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'Fagotto' redirects here. For the organ reed, see List of pipe organ stops. For other uses, see Faggot (disambiguation).

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For other uses, see Bassoon (disambiguation). Musical instruments Woodwinds. Piccolo. Flute. Oboe.

Cor anglais. Clarinet. Saxophone.

Bassoon. Contrabassoon. Bagpipes. Recorder Brass Percussion String instruments Keyboards The bassoon is a woodwind instrument in the double reed family that typically plays music written in the bass and tenor clefs, and occasionally the treble. Appearing in its modern form in the 19th century, the bassoon figures prominently in orchestral, concert band, and chamber music literature. The bassoon is a non-transposing instrument known for its distinctive tone color, wide range, variety of character and agility.

Listeners often compare its warm, dark, reedy timbre to that of a male baritone voice. Someone who plays the bassoon is called a bassoonist. Playing range of a bassoon (A1) B♭1–E5 (A5) ( listen ) (A1) B♭1–C5 (D5–G5) The range of the bassoon begins at B♭1 (the first one below the bass staff) and extends upward over three octaves, roughly to the G above the treble staff (G5).2 Higher notes are possible but difficult to produce, and rarely called for: orchestral and concert band parts rarely go higher than C5 or D5. Even Stravinsky's famously difficult opening solo in The Rite of Spring only ascends to D5. A1 is possible with a special extension to the instrument—see 'Extended techniques' below. A spectrogram of the bassoon's B♭ in four octaves. The bassoon disassembles into six main pieces, including the reed.

The bell (6), extending upward; the bass joint (or long joint) (5), connecting the bell and the boot; the boot (or butt) (4), 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 crook) (2), a crooked metal tube that attaches the wing joint to a reed (1) ( listen ). Bassoons are double reed instruments like the oboe and the English horn. 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. 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.

Wooden instruments are lined with hard rubber along the interior of the wing and boot joints to prevent damage from moisture; wooden instruments are also stained and varnished. The end of the bell is usually fitted with a ring, either of metal, plastic or ivory. The joints between sections consist of a tenon fitting into a socket; the tenons are wrapped in either cork or string as a seal against air leaks. The bocal connects the reed to the rest of the instrument and is inserted into a socket at the top of the wing joint.

Bocals come in many different lengths and styles, depending on the desired tuning and playing characteristics. Folded upon itself, the bassoon stands 1.34 m (4 ft 5 in) tall, but the total sounding length is 2.54 m (8 ft 4 in). Playing is facilitated by doubling the tube back on itself and 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.

There are also short-reach bassoons made for the benefit of young or petite players. Developmentedit Early historyedit. Edgar Degas, L'Orchestre de L'Opera, (1868) A wind ensemble will usually also include two bassoons and sometimes contrabassoon, each with independent parts; other types of concert wind ensembles will often have larger sections, with many players on each of first or second parts; in simpler arrangements there will be only one bassoon part and no contrabassoon. The bassoon's role in the concert band is similar to its role in the orchestra, though when scoring is thick it often cannot be heard above the brass instruments also in its range. La Fiesta Mexicana, by H. Owen Reed, features the instrument prominently, as does the transcription of Malcolm Arnold's Four Scottish Dances, which has become a staple of the concert band repertoire. The bassoon is part of the standard wind quintet instrumentation, along with the flute, oboe, clarinet, and horn; it is also frequently combined in various ways with other woodwinds.

Richard Strauss's 'Duet-Concertino' pairs it with the clarinet as concertante instruments, with string orchestra in support. An ensemble known as the 'reed quintet' also makes use of the bassoon. A reed quintet is made up of an oboe, clarinet, saxophone, bass clarinet, and bassoon.

The bassoon quartet has also gained favor in recent times. The bassoon's wide range and variety of tone colors make it well suited to grouping in a like-instrument ensemble.

Peter Schickele's 'Last Tango in Bayreuth' (after themes from Tristan und Isolde) is a popular work; Schickele's fictional alter ego P. Bach exploits the more humorous aspects with his quartet 'Lip My Reeds,' which at one point calls for players to perform on the reed alone.

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It also calls for a low A at the very end of the prelude section in the fourth bassoon part. It is written so that the first bassoon does not play; instead, the player's role is to place an extension in the bell of the fourth bassoon so that the note can be played. Jazzedit The bassoon is infrequently used as a jazz instrument and rarely seen in a jazz ensemble. It first began appearing in the 1920s, including specific calls for its use in Paul Whiteman's group, the unusual octets of Alec Wilder, and a few other session appearances. The next few decades saw the instrument used only sporadically, as symphonic jazz fell out of favor, but the 1960s saw artists such as Yusef Lateef and Chick Corea incorporate bassoon into their recordings.

Lateef's diverse and eclectic instrumentation saw the bassoon as a natural addition (see, e.g., The Centaur and the Phoenix (1960) which features bassoon as part of a 6-man horn section, including a few solos) while Corea employed the bassoon in combination with flautist Hubert Laws. More 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 free jazz, is one of the few jazz musicians to play only bassoon; Michael Rabinowitz, the Spanish bassoonist Javier Abad, and James Lassen, an American resident in Bergen, Norway, are others. Katherine Young plays the bassoon in the ensembles of Anthony Braxton. Lindsay Cooper, Paul Hanson, the Brazilian bassoonist Alexandre Silverio, Trent Jacobs and Daniel Smith are also currently using the bassoon in jazz. French bassoonists Jean-Jacques Decreux17 and Alexandre Ouzounoff18 have both recorded jazz, exploiting the flexibility of the Buffet system instrument to good effect. Popular musicedit.

The contemporary quintet Edmund Wayne at the Treefort Music Fest The bassoon is even rarer as a regular member of rock bands. However, several 1960s pop music hits feature the bassoon, including 'The Tears of a Clown' by Smokey Robinson and the Miracles (the bassoonist was Charles R.

Sirard19), 'Jennifer Juniper' by Donovan, 'The Turtles' 'Happy Together'(third verse,overdub), '59th Street Bridge Song' by Harpers Bizarre, and the oompah bassoon underlying The New Vaudeville Band's 'Winchester Cathedral'. From 1974 to 1978, the bassoon was played by Lindsay Cooper in the British avant-garde band Henry Cow.

In the 1970s it was played, in the British medieval/progressive rock band Gryphon, by Brian Gulland, as well as by the American band Ambrosia, where it was played by drummer Burleigh Drummond. The Belgian Rock in Opposition-band Univers Zero is also known for its use of the bassoon. The bassoon is held diagonally in front of the player, but unlike the flute, oboe and clarinet, it cannot be easily supported by the player's hands alone. Some means of additional support is usually required; the most common ones are a seat strap attached to the base of the boot joint, which is laid across the chair seat prior to sitting down, or 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, adjusting the distribution of weight between the two hands. The bassoon is played with both hands in a stationary position, the left above the right, with five main finger holes on the front of the instrument (nearest the audience) plus a sixth that is activated by an open-standing key. Five additional keys on the front are controlled by the little fingers of each hand. The back of the instrument (nearest the player) has twelve or more keys to be controlled by the thumbs, the exact number varying depending on model. Detail of binding around base of reed. 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 (which sometimes has been heated in a flame) 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 steam generated by the heated mandrel causes the cane to permanently assume 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 (a nitrocellulose-based cement such as Duco may be used) 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 or clear nail varnish (polish). 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. Recently, more players are choosing the more modern heat-shrink tubing instead of the time-consuming and fiddly thread. 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 27–30 mm (1.1–1.2 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 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 (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 'clip' the reed by removing 1–2 mm (0.039–0.079 in) from its length using a pair of very sharp scissors or the equivalent.2627 Playing styles of individual bassoonists vary greatly; because of this, most advanced players will make their own reeds, in the process customizing them to their individual playing requirements. Many companies and individuals do offer reeds for sale, but even with store-bought reeds, players must know how to make adjustments to suit their particular playing style.

The tools used for adjusting reeds are very similar to those used to make the reeds themselves. Early reedsedit Little is known about the early construction of the bassoon reed, as few examples survive, and much of what is known is only what can be gathered from artistic representations.

The earliest known written instructions date from the middle of the 17th century, describing the reed as being held together by wire or resined thread; the earliest actual reeds that survive are more than a century younger, a collection of 21 reeds from the late 18th-century Spanish bajon. Bassoon repertoireedit Main articles: Bassoon concerto and Bassoon sonata Baroqueedit.