The note I refer to is the e-flat in the middle of the bass staff. As generally fingered (first and third fingers of the left hand) it is extremely unstable. Most players add one or more keys in order to stabilize it: some players use the low E-flat key or the low C# key; some players add the first or second finger of the right hand plus the thumb B-flat key; but, no matter what, there is no completely satisfactory fingering for this note. I wonder how many perfectly good reeds have been spoiled through the years trying to bring this note into focus.
The mainstay fingering of this note (sic) on all clarinets and saxophones is (a key with separate tone hole, operated by) . . . the base of the right hand index finger. A key of this type is possible on the bassoon but is missing on most instruments. Heckel will furnish it as an option, but when he does, it must be operated by the tip of the right index finger, where it is almost useless. In addition he places the tone hole too low on the instrument, has to make it quite large as a result, and the quality of sound does not match the notes immediately above and below it.
Several years ago I had installed on my contrabassoon a lever to operate the only E-flat on the contra. This was a great success. With it, it is possible to make all slurs to and from E-flat without any sliding or discomfort.
I have recently installed such a key on my bassoon, and I expect that I will soon abandon the old fork fingering almost completely. The hole which emits this note was drilled about 1 1/2 inches higher than the hole for the c# /d# trill (high b' resonance hole. Ed. ), and is about the same size as is that tone hole. It is considerably smaller in size than Heckel makes it, and it emits a good quality note which is stable and in tune with any reed. There are only two moving parts to the mechanism. If the lever is properly placed it becomes possible to operate this key quite independently of any other fingers in either hand. As a result, it opens up the possibility of many new fingering (combinations) which I haven't even begun to explore. If anyone is interested in more details of this key and tone hole, I will be happy to discuss them with you.
Frank Schwartz
21-25 34th Ave.
Long Island City, New York 11106