2. THE BASSOON
is a musical instrument
with a history behind it of
over four centuries. It is
the principal tenor and
bass instrument of the
orchestra woodwind family
which also includes the
flute, the oboe and cor
anglais or English horn,
the clarinet, the bass
clarinet and the contra
bassoon.
3. Its narrow conical bore
leads from the curved
metal crook or bocal onto
which the double reed is
placed down through the
wing joint or tenor joint to
the bass or boot joint.
The bore then doubles
back up through the long
joint and finally through
the bell which is located
at the top of the
instrument.
4. The instrument,
which weighs about
seven pounds when
assembled, is
supported and
stabilized either with
a neck strap which
allows the player to
stand or with a seat
belt.
5. Sound is produced by sealing the lips
around the double reed made of cane
and blowing air against and through
the two blades causing them to vibrate
against each other at a certain
frequency or pitch.
The bassoon, which is pitched in C,
has slightly more than a three-octave
range starting from the Bb below the
bass staff up to the treble E. This is
the range most commonly played and
written in the repertoire. Although
rarely used, additional fingerings have
been developed that allow it to play up
to, almost, an octave higher. Its rich,
dark, sonorous range coincides with
the bass and tenor voice while at the
top its tone is expressive and plaintive
reaching into the lower range of the
soprano voice.
10. The standard
BASSOON
bassoon is a
double reed
instrument
that belongs
to the
woodwind
family.
It is written in
the bass or
tenor clefs,
and sounds
at the same
pitch level in
which it is
written
(concert
pitch).
11. CONTRABASSOON
The
Contrabassoon
is the largest
and lowest-
sounding
member of the
double reeds
family; it sounds
an octave lower
than it is written.
It is also often
referred to as
the "double
bassoon."
14. The modern bassoon has a
colorful and complex past. It
evolved from a 16th century
instrument known by a variety
of names - curtal or curtail
(English), basson or fagot
(French), dulcian or fagott
(German), fagotto (Italian), and
bajon (Spanish). This ancestor
of the bassoon, which was also
played with a double reed, was
fashioned out of a single piece
of wood rather than the four
separate sections common to
today's bassoon.
15. In the early 17th century, the curtal
came in six sizes ranging in length
from as short as 15" to as long as
4' 9". It was the French who later
in that same century transformed
the one-piece bass curtal into the
four-piece instrument.
During the 18th and 19th
centuries the bassoon was
gradually improved and refined. It
evolved from the 1713 three-key
model played during the time of
Mozart to six keys during
Hayden's time to the the present
17 to 24 key versions of today.
Two schools of bassoon-making
arose in the 1880s: the French
school under Buffet and the
German school under Heckel.
Each had it own solutions to tone
production, fingering and
intonation.
16. 19th century
experiments in bassoon
construction resulted in
many interesting
variations. There were
bassoons for military
bands with globular and
other odd-shaped brass
and wooden bells,
bassoons in F and G
called tenoroons, semi
contrabassoons, and
sub contrabassoons.
17. In most early music written for
the bassoon, it was used merely
to play the bass line and it was
usually tied to the continuo part.
Then, in 1678, it became part of
orchestras for French opera
when Lully called for bassoons
in his opera, Psyche.
During the 18th century, major
solo and orchestral music was
written for the bassoon elevating
it's importance in the orchestra
and it began to break away from
just playing the continuo part.
18. When organs were banned
from English churches in
1644 as monuments to
superstition and idolatry,
music was supplied by
small groups of instruments
including the bassoon.
Therefore, one of the
earliest places bassoonists
performed was in church.
19. Today the bassoon is used
extensively in the symphony
orchestra, opera, and most
recently in the contemporary
musicals of the 20th century,
television, and movie soundtracks.
Innumerable composers have
written for the bassoon,
particularly during the 18th
century, and the repertoire
includes impressive parts in
orchestral scores, woodwind
ensemble music and many
bassoon solo concertos.
21. JACQUES MARTIN HOTTETERRE
He is thought to
be the inventor of
the modern day
bassoon. It is
thought he
developed it in
the 1650s.
Hotteterre is
given credit for
the invention,
though it is
possible that it
was a
collaboration
between him and
other instrument
makers of the
period.
22. SIGMUND SCHNITZER
It is also theorized that Sigmund Schnitzer, a
woodwind maker from Nuremberg, may have
invented the bassoon in the 1500s.
25. The bocal,
BOCAL
sometimes referred
to as the crook, is
the first section of
the bassoon. The
bocal is made from a
tube of metal that
curves away from
the body of the
instrument to create
space for the reed,
which fits on its end.
The reed is the
mouthpiece for the
bassoon. All types
of woodwind
instruments utilize a
reed. A reed is
shaped from a slice
of cane and carved
to create two
sections that vibrate
together when the
musician blows into
it.
26. The tenor joint rests
TENOR JOINT
between the bocal
and the boot joint.
Together, these
components make up
the back of the
bassoon, the side that
is closest to the
musician while being
played. The bass, or
"boot" joint is made of
two tubes that run
AND BASS JOINT
parallel to each other.
These tubes curve
from front to back and
join at the base of the
instrument. Typically,
a metal cap conceals
the hardware that
joins the tubes. If
used, the hand rest,
or crutch, connects to
the bass joint. The
player can rest her
right hand on the
crutch when it is not
needed for keying.
27. BELL JOINT
The bell
joint
connects to
the bass
joint and is
slightly
flared at its
open end.
The slightly
bell-shaped
end of this
joint is
where the
sound
comes
from.
28. KEYS
Typically, a
bassoon has
at least 13
keys. Many,
but not all of
these, are
located
along the
front of the
instrument.
30. A double reed is a type
of reed used to produce
sound in various wind
instruments. The
term double reed comes
from the fact that there
aretwo pieces
of cane vibrating against
each other.
For bassoon reeds, tubes
of this cane are first split
lengthwise then gouged
to a certain thickness.
The chosen piece of cane
is then cut to shape and
the centre portion is
thinned (profiled). The
cane is folded end to end
to form the two blades of
the reed.
31. The unprofiled end of the
cane is shaped into a tube
with the aid of
a mandrel and bound with
three strategically
positioned wires. Additional
binding using thread is
added. The folded tip is cut
off to allow the blades to
vibrate and final
adjustments to the interior
of the reed using a reamer,
and to the exterior using a
reed-scraping knife, are
carried out. The reed is
then ready to fit to
thebocal of the bassoon.
33. Bassoon double reeds are
wider than oboe double
reeds; they're also shorter
and thus do not need such
a tight embouchure in order
to make a sound. Most
double reed embouchures
are the same. Players pull
their lips over their teeth to
protect the reed from their
teeth.
35. The bassoon is held diagonally in front of
the player, but unlike the flute, oboe and
clarinet, it cannot be supported by the
player's hands alone. Some means of
additional support is required; the most
common ones used are
1) a seat strap attached to the base of the
boot joint, which is laid across the chair
seat prior to sitting down, or
2) a neck strap or shoulder harness
attached to the top of the boot joint.
Occasionally a spike similar to those used
for the cello or the bass clarinet is attached
to the bottom of the boot joint and rests on
the floor.
It is possible to play while standing up if
the player uses a neck strap or similar
harness, or if the seat strap is tied to the
belt. Sometimes a device called a balance
hanger is used when playing in a standing
position. This is installed between the
instrument and the neck strap, and shifts
the point of support closer to the center of
gravity.
36. To stabilize the right hand,
many bassoonists use an
adjustable comma-shaped
apparatus called a "crutch," or a
hand rest, which mounts to the
boot joint. The crutch is secured
with a thumb screw, which also
allows the distance that it
protrudes from the bassoon to
be adjusted. Players rest the
curve of the right hand where
the thumb joins the palm
against the crutch. The crutch
also keeps the right hand from
tiring and enables the player to
keep the finger pads flat on the
finger holes and keys.
37. An aspect of bassoon technique not
found on any other woodwind is
called flicking. It involves the left hand
thumb momentarily pressing, or
'flicking' the high A, C and D keys at the
beginning of certain notes in the middle
octave. This eliminates cracking, or
brief multiphonics that happens without
the use of this technique.
Flicking is not universal amongst
bassoonists; some American players,
principally on the East Coast, use it
sparingly, if at all. The rest use it
virtually 100% of the time—it has
become in essence part of the
fingering.
38. The alternative method is
"venting", which requires that
the register key be used as part
of the full fingering as opposed
to being open momentarily at
the start of the note.
39. A new automatic octave key
system is available as an add-
on, invented by Arthur
Weisberg. When installed, the
Weisberg system completely
eliminates the need to 'flick' in
the upper octave. Only a few
years old, it has yet to be
offered as standard equipment
by any of the major bassoon
manufacturers.
40. While flicking is used to
higher notes, the whisper key
is used for lower notes. From
the G right below middle C
and lower, the whisper key is
pressed with the left thumb
and held for the duration of
the note. This prevents
cracking, as low notes can
sometimes crack into a higher
octave. Both flicking and
using the whisper key is
especially important to ensure
notes speak properly during
slurring between high and low
registers.
42. Many extended techniques can be
performed on the bassoon, such
as multiphonics, flutter-
tonguing, circular breathing, double
tonguing, and harmonics.
In the case of the bassoon, flutter-
tonguing may be accomplished by
"gargling" in the back of the throat as
well as by the conventional method of
rolling Rs.
44. The bassoon embouchure is
a very important aspect of
producing a full, round
bassoon tone, but can be
difficult to obtain as a
beginner. The bassoon
embouchure is made by
putting your lips together as if
you were whistling and then
dropping your jaw down as if
you were yawning (don't
actually yawn or open your
mouth). Both sets of teeth
should be covered by your
lips in order to protect the
reed. The reed should be
placed in your mouth and a
seal should be formed around
the reed with your lips and
facial muscles
45. The bassoon embouchure is a make
or break situation for many young Some common bassoon
musicians. All students should own a embouchure problems are:
small mirror and look at their 1. Biting
embouchure daily. 2. Under bite or even jaws
3. Rolling lips in over the teeth with
little or no red showing
Pucker the lips like you are whistling 4. Smiling
or blowing out a match. Focus the 5. Excessive tension in the lips/chin
corners inward like closing a draw- muscles
string bag. The lips should be fairly 6. Puffing the cheeks and/or air
relaxed, not tight. Drop the lower pockets between the lips and the
jaw and form an overbite. Put about teeth
3/4ths of the reed in the mouth. The 7. Too little reed in mouth
upper lip should be up close to the
bark, and the lower lip about half Since every student is different, it is
way between the tip and the important that students get individual
bark. This position may change as attention with regards to
you change registers. Breathe in an embouchure. Private instructors are
oval to aid in correct embouchure the best way to ensure that students
formation. Say "Ho;" then breathe get the embouchure attention they
in, keeping the lips in same shape. need.
47. The bassoon player articulates by placing the tip of
the tongue to the tip of the reed. When you are
ready to begin a note, take a full breath, firm the
corners of the embouchure, and set the tongue
against the tip of the reed. Allow the air to build
pressure behind the tongue and release the
tongue. You should have a clear, centered
articulation and tone with no extra sound or air.
Releases are produced by shaping your mouth in
an ―H‖ syllable. The ―H‖ syllable at the end of the
note gives a clean release and also prevents you
from closing your throat or stopping the note with
your tongue. You should never stop a note with
your tongue or with your throat. Finally,
you MUST crescendo to all releases. If you
crescendo to the end of the release, it gives the
music motion and prevents it from being stagnant.
49. The first key to playing in
tune and with good
intonation is to play with a
good tone. If you play with a
good tone, you are much
more likely to play in tune
than if you were playing with
a poor tone.
51. Finally, daily practice is the determining factor in your success
as a musician. You must practice everyday. There can be no
off days or vacations—your instrument must be maintained
and worked on everyday. Find the time to practice and find a
place where you can concentrate and genuinely work hard to
make yourself better.
Here are a few tips to help your practice sessions run better.
1. Always effectively warm-up and address every
fundamental
2. Tune after warming up
3. Use a metronome for everything that you practice
4. Practice etudes, rhythm sheets, and concert music
5. Begin slowly and gradually work up to tempo—
Do NOT settle for close enough
6. Focus on performing everything perfectly—Not just right
notes and right rhythm, but articulation, dynamics, tone,
everything
54. BAROQUE PERIOD
Johann Friedrich Fasch: Several bassoon concerti;
the best known is in C major
Christoph Graupner: Four bassoon concerti
Johann Wilhelm Hertel: Bassoon Concerto in A
minor
Georg Philipp Telemann: Sonata in F minor
Antonio Vivaldi: 39 concerti for bassoon, 37 of
which exist in their entirety today
Jan Dismas Zelenka: Six trio sonatas for two
oboes, bassoon and basso continuo
55. CLASSICAL PERIOD Wolfgang Amadeus Mozart:
Johann Christian Bach:
Bassoon Concerto in B♭ Bassoon Concerto in B♭, K.
Bassoon Concerto in E♭ major 191, the only surviving of the
Franz Danzi: original three bassoon
Bassoon Concerto in G minor, concertos he wrote
Bassoon Concerto in C Antonio Rosetti:
2 Bassoon Concerto in F major Bassoon Concertos in F major
(Murray C75)
François Devienne: Bassoon Concertos in
12 Sonatas (six with opus B♭ major (Murray C69, C73,
numbers) C74)
3 Quartets Bassoon Concerto in E♭ major
Bassoon Concerto (Murray C68) [24])
6 Duos Concertants Carl Stamitz: Bassoon
Johann Nepomuk Hummel: Concerto in F major
Grand Concerto for Bassoon (in Johann Baptist Vanhal:
F) Bassoon Concerto in C major
Leopold Kozeluch: Concerto in F major for two
Bassoon Concerto in B♭ major bassoons and orchestra
(P V:B1)
Bassoon Concerto in C major (P
V:C1)
56. ROMANTIC PERIOD
Franz Berwald: Konzertstueck
Ferdinand David: Concertino for
bassoon and orchestra, op. 12
Edward Elgar: Romance for bassoon
and orchestra, op. 62
Johann Fuchs: Bassoon Concerto in
B♭ major
Julius Fučík: Der alte Brummbär ("The
Old Grumbler") for bassoon and
orchestra, op. 210
Reinhold Glière: Humoresque and
Impromptu for Bassoon and Piano, op.
35, nos. 8 and 9
Camille Saint-Saëns: Sonata for
bassoon and piano in G major, op. 168
Carl Maria von Weber:
Andante e rondo ungarese in C minor, op.
35
Bassoon Concerto in F, op. 75
58. Maurice Allard (1923–2005) Sol Schoenbach (1915–1999)
Archie Camden (1888–1979) Leonard Sharrow (1915–
2004), Chicago Symphony
Orchestra1951–1964
Donald Christlieb (1913-2001).
Hollywood studios
Klaus Thunemann (1937– )
Bernard
Garfield (1928), Philadelphia Sherman Walt (1923–
Orchestra 1957–2000 1989), Boston Symphony
Orchestra 1953–1989
Simon Kovar (1890–1970)
William Waterhouse (1931–
2007), Royal Northern College of
Ludwig Milde (1849–1913) Music; London Symphony; BBC
Symphony; Melos Ensemble
Etienne Ozi (1754–1813)
Arthur Weisberg (1931–2009)
Victor Guillermo Ramos
Rangel (1911–1986) Julius Weissenborn (1837–1888)
