Bassoon. The compass of the bassoon extends from double B flat up to B flat in alt, three octaves, including all the intermediate semitones except B natural. The notes C sharp and D flat, however, are very bad, and should not be used. When the bassoon ascends very high, the notes are generally written in the tenor clef.
C, Olt TENOR CLEF, IN UNISON WITH THE BASS, OR F CLEF. This instrument serves as the bass to the wind instruments, and frequently doubles the bass of the orchestra ; its tone is so assimilated to that of the hautboy, as to render it the natural bass to that instrument. The bassoon is imperfect, and requires the assistance of a good musical ear to blow it iii tolerable tune. To make it more portable, it divides into two parts, whence it also bears the denomination fagot, or fagotto, because when taken to pieces and bound together, it resembles a fagot, or bundle of sticks. Its diameter at bottom is nine inches, and its holes are stopped, like large flutes. A good bassoon is said to be worth four or five hundred pistoles. The bassoon has fourteen holes, as represented by the fourteen lines in the scales, eight of which are stopped by the thumbs and fingers, and six with the keys. The six first holes are stopped with the fingers ; the seventh with the F, or great lower key ; the eighth with the Ab or G# key, which is the small key at the bottom ; the ninth with the F key, or the key governed with the right hand thumb ; the tenth is the right hand thumb hole ; the eleventh with the long key above the right hand thumb hole, which is governed with the left hand thumb ; the twelfth with the small key above the right hand thumb hole, which is the E b or D key ; the thirteenth is the left hand thumb hole ; the fourteenth with the upper long, or double B b key, which is the lowest note on the bassoon, to make which, you must stop at once, with your left hand thumb, two keys and one hole, as may be seen by the scale.
The bassoon was probably introduced into England by Handel, as it does not appear to take a part in any composition prior to the publication of "Tamerlane," in 1720. In his oratarios, Han-del introduces the bassoon as a mere helper, and it rarely appears as a principal; it joins the hautboy in reply to the stringed instruments, and these alternate changes from the violins and basses to the wind instruments were the first attempts at orchestral effect. The bassoon was a drudge in the orchestra for more than fifty years, before it was raised from its menial station to become a principal there. It is now made a very eloquent and interesting instrument.
DIATONIC SCALE FOR THE BASSOON.
First learn the notes on the bass clef; and then those on the C or tenor clef may be attended to. The C clef, occurring frequently in bassoon music, ought to be well understood. When the learner has a sufficient knowledge of the notes, and can readily call them by their names, it will be advisable to practise the scale. The black dots represent the holes which are to be stopped, and the ciphers those which are to remain open. Great care should be taken to have the reed in good order. An old reed, if sound, is far better than a new one. It should be sufficiently thin to blow easy, and yet so stiff as to sound the notes full and distinct. When you have your reed in good order, be sure and preserve it so, and let no person but yourself ever touch it. The holes are numbered in the direction the wind passes through the instrument : beginning at the mouth piece, it passes to near the bottom ; then, returning, makes its escape at the bell above the mouth piece. To transpose a tune for the bassoon, or any other instrument, observe, first, what key it is in, which may be seen by comparing the key note, and the number of flats or sharps prefixed to the clef; and having raised the key note to G, D, or F, &c., taking care to keep within the compass of your instrument, raise or lower every note exactly in the same proportion. The same fingering, in some instances, on the bassoon, gives different sounds ; the alteration being produced entirely by blowing and pinching the reed ; but this, practice will soon make easy. The reed re-quires a gentle pressure of the lips, to be gradually increased as you ascend to the highest notes. A performer who wishes to excel will learn the G clef in addition to the F and C. The bassoon, which belongs to the oboe species, and forms its bass, was invented by Alfranio, a canon of Pavia, A. D. 1539. It was, it is supposed, introduced into England by Handel, about 1720. It consists of a long tube, doubled near the centre, so as to allow the thumbs to play several low notes. It is blown with a reed, through a brass tube. When well played, the tones of the bassoon are sweet and plaintive, and make a good accompaniment ; but if not well managed, its tones are coarse and disagreeable. It is one of the most important and effective instruments in the band ; and, by the modern additional keys, may be made a very accurate accompaniment to vocal music. In Germany, a large species of this instrument, called the double bassoon, contra fagotto, is sometimes used, and gives the octave below ; but, in addition to its articulating sounds very slowly, it is very difficult to play, and requires a very robust constitution.
BASSUS. Some derive this barbarous Latin term from the Italian word basso ; others think with Zarlino, the Italian musical writer, that basis is its root, and that it originally implied the fundamental sounds upon which all harmony, and even melody, is constructed.