More than the other woodwinds, the bassoon is capable of rich, varied, beautiful multiphonic sounds. I made this list for a composer friend who asked about multiphonics.

The list is purposely short, so there isn't a bewildering array of choices, and includes only fingerings that I find fairly consistent and relatively easy to produce. I hope these will work for all German-system bassoons. (Some stiff reeds may not work.)

I'm not altogether satisfied with the notation. Any ideas out there in colleague-land? My thoughts on notation:

• 1. Keep it simple, sight readable.
• 2. Don't bother notating the sound for the performer since it's often so complex, confusing, and variable from player to player.
• 3. Simplicity and clarity are more important than standardization.
• 4. Notation indicates the fingering, not the sound.

Note: In Mr. Steinmetz's notational system, the lower note-head represents the primary fingering used as a base. Upper, diamond-shaped note-heads signify keys to be added to or subtracted from the basic finger pattern. In addition the plus or minus letter and/or numerical values appearing under the notes indicate, by subscript code, additional fingers or keys to be added to, or subtracted from, the basic pattern. (L. H. Cooper)

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