In the course of my career as a contra-bassoon specialist I have repeatedly observed a number of mistaken ideas about the instrument. One is that it is "easy" - something that any bassoonist can "pick up" and play at a moment's notice. Another is that it is not important anyway, and that its parts do not matter.
Contra-bassoon technique is, of course, based upon bassoon technique, but nevertheless there are many differences, and true proficiency can be acquired only by intense study over many years, just as with any other instrument. As to the assertion of its lack of importance, l must point out that most contra parts are of crucial importance to the ensemble, since they supply the bass of the reed section, or, where there is no tuba, the bass of the entire wind section of the orchestra, as in many of Brahms' compositions. Many of the parts are of great intrinsic beauty and, when played well, add immeasurably to the depth and tonal beauty of the orchestral sound.
Of paramount importance is the development of a fine tone. There is no reason why the contra-bassoon should sound grotesque and ugly - another common complaint against it. It can and should be made to "sing" just as much as any other instrument. The difficulty of achieving this is due to the extreme low register in which the contra plays, which makes it hard to hear the pitches; and to the large amount o vibration of the reeds which makes it all too easy to produce a harsh, raucous sound. To overcome this, one must have a concept of fine tone in the mind, which one forces the instrument to express. Every note must have a maximum of "body", pitch and musical sound and a minimum of buzz and rattle. One must make an extra effort to strive for lyricism and fine musicianship in compensation for the natural unwillingness of the instrument.
For obtaining this kind of result, I personally prefer a very large, long, broad reed: overall length 3", length of vibrating blade 1%", width at tip 1", with a comparatively narrow throat and tube. I find such a reed to be extremely free-blowing, and more conducive to producing a rich musical sound.
Though basically similar to the bassoon, contra fingering differs from it in many significant ways. There is no whisper key. Above open F. contra fingering diverges almost completely from bassoon fingering. In this register one uses the octave keys, reached with the left thumb and held open rather than momentarily flicked as often done on bassoon. Another important difference is in the fingering for second E-flat, in which the forked fingering is not desirable as with bassoon. In my experience I have found that with contras there seems to be more variation between individual instruments than there is with bassoons, so that a change of instruments means some revision of fingerings.
The problem of the second E-flat, mentioned above, presents one of the greatest obstacles to advanced technique. The preferred fingering consists of the first three fingers of the left hand, with the third finger on the E-ftat key, the "touch" of which is located just above the C key. This fingering is clumsy and in fast passages becomes almost impossible. The problem can be circumvented by the addition of an auxiliary E-flat key: a lever which will operate the same key without involving the third finger. I prefer a key which is operated by the right index finger, with the "touch" situated just above that of the B key.
The peculiarity of the high register has been mentioned. In essence, the pitches above open F are formed by overblowing intervals while adding octave keys to help them "speak". F#2 to C# 3 are overblown octaves, but D3 to A#4 may be formed by overblowing either the octaves or the fifths. This is true, to a degree, of the bassoon, but these overblown fifths speak much more easily on the contra and often are preferable to the overblown octaves in pitch and quality. In some cases the best fingerings are an amalgamation of the octave and fifth fingerings. The performer must experiment somewhat with these principles to determine the best fingerings for his instrument. The overblown fifths may be thought of as twelfths, since they are the fifths of notes which are already overblown octaves. Due to increased air pressure, among other factors, these fifths get sharper as the scale rises until, finally, B 4 and C 4 speak as overblown minor sixths, while C # 4 and D 4 are overblown minor sevenths.
There are usually three octave keys. Numbering front the highest down, their use is normally as follows: F # 2 and G 2 lift left hand first finger (no half-hole) and overblow without any octave keys. G t 2 to C 3 - No. 2 octave key. C # 3 - No. 2 and No. 3, held together. D3 to G3 - No. 1. G#3 to A#4 No. 2 and No. 3, held together. B 4 to D4 - No. 2.
The orchestral repertoire includes many important, difficult and demanding contra parts. Especially notable are those of Brahms, Richard Strauss and Ravel. I have been asked to comment upon performance problems of Beethoven's Ninth Symphony. This certainly is one of the most difficult of all contra parts. It abounds in complicated virtuosic passages. The most important solo passage (not technical) is the beginning of the Turkish march Since it is soloistic and very exposed, it requires perfect attack, timing and great attention to tone quality. There must be a special effort to put "body" and weight into the tones, because they are detached. Good stamina and breath control are necessary to make this sensitive entrance, because it is immediately preceded by a long complex and full-volume tutti passage. Of the Ninth's rapid technical passages, those presenting the most difficulties are the running triplets in the 6/4 section, and the D-major scales in the final section. If these passages are carefully practised slowly and regularly they will yield a perfect execution.
I have mentioned briefly a few of what I consider the most important aspects of contra-bassoon performance. A complete discussion presenting all there is to know about this specialized department of bassoon playing would fill a major treatise. I hope that the information presented will be of use to readers and give more deserved attention to this noble instrument.