 | |
| Woodwind instrument | |
|---|---|
| Other names |
|
| Hornbostel–Sachs classification | 422.112–71 (Double-reeded aerophone with keys) |
| Developed | Mid 18th century |
| Playing range | |
 Written pitch, sounds one octave lower  Sounding pitch | |
| Related instruments | |
The contrabassoon, also known as the double bassoon, is a larger version of the bassoon, sounding an octave lower. Its technique is similar to its smaller cousin, with a few notable differences.
The reed is considerably larger than the bassoon's, at 65–75 mm (2.6–3.0 in) in total length (and 20 mm (0.8 in) in width) compared with 53–58 mm (2.1–2.3 in) for most bassoon reeds. The large blades allow ample vibration that produces the low register of the instrument. The contrabassoon reed is similar to an average bassoon's in that scraping the reed affects both the intonation and response of the instrument. [1]
Contrabassoons feature a slightly simplified version of bassoon keywork, though all open toneholes on bassoon have necessarily been replaced with keys and pads due to the physical distances. In the lower register, its fingerings are nearly identical to bassoon. However, the octave mechanism used to play in the middle register works differently than on bassoon, and the upper register fingerings are often completely unrelated.
The instrument is twice as long as the bassoon, curves around on itself twice and, due to its weight and shape, is supported by an endpin rather than a seat strap. Additional support is sometimes provided by a strap around the player's neck. A wider hand position is also required, as the primary finger keys are widely spaced. The contrabassoon has a water key to expel condensation and a tuning slide for gross pitch adjustments. The instrument comes in a few pieces (plus bocal); some models cannot be disassembled without a screwdriver. Sometimes, the bell can be detached, and instruments with a low A extension often come in two parts.
The contrabassoon is a very deep-sounding woodwind instrument that plays in the same sub-bass register as the tuba, double bass, or contrabass clarinet. It has a sounding range beginning at B♭0 (or A0, on some instruments) and extending up over three octaves to D4, though the highest fourth is rarely scored for. Donald Erb and Kalevi Aho write even higher in their concertos for the instrument (to A♭4 and C5, respectively), but this is extraordinary and well beyond the expectations of the typical instrument or player. At the lower end, Richard Bobo of the Tulsa Symphony has designed a subcontrabassoon, a full octave below the contrabassoon, and is intent on manufacturing the first working prototype. [2] Steven Braunstein of the San Francisco Symphony has built custom extensions to reliably reach a low G0 in performance.[ citation needed ]
Contrabassoon parts are notated an octave above sounding pitch, and most often use bass clef. Like bassoon, extended high-register passages may use tenor clef, though this is rarely necessary due to the rarity of such passages. The use of treble clef is even less common, and is only necessary for the most ambitious solo repertoire.
Tonally, it sounds similar to the bassoon, but at all parts of its compass is distinctly different in tone from it. There is a "thinning" of the sound in extreme high register, as in all double reeds, but unlike oboe and bassoon which become more penetrative and "intense" in this register, the contrabassoon's sound becomes less audibly substantial and is easily drowned out. Conversely, contrabassoon also has a booming quality, similar to organ pedals, in its lowest register; enabling it to produce powerful contrabass tones when desired (aided by the flared bell, which the bassoon does not have). The contrabassoon can also produce a "buzz" or "rattle", particularly when loud and in its low register, which gives the sound an edged quality. This effect can be mitigated greatly by changes to the reed design, but it can be a desirable quality for some players, as it adds to the sinister or monstrous quality which some contrabassoon writing seeks to affect, and causes the contrabassoon sound to be more prominent in musical textures.
Precursors to the contrabassoon are documented as early as 1590 in Austria and Germany, at a time when the growing popularity of doubling the bass line led to the development of lower-pitched dulcians. Examples of these low-pitched dulcians include the octavebass, the quintfagott, and the quartfagott. [3] There is evidence that a contrafagott was used in Frankfurt in 1626. [4] Baroque precursors to the contrabassoon developed in France in the 1680s, and later in England in the 1690s, independent of the dulcian developments in Austria and Germany during the previous century. [3]
The contrabassoon was developed, especially in England, in the mid-18th century; the oldest surviving instrument, which came in four parts and has only three keys, was built in 1714. [5] It was around that time that the contrabassoon began gaining acceptance in church music. Some notable early uses of the contrabassoon during this period include in J.S. Bach's St. John's Passion (1749 and 1739-1749 versions), and G.F. Handel's L'Allegro (1740) and Music for the Royal Fireworks (1749). [4] [3] Until the late 19th century, the instrument typically had a weak tone and poor intonation. For this reason, the contrabass woodwind parts often were scored for, and contrabassoon parts were often played on a serpent, contrabass sarrusophone or, less frequently, reed contrabass, until improvements by Heckel in the late 19th century secured the contrabassoon's place as the standard double reed contrabass.
For more than a century, between 1880 and 2000, Heckel’s design remained relatively unchanged. Chip Owen, at the American company Fox, began manufacturing an instrument in 1971 with some improvements. Generally, during the 20th century changes to the instrument were limited to an upper vent key near the bocal socket, a tuning slide, and a few key linkages to facilitate technical passages. In 2000, Heckel announced a completely new keywork for its instrument and Fox introduced its own new key system based on input from New York Philharmonic contrabassoonist Arlan Fast. Both companies' improvements allow for improved technical facility as well as greater range in the high register. Benedikt Eppelsheim developed the Contraforte, a "redesigned contrabassoon", in collaboration with Guntram Wolf in the early 2000s.
Most major orchestras use one contrabassoonist, either as a primary player or a bassoonist who doubles, as do a large number of symphonic bands.
The contrabassoon is a supplementary orchestral instrument and is most frequently found in larger symphonic works, often doubling the bass trombone or tuba at the octave. Frequent exponents of such scoring were Brahms and Mahler, as well as Richard Strauss, and Dmitri Shostakovich. The first composer to write a separate contrabassoon part in a symphony was Beethoven, in his Fifth Symphony (1808) (it can also be heard providing the bass line in the brief "Janissary band" section of the fourth movement of his Symphony No. 9, just prior to the tenor solo), although Bach, Handel (in his Music for the Royal Fireworks ), Haydn (e.g., in both of his oratorios The Creation and The Seasons , where the part for the contrabassoon and the bass trombone are mostly, but not always, identical), and Mozart had occasionally used it in other genres (e.g., in the Coronation Mass). Composers have often used the contrabassoon to comical or sinister effect by taking advantage of its seeming "clumsiness" and its sepulchral rattle, respectively. A clear example of this can be heard in Paul Dukas' The Sorcerer's Apprentice (originally scored for contrabass sarrusophone). Igor Stravinsky's The Rite of Spring is one of the few orchestral works that requires two contrabassoons. [6]
As a featured instrument, the contrabassoon can be heard in several works, most notably Maurice Ravel's Mother Goose Suite , and at the opening of Piano Concerto for the Left Hand . Gustav Holst gave the contrabassoon multiple solos in The Planets , primarily in "Mercury, the Winged Messenger" and "Uranus, the Magician". [5]
Solo literature is somewhat lacking, although some modern composers such as Gunther Schuller, Donald Erb, Michael Tilson Thomas, John Woolrich, Kalevi Aho, and Daniel Dorff have written concertos for this instrument (see below). Stephen Hough has written a trio for piccolo, contrabassoon and piano Was mit den Tränen geschieht . Contrabassoon may theoretically play music for bassoon, which has much more solo repertoire, but the sonic and mechanical differences from the bassoon (and bassoon's comparative facility in the high register) mean that bassoon repertoire is not always suited to contra.
Most major symphony orchestras employ a contrabassoon, and many have programmed concerts featuring their contrabassoonist as soloist. For example, Michael Tilson Thomas: Urban Legend for Contrabassoon and Orchestra featuring Steven Braunstein, San Francisco Symphony; [7] Gunther Schuller: Concerto for Contrabassoon featuring Lewis Lipnick, National Symphony Orchestra; [8] John Woolrich: Falling Down featuring Margaret Cookhorn, City of Birmingham Symphony Orchestra; [9] Erb: Concerto for Contrabassoon featuring Gregg Henegar, London Symphony Orchestra; [10] Kalevi Aho: Concerto for Contrabassoon featuring Lewis Lipnick Bergen Symphony Orchestra [11]
One of the few contrabassoon soloists in the world is Susan Nigro, [12] who lives and works in and around Chicago. Besides occasional gigs with orchestras and other ensembles (including regular substitute with the Chicago Symphony), her main work is as soloist and recording artist. Many works have been written specifically for her,[ citation needed ] and she has released several CDs.
Henry Skolnick has performed and toured internationally on the instrument.[ citation needed ] He commissioned, premiered and recorded Aztec Ceremonies for contrabassoon by Graham Waterhouse. [13]
A rare use of the instrument in jazz was by Garvin Bushell, who sat in as a guest with saxophonist John Coltrane during his 1961 recording sessions at the Village Vanguard.
As of 2019 [update] , there are nine firms which manufacture contrabassoons (in alphabetical order):
These firms once manufactured contrabassoons, but no longer do so.
The bassoon is a musical instrument in the woodwind family, which plays in the tenor and bass ranges. It is composed of six pieces, and is usually made of wood. It is known for its distinctive tone color, wide range, versatility, and virtuosity. It is a non-transposing instrument and typically its music is written in the bass and tenor clefs, and sometimes in the treble. There are two forms of modern bassoon: the Buffet and Heckel systems. It is typically played while sitting using a seat strap, but can be played while standing if the player has a harness to hold the instrument. Sound is produced by rolling both lips over the reed and blowing direct air pressure to cause the reed to vibrate. Its fingering system can be quite complex when compared to those of other instruments. Appearing in its modern form in the 19th century, the bassoon figures prominently in orchestral, concert band, and chamber music literature, and is occasionally heard in pop, rock, and jazz settings as well. One who plays a bassoon is called a bassoonist.
The clarinet is a single-reed musical instrument in the woodwind family, with a nearly cylindrical bore and a flared bell.
The oboe is a type of double-reed woodwind instrument. Oboes are usually made of wood, but may also be made of synthetic materials, such as plastic, resin, or hybrid composites.
The saxophone is a type of single-reed woodwind instrument with a conical body, usually made of brass. As with all single-reed instruments, sound is produced when a reed on a mouthpiece vibrates to produce a sound wave inside the instrument's body. The pitch is controlled by opening and closing holes in the body to change the effective length of the tube. The holes are closed by leather pads attached to keys operated by the player. Saxophones are made in various sizes and are almost always treated as transposing instruments. Saxophone players are called saxophonists.
A clef is a musical symbol used to indicate which notes are represented by the lines and spaces on a musical staff. Placing a clef on a staff assigns a particular pitch to one of the five lines or four spaces, which defines the pitches on the remaining lines and spaces.
The sarrusophones are a family of metal double reed conical bore woodwind instruments patented and first manufactured by French instrument maker Pierre-Louis Gautrot in 1856. Gautrot named the sarrusophone after French bandmaster Pierre-Auguste Sarrus (1813–1876), whom he credited with the concept of the instrument, though it is not clear whether Sarrus benefited financially. The instruments were intended for military bands, to serve as replacements for oboes and bassoons which at the time lacked the carrying power required for outdoor marching music. Although originally designed as double-reed instruments, single-reed mouthpieces were later developed for use with the larger bass and contrabass sarrusophones.
The heckelphone is a musical instrument invented by Wilhelm Heckel and his sons. The idea to create the instrument was initiated by Richard Wagner, who suggested its concept at the occasion of a visit of Wilhelm Heckel in 1879. Introduced in 1904, it is similar to the oboe but, like the bass oboe, pitched an octave lower, the heckelphone has a significantly larger bore.
The bass clarinet is a musical instrument of the clarinet family. Like the more common soprano B♭ clarinet, it is usually pitched in B♭, but it plays notes an octave below the soprano B♭ clarinet. Bass clarinets in other keys, notably C and A, also exist, but are very rare. Bass clarinets regularly perform in orchestras, wind ensembles and concert bands, and occasionally in marching bands, and play an occasional solo role in contemporary music and jazz in particular.
Contrabass refers to several musical instruments of very low pitch—generally one octave below bass register instruments. While the term most commonly refers to the double bass, many other instruments in the contrabass register exist.
The contra-alto clarinet, E♭ contrabass clarinet, is a large clarinet pitched a perfect fifth below the B♭ bass clarinet. It is a transposing instrument in E♭ sounding an octave and a major sixth below its written pitch, between the bass clarinet and the B♭ contrabass clarinet.
The dulcian is a Renaissance woodwind instrument, with a double reed and a folded conical bore. Equivalent terms include English: curtal, German: Dulzian, French: douçaine, Dutch: dulciaan, Italian: dulciana, Spanish: bajón, and Portuguese: baixão.
The bass oboe or baritone oboe is a double reed instrument in the woodwind family. It is essentially twice the size of a regular (soprano) oboe so it sounds an octave lower; it has a deep, full tone somewhat akin to that of its higher-pitched cousin, the English horn. The bass oboe is notated in the treble clef, sounding one octave lower than written. Its lowest sounding note is B2 (in scientific pitch notation), one octave and a semitone below middle C, although an extension with an additional key may be inserted between the lower joint and bell of the instrument in order to produce a low B♭2. The instrument's bocal or crook first curves away from and then toward the player (unlike the bocal/crook of the English horn and oboe d'amore), looking rather like a flattened metal question mark; another crook design resembles the shape of a bass clarinet neckpiece. The bass oboe uses its own double reed, similar to but larger than that of the English horn. compared to the bassoon
Pommer or bombard describes the alto, tenor, bass, and contrabass members of the shawm or Schalmey family, which are similar in function to the modern cor anglais, tenoroon, bassoon, and contrabassoon, although the bassoon family's direct ancestor was the dulcian/curtal family.
Susan L. Nigro is an American contrabassoonist. Unlike most players of the instrument, Nigro's career is primarily as a solo recitalist and recording artist rather than an orchestral player.
The tenor bassoon or tenoroon is a member of the bassoon family of double reed woodwind instruments. Similar to the alto bassoon, also called octave bassoon, it is relatively rare.
The contraforte is a proprietary instrument with a range similar to the contrabassoon produced by Benedikt Eppelsheim and Guntram Wolf. It is intended to have improved dynamics and intonation over the distinctive but sometimes reticent sound of the conventional contrabassoon. The contraforte uses a different and wider bore than the contrabassoon to produce a distinct tone; the sound is more even in strength and intonation across registers, remaining quite strong into the high register, unlike a contrabassoon. Also, it lacks the distinct "rattle" of a contrabassoon, although an appropriate reed design can replicate this effect where desired.
The contrabassophone is a woodwind instrument, invented about 1847 by German bassoon maker Heinrich Joseph Haseneier. It was intended as a substitute for the contrabassoon, which at that time was an unsatisfactory instrument, with a muffled sound due to tone holes that were too small and too close together. Haseneier's design made use of some of the same principles that went into the Boehm system flute, in which keywork was developed based on tone holes with acoustically optimum sizes and positions. Another change in the Haseneier design of the contrabassophone was increasing the size of the bore to be substantially larger than that of the contrabassoon. This resulted in an instrument with a powerful tone. Haseneier applied for a patent for his design but was rejected. The contrabassophone was regarded as too loud for orchestral use, though it was suitable for outdoor use in military bands. Dr W.H. Stone brought a Haseneier instrument to England playing it in performances of the Handel Festival of 1871. Alfred Morton, the best English bassoon maker of the time made 3 or 4 copies of this instrument some of which included improvements in the keywork. In 1881, Morton's eldest son played one of these instrument with the Halle Orchestra. He also played it at the Crystal Palace, at Richter's concerts and at the opera. Morton made one of a higher pitch for Sir Arthur Sullivan for use in the Savoy Theatre. Following Sullivan's death, this instrument disappeared. Many other European makers produced copies of the contrabassophone, including a lightweight version made of papier-mâché.
The semi-contrabassoon is a double reed woodwind instrument pitched between the bassoon and the contrabassoon. It is pitched in either F or G a fifth or fourth, respectively, below the bassoon.
| National | |
|---|---|
| Other | |
