The Bassoon

From my blog at music1listeningblog.blogspot.co.uk:

History

The general consensus among music historians is that the modern bassoon derives from the 'dulcian' from the renaissance period, as they both share some distinct characteristics, such as the unique shape of the bore, and the metal crook to which the double reed is attached. 

Note Production

The bassoon uses a double reed like the oboe, however the shape of the instrument and its bocal (metal crook) alters the sound to produce its own unique flavour, rather than just a continuation of the oboe's bass register. As with all woodwinds, different notes are produced with the use of the keys. Due to its size, the instrument employs long levers and holes placed at an angle in the thick wood to make fingering possible. Like the other woodwinds, further pitch control can be obtained by changing embouchure, alternate fingerings, and the pushing in or pulling out of the bocal.

Due to the weight of the instrument, it is supported by either a strap when the player is standing, or a seat belt when the player is seated.

The oboe is the woodwind's answer to the cello, and trombone. It's dark, woody timbre is often said to be reminiscent of the male baritone voice.

Construction

The bassoon consists of six distinct parts - the reed, the bocal, the wing joint, the boot, the long joint, and the bell. The body is usually made of maple, while the metal parts are brass or nickel. Student models can also be made of plastic.

Playing Techniques

Despite it's large size, the bassoon is extremely agile. Large leaps, and rapid passages are possible, in all but the lowest end of the register.

The bassoon shares many playing techniques with the other woodwinds, such as:

- Single Tonguing
- Vibrato
- Flutter Tonguing
- Trills
- Tremolo
- Glissando
- Key Slap
- Slap Tongue
- Circular breathing to prolong sound for long periods of time

From Samuel Adler's The Study of Orchestration 3rd Ed. :

• Performs lyrical passages beautifully.
• Produces attacks and staccato passages as incisively as the oboe.
• Notated in bass clef, but uses the tenor clef when ledger lines begin to accumulate (usually from the G a fifth above middle C).
• Superb in all registers as a solo instrument. But accompanied can get swallowed up by the sound of the other instruments, particularly in the high register.
• Doubling the cellos and basses in its lowest register has been a favourite compositional technique.
• Versatile and agile, a favourite solo instrument for orchestral composers since the baroque period.
• Can be humorously scored for.
• It is extremely difficult to play the notes in the lowest perfect 5th pianissimo; the upper perfect 5th also doesn't project as well as the lower registers.
• Upward slurs can be played rapidly.
• Large leaps, even between the extreme registers are quite easily performed.
• Some downward skips are very difficult due to the mechanics of the instrument.
• Trills are effective on the bassoon, but there are several which are should be avoided due to awkward fingering.
• Tremolos are not idiomatic to the instrument, and should never exceed a perfect 4th.