A good friend and colleague, Frank Ruggieri, second bassoonist of the New York Philharmonic, once stated our problem accurately: "The orchestral bassoonist today is expected by some conductors to be able to produce the full fortissimo of a trombone section or the most ethereal pianissimo of a clarinetist playing at his sub-tone level!" Unfortunately, the bassoon by its nature is neither as loud as the former nor - on certain notes like low B - as quiet as the latter.
Luckily, many conductors are aware of each instrument's limitations and can achieve a fine balance without needlessly worrying the players. Also, an extended dynamic range is possible by following the excellent maxim given to every orchestra player by Leopold Stokowsky, "Try in your practice each day to play a little bit softer than yesterday and a little bit louder too - but always with a beautiful and unforced tone."
However, there are times when a mute of some kind or a special soft fingering will give either a more effective pianissimo or a subtle change of tone color to heighten the musical effect (Tschaikowsky 4th or Debussy "Nocturnes" for example.)
The most common "mute" for bassoon is a pocket handkerchief tucked in the top of the bell. Considerable quieting results, but low Bb becomes impossible. A practical variation is the use of a 3-inch square cut from a handkerchief, placed in the bell but to one side rather than completely covering the opening. With this "mute" a softening of the tone is effected, yet every note can be played with surety. (This partial damping is most effective in the opening of Ravel's "La Valse" - with German instruments. It provides a far-away character to the sound and also sounds more French in timbre.)
In Woodwind Instruments and Their History (Faber & Faber), Anthony Baines mentions a mute used in the Berlin Philharmonic: it is a brass tube 3 inches long, 3/8 inch less in diameter than the bore of the bell. It is lapped with felt or other material and inserted half way into the bell mouth. Its top may optionally be covered with gauze material.
Yuri Nekliudov (Moscow Philharmonic) has asked me to mention his permanent adjustable-valve mute fixed inside the bass joint of his Heckel and controlled by a sliding bar (see sketch). With valve closed, notes below E are not possible, but the available range is effectively and evenly muted. The newsletter welcomes discussion!
For extra-soft playing, sans mute, here are some useful fingerings which have served me well for a number of years. Good breath support and attention to precise intonation will keep each of these tones musically alive. In my fingering system, all numbers after A are for Left Thumb; after B are for Left Hand; after C, Right Thumb; and after D, Right Hand (B 2A. represents the d/eb trill key, whether operated by left or right hand.)
