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Double-reed woodwind instrument

Bassoon
Woodwind musical instrument
A Yamaha YFG-812 2 bassoon
Hornbostel–Sachs classification	422.112–71 (Double-reeded aerophone with keys)
Developed	Early 18th century
Playing range
(A₁) B ♭ _one–E_five (A_v)
Related instruments
Tenoroon Contrabassoon (double bassoon) Contraforte Dulcian Oboe

The bassoon is a woodwind musical instrument in the double reed family, which plays in the tenor and bass ranges.^[one] It is composed of 6 pieces, and is normally made of wood. Information technology is known for its distinctive tone color, wide range, versatility, and virtuosity.^[2] It is a non-transposing musical instrument and typically its music is written in the bass and tenor clefs, and sometimes in the treble.^[2] There are two forms of mod bassoon: the Cafe (or French) and Heckel (or German language) systems.^[3] It is typically played while sitting using a seat strap, but can exist played while standing if the thespian has a harness to concord the musical instrument. Sound is produced by rolling both lips over the reed and blowing direct air pressure to crusade the reed to vibrate. Its fingering system can be quite complex when compared to those of other instruments. Appearing in its mod form in the 19th century, the bassoon figures prominently in orchestral, concert ring, and sleeping accommodation music literature, and is occasionally heard in pop, rock, and jazz settings as well. One who plays a bassoon is chosen a bassoonist.

Etymology [edit]

The word bassoon comes from French basson and from Italian bassone ( basso with the augmentative suffix -one ).^[4] Notwithstanding, the Italian name for the aforementioned instrument is fagotto , in Spanish and Romanian it is fagot ,^[five] and in German Fagott . Fagot is an Former French discussion meaning a bundle of sticks.^[half-dozen] The dulcian came to be known as fagotto in Italy. However, the usual etymology that equates fagotto with "bundle of sticks" is somewhat misleading, as the latter term did non come into general employ until subsequently. Withal an early English language variation, "faget", was used as early on equally 1450 to refer to firewood, which is 100 years before the primeval recorded utilize of the dulcian (1550). Further citation is needed to evidence the lack of relation between the meaning "bundle of sticks" and "fagotto" (Italian) or variants. Some recollect that it may resemble the Roman fasces, a standard of jump sticks with an axe. A farther discrepancy lies in the fact that the dulcian was carved out of a single block of wood—in other words, a single "stick" and not a bundle.

Characteristics [edit]

Range [edit]

The range of the bassoon begins at B ♭ _i (the get-go one below the bass staff) and extends up over three octaves, roughly to the G to a higher place the treble staff (Grand₅).^[7] However, well-nigh writing for bassoon rarely calls for notes above C₅ or D₅; fifty-fifty Stravinsky's opening solo in The Rite of Leap but ascends to D₅. Notes higher than this are entirely possible, but seldom written, as they are difficult to produce (often requiring specific reed design features to ensure reliability), and at any rate are quite homogeneous in timbre to the same pitches on cor anglais, which can produce them with relative ease. French bassoon has greater facility in the farthermost high register, and and so repertoire written for it is somewhat likelier to include very high notes, although repertoire for French system can be executed on German system without alterations and vice versa.

The all-encompassing high register of the bassoon and its frequent function as a lyric tenor accept meant that tenor clef is very unremarkably employed in its literature afterwards the Baroque, partly to avoid excessive ledger lines, and, beginning in the 20th century, treble clef is likewise seen for similar reasons.

Like the other woodwinds, the lowest note is fixed, merely A₁ is possible with a special extension to the musical instrument—see "Extended techniques" below.

Although the primary tone hole pitches are a pitched perfect 5th lower than other non-transposing Western woodwinds (effectively an octave beneath English horn) the bassoon is non-transposing, meaning that notes sounded match the written pitch.

Construction [edit]

The bassoon disassembles into six primary pieces, including the reed. The bell (6), extending upwards; the bass joint (or long joint) (five), connecting the bell and the boot; the boot (or barrel) (four), at the bottom of the instrument and folding over on itself; the wing joint (or tenor joint) (3), which extends from boot to bocal; and the bocal (or cheat) (2), a kleptomaniacal metallic tube that attaches the fly joint to a reed (1) ( heed(help·info) ). Some bassoons take two joints that together contain the bass joint.^{[ citation needed ]}

Structure [edit]

The bore of the bassoon is conical, like that of the oboe and the saxophone, and the 2 bordering bores of the boot joint are connected at the lesser of the instrument with a U-shaped metal connector. Both diameter and tone holes are precision-machined, and each instrument is finished past hand for proper tuning. The walls of the bassoon are thicker at various points along the bore; here, the tone holes are drilled at an bending to the axis of the bore, which reduces the distance between the holes on the exterior. This ensures coverage by the fingers of the average adult hand. Playing is facilitated by endmost the altitude between the widely spaced holes with a complex arrangement of fundamental work, which extends throughout well-nigh the entire length of the musical instrument. The overall top of the bassoon stretches to i.34 k (four ft 5 in) tall, but the total sounding length is 2.54 m (8 ft four in) because that the tube is doubled dorsum on itself. There are also short-attain bassoons made for the benefit of immature or petite players.

Materials [edit]

A modern beginner'south bassoon is generally made of maple, with medium-hardness types such as sycamore maple and sugar maple preferred. Less-expensive models are also made of materials such as polypropylene and ebonite, primarily for pupil and outdoor apply. Metal bassoons were made in the past but have not been produced by whatever major manufacturer since 1889.

Reeds [edit]

Bassoon reeds are usually effectually 5.5 cm (2.2 in) in length and wrapped in thread.

Detail of bounden effectually base of operations of reed.

The art of reed-making has been practiced for several hundred years, some of the earliest known reeds having been fabricated for the dulcian, a predecessor of the bassoon.^[8] Current methods of reed-making consist of a gear up of bones methods; however, individual bassoonists' playing styles vary greatly and thus crave that reeds be customized to best suit their corresponding bassoonist. Advanced players usually make their own reeds to this end. With regards to commercially made reeds, many companies and individuals offer pre-fabricated reeds for auction, but players frequently detect that such reeds still require adjustments to suit their particular playing style.

Modern bassoon reeds, fabricated of Arundo donax cane,^[8] are often made past the players themselves, although beginner bassoonists tend to purchase their reeds from professional person reed makers or use reeds made by their teachers. Reeds brainstorm with a length of tube cane that is separate into 3 or four pieces using a tool called a cane splitter. The cane is then trimmed and gouged to the desired thickness, leaving the bawl fastened. Subsequently soaking, the gouged cane is cutting to the proper shape and milled to the desired thickness, or profiled, past removing textile from the bark side. This can be washed by manus with a file; more than frequently it is done with a motorcar or tool designed for the purpose. After the profiled cane has soaked once once more it is folded over in the middle. Prior to soaking, the reed maker volition take lightly scored the bawl with parallel lines with a knife; this ensures that the pikestaff will assume a cylindrical shape during the forming phase.

On the bark portion, the reed maker binds on 1, two, or three coils or loops of brass wire to aid in the terminal forming process. The exact placement of these loops can vary somewhat depending on the reed maker. The jump reed blank is and so wrapped with thick cotton fiber or linen thread to protect it, and a conical steel mandrel (which sometimes has been heated in a flame) is rapidly inserted in betwixt the blades. Using a special pair of pliers, the reed maker presses down the pikestaff, making it accommodate to the shape of the mandrel. (The steam generated by the heated mandrel causes the cane to permanently assume the shape of the mandrel.) The upper portion of the crenel thus created is chosen the "pharynx", and its shape has an influence on the final playing characteristics of the reed. The lower, generally cylindrical portion volition be reamed out with a special tool called a reamer, allowing the reed to fit on the bocal.

After the reed has stale, the wires are tightened around the reed, which has shrunk after drying, or replaced completely. The lower function is sealed (a nitrocellulose-based cement such every bit Duco may be used) and so wrapped with thread to ensure both that no air leaks out through the bottom of the reed and that the reed maintains its shape. The wrapping itself is often sealed with Duco or articulate boom varnish (polish). Electric tape can also be used as a wrapping for amateur reed makers. The bulge in the wrapping is sometimes referred to as the "Turk'south head"—it serves every bit a convenient handle when inserting the reed on the bocal. Recently, more players are choosing the more modern estrus-shrink tubing instead of the time-consuming and fiddly thread. The thread wrapping (commonly known as a "Turban" due to the criss-crossing textile) is still more mutual in commercially sold reeds.

To finish the reed, the end of the reed blank, originally at the center of the unfolded piece of pikestaff, is cutting off, creating an opening. The blades above the first wire are now roughly 27–30 mm (ane.1–1.2 in) long. For the reed to play, a slight bevel must be created at the tip with a knife, although there is also a machine that tin can perform this function. Other adjustments with the reed knife may be necessary, depending on the hardness, the profile of the cane, and the requirements of the player. The reed opening may also demand to exist adjusted past squeezing either the beginning or second wire with the pliers. Additional textile may be removed from the sides (the "channels") or tip to balance the reed. Additionally, if the "e" in the bass clef staff is sagging in pitch, it may be necessary to "prune" the reed past removing 1–ii mm (0.039–0.079 in) from its length using a pair of very sharp scissors or the equivalent.^[9] ^[10]

History [edit]

Origin [edit]

Music historians mostly consider the dulcian to be the precursor of the modern bassoon,^[eleven] as the 2 instruments share many characteristics: a double reed fitted to a metallic cheat, obliquely drilled tone holes and a conical bore that doubles back on itself. The origins of the dulcian are obscure, merely by the mid-16th century it was bachelor in as many as eight different sizes, from soprano to great bass. A total espoused of dulcians was a rarity; its chief function seems to take been to provide the bass in the typical air current band of the time, either loud (shawms) or soft (recorders), indicating a remarkable ability to vary dynamics to suit the need. Otherwise, dulcian technique was rather primitive, with viii finger holes and two keys, indicating that it could play in simply a limited number of fundamental signatures.

Circumstantial bear witness indicates that the baroque bassoon was a newly invented instrument, rather than a uncomplicated modification of the old dulcian. The dulcian was not immediately supplanted, but continued to be used well into the 18th century past Bach and others; and, presumably for reasons of interchangeability, repertoire from this time is very unlikely to go beyond the smaller compass of the dulcian. The man most likely responsible for developing the truthful bassoon was Martin Hotteterre (d.1712), who may as well have invented the three-slice flûte traversière (transverse flute) and the hautbois (baroque oboe). Some historians believe that one-time in the 1650s, Hotteterre conceived the bassoon in four sections (bell, bass joint, boot and wing joint), an arrangement that immune greater accurateness in machining the diameter compared to the one-piece dulcian. He also extended the compass down to B ♭ by calculation two keys.^[12] An alternate view maintains Hotteterre was ane of several craftsmen responsible for the development of the early bassoon. These may accept included additional members of the Hotteterre family, too equally other French makers active around the same time.^[thirteen] No original French bassoon from this menstruum survives, but if it did, it would near probable resemble the earliest extant bassoons of Johann Christoph Denner and Richard Haka from the 1680s. Sometime around 1700, a fourth key (1000♯) was added, and it was for this type of instrument that composers such equally Antonio Vivaldi, Bach, and Georg Philipp Telemann wrote their demanding music. A fifth key, for the depression Due east ♭ , was added during the outset one-half of the 18th century. Notable makers of the iv-key and 5-key baroque bassoon include J.H. Eichentopf (c. 1678–1769), J. Poerschmann (1680–1757), Thomas Stanesby, Jr. (1668–1734), K.H. Scherer (1703–1778), and Prudent Thieriot (1732–1786).

Modern configuration [edit]

Increasing demands on capabilities of instruments and players in the 19th century—particularly larger concert halls requiring greater volume and the rise of virtuoso composer-performers—spurred further refinement. Increased sophistication, both in manufacturing techniques and acoustical noesis, fabricated possible nifty improvements in the instrument's playability.

The modernistic bassoon exists in two distinct primary forms, the Cafe (or "French") arrangement and the Heckel ("German") arrangement. Nearly of the world plays the Heckel organization, while the Buffet organisation is primarily played in French republic, Kingdom of belgium, and parts of Latin America. A number of other types of bassoons have been synthetic by various instrument makers, such as the rare Galandronome. Attributable to the ubiquity of the Heckel system in English-speaking countries, references in English to the contemporary bassoon e'er mean the Heckel system, with the Buffet arrangement beingness explicitly qualified where it appears.

Heckel (German language) system [edit]

Heckel organization bassoon from 1870

The design of the modern bassoon owes a bully deal to the performer, teacher, and composer Carl Almenräder. Assisted by the German audio-visual researcher Gottfried Weber, he adult the 17-cardinal bassoon with a range spanning four octaves. Almenräder's improvements to the bassoon began with an 1823 treatise describing ways of improving intonation, response, and technical ease of playing by augmenting and rearranging the keywork. Subsequent articles further developed his ideas. His employment at Schott gave him the freedom to construct and test instruments according to these new designs, and he published the results in Caecilia, Schott'south house journal. Almenräder continued publishing and building instruments until his expiry in 1846, and Ludwig van Beethoven himself requested one of the newly made instruments after hearing of the papers. In 1831, Almenräder left Schott to start his own mill with a partner, Johann Adam Heckel.

Heckel and two generations of descendants continued to refine the bassoon, and their instruments became the standard, with other makers following. Because of their superior singing tone quality (an improvement upon one of the main drawbacks of the Almenräder instruments), the Heckel instruments competed for prominence with the reformed Wiener system, a Boehm-style bassoon, and a completely keyed instrument devised by Charles-Joseph Sax, father of Adolphe Sax. F.W. Kruspe implemented a latecomer attempt in 1893 to reform the fingering system, but it failed to take hold of on. Other attempts to improve the instrument included a 24-keyed model and a single-reed mouthpiece, but both these had adverse effects on tone and were abandoned.

Coming into the 20th century, the Heckel-style German model of bassoon dominated the field. Heckel himself had made over 1,100 instruments by the turn of the 20th century (serial numbers begin at 3,000), and the British makers' instruments were no longer desirable for the changing pitch requirements of the symphony orchestra, remaining primarily in military band use.

2 views of a Fob model 220 bassoon

Except for a brief 1940s wartime conversion to brawl bearing industry, the Heckel concern has produced instruments continuously to the nowadays twenty-four hour period. Heckel bassoons are considered by many to be the best, although a range of Heckel-style instruments is available from several other manufacturers, all with slightly different playing characteristics.

Because its machinery is primitive compared to most modern woodwinds, makers have occasionally attempted to "reinvent" the bassoon. In the 1960s, Giles Brindley began to develop what he called the "logical bassoon", which aimed to improve intonation and evenness of tone through utilize of an electrically activated mechanism, making possible cardinal combinations too circuitous for the homo mitt to manage. Brindley's logical bassoon was never marketed.

Buffet (French) system [edit]

The Buffet system bassoon achieved its basic acoustical properties somewhat earlier than the Heckel. Thereafter, it connected to develop in a more conservative mode. While the early history of the Heckel bassoon included a complete overhaul of the instrument in both acoustics and central work, the development of the Buffet system consisted primarily of incremental improvements to the primal piece of work. This minimalist approach of the Buffet deprived it of improved consistency of intonation, ease of performance, and increased ability, which is establish in Heckel bassoons, but the Buffet is considered by some to have a more song and expressive quality. The conductor John Foulds lamented in 1934 the authority of the Heckel-way bassoon, considering them too homogeneous in audio with the horn. The modern Buffet system has 22 keys with its range beingness the same as the Heckel; although Buffet instruments have greater facility in the upper registers, reaching E_five and F₅ with far greater ease and less air resistance.

Compared to the Heckel bassoon, Cafe system bassoons accept a narrower diameter and simpler mechanism, requiring dissimilar, and often more circuitous fingerings for many notes. Switching between Heckel and Buffet, or vice versa, requires all-encompassing retraining. French woodwind instruments' tone in general exhibits a certain amount of "border", with more of a vocal quality than is usual elsewhere, and the Cafe bassoon is no exception. This sound has been utilised effectively in writing for Cafe bassoon, but is less inclined to blend than the tone of the Heckel bassoon. As with all bassoons, the tone varies considerably, depending on individual musical instrument, reed, and performer. In the hands of a bottom player, the Heckel bassoon can sound apartment and woody, but expert players succeed in producing a vibrant, singing tone. Conversely, a poorly played Buffet tin can audio buzzy and nasal, but practiced players succeed in producing a warm, expressive sound.

Though the Great britain once favored the French arrangement,^[14] Buffet-system instruments are no longer made there and the last prominent British role player of the French system retired in the 1980s. However, with continued apply in some regions and its distinctive tone, the Buffet continues to take a place in modern bassoon playing, particularly in France, where it originated. Buffet-model bassoons are currently made in Paris by Cafe Crampon and the atelier Ducasse (Romainville, France). The Selmer Company stopped fabrication of French organisation bassoons around the year 2012.^[fifteen] Some players, for example the late Gerald Corey in Canada, take learned to play both types and volition alternate between them depending on the repertoire.

Utilise in ensembles [edit]

Ensembles prior to the 20th century [edit]

Pre-1760 [edit]

Prior to 1760, the early ancestor of the bassoon was the dulcian. It was used to reinforce the bass line in wind ensembles chosen consorts.^[3] However, its use in concert orchestras was sporadic until the late 17th century when double reeds began to make their mode into standard instrumentation. Increasing use of the dulcian as a basso continuo musical instrument meant that it began to exist included in opera orchestras, in works such every bit those by Reinhard Keiser and Jean-Baptiste Lully.^[1] Meanwhile, equally the dulcian advanced technologically and was able to achieve more than virtuosity, composers such as Joseph Bodin de Boismortier, Johann Ernst Galliard, Johann Friedrich Fasch and Georg Philip Telemann wrote demanding solo and ensemble music for the instrument.^[1] Antonio Vivaldi brought it to prominence past featuring it in 30-ix concerti.^[1]

c. 1760-1830 [edit]

While the bassoon was however often used to give clarity to the bassline due to its sonorous depression register, the capabilities of current of air instruments grew as technology advanced during the Classical era. This immune the instrument to play in more keys than the dulcian. Joseph Haydn took reward of this in his Symphony No. 45 ("Farewell Symphony"), in which the bassoon plays in F-abrupt minor.^[iii] Following with these advances, composers besides began to exploit the bassoon for its unique color, flexibility, and virtuosic ability, rather than for its perfunctory ability to double the bass line. Those who did this include Ludwig van Beethoven in his three Duos for Clarinet and Bassoon (WoO 27) for clarinet and bassoon and Niccolo Paganini in his duets for violin and bassoon.^[16] In his Bassoon Concerto in B-apartment major, K. 191, W. A. Mozart utilized all aspects of the bassoon'southward expressiveness with its contrasts in register, staccato playing, and expressive sound, and was especially noted for its singing quality in the second movement.^[iii] This concerto is oftentimes considered the i of the most of import works in all of the bassoon's repertoire, fifty-fifty today.^[one]

The bassoon'southward similarity to the human phonation, in addition to its newfound virtuosic power, was another quality many composers took advantage of during the classical era. After 1730, the High german bassoon's range expended up to B♭₄, and much higher with the French instrument.^[17] Technological advances also caused the bassoon'southward tenor annals audio to become more resonant, and playing in this register grew in popularity, especially in the Austro-Germanic musical world. Pedagogues such as Josef Frohlich instructed students to practice scales, thirds, and fourths as vocal students would. In 1829, he wrote that the bassoon was capable of expressing "the worthy, the virile, the solemn, the nifty, the sublime, composure, mildness, intimacy, emotion, longing, heartfulness, reverence, and soulful ardour."^[3] In G.F. Brandt's performance of Carl Maria von Weber's Concerto for Bassoon in F Major, Op. 75 (J. 127) it was besides likened to the human vocalisation.^[3] In French republic, Pierre Cugnier described the bassoon's role as encompassing non but the bass function, simply likewise to accompany the voice and harp, play in pairs with clarinets and horns in Harmonie, and to play in "nearly all types of music," including concerti, which were much more than common than the sonatas of the previous era.^[3] ^[1] Both Cugnier and Étienne Ozi emphasized the importance of the bassoon's similarity to the singing vox.^[3]

The part of the bassoon in the orchestra varied depending on the country. In the Viennese orchestra the instrument offered a 3-dimensional sound to the ensemble by doubling other instruments such as violins, every bit heard in Mozart'south overture to The Spousal relationship of Figaro, K 492. where it plays a rather technical office aslope the strings.^[iii] He also wrote for the bassoon to alter its timbre depending on which instrument it was paired with; warmer with clarinets, hollow with flutes, and dark and dignified with violins.^[3] In Germany and Scandinavian countries, orchestras typically featured only two bassoons. Just in France, orchestras increased the number to four in the latter one-half of the nineteenth century.^[17] In England, the bassoonist's role varied depending on the ensemble. Johann Christian Bach wrote ii concertos for solo bassoon, and information technology likewise appeared in more than supportive roles such as accompanying church choirs after the Puritan revolution destroyed most church building organs.^[3] In the American colonies, the bassoon was typically seen in a chamber setting. After the Revolutionary War, bassoonists were found in wind bands that gave public performances.^[iii] Past 1800, there was at least one bassoon in the Us Marine Band.^[three] In Due south America, the bassoon likewise appeared in small orchestras, bands, and war machine musique (like to Harmonie ensembles).^[iii]

c. 1830-1900 [edit]

The role of the bassoon during the Romantic era varied between a role as a supportive bass instrument and a part as a virtuosic, expressive, solo instrument. In fact, it was very much considered an instrument that could be used in almost any circumstance. The comparing of the bassoon's audio to the man vocalization continued on during this fourth dimension, as much of the pedagogy surrounded emulating this sound. Giuseppe Verdi used the instrument'south lyrical, singing voice to evoke emotion in pieces such as his Messa da Requiem.^[three] Eugene Jancourt compared the use of vibrato on the bassoon to that of singers, and Luigi Orselli wrote that the bassoon composite well with human voice.^[3] He as well noted the function of the bassoon in the French orchestra at the time, which served to support the sound of the viola, reinforce staccato audio, and double the bass, clarinet, flute, and oboe.^[3] Accent also began to be placed on the unique sound of the bassoon'south staccato, which might exist described equally quite brusque and aggressive, such as in Hector Berlioz's Symphonie fantastique, Op. 14 in the fifth movement. Paul Dukas utilized the staccato to depict the image of 2 brooms coming to life in The Sorcerer'south Apprentice. ^[17]

It was common for at that place to be simply two bassoons in German orchestras.^[17] Austrian and British military machine bands also simply carried two bassoons, and were mainly used for accompaniment and offbeat playing.^[iii] In France, Hector Berlioz also made it fashionable to utilize more than two bassoons; he often scored for three or iv, and at time wrote for up to eight such equally in his l'Impériale.^[iii]

At this point, composers expected bassoons to be every bit virtuosic as the other wind instruments, equally they often wrote solos challenging the range and technique of the instrument. Examples of this include Nikolai Rimsky-Korsakov's bassoon solo and cadenza post-obit the clarinet in Sheherazade, Op. 35 and in Richard Wagner's Tannhäuser, which required the bassoonist to triple tongue and also play up to the top of its range at an Eastward_v.^[3] Wagner also used the bassoon for its staccato ability in his work, and oftentimes wrote his three bassoon parts in thirds to evoke a darker sound with noticeable tone color.^[3] In Modest Mussorgsky's Night on Bald Mountain, the bassoons play fortissimo alongside other bass instruments in order to evoke "the voice of the Devil."^[17]

20th and 21st century ensembles [edit]

At this bespeak in time, the development of the bassoon slowed. Rather than making big leaps in technological improvements, tiny imperfections in the instrument's function were corrected.^[3] The instrument became quite versatile throughout the twentieth century; the musical instrument was at this point able to play three octaves, a multifariousness of dissimilar trills, and maintained stable intonation across all registers and dynamic levels.^[18] The teaching amidst bassoonists varied among different countries, so the overall instrument itself played a variety of roles. Every bit was a common theme in previous eras, the bassoon was valued by composers for its unique vocalism, and its utilize rose higher in pitch. A famous example of this is in Igor Stravinsky's Rite of Spring in which the bassoon must play in its highest register in gild to mimic the Russian dudka.^[18] Composers also wrote for the bassoon's heart register, such as in Stravinsky'south "Berceuse" in The Firebird and Symphony No. 5 in East-flat major, op. 82 by Jean Sibelius's.^[18] They likewise continued to highlight the staccato sound of the bassoon, as heard in Sergei Prokofiev's Humorous Scherzo.^[18] In Sergei Prokofiev'south Peter and the Wolf, the function of the grandpa is played by the bassoon.

In orchestral settings, virtually orchestras from the beginning of the twentieth century to the present have 3 or four bassoonists, with the fourth typically covering contrabassoon as well.^[17] Greater emphasis on the use of timbre, vibrato, and phrasing began to appear in bassoon pedagogy, and many followed Marcel Tabuteau's philosophy on musical phrasing.^[3] Vibrato began to be used in ensemble playing, depending on the phrasing of the music.^[iii] The bassoon was, and currently is, expected to be fluent with other woodwinds in terms of virtuosity and technique. Examples of this include the cadenza for bassoons in Maurice Ravel's Rapsodie espagnole and the multi-finger trills used in Stravinsky's Octet.^[iii]

In the twentieth century, the bassoon was less of a concerto soloist, and when it was, the accompanying ensemble was made softer and quieter.^[3] In add-on, it was no longer used in marching bands, though still existed in concert bands with 1 or two of them.^[19] Orchestral repertoire remained very much the same Austro-Germanic tradition throughout most Western countries.^[19] It mostly appeared in solo, bedroom, and symphonic settings. By the mid 1900s, broadcasting and recording grew in popularity, allowing for new opportunities for bassoonists, and leading to a tiresome decline of live performances.^[19] Much of the new music for bassoon in the late twentieth and early twenty-first centuries, often included extended techniques and was written for solo or chamber settings. 1 slice that included extended techniques was Luciano Berio's Sequenza XII, which chosen for microtonal fingerings, glissandos, and timbral trills.^[19] Double and triple tonguing, palpitate tonguing, multiphonics, quarter-tones, and singing are all utilized in Bruno Bartolozzi'southward Concertazioni. ^[1] There were also a variety of concerti and bassoon and piano pieces written, such as John Williams's Five Sacred Copse and André Previn's Sonata for bassoon and pianoforte. There were besides "performance" pieces such as Peter Schickele'southward Sonata Abassoonata, which required the bassoonist to exist both a musician and an actor.^[19] The bassoon quartet became prominent at this fourth dimension, with pieces such as Daniel Dorff's Information technology Takes Four to Tango.^[19]

Jazz [edit]

The bassoon is infrequently used as a jazz instrument and rarely seen in a jazz ensemble. It commencement began appearing in the 1920s, when Garvin Bushell began incorporating the bassoon in his performances.^[three] Specific calls for its employ occurred in Paul Whiteman's grouping, the unusual octets of Alec Wilder, and a few other session appearances. The next few decades saw the musical instrument used simply sporadically, as symphonic jazz brutal out of favor, but the 1960s saw artists such every bit Yusef Lateef and Chick Corea comprise bassoon into their recordings. Lateef'due south diverse and eclectic instrumentation saw the bassoon as a natural addition (see, east.g., The Centaur and the Phoenix (1960) which features bassoon every bit part of a half-dozen-man horn department, including a few solos) while Corea employed the bassoon in combination with flautist Hubert Laws.

More than recently, Illinois Jacquet, Ray Pizzi, Frank Tiberi, and Marshall Allen have both doubled on bassoon in addition to their saxophone performances. Bassoonist Karen Borca, a performer of gratuitous jazz, is one of the few jazz musicians to play only bassoon; Michael Rabinowitz, the Castilian bassoonist Javier Abad, and James Lassen, an American resident in Bergen, Norway, are others. Katherine Immature plays the bassoon in the ensembles of Anthony Braxton. Lindsay Cooper, Paul Hanson, the Brazilian bassoonist Alexandre Silvério, Trent Jacobs and Daniel Smith are also currently using the bassoon in jazz. French bassoonists Jean-Jacques Decreux^[20] and Alexandre Ouzounoff^[21] have both recorded jazz, exploiting the flexibility of the Buffet system instrument to skillful effect.

Pop music [edit]

In conjunction with the apply of electronic pickups and distension, the instrument began to be used more somewhat in jazz and rock settings.^[three] ^[one] Even so, the bassoon is still quite rare equally a regular member of rock bands. Several 1960s pop music hits characteristic the bassoon, including "The Tears of a Clown" by Smokey Robinson and the Miracles (the bassoonist was Charles R. Sirard^[22]), "Jennifer Juniper" by Donovan, "59th Street Span Song" by Harpers Bizarre, and the oompah bassoon underlying The New Vaudeville Ring's "Winchester Cathedral". From 1974 to 1978, the bassoon was played by Lindsay Cooper in the British advanced band Henry Moo-cow. The Leonard Nimoy song The Ballad of Bilbo Baggins features the Bassoon. In the 1970s it was played, in the British medieval/progressive rock ring Gryphon, by Brian Gulland, as well as past the American ring Ambrosia, where it was played by drummer Burleigh Drummond. The Belgian Rock in Opposition-band Univers Zero is also known for its utilize of the bassoon.

In the 1990s, AimeeDeFoe provided "grouchily lilting garage bassoon" for the indie-stone band Blogurt from Pittsburgh, Pennsylvania.^[23] Bengt Lagerberg, drummer with The Cardigans, played bassoon on several tracks on the band's album Emmerdale.

More recently, These New Puritans's 2010 anthology Hidden makes heavy use of the instrument throughout; their principal songwriter, Jack Barnett, claimed repeatedly to be "writing a lot of music for bassoon" in the run-up to its recording.^[24] In early 2011, American hip-hop artist Kanye West updated his Twitter account to inform followers that he recently added the bassoon to a nonetheless unnamed vocal.^[25] The rock band Ameliorate Than Ezra took their name from a passage in Ernest Hemingway's A Moveable Feast in which the writer comments that listening to an annoyingly talkative person is still "better than Ezra learning how to play the bassoon", referring to Ezra Pound.

British psychedelic/progressive rock band Knifeworld features the bassoon playing of Chloe Herrington, who also plays for experimental bedchamber stone orchestra Chrome Hoof.

In 2016, the bassoon was featured on the album Gang Signs and Prayers by UK "grime" artist Stormzy. Played by U.k. bassoonist Louise Watson, the bassoon is heard in the tracks "Common cold" and "Mr Skeng" as a complement to the electronic synthesizer bass lines typically constitute in this genre.

The indie stone/pop/folk band, Dr. Bones Revival, based in Cleveland, Ohio features the bassoon in many of their songs. This instrument made its debut with the band in their 2020 charity concert in the Tremont neighborhood. The band members include four resident physicians in the Cleveland metropolitan surface area.

Technique [edit]

The bassoon is held diagonally in front of the player, just unlike the flute, oboe and clarinet, it cannot be easily supported by the player'southward hands alone. Some means of boosted support is unremarkably required; the most mutual ones are a seat strap attached to the base of the boot joint, which is laid across the chair seat prior to sitting downwards, or a cervix strap or shoulder harness attached to the top of the boot joint. Occasionally a spike like to those used for the cello or the bass clarinet is fastened to the bottom of the boot joint and rests on the floor. Information technology is possible to play while standing upwards if the role player uses a neck strap or similar harness, or if the seat strap is tied to the belt. Sometimes a device chosen a residue hanger is used when playing in a continuing position. This is installed betwixt the instrument and the cervix strap, and shifts the point of back up closer to the heart of gravity, adjusting the distribution of weight between the two easily.

The bassoon is played with both hands in a stationary position, the left above the right, with five main finger holes on the forepart of the instrument (nearest the audience) plus a sixth that is activated by an open-standing fundamental. 5 additional keys on the front are controlled by the little fingers of each paw. The back of the instrument (nearest the player) has twelve or more keys to be controlled past the thumbs, the verbal number varying depending on model.

To stabilize the right manus, many bassoonists employ an adjustable comma-shaped apparatus called a "crutch", or a hand rest, which mounts to the boot articulation. The crutch is secured with a pollex screw, which likewise allows the distance that it protrudes from the bassoon to be adjusted. Players residual the bend of the correct paw where the thumb joins the palm confronting the crutch. The crutch as well keeps the right hand from tiring and enables the role player to go along the finger pads apartment on the finger holes and keys.

An aspect of bassoon technique not found on any other woodwind is called flicking. Information technology involves the left hand thumb momentarily pressing, or "flicking" the high A, C and D keys at the kickoff of certain notes in the middle octave to achieve a clean slur from a lower note. This eliminates slap-up, or brief multiphonics that happens without the utilise of this technique. The culling method is "venting", which requires that the register primal be used as part of the full fingering equally opposed to being open momentarily at the start of the notation. This is sometimes called the "European style"; venting raises the intonation of the notes slightly, and it can be advantageous when tuning to higher frequencies. Some bassoonists motion picture A and B ♭ when tongued, for clarity of articulation, but flicking (or venting) is practically ubiquitous for slurs.

While flicking is used to slur upwards to college notes, the whisper primal is used for lower notes. From the A ♭ correct below middle C and lower, the whisper key is pressed with the left pollex and held for the elapsing of the note. This prevents cracking, as low notes can sometimes scissure into a higher octave. Both flicking and using the whisper cardinal is especially important to ensure notes speak properly during slurring between high and low registers.

While bassoons are usually critically tuned at the factory, the player nonetheless has a smashing degree of flexibility of pitch control through the use of jiff support, embouchure, and reed contour. Players can besides use alternating fingerings to adjust the pitch of many notes. Similar to other woodwind instruments, the length of the bassoon can be increased to lower pitch or decreased to raise pitch. On the bassoon, this is done preferably by changing the bocal to one of a different length, (lengths are denoted by a number on the bocal, usually starting at 0 for the shortest length, and 3 for the longest, but there are some manufacturers who will use other numbers) just information technology is possible to push the bocal in or out slightly to grossly conform the pitch.^[26]

Embouchure and audio production [edit]

The bassoon embouchure is a very important attribute of producing a full, round, and rich audio on the musical instrument. The lips are both rolled over the teeth, often with the upper lip further along in an "overbite". The lips provide micromuscular force per unit area on the entire circumference of the reed, which grossly controls intonation and harmonic excitement, and thus must be constantly modulated with every change of note. How far forth the reed the lips are placed affects both tone (with less reed in the oral cavity making the sound more edged or "reedy", and more than reed making information technology smooth and less projectile) and the way the reed will respond to pressure level.

The musculature employed in a bassoon embouchure is primarily around the lips, which pressure the reed into the shapes needed for the desired sound. The jaw is raised or lowered to adjust the oral cavity for better reed control, but the jaw muscles are used much less for upwards vertical pressure than in single reeds, only existence substantially employed in the very high register. Nevertheless, double reed students ofttimes "seize with teeth" the reed with these muscles because the control and tone of the labial and other muscles is still developing, but this generally makes the sound sharp and "choked" as it contracts the aperture of the reed and stifles the vibration of its blades.

Autonomously from the embouchure proper, students must besides develop substantial muscle tone and control in the diaphragm, pharynx, neck and upper chest, which are all employed to increase and straight air pressure. Air pressure level is a very important attribute of the tone, intonation and projection of double reed instruments, affecting these qualities as much, or more than the embouchure does.

Attacking a note on the bassoon with imprecise amounts of muscle or air pressure for the desired pitch will result in poor intonation, cracking or multiphonics, accidentally producing the wrong partial, or the reed not speaking at all. These problems are compounded by the private qualities of reeds, which are categorically inconsistent in behaviour for inherent and exherent reasons.

The muscle requirements and variability of reeds hateful it takes some fourth dimension for bassoonists (and oboists) to develop an embouchure that exhibits consistent control across all reeds, dynamics and playing environments.

Mod fingering [edit]

Diagram describing the keys on a bassoon

Holes and keys operated by fingers on left hand (above) and correct paw (below)

Keys operated past left thumb (above) and right thumb (beneath)

The fingering technique of the bassoon varies more than between players, past a wide margin, than that of any other orchestral woodwind. The complex machinery and acoustics hateful the bassoon lacks simple fingerings of practiced audio quality or intonation for some notes (especially in the higher range), but, conversely, in that location is a great diverseness of superior, but generally more than complicated, fingerings for them. Typically, the simpler fingerings for such notes are used as alternate or trill fingerings, and the bassoonist volition use as "full fingering" one or several of the more complex executions possible, for optimal sound quality. The fingerings used are at the discretion of the bassoonist, and, for item passages, he or she may experiment to find new alternate fingerings that are thus idiomatic to the player.

These elements accept resulted in both "full" and alternate fingerings differing extensively between bassoonists, and are further informed past factors such as cultural divergence in what sound is sought, how reeds are made, and regional variation in tuning frequencies (necessitating sharper or flatter fingerings). Regional enclaves of bassoonists tend to accept some uniformity in technique, but on a global calibration, technique differs such that two given bassoonists may share no fingerings for certain notes. Owing to these factors, ubiquitous bassoon technique can only be partially notated.

The left thumb operates nine keys: B ♭ _i, B₁, C₂, D₂, D₅, C_five (also B₄), two keys when combined create A_iv, and the whisper key. The whisper key should exist held down for notes between and including F₂ and G ♯ _three and sure other notes; it can be omitted, simply the pitch will destabilise. Boosted notes can be created with the left thumb keys; the D_two and lesser key above the whisper central on the tenor joint (C ♯ key) together create both C ♯ ₃ and C ♯ _iv. The aforementioned bottom tenor-joint central is also used, with additional fingering, to create East₅ and F₅. D_v and C₅ together create C ♯ ₅. When the ii keys on the tenor joint to create A₄ are used with slightly altered fingering on the kicking joint, B ♭ _four is created. The whisper key may also be used at certain points throughout the instrument's high annals, along with other fingerings, to change sound quality equally desired.

The right pollex operates four keys. The uppermost cardinal is used to produce B ♭ ₂ and B ♭ ₃, and may be used in B₄,F ♯ ₄, C_v, D_five, F₅, and E ♭ ₅. The large round key, otherwise known as the "pancake key", is held down for all the lowest notes from Due east₂ down to B ♭ ₁. It is also used, like the whisper central, in additional fingerings for muting the sound. For example, in Ravel'south "Boléro", the bassoon is asked to play the ostinato on G₄. This is easy to perform with the normal fingering for G₄, but Ravel directs that the player should also depress the E₂ key (pancake fundamental) to mute the sound (this beingness written with Buffet system in mind; the Yard fingering on which involves the Bb key – sometimes called "French" G on Heckel). The next key operated by the right thumb is known as the "spatula key": its primary use is to produce F ♯ _two and F ♯ ₃. The lowermost primal is used less often: it is used to produce A ♭ ₂ (G ♯ ₂) and A ♭ _three (1000 ♯ ₃), in a manner that avoids sliding the right fourth finger from some other notation.

The four fingers of the left hand can each be used in 2 different positions. The fundamental normally operated past the index finger is primarily used for East₅, also serving for trills in the lower register. Its primary assignment is the upper tone pigsty. This hole can be airtight fully, or partially past rolling down the finger. This one-half-holing technique is used to overblow F ♯ _iii, G₃ and One thousand ♯ ₃. The centre finger typically stays on the centre hole on the tenor joint. It can also move to a lever used for E ♭ ₅, also a trill fundamental. The ring finger operates, on most models, one key. Some bassoons take an alternate East ♭ central higher up the tone hole, predominantly for trills, merely many do non. The smallest finger operates two side keys on the bass joint. The lower key is typically used for C ♯ ₂, but tin exist used for muting or flattening notes in the tenor register. The upper primal is used for E ♭ ₂, E_iv, F_iv, F ♯ ₄, A_four, B ♭ ₄, B_iv, C₅, C ♯ ₅, and D₅; it flattens M_three and is the standard fingering for it in many places that melody to lower Hertz levels such equally A440.

The four fingers of the correct hand have at least one assignment each. The index finger stays over 1 hole, except that when Due east ♭ ₅ is played a side primal at the top of the boot is used (this fundamental as well provides a C ♯ ₃ trill, albeit sharp on D). The middle finger remains stationary over the pigsty with a band around information technology, and this ring and other pads are lifted when the smallest finger on the right paw pushes a lever. The ring finger typically remains stationary on the lower ring-finger primal. However, the upper ring-finger primal tin can exist used, typically for B ♭ ₂ and B ♭ _iii, in identify of the top thumb key on the forepart of the boot joint; this fundamental comes from the oboe, and some bassoons practise not have information technology because the thumb fingering is practically universal. The smallest finger operates three keys. The backmost 1, closest to the bassoonist, is held down throughout most of the bass annals. F ♯ _iv may be created with this key, too as G₄, B ♭ ₄, B₄, and C₅ (the latter three employing solely it to flatten and stabilise the pitch). The lowest key for the smallest finger on the correct manus is primarily used for A ♭ _ii (G ♯ ₂) and A ♭ ₃ (G ♯ ₃) just tin can be used to improve D_v, Eastward ♭ ₅, and F₅. The frontmost key is used, in addition to the thumb key, to create G ♭ _two and G ♭ ₃; on many bassoons this key operates a dissimilar tone hole to the pollex key and produces a slightly flatter F ♯ ("duplicated F ♯ "); some techniques use 1 equally standard for both octaves and the other for utility, merely others use the thumb key for the lower and the fourth finger for the higher.

Extended techniques [edit]

Many extended techniques tin be performed on the bassoon, such as multiphonics, flutter-tonguing, circular animate, double tonguing, and harmonics. In the case of the bassoon, palpitate-tonguing may be accomplished past "gargling" in the back of the throat as well as past the conventional method of rolling Rs. Multiphonics on the bassoon are plentiful, and can be achieved by using item culling fingerings, only are generally heavily influenced past embouchure position. Besides, once again using certain fingerings, notes may be produced on the instrument that sound lower pitches than the actual range of the musical instrument. These notes tend to sound very gravelly and out of melody, but technically sound below the low B ♭ .

The bassoonist may also produce lower notes than the bottom B ♭ by extending the length of bong. This can be achieved by inserting a particularly made "depression A extension" into the bell, but may also exist accomplished with a small paper or rubber tube or a clarinet/cor anglais bell sitting inside the bassoon bell (although the note may tend abrupt). The effect of this is to convert the lower B ♭ into a lower note, almost e'er A natural; this broadly lowers the pitch of the musical instrument (near noticeably in the lower annals) and will often accordingly convert the lowest B to B ♭ (and return the neighbouring C very flat). The thought of using low A was begun past Richard Wagner, who wanted to extend the range of the bassoon. Many passages in his later operas require the low A too as the B-flat immediately above it - this is possible on a normal bassoon using an extension which also flattens low B to B ♭ , but all extensions to the bong have significant effects on intonation and sound quality in the bottom register of the musical instrument, and passages such as this are more than often realised with comparative ease by the contrabassoon.

Some bassoons have been specially made to allow bassoonists to realize similar passages. These bassoons are made with a "Wagner bong" which is an extended bell with a key for both the low A and the low B-flat, but they are not widespread; bassoons with Wagner bells endure similar intonational problems every bit a bassoon with an ordinary A extension, and a bassoon must be constructed specifically to suit one, making the extension option far less complicated. Extending the bassoon'south range fifty-fifty lower than the A, though possible, would have even stronger effects on pitch and make the instrument effectively unusable.

Despite the logistic difficulties of the note, Wagner was non the only composer to write the low A. Another composer who has required the bassoon to be chromatic down to depression A is Gustav Mahler. Richard Strauss also calls for the low A in his opera Intermezzo. Some works have optional low Every bit, as in Carl Nielsen'south Current of air Quintet, op. 43, which includes an optional low A for the final cadency of the piece of work.

Learning the bassoon [edit]

The complicated fingering and the problem of reeds brand the bassoon more of a challenge to acquire than some of the other woodwind instruments.^[27] Cost is another big cistron in a person'due south conclusion to pursue the bassoon. Prices range from United states$7,000 to over $45,000 for a good-quality instrument.^[28] In North America, schoolchildren typically take upward bassoon merely after starting on another reed musical instrument, such as clarinet or saxophone.^[29]

Students in America frequently begin to pursue the study of bassoon performance and technique in the middle years of their music education. Students are often provided with a schoolhouse musical instrument and encouraged to pursue lessons with private instructors. Students typically receive instruction in proper posture, hand position, embouchure, and tone production.

References [edit]

Citations [edit]

^ ^a ^b ^c ^d ^e ^f ^g ^h Waterhouse, William (2001). Bassoon. Oxford Music Online. Oxford University Press. doi:ten.1093/gmo/9781561592630.article.02276.
^ ^a ^b Waterhouse, William (2001). Bassoon. Oxford Music Online. Oxford University Press. doi:10.1093/gmo/9781561592630.article.02276.
^ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ ^j ^k ^l ^m ⁿ ^o ^p ^q ^r ^s ^t ^u ^five ^{due west} ^ten ^y ^z ^aa ^ab Kopp, James B. (2012). The bassoon. New Haven. ISBN978-1-282-24182-4. OCLC 817797348.
^ "Bassoon". Merriam-Webster . Retrieved 26 May 2012.
^ "Check out the translation for "bassoon" on SpanishDict!". SpanishDict.
^ "Definition of fagot". Dictionary.com.
^ Third Octave – Alternate Fingering Chart for Heckel-Organisation Bassoon – The Woodwind Fingering Guide. Wfg.woodwind.org. Retrieved on 2012-05-25.
^ ^a ^b Rachor, David. "The Importance of Pikestaff Pick in Historical Bassoon Reed-Making" (PDF). weebly.com . Retrieved 28 March 2019.
^ Popkin & Glickman 2007, p.^{[ folio needed ]}.
^ McKay 2001, p.^{[ page needed ]}.
^ Morin, Alexander J.; Harold C. Schonberg (2002). Classical Music: The Listener's Companion. San Francisco: Hal Leonard Corporation. p. 1154. . "Its direct ancestor is the dulcian, a hairpin-shaped instrument with a long, folded bore and a unmarried key; developed in the first half of the 16th century, it remained in use until the 17th."
^ Lange & Thomson 1979.
^ Kopp 1999.
^ Langwill 1965, p.^{[ page needed ]}.
^ "Instruments / Clarinets". Selmer. Archived from the original on 27 February 2012. Retrieved seven June 2018.
^ HALL, Ronn K. An Exploration into the Validity and Treatment of the Bassoon in Duet Repertoire from 1960 - 2016. Ann Arbor: Academy of Maryland, College Park, 2017. Order No. 10269497. ISBN 978-0-355-06208-3.
^ ^a ^b ^c ^d ^e ^f Will., Jansen (1978). The bassoon its history, construction, makers, players and music. Frits Knuf. ISBN90-6027-446-6. OCLC 470056072.
^ ^a ^b ^c ^d Kopp, James B. (2012). The bassoon. New Haven. ISBN978-1-282-24182-4. OCLC 817797348.
^ ^a ^b ^c ^d ^e ^f Kopp, James B. (2012). The bassoon. New Haven. ISBN978-1-282-24182-4. OCLC 817797348.
^ Review of the CD "FAAA." International Double Reed Society
^ Review of the LP "Palisander's Night." International Double Reed Society. The Double Reed, Vol. 12, No. 2 Autumn 1989.
^ ""Charles Sirad" at International Double Reed Gild". Archived from the original on two February 2014. Retrieved 30 November 2012.
^ Blogurt, official website. Blogurt.com. Retrieved on 2012-05-25.
^ Music – Review of These New Puritans – Hidden. BBC. Retrieved on 2012-05-25.
^ Twitter / kanyewest: I simply threw some bassoon. Twitter.com. Retrieved on 2012-05-25.
^ "Bassoon Intonation Issues" (PDF). Archived from the original (PDF) on thirty July 2014. Retrieved v Nov 2012.
^ Benjamin Kohon (solo bassoon of New York Philharmonic) "A few notes on the bassoon". Reprinted from The Metronome, vol. XLVIII, no. 7, July 1932, p. 12.
^ "Buying a Bassoon for a Student". Ring Managing director Media Group. Retrieved 24 January 2018.
^ Elsa Z. Powell (1950) This Is an Orchestra, Houghton Mifflin, p. 70

Sources [edit]

Kopp, James B. (1999). "The Emergence of the Late Baroque Bassoon". The Double Reed. 22 (4).
Lange, H. J.; Thomson, J. G. (July 1979). "The Bizarre Bassoon". Early Music. doi:ten.1093/earlyj/7.iii.346. ^{[ full commendation needed ]}
Langwill, Lyndesay Chiliad. (1965). The Bassoon and Contrabassoon. W. W. Norton.
McKay, James R., ed. (2001). The Bassoon Reed Transmission: Lou Skinner'due south Techniques. Indiana University Printing.
Popkin, Mark; Glickman, Loren (2007). Bassoon Reed Making (3rd ed.). Charles Double Reed Co.
Waterhouse, William. "Bassoon." Grove Music Online. 2001. Oxford University Press.
Vonk, Maarten. A Package of Joy: A Applied Handbook for Bassoon. FagotAielier Maarten Vonk, 2007.
Hall, Ronn Thou. (2017). An Exploration into the Validity and Handling of the Bassoon in Duet Repertoire from 1960 - 2016 (DMA). University of Maryland.
Mettler, Larry Charles. (1960). An Analysis of the Bassoon and Its Literature (MS). Eastern Illinois University.

External links [edit]

Wikimedia Eatables has media related to Bassoons.

Documentary: The Production of a Bassoon by Francois de Rudder
Internet Contrabassoon Resource
Bassoon Fingering Charts
A Guide to Bassoon Keywork

ferrestherwayst.blogspot.com

Source: https://en.wikipedia.org/wiki/Bassoon