Editing Bassoon (section)

==Technique==
[[File:Bassoon2 (PSF).jpg|left|150px|alt=Female bassoon player]]
{{listen|type=music
|header=A collection of samples demonstrating the bassoon's range, abilities, and tone.
|filename     = Bassoon-technical-range.ogg
|title        = Playing Range (A<sub>1</sub> B{{Music|b}}<sub>1</sub> E<sub>5</sub> A{{Music|b}}<sub>5</sub>)
|description  =
|filename2    = Bassoon-technical-bflatoctaves.ogg
|title2       = Tone across octaves (B{{Music|b}}<sub>1</sub> B{{Music|b}}<sub>2</sub> B{{Music|b}}<sub>3</sub> B{{Music|b}}<sub>4</sub>)
|description2 =
|filename3    = Bassoon-technical-chromatic.ogg
|title3       = Chromatic scale (B{{Music|b}}<sub>1</sub> to B{{Music|b}}<sub>4</sub>)
|description3 =
|filename4    = Bassoon-technical-articulations.ogg
|title4       = Articulations (staccato, legato, legato+vibrato, slurred)
|description4 =
|filename5    = Bassoon-technical-dynamics.ogg
|title5       = Dynamics
|description5 =
|filename6    = Bassoon-technical-trills.ogg
|title6       = Trills (B<sub>4</sub> to C<sub>5</sub>, B<sub>3</sub> to C<sub>4</sub>, B<sub>2</sub> to C<sub>3</sub>)
|description6 =
|filename7    = Bassoon-technical-mouthbend.ogg
|title7       = Embouchure bending
|description7 =
|filename8    = Bassoon-technical-reed.ogg
|title8       = Bassoon reed alone or ''crowing''
|description8 =
|filename9    = Bassoon-technical-fluttertongue.ogg
|title9       = Flutter tonguing
|description9 =
}}
[[File:Bassoon handrest behind.jpg|thumb|right|Close-up of a hand rest attached to a bassoon, viewed from behind. See also: [[:File:Bassoon handrest front.jpg|viewed from the front]].]]
The bassoon is held diagonally in front of the player, but unlike the flute, oboe and clarinet, it cannot be easily supported by the player's hands alone. Some means of additional support is usually required; the most common ones are a seat strap attached to the base of the boot joint, which is laid across the chair seat prior to sitting down, or a neck strap or shoulder harness attached to the top of the boot joint. Occasionally a spike similar to those used for the cello or the bass clarinet is attached to the bottom of the boot joint and rests on the floor. It is possible to play while standing up if the player uses a neck strap or similar harness, or if the seat strap is tied to the belt. Sometimes a device called a ''balance hanger'' is used when playing in a standing position. This is installed between the instrument and the neck strap, and shifts the point of support closer to the center of gravity, adjusting the distribution of weight between the two hands.

The bassoon is played with both hands in a stationary position, the left above the right, with five main finger holes on the front of the instrument (nearest the audience) plus a sixth that is activated by an open-standing key. Five additional keys on the front are controlled by the little fingers of each hand. The back of the instrument (nearest the player) has twelve or more keys to be controlled by the thumbs, the exact number varying depending on model.

To stabilize the right hand, many bassoonists use an adjustable comma-shaped apparatus called a "crutch", or a hand rest, which mounts to the boot joint. The crutch is secured with a thumb screw, which also allows the distance that it protrudes from the bassoon to be adjusted. Players rest the curve of the right hand where the thumb joins the palm against the crutch. The crutch also keeps the right hand from tiring and enables the player to keep the finger pads flat on the finger holes and keys.

An aspect of bassoon technique not found on any other woodwind is called ''flicking''. It involves the left hand thumb momentarily pressing, or "flicking" the high A, [[C (musical note)|C]] and [[D (musical note)|D]] keys at the beginning of certain notes in the middle octave to achieve a clean slur from a lower note. This eliminates cracking, or brief [[multiphonics]] that happens without the use of this technique. Alternatively, a similar method is called "venting", which requires that the register key be used as part of the full fingering as opposed to being open momentarily at the start of the note. This is sometimes called the "European style"; venting raises the intonation of the notes slightly, and it can be advantageous when tuning to higher frequencies. Some bassoonists flick A and B{{music|b}} when tongued, for clarity of articulation, but flicking (or venting) is practically ubiquitous for slurs.

While flicking is used to slur up to higher notes, the whisper key is used for lower notes. From the A{{music|b}} right below middle C and lower, the whisper key is pressed with the left thumb and held for the duration of the note. This prevents cracking, as low notes can sometimes crack into a higher octave. Both flicking and using the whisper key is especially important to ensure notes speak properly during slurring between high and low registers.

While bassoons are usually critically tuned at the factory, the player nonetheless has a great degree of flexibility of pitch control through the use of breath support, [[embouchure]], and reed profile. Players can also use alternate fingerings to adjust the pitch of many notes. Similar to other woodwind instruments, the length of the bassoon can be increased to lower pitch or decreased to raise pitch. On the bassoon, this is done preferably by changing the bocal to one of a different length, (lengths are denoted by a number on the bocal, usually starting at 0 for the shortest length, and 3 for the longest, but there are some manufacturers who will use other numbers) but it is possible to push the bocal in or out slightly to grossly adjust the pitch.<ref>{{Cite web |url=http://bluemountainensemble.org/page3/assets/Burns-Bn_Intonation_Issues.pdf |title=Bassoon Intonation Issues |access-date=5 November 2012 |archive-url=https://web.archive.org/web/20140730022117/http://bluemountainensemble.org/page3/assets/Burns-Bn_Intonation_Issues.pdf |archive-date=30 July 2014 |url-status=dead }}</ref>
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===Embouchure and sound production===
The bassoon embouchure is a very important aspect of producing a full, round, and rich sound on the instrument. The lips are both rolled over the teeth, often with the upper lip further along in an "overbite". The lips provide micromuscular pressure on the entire circumference of the reed, which grossly controls intonation and harmonic excitement, and thus must be constantly modulated with every change of note. How far along the reed the lips are placed affects both tone (with less reed in the mouth making the sound more edged or "reedy", and more reed making it smooth and less projectile) and the way the reed will respond to pressure.

The musculature employed in a bassoon embouchure is primarily around the lips, which pressure the reed into the shapes needed for the desired sound. The jaw is raised or lowered to adjust the oral cavity for better reed control, but the jaw muscles are used much less for upward vertical pressure than in single reeds, only being substantially employed in the very high register. However, double reed students often "bite" the reed with these muscles because the control and tone of the labial and other muscles is still developing, but this generally makes the sound sharp and "choked" as it contracts the aperture of the reed and stifles the vibration of its blades.

Apart from the embouchure proper, students must also develop substantial muscle tone and control in the diaphragm, throat, neck and upper chest, which are all employed to increase and direct air pressure. Air pressure is a very important aspect of the tone, intonation and projection of double reed instruments, affecting these qualities as much, or more than the embouchure does.

Attacking a note on the bassoon with imprecise amounts of muscle or air pressure for the desired pitch will result in poor intonation, cracking or multiphonics, accidentally producing the incorrect partial, or the reed not speaking at all. These problems are compounded by the individual qualities of reeds, which are categorically inconsistent in behaviour for inherent and exherent reasons.

The muscle requirements and variability of reeds mean it takes some time for bassoonists (and oboists) to develop an embouchure that exhibits consistent control across all reeds, dynamics and playing environments.

===Modern fingering===
[[File:Standard Bassoon Fingering Keys Diagram.png|thumb|right|480px|Diagram describing the keys on a bassoon]]
[[File:Bassoon showing left and right hand finger positions.jpg|thumb|right|240px|Holes and keys operated by fingers on left hand (above) and right hand (below)]]
[[File:Bassoon showing left and right hand thumb keys.jpg|thumb|right|240px|Keys operated by left thumb (above) and right thumb (below)]]

The fingering technique of the bassoon varies more between players, by a wide margin, than that of any other orchestral woodwind. The complex mechanism and acoustics mean the bassoon lacks simple fingerings of good sound quality or intonation for some notes (especially in the higher range), but, conversely, there is a great variety of superior, but generally more complicated, fingerings for them. Typically, the simpler fingerings for such notes are used as alternate or trill fingerings, and the bassoonist will use as "full fingering" one or several of the more complex executions possible, for optimal sound quality. The fingerings used are at the discretion of the bassoonist, and, for particular passages, he or she may experiment to find new alternate fingerings that are thus idiomatic to the player.

These elements have resulted in both "full" and alternate fingerings differing extensively between bassoonists, and are further informed by factors such as cultural difference in what sound is sought, how reeds are made, and regional variation in tuning frequencies (necessitating sharper or flatter fingerings). Regional enclaves of bassoonists tend to have some uniformity in technique, but on a global scale, technique differs such that two given bassoonists may share no fingerings for certain notes. Owing to these factors, ubiquitous bassoon technique can only be partially notated.

The left thumb operates nine keys: B{{Music|b}}<sub>1</sub>, B<sub>1</sub>, C<sub>2</sub>, D<sub>2</sub>, D<sub>5</sub>, C<sub>5</sub> (also B<sub>4</sub>), two keys when combined create A<sub>4</sub>, and the whisper key. The whisper key should be held down for notes between and including F<sub>2</sub> and G{{music|#}}<sub>3</sub> and certain other notes; it can be omitted, but the pitch will destabilise. Additional notes can be created with the left thumb keys; the D<sub>2</sub> and bottom key above the whisper key on the tenor joint (C{{music|#}} key) together create both C{{music|#}}<sub>3</sub> and C{{music|#}}<sub>4</sub>. The same bottom tenor-joint key is also used, with additional fingering, to create E<sub>5</sub> and F<sub>5</sub>. D<sub>5</sub> and C<sub>5</sub> together create C{{music|#}}<sub>5</sub>. When the two keys on the tenor joint to create A<sub>4</sub> are used with slightly altered fingering on the boot joint, B{{music|b}}<sub>4</sub> is created. The whisper key may also be used at certain points throughout the instrument's high register, along with other fingerings, to alter sound quality as desired.

The right thumb operates four keys. The uppermost key is used to produce B{{music|b}}<sub>2</sub> and B{{music|b}}<sub>3</sub>, and may be used in B<sub>4</sub>,F{{music|#}}<sub>4</sub>, C<sub>5</sub>, D<sub>5</sub>, F<sub>5</sub>, and E{{music|b}}<sub>5</sub>. The large circular key, otherwise known as the "pancake key", is held down for all the lowest notes from E<sub>2</sub> down to B{{music|b}}<sub>1</sub>. It is also used, like the whisper key, in additional fingerings for muting the sound. For example, in [[Ravel]]'s "[[Boléro]]", the bassoon is asked to play the ostinato on G<sub>4</sub>. This is easy to perform with the normal fingering for G<sub>4</sub>, but Ravel directs that the player should also depress the E<sub>2</sub> key (pancake key) to mute the sound (this being written with Buffet system in mind; the G fingering on which involves the Bb key&nbsp;– sometimes called "French" G on Heckel). The next key operated by the right thumb is known as the "spatula key": its primary use is to produce F{{music|#}}<sub>2</sub> and F{{music|#}}<sub>3</sub>. The lowermost key is used less often: it is used to produce A{{music|b}}<sub>2</sub> (G{{music|#}}<sub>2</sub>) and A{{music|b}}<sub>3</sub> (G{{music|#}}<sub>3</sub>), in a manner that avoids sliding the right fourth finger from another note.

The four fingers of the left hand can each be used in two different positions. The key normally operated by the index finger is primarily used for E<sub>5</sub>, also serving for trills in the lower register. Its main assignment is the upper tone hole. This hole can be closed fully, or partially by rolling down the finger. This half-holing technique is used to overblow F{{music|#}}<sub>3</sub>, G<sub>3</sub> and G{{music|#}}<sub>3</sub>. The middle finger typically stays on the centre hole on the tenor joint. It can also move to a lever used for E{{music|b}}<sub>5</sub>, also a trill key. The ring finger operates, on most models, one key. Some bassoons have an alternate E{{music|b}} key above the tone hole, predominantly for trills, but many do not. The smallest finger operates two side keys on the bass joint. The lower key is typically used for C{{music|#}}<sub>2</sub>, but can be used for muting or flattening notes in the tenor register. The upper key is used for E{{music|b}}<sub>2</sub>, E<sub>4</sub>, F<sub>4</sub>, F{{music|#}}<sub>4</sub>, A<sub>4</sub>, B{{music|b}}<sub>4</sub>, B<sub>4</sub>, C<sub>5</sub>, C{{music|#}}<sub>5</sub>, and D<sub>5</sub>; it flattens G<sub>3</sub> and is the standard fingering for it in many places that tune to lower Hertz levels such as A440.

The four fingers of the right hand have at least one assignment each. The index finger stays over one hole, except that when E{{music|b}}<sub>5</sub> is played a side key at the top of the boot is used (this key also provides a C{{music|#}}<sub>3</sub> trill, albeit sharp on D). The middle finger remains stationary over the hole with a ring around it, and this ring and other pads are lifted when the smallest finger on the right hand pushes a lever. The ring finger typically remains stationary on the lower ring-finger key. However, the upper ring-finger key can be used, typically for B{{music|b}}<sub>2</sub> and B{{music|b}}<sub>3</sub>, in place of the top thumb key on the front of the boot joint; this key comes from the oboe, and some bassoons do not have it because the thumb fingering is practically universal. The smallest finger operates three keys. The backmost one, closest to the bassoonist, is held down throughout most of the bass register. F{{music|#}}<sub>4</sub> may be created with this key, as well as G<sub>4</sub>, B{{music|b}}<sub>4</sub>, B<sub>4</sub>, and C<sub>5</sub> (the latter three employing solely it to flatten and stabilise the pitch). The lowest key for the smallest finger on the right hand is primarily used for A{{music|b}}<sub>2</sub> (G{{music|#}}<sub>2</sub>) and A{{music|b}}<sub>3</sub> (G{{music|#}}<sub>3</sub>) but can be used to improve D<sub>5</sub>, E{{music|b}}<sub>5</sub>, and F<sub>5</sub>. The frontmost key is used, in addition to the thumb key, to create G{{music|b}}<sub>2</sub> and G{{music|b}}<sub>3</sub>; on many bassoons this key operates a different tone hole to the thumb key and produces a slightly flatter F{{music|#}} ("duplicated F{{music|#}}"); some techniques use one as standard for both octaves and the other for utility, but others use the thumb key for the lower and the fourth finger for the higher.

===Extended techniques===
Many extended techniques can be performed on the bassoon, such as [[multiphonic]]s, [[flutter-tonguing]], [[circular breathing]], [[tonguing|double tonguing]], and harmonics. In the case of the bassoon, flutter-tonguing may be accomplished by "gargling" in the back of the throat as well as by the conventional method of rolling Rs. Multiphonics on the bassoon are plentiful, and can be achieved by using particular alternative fingerings, but are generally heavily influenced by embouchure position. Also, again using certain fingerings, notes may be produced on the instrument that sound lower pitches than the actual range of the instrument. These notes tend to sound very gravelly and out of tune, but technically sound below the low B{{Music|b}}.

The bassoonist may also produce lower notes than the bottom B{{Music|b}} by extending the length of bell. This can be achieved by inserting a specially made "low A extension" into the bell, but may also be achieved with a small paper or rubber tube or a clarinet/cor anglais bell sitting inside the bassoon bell (although the note may tend sharp). The effect of this is to convert the lower B{{Music|b}} into a lower note, almost always A natural; this broadly lowers the pitch of the instrument (most noticeably in the lower register) and will often accordingly convert the lowest B to B{{Music|b}} (and render the neighbouring C very flat). The idea of using low A was begun by [[Richard Wagner]], who wanted to extend the range of the bassoon. Many passages in his later operas require the low A as well as the B-flat immediately above it; this is possible on a normal bassoon using an extension which also flattens low B to B{{Music|b}}, but all extensions to the bell have significant effects on intonation and sound quality in the bottom register of the instrument, and passages such as this are more often realised with comparative ease by the contrabassoon.

Some bassoons have been specially made to allow bassoonists to realize similar passages. These bassoons are made with a "Wagner bell" which is an extended bell with a key for both the low A and the low B-flat, but they are not widespread; bassoons with Wagner bells suffer similar intonational problems as a bassoon with an ordinary A extension, and a bassoon must be constructed specifically to accommodate one, making the extension option far less complicated. Extending the bassoon's range even lower than the A, though possible, would have even stronger effects on pitch and make the instrument effectively unusable.

Despite the logistic difficulties of the note, Wagner was not the only composer to write the low A. Another composer who has required the bassoon to be [[Diatonic and chromatic|chromatic]] down to low A is [[Gustav Mahler]]. [[Richard Strauss]] also calls for the low A in his opera ''[[Intermezzo (opera)|Intermezzo]]''. Some works have optional low As, as in [[Carl Nielsen]]'s [[Wind Quintet (Nielsen)|Wind Quintet]], op. 43, which includes an optional low A for the final cadence of the work.

===Learning the bassoon===
The complex fingering system and the expense and lack of access to quality bassoon reeds can make the bassoon more of a challenge to learn than some of the other woodwind instruments.<ref>Benjamin Kohon (solo bassoon of [[New York Philharmonic]]) [https://web.archive.org/web/20090114061229/http://www.idrs.org/Publications/DR/DR4.2/few.html "A few notes on the bassoon"]. Reprinted from ''The Metronome'', vol. XLVIII, no. 7, July 1932, p. 12.</ref> Cost is another factor in a person's decision to pursue the bassoon. Prices may range from US$7,000 to over $45,000 for a high-quality instrument.<ref>{{Cite web|url=https://banddirector.com/woodwinds/double-reeds/buying-a-bassoon-for-a-student/|title=Buying a Bassoon for a Student|publisher=Band Director Media Group|access-date=24 January 2018|archive-date=20 September 2020|archive-url=https://web.archive.org/web/20200920235033/https://banddirector.com/woodwinds/double-reeds/buying-a-bassoon-for-a-student/|url-status=live}}</ref> In North America, schoolchildren may take up bassoon only after starting on another reed instrument, such as clarinet or saxophone.<ref>Elsa Z. Powell (1950) ''This Is an Orchestra'', Houghton Mifflin, p. 70</ref>

Students in America often begin to pursue the study of bassoon performance and technique in the middle years of their music education, often in association with their school band program. Students are often provided with a school instrument and encouraged to pursue lessons with private instructors. Students typically receive instruction in proper posture, hand position, [[embouchure]], repertoire, and tone production.