the older makers--notably, Savory--are still sought after, in
preference to more modern ones. The instrument, although with
extraordinary advantages in tone, character, and adaptability, that
render it valuable to the composer, is yet complicated and capricious
for the performer; but its very imperfections remove it from the
mechanical tendencies of the age, often damaging to art; and, as the
player has to rely very much upon his ear for correct intonation, he
gets, in reality, near to the manipulation of the stringed
instruments. The bassoons play readily with the violoncellos, their
united tone being often advantageous for effect. When not so used, it
falls back into its natural relationship with the wood wind division
of the orchestra. The compass of the bassoon is from B flat, an octave
below that in the bass clef, to B flat in the treble clef, a range of
three octaves, produced by normal pressure, as far as the bass clef F.
The F below the bass clef is the true lowest note, the other seven
semitones descending to the B flat being obtained by holes and keys in
the long joint and bell. These extra notes are not overblown. The
fundamental notes are extended as in the oboes and flutes by
overflowing to another octave, and afterward to the twelfth. In modern
instruments yet higher notes, by the contrivance of small harmonic
holes and cross fingerings, can be secured. Long notes, scales,
arpeggios, are all practicable on this serviceable instrument, and in
full harmony with clarinets, or oboes and horns, it forms part of a
rich and beautiful combination. There is a very telling quality in the
upper notes of the bassoon of which composers have made use.
Structurally, a bassoon consists of several pieces, the wing, butt,
long joints, and bell, and when fitted together, they form a hollow
cone of about eight feet long, the air column tapering in diameter
from three-sixteenths of an inch at the reed to one and three-quarter
inches at the bell end.