A number of our readers have suggested that the editor of this column initiate a series of special fingering presentations encompassing those alternates which have proven most valuable to him during his professional career. In direct response to these suggestions this issue of THE DOUBLE REED contains the first installment of such a series.
Although many individuals may be familiar with the more usual patterns presented, hopefully all of the fingerings will be of interest or benefit to the majority of our readers. Perhaps such a series may also encourage individuals to submit their own favored fingerings for use in subsequent, reader contributed columns.
Those readers interested in a more comprehensive, 370 page encyclopedic presentation of bassoon fingerings and their usage are referred to:
Essentials of Bassoon Technique
by Lewis Hugh Cooper and Howard Toplansky, pub. (Howard Toplansky, 559
Winthrop Road, Union, New Jersey 07083, 1968)
Readers should submit contributions, questions, and comments pertaining to this column directly to:
L. Hugh Cooper
School of Music
The University of Michigan Ann
Arbor, Michigan 48109, U.S.A.
A superb soft low C fingering, well worth the effort involved in mastering the unique left thumb position. Try this fingering for the opening measure of Weber's Der Freishutz Overture. (second bassoon)
Correct left thumb position for muffled Low C. X marks point of contact with the Low C key.
This Low C#-D-flat is almost as good as the preceding Low C, but much easier to learn and use. May be used, in other than pp passages, when a dark, sonorous quality is desired.
By far the best Low D fingering on most large bore, German type bassoons. Useful not only in soft passages but, often the only Low D whose intonation and timbre is acceptable in sensitive exposed passages. (Impossible on bassoons equipped with an extra Low C spatula.)
A very soft, veiled Low D#-E-flat, useful in many situations but, especially effective in soft final cadences such as the last note in Osborne's Rhapsody for Solo Bassoon.
A little less covered than the preceding Low D#-E-flat but mechanically easier to use, especially in conjunction with motion to and from muffled Low D.
Although presented here as an alternate, the addition of the Low C# key improves the pitch and timbre so markedly that this combination deserves to be considered the normal Low E fingering. Use whenever possible at any dynamic level.
A little more subdued than the preceding Low E. Used by many professional bassoonists for the initial Low E in Tchaikovsky's Sixth Symphony. (A more viable solution to this difficult passage, involving a "prepared" bassoon, will be given at a later time.)
Very soft and controllable, although somewhat low in pitch. If "favored" up, this Low F may be used successfully for the long, sustained, second bassoon Low F in the opening section of Strauss' Death and Transfiguration.
Often, opening the Low C# key slightly (approximately 1/32 of an inch) facilitates initiation and control of Low F. (This same phenomenon occurs on many of the primary register notes.)
This well known muffled F# is one of the best and most useful of the alternate fingerings. When the instrument is properly voiced this F# blends beautifully with the surrounding pitches, completely eliminating the harshness usually inherent in the normal F# fingerings. An ideal solution for passages like the opening second bassoon part in Tchaikovsky's Romeo and Juliet.
An even darker and lower Low F#, easily controllable in the softest of passages. Its particular timbre and pitch is especially appropriate for the initial F# in the Slow third movement of the Etler Sonata for Bassoon.
