Bassoon

The bassoon is a musical instrument in the woodwind family, which plays in the tenor and bass ranges. It is composed of six pieces, and is usually made of wood. It is known for its distinctive tone color, wide range, versatility, and virtuosity. It is a non-transposing instrument and typically its music is written in the bass and tenor clefs, and sometimes in the treble. There are two forms of modern bassoon: the Buffet and Heckel systems. It is typically played while sitting using a seat strap, but can be played while standing if the player has a harness to hold the instrument. Sound is produced by rolling both lips over the reed and blowing direct air pressure to cause the reed to vibrate. Its fingering system can be quite complex when compared to those of other instruments. Appearing in its modern form in the 19th century, the bassoon figures prominently in orchestral, concert band, and chamber music literature, and is occasionally heard in pop, rock, and jazz settings as well. One who plays a bassoon is called a bassoonist.

Etymology

The word bassoon comes from French basson and from Italian bassone, both terms that refer to the version of any instrument in a bass register. The term for bassoon used in classical music scores and parts is often its Italian name fagotto, which referred initially to the dulcian. This word, adopted in many other European languages as fagot, fagote, or in German, Fagott, comes from an Old French word meaning a bundle of sticks.

Characteristics

Range

The range of the bassoon begins at B₁ and extends upward over three octaves, roughly to the G above the treble staff. However, most writing for bassoon rarely calls for notes above C₅ or D₅; even Stravinsky's opening solo in The Rite of Spring only ascends to D₅. Notes higher than this are possible, but seldom written, as they are difficult to produce, and at any rate are quite homogeneous in timbre to the same pitches on the cor anglais, which can produce them with relative ease. French bassoon has greater facility in the extreme high register, 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 extensive high register of the bassoon and its frequent role as a lyric tenor have meant that tenor clef is very commonly employed in its literature after the Baroque, partly to avoid excessive ledger lines, and, beginning in the 20th century, treble clef is also seen for similar reasons.
Like other woodwind instruments, the lowest note is fixed, but A₁ is possible with a special extension to the instrument—see "Extended techniques" below.
Although the primary tone hole pitches are a pitched perfect 5th lower than other non-transposing Western woodwinds the bassoon is non-transposing, meaning that notes sounded match the written pitch.

Construction

The bassoon disassembles into six main pieces, including the reed. The bell , extending upward; the bass joint , connecting the bell and the boot; the boot , at the bottom of the instrument and folding over on itself; the wing joint , which extends from boot to bocal; and the bocal , a crooked metal tube that attaches the wing joint to a reed .

Structure

The bore of the bassoon is conical, like that of the oboe and the saxophone, and the two adjoining bores of the boot joint are connected at the bottom of the instrument with a U-shaped metal connector. Both bore and tone holes are precision-machined, and each instrument is finished by 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 angle 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 closing the distance between the widely spaced holes with a complex system of key work, which extends throughout nearly the entire length of the instrument. The overall height of the bassoon stretches to tall, but the total sounding length is considering that the tube is doubled back on itself. There are also short-reach bassoons made for the benefit of young or petite players.

Materials

A modern beginner's 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 student and outdoor use. Metal bassoons were made in the past but have not been produced by any major manufacturer since 1889.

Double reeds

The art of reed-making has been practiced for several hundred years, some of the earliest known reeds having been made for the dulcian, a predecessor of the bassoon. Current methods of reed-making consist of a set of basic methods; however, individual bassoonists' playing styles vary greatly and thus require that reeds be customized to best suit their respective bassoonist. Advanced players usually make their own reeds to this end. With regards to commercially made reeds, many companies and individuals offer pre-made reeds for sale, but players often find that such reeds still require adjustments to suit their particular playing style.
Modern bassoon reeds, made of Arundo donax cane, are often made by the players themselves, although beginner bassoonists tend to buy their reeds from professional reed makers or use reeds made by their teachers. Reeds begin with a length of tube cane that is split into three or four pieces using a tool called a cane splitter. The cane is then trimmed and gouged to the desired thickness, leaving the bark attached. After soaking, the gouged cane is cut to the proper shape and milled to the desired thickness, or profiled, by removing material from the bark side. This can be done by hand with a file; more frequently it is done with a machine or tool designed for the purpose. After the profiled cane has soaked once again it is folded over in the middle. Prior to soaking, the reed maker will have lightly scored the bark with parallel lines with a knife; this ensures that the cane will assume a cylindrical shape during the forming stage.
On the bark portion, the reed maker binds on one, two, or three coils or loops of brass wire to aid in the final forming process. The exact placement of these loops can vary somewhat depending on the reed maker. The bound reed blank is then wrapped with thick cotton or linen thread to protect it, and a conical steel mandrel is quickly inserted in between the blades. Using a special pair of pliers, the reed maker presses down the cane, making it conform to the shape of the mandrel. The upper portion of the cavity thus created is called the "throat", and its shape has an influence on the final playing characteristics of the reed. The lower, mostly cylindrical portion will be reamed out with a special tool called a reamer, allowing the reed to fit on the bocal.
After the reed has dried, the wires are tightened around the reed, which has shrunk after drying, or replaced completely. The lower part is sealed and then 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, beeswax, or clear nail varnish. Electrical tape can also be used as a wrapping for amateur reed makers. The bulge in the wrapping is sometimes referred to as the "Turk's head"—it serves as a convenient handle when inserting the reed on the bocal. Alternatively, hot glue, epoxy, or heat shrink wrap may be used to seal the tube of the reed. The thread wrapping is still more common in commercially sold reeds.
To finish the reed, the end of the reed blank, originally at the center of the unfolded piece of cane, is cut off, creating an opening. The blades above the first wire are now roughly 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 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 need to be adjusted by squeezing either the first or second wire with the pliers. Additional material may be removed from the sides or tip to balance the reed. Additionally, if the "e" in the bass clef staff is sagging in pitch, it may be necessary to "clip" the reed by removing from its length using a pair of very sharp scissors or the equivalent.

History

Origin

Music historians generally consider the dulcian to be the forerunner of the modern bassoon, as the two instruments share many characteristics: a double reed fitted to a metal crook, obliquely drilled tone holes and a conical bore that doubles back on itself. The origins of the dulcian are obscure, but by the mid-16th century it was available in as many as eight different sizes, from soprano to great bass. A full consort of dulcians was a rarity; its primary function seems to have been to provide the bass in the typical wind band of the time, either loud or soft, indicating a remarkable ability to vary dynamics to suit the need. Otherwise, dulcian technique was rather primitive, with eight finger holes and two keys, indicating that it could play in only a limited number of key signatures.
Circumstantial evidence indicates that the baroque bassoon was a newly invented instrument, rather than a simple modification of the old dulcian. The dulcian was not immediately supplanted, but continued to be used well into the 18th century by 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 true bassoon was Martin Hotteterre, who may also have invented the three-piece flûte traversière and the hautbois. Some historians believe that sometime in the 1650s, Hotteterre conceived the bassoon in four sections, an arrangement that allowed greater accuracy in machining the bore compared to the one-piece dulcian. He also extended the compass down to B by adding two keys. An alternate view maintains Hotteterre was one of several craftsmen responsible for the development of the early bassoon. These may have included additional members of the Hotteterre family, as well as other French makers active around the same time. No original French bassoon from this period survives, but if it did, it would most likely resemble the earliest extant bassoons of Johann Christoph Denner and Richard Haka from the 1680s. Sometime around 1700, a fourth key was added, and it was for this type of instrument that composers such as Antonio Vivaldi, Bach, and Georg Philipp Telemann wrote their demanding music. A fifth key, for the low E, was added during the first half of the 18th century. Notable makers of the 4-key and 5-key baroque bassoon include J.H. Eichentopf, J. Poerschmann, Thomas Stanesby Jr., G.H. Scherer, and Prudent Thieriot.