Preferably sooner than May 22, 2026.  Really.)

Thumbless high G – keeping it simple…

Bolero is tricky enough.  Do you really need the thumb whisper key on high G?

Our standard fingering for high G calls for the whisper vent to be closed.  A deep dive into this issue reveals that it is often an unnecessary complication. 

Tenor G is typically played with the thumb whisper key.  Closing the bocal vent helps clean up a slight inharmonic in the attack and keeps the pitch down on a note which tends to be a bit sharp for many players.  Elsewhere we have addressed the complex bore resonances utilized in the third octave of the bassoon.  G4’s ancestry in the fundamental bottom register is a bit elusive, but it seems to operate like Eb4, E4, F4 and F#4 – all very sharp third harmonic bore resonances.  For example, tenor F operates as a half-step sharp 12th of low A – facilitated by opening up a big bore leak with the 2nd finger left hand.  High G likely operates with a similar bore length as low F, deconstructed by opening 2 tone holes on the boot joint and keeping the low G tone hole shut by engaging the right hand little finger.  Those substantial leaks in the down bore of the boot eliminate any chance of a low F surviving, and we don’t face quite the same attack problems that plague much of the tenor range bassoon. Younger players often have setups that lean toward sharpness, and the whisper key keeps that high G under control.  But experienced players often don’t need this crutch, often using the closed whisper vent mainly for cleaner attacks.

Experienced embouchures and well designed reeds will allow G4 to work successfully without the thumb.  And, as long as we are not articulating, the argument for its use for cleaner attacks is moot.  Which takes us to consider several key bassoon passages where use of the thumb is more trouble than its worth: Bolero and Sacre come to mind!!

Take a look at the first two measures of Bolero above.  Those first 3 high G’s [all 1/16th notes] do not need that overworked left thumb, though the longer G might still be more comfortable using it.  The accented G in the 7th measure of the solo needs it, but your thumb is already engaged for the Ab.  Now, take a look at another passage… you may recognize this….

Many bassoonists will choose to use the thumb whisper key on every G in the opening.  But using the thumb is even more counterproductive than in the opening measures of Bolero – and not just because it involves unnecessary physical work.  If you are paying attention to the intonation on B4, which is almost invariably a bit sharp, then your embouchure will already be compensating in the right position to cope with any sharpness presented on the thumbless G!  In fact, the only G that might benefit from the thumb is the grace note after the high D at the end of measure 2.  High D requires some work to be up to pitch and may compromise the thumbless G on the grace note.

So, let me suggest two practice methods to deal with the thumbless G4:

• Sustain long tones on high G while repeatedly removing and adding the whisper key.  There will be a change in pitch and tonal structure, but you can easily learn to make the embouchure adjustment required.

• Practice slurring high B down to G and back to B, over and over.  Correct for intonation!! There’s a very good chance that this fingering change will lead to an improvement in your pitch and resonance in this upper part of the third octave.

While we’re on the subject…..remember that the high C key is only necessary to begin the high B!  Once you have started the note you can remove the thumb, allowing the C vent to close. The pitch will hold just fine.

Christopher Millard is the former Principal Bassoon for Canada’s National Arts Centre Orchestra.

A great new technique resource!

Toronto bassoonist Kevin Harris has created a deep new resource for scale practice.  Practice materials are available for download on his Patreon page.

Accompanying tutorial videos are available on Patreon, but also on my Instagram and YouTube:

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My practice materials are free, but members have the option to support me financially. Eventually I will have exclusive content for monthly supporters, so I invite requests and suggestions from the online community! The excerpt provided here is from my first completed collection of scale exercises: Intervalic Major Scales for Bassoon. It’s a collection of progressive routines that I developed to help me achieve a daily practice of working through my scales in all intervals, and I’m currently working on adapting it for other woodwind instruments.  I hope Get More Good will inspire fellow musicians to work towards community oriented projects and to show off their skills!

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Conquering Chromatics

Chromatic Scales … The Final Frontier!

Here is a method for exploring this perennially weak aspect of bassoon technique.

True confession – I didn’t practice chromatic scales until my mid 30s.  I didn’t play a great chromatic scale for another decade, and then it only happened once.  It was rhythmically unassailable with perfect intonation and appropriately scaled in dynamics. It was a Tuesday in November.

By the mid 1980s, I had been playing principal bassoon in a good orchestra for a decade.  I could play all the Richard Strauss excerpts, I could handle Mozart 35 [well, kind of…], I could fake my way through Saint-Saens Organ Symphony and I even had several decent concerto performances under my belt.  You can fool some of the people some of the time, but I knew I was faking one big part of my technique.  When it came to a really good chromatic scale I remained an imposter.  Un poseur.

So I buckled down and started doing the work. Based on the many students that have since crossed my path, I assert that chromatic scales are the Achilles Tendon for modern bassoonists.  You might have a handle on Handel, find joy in Jolivet, or boast about your Bozza, but are you truly capable of playing chromatic scales?  Really?  Right up to the top range of the instrument?  If so, congratulations.  You’re one in a thousand.

If not, I want to offer a protocol for mastering chromatic scales that has worked for me and many of my students.

Let’s start with some basic arithmetic…You can divide the 12 notes of a chromatic scale into three groups of 4 or two groups of 6. So, unless you are writing compound meters and making people suffer, you’ll be working in 3/4 or 6/8 time.

If you play the 3/4 scale at 120mm and the 6/8 scale at 80mm the velocity of the sixteenth notes will remain constant.  But your internal pulse will change from 3 in a bar to 2 in a bar.  Notice that the primary beats in 3/4 will outline an augmented triad and the primary beats in 6/8 an augmented fourth.  Play this next exercise to get that concept into your ear…

When you play these two metres you will instinctively emphasize the quarter note pulse of the augmented triad or the dotted quarter of the augmented fourth. It’s okay to do this…it will anchor you in the work ahead.

Your next ascending passage will be in 3/4 beginning on E.  Complete the patterns until you arrive at the top note of the octave.  Remember, play up and down within the same octave starting on each note.  Repeat three times for maximum benefit.

Even though you are playing the same notes within the same octave at consistent velocity, the displacement of starting point and the alternating metric division will reveal previously unobserved weaknesses in your technique.  It’s surprising that our chromatic technique is so easily unbalanced by these changes in rhythmic or metric contexts. This phenomenon becomes increasingly obvious as you move the exercise into more challenging ranges.  Unshackling your scale habits from unchanging meters and fixed starting points is the point of all this.  Many of you will find it unnatural to begin any major or minor scales on any notes but the tonic, which is why modal forms of practice are so essential.  Great chromatic technique flows from this ability to start and end from any point.  Every note becomes an equal participant in your technique.

Here is where some self-discipline begins.  You need to try this exercise utilizing complete octaves throughout the entire range of the bassoon.  Spend some time with this rather humbling venture before you move on to the real work…

A set of notes could include anything grouped together in a musical passage.
Here, the elements of our sets will be adjacent notes within a chromatic passages.

We can organize portions of a chromatic scale into sets going forward and backward.  These might include 12 more notes as shown above, with differing starting points and sometimes different metric organization.  These might also include sets of just 2 or 3 notes.  When you practice any chromatic scale, especially from C4 and above, you will immediately find that the complex third register fingerings produce uneven rhythmic outcomes. The art is in recognizing and prioritizing the problem.  It’s a basic principle of all practice that we efficiently identify a weak links, isolate the two or three notes causing the problem, then start adding adjacent notes before and after.  The rule we apply here is that while sets can move forward or backward, they must remain sequential half steps apart. It is the intervals themselves we focus on – the moment in time between two notes, the clarity of the finger motion and the appropriate delivery of air and embouchure adjustments to create the most seamless – and vocal – connections.

The last eight measures in the exercise above are written in 6/8.  Try playing this pattern in 3/8.  You may notice a difference!

Try applying this alternating 6/8 to 3/8 division over any four note set.  It ought to make no difference, right? But it does! Just as starting a practice set on a different note reveals unexpected technical glitches, playing in a different meter will frequently result in bumpier technical outcomes.  Even after 50 years of practising and teaching it continues to amaze me how context affects fluid executions.  More about this below…

Let’s continue our exploration of that mid third register chromatic.  Here we add Ab at the top to create five note sets, then add E at the bottom.  Notice that I have notated the five note sets in 4/4 time with quintuplets, which I find to be the most effective way for this size. Finally, we explore the full six note set from Eb to G#.  Notice throughout this post that I organize all the practice sets in groups of three.  You can certainly repeat as often as you wish, but I in my experience playing each pattern three times gets the job done!

Guidelines…

• The exercises above represent a tiny fragment of the possible use of short chromatic sets
• Your task is to identify the weak link in any chromatic passage, then build out longer sets from those problem half-steps
• To get the best outcomes you must apply the highest standards of tuning, legato and timbre throughout a given set
• Whole body awareness is critical: if you are tense or using unnecessary motions in the shoulders, neck or arms, these will become part of your technique.  Neural pathways – muscle memory if you like – are complex holistic processes.  You want to exercise all repetitions in the most efficient and relaxed manner
• Take tempi that you can play beautifully before pushing velocity
• Don’t play the same sets every day!  Life is short and technical work can be tedious.  Be inventive about exploring many practice sets in any one session
• 15 minutes a day is minimum, but if you are really organized and thoughtful that will be enough to achieve improvement.

Christopher Millard retired from his position as Principal Bassoon for the NACO in 2022.  In his cranky old age he dreams that more bassoonists will find the enormous satisfaction that comes with good chromatic scale technique…