A fingering chart with my recommendations will be found at the end of this article. I will start with the lower problem notes and work my way up. I strongly recommend that you try some of these ideas to see if they work for you. Sometimes I listened, and sometimes it took me many years to come to the simple conclusion that I should have paid attention many years before. My teachers discussed many of the ideas I will speak about. I have played the bassoon professionally for over thirty years and have come to rely on the techniques that I will discuss in this lecture. I am going to discuss notes that can be difficult to attack or play in tune and make suggestions on how to improve them on an instrument in good working order with a decent reed. On a poorly serviced instrument, or with a bad reed, all notes are bad notes on the bassoon. My bassoon has ten keys that must be played with my left thumb, five for my right. No other wind instrument involves as much use of thumb keys as the bassoon. The extended range of the bassoon further adds to the complications in the fingering system. We have simply continued to add extra keywork to the mechanisms that were in use by Heckel in the latter part of the 19 th century, when he added rubber liners to the bore of the wing joint and small side of the boot to create the modern German system bassoon. The basic keywork on the instrument has not changed much for the past hundred years, except for the addition of the whisper key and G resonance key as “standard keys”. Today’s modern bassoon is really not modern at all.
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