Small bassoons

The bassoon family of double reed woodwind instruments is widely regarded as having only two members, unlike all of the other woodwind families, which have a multitude of varieties. There are four sizes of commonly used flute with at least five more varieties that are available, five sizes of oboe from the small piccolo oboe to the bass oboe, too many clarinets to mention, and a plethora of saxophones. The bassoon, however, has only its larger brother, the contrabassoon, to keep it company. This, however is a misconception, for, although not widely known, there is in fact a whole family of bassoons. These take the form of what are commonly known as "tenoroons" or, more properly, tenor bassoons, and its smaller brother, the octave bassoon. A Fox Instruments bassoon. ... A double reed is a type of reed by means of which the sound is originated in various wind instruments. ... A woodwind instrument is a wind instrument in which sound is produced by blowing through a mouthpiece against an edge or by a vibrating reed, and in which the pitch is varied by opening or closing holes in the body of the instrument. ... The piccolo oboe is the smallest and highest pitched member of the oboe family. ... The bass oboe or baritone oboe is a double reed instrument in the woodwind family. ... Drawing of a Contrabassoon The contrabassoon or double bassoon is a larger version of the bassoon sounding an octave lower. ...

Nomenclature

Many debates have been had on the nomenclature of the smaller bassoons. All small bassoons have at one time or another been called Fagottino (Fagottini) but this term is historically usually only applied to the octave bassoon. The terms quart-bassoon and quint-bassoon are applied respectively to the instruments pitched a fourth above and a fifth above the normal bassoon. To add to the confusion these terms can also be applied to instruments a fifth lower (quint-bassoon in F) and a fourth lower (quart-bassoon in G). Note that the keys of the lower and higher versions are reversed. Often times the terms bass and tenor or high are added to clarify which instrument one is talking about (e.g. quart-bass bassoon or high quint-bassoon). One of the most common terms used to describe these instruments is the term tenoroon which is a contraction of the words "tenor" and "bassoon," which is the more correct title of the instrument although tenoroon is quite accepted nowadays. Altoon, or the contraction of alto and bassoon, as a moniker for the smaller octave bassoon has yet to catch on.

History

During the Renaissance instruments were made in every size available from sopranos, sopraninos, and garkleins, down to bass, great bass, and contrabass. The bassoon (or more properly in this era, the dulcian or curtal) was to be found in at least six sizes. While the larger sizes, the bass and the great bass, were more popular the smaller sizes had quite some use being found in several of Schütz’s motets and seemed to have been quite popular in Spain where they were known as Bajoncillios. Throughout the later Baroque and Classical eras smaller bassoons have appeared although their exact use is somewhat clouded. It is true that virtually no literature exists for the smaller bassoons. A notable exception a partita by Johann Kaspar Frost (and not as sometimes listed, Trost) which is scored for two octave bassoons, two tenor bassoons, two bassoons, and two horns. It has been speculated that the smaller bassoons were used to teach young boys as the larger instrument can by quite cumbersome to someone with smaller hands. It seems that this was exactly the situation during the nineteenth century. Such notable names as Karl Almenräder advocated the use of the smaller bassoons for teaching purposes and it is said that Jancourt would often perform solos on one during recitals. Hector Berlioz lamented its non-use in his Treatise on Instrumentation and even specified that his perfect orchestra would contain five tenor bassoons. Alas, he himself never used the instrument once. By the late nineteenth century several improved models of tenor bassoon were unveiled in Paris, but were not very well received, as the real need at the time was a working contrebasson (and not the sarrusophone that was currently in use). Thus the history of the smaller bassoons would seemingly come to an end. This however was not the case. After an absence of nearly one hundred years the tenor bassoon finally made its comeback in 1989 when Guntram Wolf of Kronach made the first modern, Heckel system tenor bassoon. Since its reintroduction nearly twenty years ago the tenor bassoon was flourished like it never has before being used as a children’s instrument in Germany (and indeed in locales all over the world) and is now being looked at by professionals as a serious instrument worthy of use. The dulcian is a Renaissance bass woodwind instrument, with a double reed and a folded conical bore. ... Portrait of Berlioz by Signol, 1832 Louis Hector Berlioz (December 11, 1803 – March 8, 1869) was a French Romantic composer best known for the Symphonie Fantastique, first performed in 1830, and for his Requiem of 1837, with its tremendous resources that include four antiphonal brass choirs. ... An EEb contrabass sarrusophone. ...

Manufacturers

In many regards the smaller bassoons play much like the full size bassoon. Currently there are three sizes available from four different makers. Moosmann makes an instrument in F (a fourth high than the normal bassoon) with simplified fingerings that descends to only low C and is intended for young children. The company Bassetto in Switzerland produces instruments in G (a fifth higher) and has an added bonus of a model with an altissimo vent in the bocal, but no whisper key. Howarth makes instruments both in F and in G (respectively called by the company Tenoroon and Mini-Bassoon). Finally Guntram Wolf makes models in F, G, and an octave bassoon one full octave higher than the normal bassoon. By far the most used of these would appear to by the Wolf. The instrument in G or quint-bassoon is marketed more toward children as its slightly smaller size suites them better while the slightly larger F or quart-bassoon is used more by professionals due to its slightly bigger size as well as feeling and sounding more like a full sized bassoon.

Octave Bassoon

Instruments pitched an octave above the Bassoon are, like all smaller Bassoons, historically quite old instruments. Unlike the tenoroon, the octave bassoon's contraction of alto bassoon, "altoon," has yet to become widely used. This could, theoretically, lead to smaller instruments, all descendants of the Renaissance Dulcians and Bajoncillos, with the names of Sopranoon and Piccoloon, which causes a good laugh among players and listeners alike. Virtually no literature exists for this size of Bassoon other than a Partita by Frost and a Cantata by Zachau (which specifies "Bassonetti which we assume to be small bassoons). The instrument has enjoyed in the past decade something of a revival. Once again both historically accurate copies and modern instruments are being constructed. The modern instruments are very simple in their fingering needing only four keys (although as many of nine or more can be had). This is a far cry from the modern Bassoons 23 plus keys. The instrument is not, however, fully chromatic. It lacks the bottom B-natural and C-sharp, which is akin to Baroque and Classical instruments. This instrument is not a remedy for high note on the Bassoon nor can it extend the range considerably. The Octave Bassoon can generally only reach the written F above the Bass Clef (sounding an octave high) although professionals may be able to extend this range. The sound is quite thin and almost comical to modern ears, but would not be out of place in a Renaissance or Baroque wind ensemble. Due to the somewhat smaller size and abundance of cross-fingerings, technique on the Octave Bassoon may be somewhat hindered by a non-professional.

Works:

• Trost (or possibly Frost) – Partita (2 Octave Bassoons)
• Zachau – Cantata No. 10 (2 Bassonetti)

Tenor Bassoons

The Tenoroon is a historically very old instrument evolved from the Tenor Dulcian or Curtal. This being said there is virtually no literature for the instrument aside from a few pieces written in the late baroque by composers who are know only to obscurity (namely a work by Trost). An old theory that the exposed English Horn part in William Tell as originally written for the Tenoroon (due to its being written in Old Italian notation in Bass Clef) has now been widely debunked. There are also many names by which the instrument is know: Tenoroon (a contraction of Tenor Bassoon), Quart- and Quint-Bassoon (the former for the instrument in F and the latter for the one in G), Fagottino, and Mini-Bassoon. Tenoroons have been made in many various keys: D-flat, E-flat, F, and G. Only the F and G instruments are currently available. Many times these smaller instruments are used for young children to begin on, as the normal sized Bassoon would be far too large for anyone under the age of 10. Naturally due to the smaller size of the instrument the tone is much lighter and reedier than that of the Bassoon. The instruments are remarkably quick in response and with some practice one could have faster technique on the Tenoroon. Most Tenoroons have a somewhat simplified fingering system with most of the alternate keys on the butt joint removed for space reasons. A light and narrow Bassoon reed is preferred on the Tenoroon so that a wholly different reed is not needed. However a shorter and narrower reed will tend to favor the higher notes. The upper register fingerings are somewhat different than the Bassoon and in scale it can only ascend to B-flat (although a B and C, and even C-sharp and D, are possible their response is questionable). In general professionals prefer the F instrument as it feels and responds more like a Bassoon while the smaller G instrument is used more for children.

The sound of the Tenoroon can be compared to that of a dull English Horn and has been described as somewhat Saxophone-like. It can make an excellent tenor or alto voice in a wind ensemble or orchestra (the latter could benefit from having a true tenor instrument in the woodwind department). It could effectively bridge the octave (or octave and a half is Bass Oboe is omitted) gap between the Bassoon family and the Oboe family. Although it does not effectively extend the range of the Bassoon, it can be used to give more flexibility in that range where the Bassoon lacks in mobility. Cor anglais The cor anglais or English horn is a musical instrument of the woodwind family. ...

Works:

• Bruns – Sonatina op. 96
• Bruns – Trio op. 97 (Fagottino, Bassoon, Contrabassoon)
• Frost – Partita (2 Quart Fagotts as well as 2

Octave and 2 normal Bassoons)

See also

• Bassoon
• Tenoroon Group[1]]