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Bassoon
By Hugo Fox
Hugo Fox
From 1922 until 1949, Hugo Fox served as principal bassoonist of
the Chicago Symphony Orchestra, where he acquired an almost
legendary reputation as one of the outstanding bassoonists of
his era. During fifteen years of this period, he was instructor of
bassoon at Northwestern University, and many of his students
became ranked among the prominent bassoonists of America.
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INTRODUCTION:
This booklet has been prepared for the bandmaster or
woodwind instructor who teaches the instrument, while
not being an accomplished bassoonist.
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INDEX
Introduction ....................................................................2-3
The Reed.....................................................................10-11
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STARTING THE STUDENT
ON THE BASSOON
Either transfer the students from another instrument, or bassoon, much like when playing trombone. The air
start them directly on bassoon. If you have access to a stream must have a clear, unobstructed path through the
short-reach model bassoon, it is practical to start them in reed, continuing through the instrument.
elementary..
So that the reed will enter the mouth in a comfortable and
Since the bassoon does not require a firm or tight natural position, the body and instrument position should
embouchure, there is leeway in selecting suitable players. be correct. The body should be erect, standing or sitting.
The teeth need not be straight, nor does the player need The head should also be erect and facing forward. The
to have a normal bite. The lip tension is much less, for adjustment of the neck or seat strap should be such that
instance, than that used in playing clarinet or oboe. the reed enters the mouth with the head in this position.
The reed should be taken into the mouth until the upper
lip almost touches the first wire. The lips control the reed
completely: the teeth play a minor role. The feeling of the
lip should be one of grasping the reed all around, and the
reed should be supported on the sides, as well as from
above and below. The teeth should be apart when playing
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ASSEMBLY
■ To assemble the bassoon, place the wing and bass joints assembly, since carelessness can damage the keys or the
together with the bottom ends even (see illustration) and tenons on the wing and bass joints.
insert them into the boot joint. Next, add the bell and
then the bocal or mouth pipe. Exercise care in inserting ■ If a body lock is used on the instrument, its closure should
the bocal so that the pad on the whisper (piano) key will be made after the bass and wing joints are in alignment. If
not be injured or broken off. the key alignment is incorrect with the body lock in place,
disengage the lock and have it adjusted by a repairman. It
■ An alternate assembly method is to first insert the wing is the opinion of the author that body locks, while of some
joint, and twist it to achieve a comfortable adjustment of value, are a constant hazard to the instrument, because
the piano key mechanism. This adjustment should be they can easily be torn off the thin tenon wall of the bass
measured with the bocal in the wing joint, and the mecha- joint. An exception to this is with plastic bassoons, which
nism should be such that the whisper (piano) key covers have stronger sections than the wooden instruments. If
the bocal button just prior to or simultaneously with the wooden instruments have thread wound tenons, there is
“pancake key” on the boot joint. On Fox and Renard less of a need for the body lock, since the thread wrapping
bassoons, it is possible to install the wing joint so that the can be adjusted to provide a firm fit between the joints.
groove running the length of the wing is concentric with the
large socket in the boot. This will match a scribe line on the ■ Use of a hand rest is optional and is governed in most
bottom of the whisper key side of the wing with a similar cases by the length of the player’s hand. When playing with
line on the boot, which can also be used for aligning it. a neck strap, some form of hand support is necessary and
After achieving this position, the bocal should be removed the hand rest becomes more important, in order to position
and the bass joint inserted in the boot joint. The player the instrument. The size and shape of the hand rest should
should be extremely careful when using this method of be selected to provide maximum comfort to the player.
6
BELL
BOOT BOOT
(Front) (Back)
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CARE OF THE INSTRUMENT
GENERAL OILING THE BORE
Treat the instrument like a fine piece of furniture. Avoid After protecting the pads with wax paper or other suit-
excessive heat and moisture, particularly sudden changes. able material, or after removing the keys, the unlined
Do not leave it in a cold automobile overnight, and then portion of the bore should be swabbed with LIGHT
try to play it immediately upon entering a building. The mineral oil, using a pull-through swab. After allowing the
cost of making a bassoon is mostly hand labor. It frequent- oil to soak in for about an hour, remove the remaining oil
ly costs more to repair a damaged instrument than it does with another pull-through swab. This should be done
to make a new one. every six months.
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THE REED
Bandmasters, who do not play bassoon should either buy their
reeds from a reliable source, or buy reed blanks and hand finish
them.
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the inside of the reed. After it cools, be sure the throat is The opening of the reed at the tip is also very important
not obstructed with wax. A small rat-tail file will easily clean and must be wide enough to allow sufficient air to pass
the throat. These operations should be done when the through the instrument to produce a full tone in the lower
reed is dry. register. The tip opening can be regulated by squeezing
the sides of the 1st wire when the reed is thoroughly wet.
Most reeds are heavy and must
have excess wood removed in Before using, dip the reed in a cup of water for a few
the right places. If the lower moments, or hold it under a faucet. Then remove it and
allow the water to penetrate the cane before using. It is
tones do not speak easily and
undesirable to soak the reed for a long period of time
if the reed tires the lips, this is
before using it. Prolonged soaking usually results in a
usually a sign that the wire end
sluggish, waterlogged sound. Some players prefer to wash
of the lay is heavy. Wood
off the saliva after using the reed, in order to prolong its life.
should be scraped or filed
This is usually effective, however, sanding with light sandpa-
from the wire half of the lay.
per will also work. In either case, reeds must be given ade-
quate ventilation to prevent mildew. If the reeds are stored
To make the upper register
in tubes, the containers should have ventilation holes.
speak easily and with a bright
tone, remove wood from the If a competent bassoonist is available, consult him for
corners and tip. In doing this it detailed instructions. An excellent reference is William
is advisable to insert a plaque Spencer’s “ The Art of Bassoon Playing”. It is published
into the tip of the reed to pre- by Summy-Birchard, and is available through most music
vent breakage. This operation stores. If specific problems arise, call or write the staff at
is far safer if the reed is wet. the Fox Bassoon Company, South Whitley, Indiana.
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FINGERING CHARTS
In the following fingering chart, all the keys on LEFT HAND
the bassoon are shown in the diagrams under
each note. To finger any note depress the 1st Finger
keys, levers or cover the holes shown in teal.
2nd Finger
Special attention should be given to the hole LEFT
covered by the first finger of the left hand. If THUMB 3rd Finger
the lower half of the hole is shown covered,
then this hole should be only half covered by 4th Finger
this finger. A group of important alternate
fingerings are included at the end of this chart.
4th Finger
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The following fingering chart is the basis for tuning all Fox Good bocals will improve the tone and intonation of
Bassoons, and also applies to most Heckel Bassoons, as most poor instruments. This is primarily due to their
well as many other makes. To permit the use of this chart cross-sectional dimensions, and is only slightly affected
with the majority of instruments, a group of important by length.
alternate fingerings has been included at the end of the
standard chart.
13
B B C C – D D E – D
14
E F F – G G G – A A
15
A – B B C C – D D D – E
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E F F – G G G – A A
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A – B B C C – D D D – E
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E F F – G G G – A A
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A – B B C C – D D D – E
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E F F – G F – G G – A G – A
= alternate fingerings
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D – E C – D F – G
F – G D – E E
= alternate fingerings
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Fox Products Corporation
No reproduction without permission of Fox Products Corporation Copyright 2000 Fox Products Corporation