The main challenge in The Chairman Dances is concentrating enough to keep one's place during continuously repeated phrases. The rhythm becomes more complicated in certain sections, and the music is rental, so it has markings from other players. Those markings sometimes interfere, as demonstrated below:
The Lalo Cello Concerto features a rather unusual bassoon solo, which repeats 4 times, in the 3rd movement:
Prokofiev Symphony No. 5 opens with a soli for flute and bassoon in octaves:
It's best to breath whenever the principal flutist breathes. In my case, that means breathing only once, in the 5th measure after the D. Of course we try to make the breath as quick as possible so as to lessen the likelihood of interfering with the flow.
I try to do everything I can to ensure the best possible musical outcome. For example, I'm fussy about the placement of my music stand. I've already written about my belief that the stand has to be far enough away from the bassoon that the sound is not distorted from ricocheting off the stand. I've also written about the importance of having the visual aspect of the music just so. Check out the following, which is the ending of the above excerpt:
It bothers me to no end that the A3 and F3 are placed at the same height! For my taste, the F has to be a certain distance below the A in order for my brain to be able to easily interpret the music. I have to plan for the worst possible circumstances, when I might be exhausted or distracted. So I penciled in an "A" below the A3 and an "F" below the F3, just in case my brain is not functioning optimally. Sometimes I resort to rewriting the part; in fact, I seem to recall that I rewrote a page or two of the above-mentioned Adams Chamber Symphony because the previous bassoonist had marked it up so copiously............. .
I tried an interesting experiment with the passage at 55 in the 2nd movement: