 Tenoroon, c. 1820 | |
| Woodwind instrument | |
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| Classification | |
| Hornbostel–Sachs classification | 422.112 (Double-reeded aerophone with keys) |
| Related instruments | |
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.
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Many debates have been had on the nomenclature of the smaller bassoons. All small bassoons have at one time or another been called fagottino (pl. fagottini), but this term is historically usually only applied to the octave bassoon. The terms quart-bassoon (Quartfagott) and quint-bassoon (Quintfagott) 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) known as semi-contrabassoons. Note that the keys of the lower and higher versions are reversed. Often 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 (Hochquintfagott). One of the most common terms used to describe these instruments is the term tenoroon which is a contraction of "tenor bassoon", which is the more correct title of the instrument although tenoroon is quite accepted nowadays. Altoon (the combination of the words alto and bassoon), as a moniker for the smaller octave bassoon, has yet to catch on. A recently introduced alternative is the fagonello which is of similar size and weight to these smaller bassoons, but plays at the normal pitch, albeit with a slightly reduced range.
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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. The larger sizes, the bass, and the great bass were more popular, but the smaller sizes were still used, being found in several of Heinrich Schütz's motets; they were also quite popular in Spain, where they were known as "bajoncillos". Smaller bassoons appeared throughout the later Baroque and Classical eras, although their exact use is somewhat clouded. It is true that virtually no literature exists for the smaller bassoons. A notable exception is a partita by Johann Kaspar Frost (not Trost, as sometimes listed) which is scored for two octave bassoons, two tenor bassoons, two bassoons, and two horns. It seems that this was exactly the situation during the nineteenth century. Such notable names as Carl 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 (though he never wrote for the instrument himself).
In 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 contrabassoon (and not the sarrusophone that was currently in use). But the tenor bassoon was eventually used, despite its obscurity. After an absence of about one hundred years, the tenor bassoon made its comeback in 1989 when Guntram Wolf of Kronach made the first modern, Heckel system tenor bassoon. Since that reintroduction the tenor bassoon has flourished[ citation needed ], being used as a children's instrument in Germany (and in locales all over the world) and is being looked at by professionals as a serious instrument worthy of use[ citation needed ].
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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 higher than the normal bassoon) with simplified fingerings that descend only to 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. Bruno Salenson in Nîmes in France is producing a petit basson in E-flat with simplified French or German keywork, specifically for children. Howarth of London markets instruments designed and manufactured by Guntram Wolf both in F and in G (respectively called by the company "tenoroon" and "mini-bassoon"). Guntram Wolf makes and sells his own F and G models, plus an octave bassoon one full octave higher than the normal bassoon. He also offers all three instruments with extra keywork for professional players: the F and G instruments having a full whisper key mechanism and F–F♯ link; and the octave bassoon (called "Fagottino" by Wolf) can have up to nine keys, adding a wing speaker key, and C♯, B♭, F♯, and low E♭ keys to the basic children's model. By far the most used of these would appear to be the Wolf instruments: the model in G or quint-bassoon is marketed more toward children as its slightly smaller size suits them better, while the F or quart-bassoon is more suited to older children or professionals due to its slightly bigger size as well as its feeling and sounding more like a full-sized bassoon, although in its basic children's model it has limited professional use due to the lack of full modern keywork and indeed some professional players using this instrument have opted to have alternative F♯ and G♯ keys added to Wolf's professional instrument (standard features on the regular bassoon) to facilitate the playing of more advanced music.
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Instruments pitched an octave above the bassoon are, like all smaller bassoons, historically quite old instruments. Virtually no literature exists for this size of bassoon other than a partita by Frost (or Trost?) and a cantata by Zachau (which specifies "Bassonetti" which would appear to be small bassoons). The instrument has enjoyed something of a revival in the past decade. 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), considerably fewer keys than the original bassoon. The instrument is not, however, fully chromatic. It lacks the bottom B♮ and C♯, which is akin to Baroque and Classical instruments. This instrument is not a remedy for high notes on the bassoon nor can it extend the range considerably. The octave bassoon can generally only reach the written F above the bass clef (but sounding an octave higher) although professionals may be able to extend this range. The sound is thin and 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 challenging for a non-professional. Octave bassoons (alto bassoons) have been made in various keys, D, D♭ (an octave above the lowest and largest tenoroon), and C.
The tenor bassoon is a historically very old instrument evolved from the tenor dulcian or curtal. There is virtually no literature for the instrument aside from a few pieces written in the late Baroque by relatively obscure composers (namely a work by Frost). An old theory that the exposed English horn part in Rossini's overture to his opera William Tell was originally written for the tenor bassoon (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 known: 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. Tenor bassoons have been made in many various keys: D♭, E♭, F, and G. Only the E♭, 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 about 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 tenor bassoon. Most tenor bassoons 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 tenor bassoon 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 from the bassoon and in scale it can only ascend to B♭ (although their response is questionable, a B and C, and even C♯ and D, are possible). 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 tenor bassoon 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 if 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. The D♭ instrument's sounding range is from B1 to B4 (C♭2 to C♭5), the E♭ instrument's sounding range is from D♭2 to D♭5, the F instrument's sounding range is from E♭2 to E♭5 and the G instrument's sounding range is from F2 to F5. [1]
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 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. A person who plays the saxophone is called a saxophonist or saxist.
A transposing instrument is a musical instrument for which music notation is not written at concert pitch. For example, playing a written middle C on a transposing instrument produces a pitch other than middle C; that sounding pitch identifies the interval of transposition when describing the instrument. Playing a written C on clarinet or soprano saxophone produces a concert B♭, so these are referred to as B♭ instruments. Providing transposed music for these instruments is a convention of musical notation. The instruments do not transpose the music; rather, their music is written at a transposed pitch. Where chords are indicated for improvisation they are also written in the appropriate transposed form.
The uilleann pipes, sometimes called Irish bagpipes, are the characteristic national bagpipe of Ireland. Earlier known in English as "union pipes", their current name is a partial translation of the Irish language terms píobaí uilleann, from their method of inflation. There is no historical record of the name or use of the term uilleann pipes before the 20th century. It was an invention of Grattan Flood and the name stuck. People mistook the term 'union' to refer to the 1800 Act of Union; however, this is incorrect as Breandán Breathnach points out that a poem published in 1796 uses the term 'union'.
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 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 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.
The tenor saxophone is a medium-sized member of the saxophone family, a group of instruments invented by Adolphe Sax in the 1840s. The tenor and the alto are the two most commonly used saxophones. The tenor is pitched in the key of B♭ (while the alto is pitched in the key of E♭), and written as a transposing instrument in the treble clef, sounding an octave and a major second lower than the written pitch. Modern tenor saxophones which have a high F♯ key have a range from A♭2 to E5 (concert) and are therefore pitched one octave below the soprano saxophone. People who play the tenor saxophone are known as "tenor saxophonists", "tenor sax players", or "saxophonists".
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 soprano saxophone is a small, high-pitched member of the saxophone family of woodwind instruments invented in the 1840s by Belgian instrument maker Adolphe Sax. Built in B♭ an octave above the tenor saxophone, the soprano is the third-smallest member of the saxophone family, which consists of the soprillo, sopranino, soprano, alto, tenor, baritone, bass, contrabass, and subcontrabass. The soprillo and sopranino are rare instruments, making the soprano the smallest saxophone in common use.
The tubax is a modified contrabass saxophone developed in 1999 by the German instrument maker Benedikt Eppelsheim. Although it has the same fingering as the saxophone, Eppelsheim's design reduces the amount of expansion of its conical bore in relation to the length of tubing, resulting in a smaller volume of resonant air column. This allows for it to use a smaller mouthpiece, and more compactly folded tubing. The tubax exists in E♭ contrabass and B♭ or C subcontrabass sizes. Its name is a combination of the words "tuba" and "saxophone".
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The alto clarinet is a woodwind instrument of the clarinet family. It is a transposing instrument pitched in the key of E♭, though instruments in F have been made. In size it lies between the soprano clarinet and the bass clarinet. It bears a greater resemblance to the bass clarinet in that it typically has a straight body, but a curved neck and bell made of metal. All-metal alto clarinets also exist. In appearance it strongly resembles the basset horn, but usually differs in three respects: it is pitched a whole step lower, it lacks an extended lower range, and it has a wider bore than many basset horns.
The Buescher Band Instrument Company was a manufacturer of musical instruments in Elkhart, Indiana, from 1894 to 1963. The company was acquired by the H&A Selmer Company in 1963. Selmer retired the Buescher brand in 1983.
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. The cantata Nach dir, Herr, verlanget mich, BWV 150, by Johann Sebastian Bach requires a bassoon in A, lower by a minor third than the ordinary bassoon.
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