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Bassoon: the story on HearLore | HearLore
Bassoon
The bassoon is the only woodwind instrument that can mimic the human voice with such startling accuracy that composers have long used it to represent specific characters, emotions, and even the voice of the devil. This distinctive tone color, ranging from a warm, singing tenor to a dark, growling bass, has made it a favorite among composers for over three centuries. Unlike its woodwind cousins, the bassoon does not simply play notes; it tells stories. From the opening solo of Igor Stravinsky's The Rite of Spring, which soars into the instrument's highest register to mimic a Ukrainian folk dance, to the grumbling grandfather in Sergei Prokofiev's Peter and the Wolf, the bassoon has carved out a unique identity in the orchestral landscape. Its ability to shift from a lyrical, vocal quality to an aggressive, staccato attack allows it to serve as both a supportive bass instrument and a virtuosic soloist, a duality that few other instruments can claim.
A Bundle of Sticks
The word bassoon itself reveals a history buried in the very materials used to build it. Derived from the French word for a bundle of sticks, the instrument's name traces back to the Italian dulcian, a precursor that emerged in the first half of the 16th century. This early ancestor was a hairpin-shaped instrument with a long, folded bore and a single key, designed to provide the bass line in wind bands. By the mid-16th century, the dulcian was available in as many as eight different sizes, ranging from soprano to great bass, though a full consort of these instruments remained a rarity. The true bassoon, however, was not merely a modification of the dulcian but a newly invented instrument that began to take shape in the 1650s. Martin Hotteterre, a French craftsman, is credited with conceiving the bassoon in four sections: the bell, bass joint, boot, and wing joint. This modular design allowed for greater accuracy in machining the bore compared to the one-piece dulcian and laid the groundwork for the modern instrument. By 1700, a fourth key had been added, and by the first half of the 18th century, a fifth key for the low E was introduced, expanding the instrument's compass and allowing composers like Antonio Vivaldi and Johann Sebastian Bach to write demanding music for it.
The German and French Divide
In the 19th century, the bassoon underwent a radical transformation that split the instrument into two distinct systems: the Heckel, or German, system and the Buffet, or French, system. The modern bassoon owes its existence to Carl Almenräder, a performer and teacher who, assisted by acoustic researcher Gottfried Weber, developed a 17-key bassoon with a range spanning four octaves. Almenräder's improvements began with an 1823 treatise describing ways to enhance intonation, response, and technical ease. His work led to the establishment of the Heckel firm, which became the standard for the instrument, producing over 1,100 bassoons by the turn of the 20th century. The Heckel system is characterized by a complex keywork that allows for superior singing tone quality and consistency, making it the dominant choice in English-speaking countries and most of the world. In contrast, the Buffet system, developed in France, followed a more conservative path of incremental improvements to the keywork. While the Buffet system lacks the power and ease of operation found in Heckel instruments, it is prized for its vocal quality and greater facility in the upper registers. Today, the Heckel system is the standard in most orchestras, while the Buffet system remains popular in France, Belgium, and parts of Latin America, creating a fascinating divide in how the instrument is played and perceived globally.
Common questions
What is the bassoon and how does it mimic the human voice?
The bassoon is the only woodwind instrument that can mimic the human voice with startling accuracy. Composers have used this distinctive tone color to represent specific characters, emotions, and even the voice of the devil.
When was the bassoon invented and who created the modern design?
The true bassoon began to take shape in the 1650s when Martin Hotteterre conceived the instrument in four sections. By 1700, a fourth key had been added, and by the first half of the 18th century, a fifth key for the low E was introduced.
What are the Heckel and Buffet systems used in the bassoon?
The Heckel system is the standard in most orchestras and English-speaking countries, characterized by complex keywork for superior singing tone quality. The Buffet system remains popular in France, Belgium, and parts of Latin America, offering greater facility in the upper registers.
How is a bassoon reed made and what material is used?
Bassoon reeds are made from Arundo donax cane which is split, trimmed, and gouged to a precise thickness before being folded and shaped around a conical steel mandrel. The process involves scoring the bark with parallel lines, soaking the cane, and sealing it with nitrocellulose-based cement.
Why is the bassoon fingering system considered the most complex?
The instrument is held diagonally with the left hand positioned above the right and features five main finger holes plus a sixth activated by an open-standing key. The back of the instrument contains twelve or more keys controlled by the thumbs, creating a labyrinth of mechanical interactions.
How much does a high-quality bassoon cost and when did it appear in jazz?
Prices for high-quality bassoons can range from US$7,000 to over $45,000. The instrument first began appearing in jazz ensembles in the 1920s when Garvin Bushell incorporated it into his performances.
At the heart of the bassoon's sound lies the double reed, a small, intricate component that requires hundreds of hours of craftsmanship to create. Unlike the reeds of other woodwinds, bassoon reeds are made from Arundo donax cane, which is split, trimmed, and gouged to a precise thickness before being folded and shaped around a conical steel mandrel. The process involves scoring the bark with parallel lines, soaking the cane, and then using a special pair of pliers to press the cane into the desired shape. The resulting reed is wrapped in thread, sealed with nitrocellulose-based cement, and finished with a bulge known as the Turk's head, which serves as a handle for insertion. Advanced players often make their own reeds to suit their specific playing styles, as commercially made reeds frequently require adjustments. The reed's shape, hardness, and profile directly influence the instrument's tone, intonation, and response, making the art of reed-making a critical skill for any bassoonist. The complexity of the reed is such that it can take years for a student to develop an embouchure that exhibits consistent control across all reeds, dynamics, and playing environments.
The Complexity of Fingers
The bassoon's fingering system is widely regarded as the most complex among orchestral woodwinds, requiring a level of dexterity and coordination that sets it apart from its peers. The instrument is held diagonally in front of the player, with the left hand positioned above the right, and features five main finger holes on the front plus a sixth activated by an open-standing key. The back of the instrument contains twelve or more keys controlled by the thumbs, creating a labyrinth of mechanical interactions. To stabilize the right hand, many bassoonists use an adjustable comma-shaped apparatus called a crutch, which mounts to the boot joint and allows the player to rest the curve of the hand against it. A unique technique known as flicking involves the left hand thumb momentarily pressing high A, C, and D keys to achieve a clean slur from a lower note, eliminating cracking or brief multiphonics. This technique, along with the whisper key used for lower notes, is essential for ensuring that notes speak properly during slurs between high and low registers. The complexity of the fingering system means that two given bassoonists may share no fingerings for certain notes, as regional enclaves and individual preferences lead to significant variations in technique.
The Devil's Voice
Throughout the history of classical music, the bassoon has been employed to evoke the most dramatic and sinister images, often serving as the voice of the devil or other supernatural entities. In Modest Mussorgsky's Night on Bald Mountain, the bassoons play fortissimo alongside other bass instruments to create the voice of the Devil, a sound that is both dark and menacing. Richard Wagner used the bassoon's staccato ability in his opera Tannhäuser to evoke a darker sound with noticeable tone color, often writing his three bassoon parts in thirds to enhance the effect. Hector Berlioz, in his Symphonie fantastique, utilized the bassoon's staccato to depict the image of two brooms coming to life, while Paul Dukas used the same technique to bring brooms to life in The Sorcerer's Apprentice. The instrument's ability to produce a gravelly, out-of-tune sound in the lower register has also been used to create unique textures, as seen in the extended techniques of the 20th century. Composers like Luciano Berio and Bruno Bartolozzi have pushed the boundaries of the bassoon, incorporating microtonal fingerings, glissandos, and multiphonics to create sounds that challenge the instrument's traditional role. The bassoon's capacity to mimic the human voice, combined with its ability to produce eerie, otherworldly tones, has made it a favorite for composers seeking to evoke the supernatural or the grotesque.
The Jazz and Rock Pioneer
While the bassoon is primarily associated with classical music, it has found a home in jazz and rock settings, albeit rarely and often as a novelty. The instrument first began appearing in jazz ensembles in the 1920s, when Garvin Bushell incorporated it into his performances. Specific calls for its use occurred in Paul Whiteman's group and the unusual octets of Alec Wilder, but the instrument remained sporadic in the following decades. The 1960s saw a resurgence of interest, with artists like Yusef Lateef and Chick Corea incorporating the bassoon into their recordings. Lateef's diverse instrumentation saw the bassoon as a natural addition, while Corea employed the bassoon in combination with flautist Hubert Laws. More recently, bassoonists like Karen Borca, Michael Rabinowitz, and James Lassen have used the instrument in free jazz and experimental settings. In the realm of rock, the bassoon has been featured in the music of bands like Henry Cow, Gryphon, and These New Puritans, with players like Lindsay Cooper and Chloe Herrington pushing the boundaries of the instrument in avant-garde and progressive rock. The use of electronic pickups and amplification has allowed the bassoon to blend with rock and pop settings, creating a unique sound that stands out in a genre dominated by electric guitars and synthesizers.
The Challenge of Mastery
Learning the bassoon is a formidable task, requiring years of dedication and a significant financial investment. The complex fingering system, combined with the expense and lack of access to quality reeds, makes the instrument more challenging to learn than many other woodwinds. Prices for high-quality bassoons can range from US$7,000 to over $45,000, and students in North America often begin to pursue the study of bassoon performance only after starting on another reed instrument, such as the clarinet or saxophone. The instrument's unique embouchure, which requires the lips to be rolled over the teeth and the jaw to be raised or lowered to adjust the oral cavity, demands substantial muscle tone and control in the diaphragm, throat, neck, and upper chest. Air pressure is a critical aspect of the tone, intonation, and projection of double reed instruments, affecting these qualities as much, or more, than the embouchure itself. The variability of reeds, which are categorically inconsistent in behavior, means that it takes some time for bassoonists to develop an embouchure that exhibits consistent control across all reeds, dynamics, and playing environments. Despite these challenges, the bassoon remains a beloved instrument for those who are willing to master its complexities, offering a rich and rewarding musical experience.