This issue's column represents a continuation of a special series of bassoon fingerings presenting those alternates which have proven valuable to the editor during his professional career as a performer and teacher.
The series was initiated in the December 1979 issue of THE DOUBLE REED, at the suggestion of a number of our readers, and will continue on a more or less regular basis, hopefully interspersed with columns composed of favored special fingerings submitted by our readership.
The editor wishes to point out that such alternates should never be allowed to substitute for disciplined individual practice leading to the maturation of well developed breath control, embouchure, and motor skills. Alternate fingerings should be utilized as additional enabling mechanisms to further enhance ones already well developed bassoonistic abilities.
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, U.S.A., 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.
L. Hugh Cooper
PART II. Soft, subdued primary register fingerings and two Low G#-A# trills.
On most bassoons the addition of the Low C# key softens the quality making the Low G more malleable in pitch, timbre, and initiation.
A very subdued, controllable, low pitched G. An even lower pitched, darker quality is obtained by the addition of the Low C# key. Further, the use of the Low E key automatically closes the "Whisper Key" vent thus facilitating exchanges between G and the low register when a "Whisper Lock" is not available.
A somewhat subdued Low G#-A-flat. The use of the Low C# key opens up the sound a little and slightly raises the pitch. The use of the Low E key eliminates the need for the "Whisper Key" and facilitates exchanges with the low register.
An even better muffled Low G#-A-flat. Easy to initiate and control. This or the preceding fingering, is perfect when coupled with the muffled Low G for use in the sensitive A-flat-G suspension and resolution for second bassoon occurring in the last few bars of Wagner's Prelude from Tristan and Isolde.
A more controllable, better quality Low G#-A-flat. The sound is dark and sonorous, blending well with other instruments. The tuning is a little on the low side but can be favored up to an acceptable level.
The above "Downtrill" to a modified G#-A-flat is the best solution for this difficult trill on bassoons without special trill mechanism. The embouchure must be relaxed and the oral resonance cavity enlarged to successfully produce the altered G#-A-flat. With practice quite acceptable results may be obtained.
A soft controllable A#-B-flat patterned after the preceding muffled Low A fingerings but not as effective. The Low C# key may be added to raise the pitch but adding it usually brightens the sound.
This modified A#-B-flat approach represents the standard solution to this difficult trill. However, this approach usually produces a distasteful "gargling" effect. The preceding "Downtrill" which uses the modified G#-A-flat is usually a more viable solution. Adding the Low D or C# key sometimes helps stabilize the altered A#-B-flat.