See also:

• BASSOON
• BASSOON (Fr. basson; Ger. Fagott; Ital. fagotto)

BASSOON (Fr. basson; Ger. Fagott; Ital. fagotto)  , a See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood-See also:

• WIND
• WIND (a common Teut. word, cognate with Skt. vats, Lat. ventus, cf. " weather," to be of course distinguished from to " wind," to coil or twist, O.Eng. windan, cf. "wander," "wend," &c.)

wind See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument with See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

double See also:

• REED
• REED, ANDREW (1787-1862)
• REED, ISAAC (1742—1807)
• REED, JOSEPH (1741—1785)
• REED, THOMAS BRACKETT (1839—1902)

reed See also:

• MOUTHPIECE (Fr. embouchure; Ger. Mundstuck; Ital. bocchino)

mouthpiece, a member of the See also:

• OBOE, or HAUTBOY (Fr. hautbois, Ger. Hoboe, Ital. oboe)

oboe (q.v.) See also:

• FAMILY

family, of which it is the See also:

• BASS
• BASS (the same word as " base," and so pronounced, but influenced in spelling by the Ital. basso)

bass . The See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German and See also:

• ITALIAN

Italian names of the instrument were bestowed from a fancied resemblance to a bundle of sticks, the See also:

• BASSOON
• BASSOON (Fr. basson; Ger. Fagott; Ital. fagotto)

bassoon being the first instrument of the See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind to be doubled back upon itself; its See also:

• DIRECT

direct ancestor, the bass See also:

• POMMER

pommer, 6 ft. in length, was quite straight . The See also:

• ENGLISH

English and See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French names refer to the See also:

• PITCH
• PITCH, MUSICAL

pitch of the instrument as the bass of the wood-wind . The bassoon is composed of five pieces, which, when fitted together, See also:

• FORM (Lat. forma)

form a wooden See also:

• TUBE (Lat. tuba)

tube about 8 ft. See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long (93 in.) with a conical See also:

• BORE

bore tapering from a See also:

• DIAMETER (from the Cr. &a, through, µErpov, measure)

diameter of in., at the See also:

• BELL
• BELL, ALEXANDER MELVILLE (1819—1905)
• BELL, ANDREW (1753—1832)
• BELL, GEORGE JOSEPH (1770-1843)
• BELL, HENRY (1767-1830)
• BELL, HENRY GLASSFORD (1803-1874)
• BELL, JACOB (1810-1859)
• BELL, JOHN (1691-178o)
• BELL, JOHN (1763-1820)
• BELL, JOHN (1797-1869)
• BELL, ROBERT (1800-1867)
• BELL, SIR CHARLES (1774—1842)

bell, to 3A in. at the reed . The tube is 4oubled back upon itself, the shorter See also:

• JOINT (through Fr. from Lat. junctum, jungere, to join)

joint extending to about two-thirds of the length of the longer, whereby the height of the instrument is reduced to about 4 ft . The holes are brought into a convenient position for the fingers by the See also:

• DEVICE

device of See also:

• BORING

boring them obliquely through the thickness of the wood . The five pieces are:—(1) the bell; (2) the long joint, forming the upper See also:

• PART

part of the instrument whenplayed, although its notes are the lowest in pitch; (3) the wing overlapping the long joint and having a projecting flap through which are bored three holes; (4) the See also:

• BUTT
• BUTT, ISAAC (1813-1879)

butt or See also:

• LOWER

lower end of the instrument (when played) containing the double bore necessitated by the abrupt See also:

• BEND

bend of the tube upon itself . Both bores are pierced in one See also:

• BLOCK
• BLOCK (from the Fr. bloc, and possibly connected with an Old Ger. Block, obstruction, cf. " baulk ")
• BLOCK, MAURICE (1816–19or)

block of wood, the prolongation of the double tube being usually stopped by a See also:

• FLAT (a modification of O. Eng. flet, an obsolete word of Teutonic origin, meaning the ground beneath the feet)

flat See also:

• OVAL (Lat. ovum, egg)

oval See also:

• PAD

pad of See also:

• CORK
• CORK (perhaps through Sp. corcha from Lat. cortex, bark, but possibly connected with quercus, oak)
• CORK, RICHARD BOYLE

cork in the older See also:

• MODELS

models, whereas the See also:

• MODERN

modern See also:

• INSTRUMENTS

instruments have instead a U-shaped tube; (5) the crook, a narrow curved See also:

• METAL
• METAL (through Fr. from Lat. metallum, mine, quarry, adapted from Gr. µATaXAov, in the same sense, probably connected with ,ueraAAdv, to search after, explore, µeTa, after, aAAos, other)

metal tube about 12 in. long, to which is attached the double reed forming the mouthpiece . The performer holds the instrument in a See also:

• DIAGONAL (Gr. &a, through, ywvia, a corner)

diagonal position; the lower part of the tube (the butt joint) played by the right See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand resting against his right thigh, and the little bell, turned upwards, pointing over his See also:

• LEFT

left See also:

• SHOULDER (in O.E. sculder, cognate with Ger. Schulter, Dutch schouder, Swed. skuldra, &c; the root is unknown)

shoulder; a strap See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round the See also:

• NECK (O. Eng. hnecca; the word appears in many Teutonic languages; cf. Dutch ride, Ger. Nacken; in O. E. the common word was heals; cf. Ger. Hals)

neck affords additional support . The notes are produced by means of seven holes and 16, 17, or 19 keys . The mechanism and fingering are very intricate . Theoretically the whole construction of the bassoon is imperfect and arbitrary, important acoustic principles being disregarded, but these See also:

• MECHANICAL

mechanical defects only enhance its value as an See also:

• ARTISTIC

artistic musical instrument .

The player is obliged to rely very much on his See also:

• EAR (common Teut.; O.E. are, Ger. Ohr, Du. oor, akin to Lat. auris, Gr. ovs)

ear in See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order to obtain a correct intonation, and next to the strings no instrument gives greater See also:

• SCOPE (through Ital. scopo, aim, purpose, intent, from Gr. o'KOaos, mark to shoot at, aim, o ic07reiv, to see, whence the termination in telescope, microscope, &c.)

scope to the artist . The bassoon has an eight See also:

• FOOT

foot See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone, the See also:

• COMPASS (Fr. corn pas, ultimately from Lat. cum, with, and passus, step)

compass extending from Bb bass 1 - to Ab See also:

• TREBLE (a doublet of " triple," three-fold, from Lat. triplus, triple; cf. " double " from duplus)

treble or in modern instruments by means of additional mechanism to C or even F_ These extra high notes are from their extreme sweetness called vox humane . The pitch of the bassoon apparently lies two octaves below that of the oboe, since the lowest See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note of both is B, but in reality the See also:

• INTERVAL

interval is only a twelfth, as may be ascertained by comparing their fundamental scales . On the bassoon the fundamental See also:

• SCALE
• SCALE (1) A

scale is that of F maj., obtained by opening and closing the holes; the notes downwards from F to B5 are extra notes obtained by means of interlockinginter1ocki keys on the long joint, worked by the left thumb; they have no counterpart on the oboe and do not belong to the fundamental scale of the bassoon . The fundamental scale of the oboe is that of C, although the compass has been extended a tone to Bb -t . Therefore the difference in pitch between the bassoon and the oboe is a twelfth . In the first At See also:

• WAGNER, ADOLF (1835- )
• WAGNER, RUDOLPH (1805-1864)
• WAGNER, WILHELM RICHARD (1813-1883)

Wagner's instigation, the wind-instrument maker, W . Heckel of Biebrich-am-Rhein, made bassoons with an extra See also:

• KEY
• KEY (in O. Eng. tang; the ultimate origin of the word is unknown; it appears only in Old Frisian kei of other Teutonic languages; until the end of the 17th century the pronunciation was kay, as in other words in O. Eng. ending in aeg; cf. daeg, day; clang
• KEY (the phraseograms being indicated by hyphens)
• KEY, SIR ASTLEY COOPER (1821-1888)
• KEY, THOMAS HEWITT (1799-1875)

key, extending the compass downwards to A . Front view . Back view . See also:

• SAVARY, ANNE JEAN MARIE RENE, DUKE

Savary See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

Model . (Rudall, See also:

• CARTE, THOMAS (1686-1754)

Carte & Co.) See also:

• REGISTER

register of the bassoon, seven selmtones -- are t, to obtained, as stated above, by means of keys in the long joint and bell; the next eight notes (holes and keys) each produce two sounds—the fundamental tone, and, by increased pressure of the breath, its See also:

• HARMONIC

harmonic See also:

• OCTAVE (from Lat. octavus, eighth, octo, eight)

octave .

The remaining notes are obtained by See also:

• CROSS

cross fingering and by overblowing the notes of the fundamental scale a twelfth as far as See also:

• ATE

Ate -( 1- which forms the normal compass . From A to Eb the vox` humana notes are produced by the help of small harmonic holes opened by means of keys at the See also:

• TOP (cf. Dan. top, Ger. Topf, also meaning pot)

top of the wind joint; exceptional players obtain, without additional keys, two or more higher' harmonic notes, which, however, are only used by virtuosi . This then forms the intricate See also:

• SCHEME (Lat. schema, Gr. oxfjya, figure, form, from the root axe, seen in exeiv, to have, hold, to be of such shape, form, &c.)

scheme of fingering for' the bassoon, and in order to appreciate the efforts of such instrument makers as Carl Almenrader in See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany, Triebert and Jancourt in See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France, See also:

• SAX, ANTOINE JOSEPH

Sax in See also:

• BELGIUM
• BELGIUM (Fr. Belgique; Flem. Belgic)

Belgium, See also:

• CORNELIUS
• CORNELIUS, CARL AUGUST PETER (1824-1874)
• CORNELIUS, PETER VON (1784–1867)

Cornelius See also:

• WARD
• WARD, ADOLPHUS WILLIAM (1837- )
• WARD, ARTEMUS
• WARD, EDWARD MATTHEW (1816-1879)
• WARD, ELIZABETH STUART PHELPS (1844-1911)
• WARD, JAMES (1769--1859)
• WARD, JAMES (1843– )
• WARD, JOHN QUINCY ADAMS (1830-1910)
• WARD, LESTER FRANK (1841– )
• WARD, MARY AUGUSTA [MRS HUMPHRY WARD]
• WARD, WILLIAM (1766-1826)
• WARD, WILLIAM GEORGE (1812-1882)

Ward and See also:

• MORTON, JAMES DOUGLAS, 4TH EARL OF (c. 1525-1581)
• MORTON, JOHN (c. 1420-1500)
• MORTON, JOHN MADDISON (1811-1891)
• MORTON, LEVI PARSONS (1824- )
• MORTON, OLIVER PERRY (1823-1877)
• MORTON, THOMAS (1564-1659)
• MORTON, THOMAS (c. 1590-1646)

Morton in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England, to introduce improvements based upon acoustic principles, it is necessary to understand what these See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general principles are, and why they have been disregarded in the bassoon . In all tubes the note given by the vibrating See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air See also:

• COLUMN (Lat. columna)

column is influenced directly by the length of the tube, but very little, if at all, by the diameter of the bore . The pitch, however, is greatly affected by the diameter of the opening, whether lateral or at the bell, through which the vibrating column of air is again brought into communication with the See also:

• OUTER

outer air . The tube only sounds the normal note in proportion to its length, when the diameter of the lateral opening is equal to the See also:

• INTERNAL

internal diameter of the tube at the opening . As in most of our See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early wood-wind instruments the holes would in that See also:

• CASE
• CASE, JOHN (d. 1600)

case have been too large to be stopped by the fingers, and key-mechanism was still See also:

• PRIMITIVE

primitive, instrument-makers resorted to the expedient of substituting a hole of smaller diameter nearer the mouthpiece for one of greater diameter in the position the hole should theoretically occupy . This import-. See also:

• ANT
• ANT (O. Eng. aemete, from Teutonic a, privative, and maitan, cut or bite off, i.e. " the biter off "; aemete in Middle English became differentiated in dialect use to (mete, then amte, and so ant, and also to emete, whence the synonym " emmet," now only u

ant principle was well understood by the See also:

• ROMANS
• ROMANS, EPISTLE TO THE

Romans, and perhaps even by the See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient Greeks, as is proved by existing specimens of the See also:

• AULOS (Gr. abXos; Lat. tibia; Egyptian hieroglyphic, Ma-it ; medieval equivalents, shalm, chalumeau, schalmei, hautbois)

aulos (q.v.) and by certain passages from the See also:

• CLASSICS

classics.' Another curious acoustic phenomenon bears upon the construction of wind instruments, and especially upon the bassoon . When the diameter of the lateral opening or bell is smaller than that of the bore, the portion of the tube below the hole, which should theoretically be as though non-existent, asserts itself, lowering the pitch of the note produced at the hole and damping the tone; this is peculiarly noticeable in the A of the bassoon lz`r—~= whose hole is much too high and too small in diameter.° To cite an example of the scope of Carl Almenrader's improvements in the bassoon, he readjusted the position of the A hole, stopped by the third See also:

• FINGER

finger of the right hand, boring lower down the tube, not one large hole, but two of See also:

• MEDIUM

medium diameter, covered by an open key to be closed by the same finger from the accustomed position; one of these A holes communicates with the narrower bore in the butt joint, and the other with the wider bore . The effect is a perfectly clear, full and accurate tone . Almenrader's other alterations were made on the same principle, and produced an instrument more perfect mechanically and theoretically than Savary's, but lacking some of the characteristics of the bassoon . In Germany Almenrader's improvements3 have been generally adopted and his model with 16 keys is followed by most makers, and notably by Heckel of Biebrich.4 ' See also:

• MACROBIUS, AMBROSIUS THEODOSIUS

Macrobius in Somn .

Scip. See also:

• LIB

lib. ii. cap . 4 . 5 . = Gottfried See also:

• WEBER, CARL MARIA FRIEDRICH ERNEST VON (1786–1826)
• WEBER, WILHELM EDUARD (1804-1891)

Weber, " Verbesserungen See also:

• DES

des Fagotts," in Cacilia (See also:

• MAINZ (Fr. Mayence)

Mainz, 1825), vol. ii. p . 12,3 . 3 See Traite sur le perfectionnement du basson, avec 2 tableaux, See also:

• PAR (Lat. par, equal)

par See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles Almenrader (Mayence, Schott), and also the above mentioned See also:

• ARTICLE (from Lat. articulus, a joint)

article by Gottfried Weber in Cacilia, whose explanations are clearer than those of the inventor . * For a description of the modern instrument see See also:

• VICTOR
• VICTOR, GAIUS JULIUS (4th cent. A.D.)
• VICTOR, SEXTUS AURELIUS

Victor Charles Mahillon, See also:

• CATALOGUE (a Fr. adaptation of the Gr. KaraXoyos, a register, from Karalyety, to enrol or pick out)

Catalogue descriptif et analytique du musee instrumental du See also:

• CONSERVATOIRE (the Fr. equivalent of Ital. Conservatorio, Ger. Conservatorium, from Med. Lat. conservatorium, a place where anything is preserved, Lat. conservare, to preserve)

Conservatoire Royal de Musique (Bruxelles, 1896), vol. ii. pp . 275-276, No . 999 . The unwieldy bass pommers of the 15th and 16th centuries led to many attempts to produce a more See also:

• PRACTICAL

practical bass for the See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

orchestra by doubling back the long tube of the instrument . Thus transformed, the pommer became a fagotto . The invention of the bassoon or fagotto is ascribed to Afranio, a See also:

• CANON

canon of See also:

• FERRARA

Ferrara, in a See also:

• WORK

work by his See also:

• NEPHEW

nephew, See also:

• THESEUS

Theseus Ambrosius Albonesius, entitled Introductio in Chaldaicam Linguam .

. . et descriptio ac Simulacrum Phagoti Afranii (See also:

• PAVIA (anc. Ticinum, q.v.)

Pavia, 1539) . The See also:

• ILLUSTRATION

illustration of the instrument, showing front and back views (p . 179), taken in See also:

• CONJUNCTION (from Lat. conjungere, to join together)

conjunction with the detailed description (pp . 33-38), at once disposes of the See also:

• SUGGESTION

suggestion that the phagotus of Afranio and the fagotto or bassoon were in any way related; the author himself is greatly puzzled as to the See also:

• ETYMOLOGY (Gr. grvµos, true, and X6yos, "account)

etymology of the word . The phagotus in fact, resembles nothing so much as the musical curiosity known as See also:

• FLUTE

flute-a-bec d colonne,5 but double and played by See also:

• BELLOWS
• BELLOWS, ALBERT F
• BELLOWS, HENRY WHITNEY (1814-1882)

bellows, assigned by G . Chouquet to the 16th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century . This flute consisted of a column, with See also:

• BASE

base and See also:

• CAPITAL (i.e. capital stock or fund)
• CAPITAL (Lat. caput, head)

capital, both stopped, the vent and the See also:

• WHISTLE

whistle being concealed within perforated See also:

• BRASS
• BRASS (O. Eng. braes)

brass boxes, in the upper and lower parts of the column . Afranio's phagotus consisted of two similar twin columns with base and capital containing finger-holes and keys; between the columns in front was a shorter column for See also:

• ORNAMENT (Lat. ornare, to adorn)

ornament, and at the back of it another still shorter whose capital could be lifted, and a sort of bellows or bag-See also:

• PIPE

pipe inserted by means of which the instrument was sounded . The first instrument was made, we are told, by Ravilius of Ferrara, from Afranio's See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design.° See also:

• MERSENNE, MARIN

Mersenne,' who does not seem to have any difficulty in understanding the construction of Afranio's phagotus, does not consider him the inventor of the fagotto or bassoon, but of another kind of fagotto which he classes with the Neapolitan sourdeline, a complicated kind of musette° (see BAG-PIPE) . Afranio's instrument consists, he states, of two bassons as it were interconnected by tubes and blown by bellows . As in the sourdeline, these only speak when the springs (keys) are open . He disposes of Theseus Albonesius's fanciful etymology of the name by showing it to be nothing but the French word fagot, and that it was applied because the instrument consists of two or more " flutes," See also:

• BOUND, or BOUNDARY (from O. Fr. bonde, Med. Lat. bodena or butina, a frontier line)

bound or fagotees together .

There is no See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence that the phagotus contained a reed, which would See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account for Mersenne calling the pipes flutes . Mersenne's statements thus seem to uphold the theory that Afranio's phagotus was only a double flute a See also:

• COL
• COL (Fr. for " neck," Lat. collum)

col onne with bellows . Evidence is at hand that in 1555 a contrabass wind instrument was well known as fagotto . In the catalogue of the musical instruments belonging to the Flemish See also:

• BAND

band of See also:

• MARIE

Marie de Hongrie in See also:

• SPAIN
• SPAIN (Espana)

Spain, we find the following: " See also:

• ALA

Ala dicha princess y al dicho matoto dos ynstrumentos de musica contrabaxos, que Haman fagotes, metidos en dos caos redondas See also:

• COMO (anc. Comum)
• COMO, LAKE OF (the Lacus Larius of the Romans, and so sometimes called LARIO to the present day, though in the 4th century it is already termed Lacus Comacinus)

como parece See also:

• POR

por el dicho entrego."° Sigmund Schnitzer10 of See also:

• NUREMBERG (Ger. Nurnberg)

Nuremberg (d . 1578), a maker of wind instruments who attained considerable notoriety, has been 5 As far as is known only three of these curious instruments are in existence; two in the museum of the Conservatoire, See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, and one in See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels; all three See also:

• BEAR
• BEAR, BLACK
• BEAR, BROWN
• BEAR, GRIZZLY
• BEAR, ISABELLINE
• BEAR, WHITE

bear a See also:

• TREFOIL (Lat. trif olium, three-leaved plant, Fr. trk/le, Ger. Dreiblatt and Dreiblattbogen)

trefoil as maker's See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark; the smallest, in F, is reproduced in the Catalogue of the Musical Instruments exhibited at the Royal Military See also:

• EXHIBITION

Exhibition, See also:

• LONDON

London, 1890, by Capt . C . R . See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

Day (London, 1891), pl. iv . F . It is also described (with-out illustration) in Mahillon's Catalogue, p . 201, No . 189 .

The two flutes in Paris, measuring 73 cm. and 94 cm., are described by Gustave Chouquet, Le Musee du Conservatoire See also:

• NATIONAL

National de Musigue —Catalogue descriptif et raisonne (Paris, 1884), Nos . 409 and 410, p. l o6 . ' An Italian See also:

• TRANSLATION

translation of the description is given by See also:

• COUNT (Lat. comes, gen. comitis, Fr. comte, Ital. conte, Span. conde)

Count L . F . Valdrighi in Musurgiana, No . 4 (Milano, 1881), " II Phagotus di Afranio," p . 40 et seq . (without illustration) . An illustration of the phagotus is given by W . J. von Wasielewski in Gesch. d . Instrumentalmusik See also:

• IM(K2+a2+h2—2 ah cos 0)

im X VI . Jahrh .

(See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin, 1878), pl, v. and vi., See also:

• TEXT (Lat. textum, woven fabric, from texere, to weave)

text P . 74 . See L'Harmonie universelle (Paris, 1636), part ii. p . 305 . ° Ibid., illustrated and described, bk. v. p . 293 . 9 See Edm. See also:

• VAN

van der Straeten, Hist. de la musique aux Pays-Bas, vol. vii. pp . 433, 436, 448 . 10 J . J . Quantz, See also:

• FREDERICK
• FREDERICK (Mod. Ger. Friedrich; Ital. Federigo; Fr. Frederic and Federic; M.H.G. Friderich; O.H.G. Fridurih, " king or lord of peace," from O.H.G. fridu, A.S. frith, " peace," and rfh " rich," " a ruler," for derivation of which see HENRY)

Frederick the See also:

• GREAT

Great's flute-See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master, gives France the See also:

• CREDIT (Lat. credere, to believe)

credit of transforming the See also:

• BOMBARD (derived through Med. Lat. and Fr. forms from Gr. (3oµ(3eiv, to make a humming noise)

bombard (pommer) into the bassoon, and the schalmey into oboe, see Versuch einer Anweisung See also:

• DIE
• DIE (Fr. de, from Lat. datum, given)

die,Flote traversiare zu spielen (Berlin, 1752), p . 24 and again p .

241, § 6 . into bassoon . We learn from an See also:

• HISTORICAL

historical work of the 18th century, that he was renowned " almost everywhere " as a maker of fagotte of extraordinary See also:

• SIZE

size, of skilful workmanship and pure intonation, speaking easily, Schnitzer's instruments were so highly appreciated not only all over Germany, but also in France and See also:

• ITALY
• ITALY (Italia)

Italy, that he was kept continually at work producing fagotle for lovers of See also:

• MUSIC

music' An earlier chronicler of the artistic celebrities and craftsmen of Nuremberg, Johann Neudorfer, See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing in 1549,4 names Sigmund Schnitzer merely as Pfeifenmacher "und Stadtpfeifer . Had he been also noted as an inventor of a new form of instrument, the See also:

• FELLOW

fellow-See also:

• CITIZEN (a form corrupted in Eng., apparently by analogy with " denizen," from O. Fr. citeain, mod. Fr. citoyen)

citizen and contemporary chronicler would not have failed to note the fact . If Schnitzer had been the first to reduce the great length of the bass pommer by doubling the tube back upon itself, he would hardly have been handed down to posterity as the See also:

• CLEVER

clever craftsman who made fagottos of extra-See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary size;, Doppelmaier, who See also:

• CHRONICLES, BOOKS OF

chronicles in these eulogistic terms, wrote nearly two centuries after the supposed invention of the fagotto, the value of which was realized later by retrospection . An explanation may perhaps be found in Eisel's statement about the Deutscher Basson, which he distinguishes from the Basson (our bassoon) . " The Deutsche Bassons, Fagotte or Bombardi, as our German ancestors termed them, before music was clothed in Italian and French See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style, are no longer in use " (Eisel wrote in 1738) " and therefore it is unnecessary to See also:

• WASTE (O. Fr. wast, guast, gast, gaste; Lat. vastus, vast, desolate)

waste See also:

• PAPER
• PAPER (Fr. papier, from Lat. papyrus)

paper on them."3 This refers, of course, to the bombard or bass pommer, the extraordinarily long instruments which Schnitzer made so successfully . From this it would seem that our bassoon was not of German origin . In the meanwhile we get a See also:

• CLUE

clue to the early See also:

• HISTORY

history of the pommer in transition, but we find it under a different name in no way connected with fagotto . In order to shorten the unwieldy proportions of the See also:

• TENOR (through Fr. and It. from Lat. tenor, holding on, course, sense of a law, tone)

tenor pommer in C, and to increase its portability, it was constructed out of a block of wood of rather more than double the diameter of the pommer, in which two bores were cut, communicating at the bottom of the instrument which was flat . The bell and the crook containing the double reed mouthpiece were See also:

• SIDE
• SIDE (mod. Eski Adalia)

side by side at the top . This instrument, which had six holes in front and one at the back as well as two keys, was known as the dulceian, dolcian, doucaine, and also in France as coustaud and in England as the curtail, curtal,4 curtoll, &c., being mentioned in 1582—" The See also:

• COMMON

common blcting musick of ye See also:

• DRONE

Drone, Hobius (Hautboy) and Curtoll." The next step in the See also:

• EVOLUTION

evolution produced the double curtail, a converted bass pommer an octave below the single curtail and therefore identical in pitch as in construction with the early fagotto in C .

The instrument is shown in fig . 2, the See also:

• REPRODUCTION

reproduction of-a See also:

• DRAWING

drawing in the MS. of The See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy of Armoury by Randle Holme,5 written some See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time before 1688 . At the side )f the drawing is the following description: " A double curtaile.6 1 J . G . Doppelmaier, Historische Nachricht von den Niirnbergischen Mathemalicis und Kunstlern (Nurnberg, 1730), p . 293 . 2 See " Nachrichten von Kunstlern und Werkleuten Nurnbergs aus dem Jahre 1549," in R . Eitelberger von Edelberg's Quellenschriften See also:

• FUR (connected with O. Fr. forre, a sheath or case; so " an outer covering ")

fur Kunstgeschichte und Kunsttechnik des Mittelalters (See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna 1875), vols. viii.-x . ' See J . J . Eisel, Musicus autodidactus odes der sich selbst informierende Musicus (See also:

• ERFURT

Erfurt, 1738), pp . 104 and roo, and also J .

Mattheson, Das neu-eroffnete Orchester (See also:

• HAMBURG

Hamburg, 1713), " Basson," from whom Eisel borrowed . * See the New English See also:

• DICTIONARY

Dictionary, and See also:

• BATEMAN, HEZEKIAH LINTHICUM (1812–1875)

Bateman upon See also:

• BARTHOLINUS, GASPARD [CASPAR BERTHELSEN], (1585-1629)

Bartholinus, 423, I, margin . 6 See also:

• BRITISH

British Museum, Hari . MS . 2034, fol . 207b, a reference communicated by See also:

• AUGUSTUS (a name 1 derived from Lat. augeo, increase, i.e. venerable, majestic, Gr. Ee0avr6s)

Augustus See also:

• HUGHES, DAVID EDWARD (1831-1900)
• HUGHES, HUGH PRICE (1847-19o2)
• HUGHES, JOHN (1677-1720)
• HUGHES, JOHN (1797-1864)
• HUGHES, SIR EDWARD (c. 1720-1794)
• HUGHES, THOMAS
• HUGHES, THOMAS (1822-1896)

Hughes-Hughes from his valuable appendix to part iii . (Instrumental Music and See also:

• WORKS

Works on Music) of a Catalogue of MS . Music in the British Museum (London, 1908-1909) . The Appendix contains a See also:

• LIST (O.E. lisle, a Teutonic word, cf. Dut. lust, Ger. Leiste, adapted in Ital. lista and Fr. lisle)
• LIST, FRIEDRICH (1789-1846)

list of typical musical instruments represented in illuminated See also:

• MSS

MSS., or described in other MSS.in the British Museum, with brief description and full references . 6 Compare Randle Holme's double curtail with the dolcian in C, pl. vi . H. of Capt . C .

R . Day's catalogue, and with a dolcian or single curtail by J.C . Denner in See also:

• PAUL
• PAUL (PAULUS)

Paul de Wit's Katalog des Musikhistorischen Museums von Paul de Wit (See also:

• LEIPZIG

Leipzig, 1903), p . 127, No . 38o, and illust. p . 121 (Collection now transferred to See also:

• COLOGNE (Ger. Koln, or officially, since 1900, Coln)

Cologne) . Consult also497 This is double the bigness of the single; mentioned ch. xvi. n . 6 (the MS. begins at ch. xvii. of bk . 3) " and is played 8 notes deeper . It is as it were 2 pipes fixed in on(e) thick bass pipe, one much longer than the other, from the top of the lower comes a crooked pipe of brass in which is fixed a reed, through it the wind passeth to make the instrument make a See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound . It See also:

• BATH
• BATH, THOMAS THYNNE
• BATH, WILLIAM

bath 6 holes on the outside and one on that side next the See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man or back part and 2 brass keys, the highest called double Lcz sol re, and the other double B mi." We may therefore conclude that the satirical name fagotto, presumably bestowed in Italy, since the French See also:

• EQUIVALENT

equivalent fagot was never used for the basson, was not necessarily applied to the new form of pommer at the outset, but in any case before 1555; that the very See also:

• TERM

term Phagoto d'Afranio, by which the instrument was known during its See also:

• SHORT, FRANCIS JOB (1857– )

short fabulous existence, with its pretended See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek etymology, presupposes the pre-existence in Italy of another fagotto with which Afranio was acquainted, perhaps imperfectly . Afranio's was the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of ingenious mechanical devices applied to musical instruments, many of which, like Afranio's, being See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere freaks, did not survive the inventor .

A document selected from the valuable archives published by Edm. van der Straeten 7 suggests a satisfactory clue: In 1426 See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

Louis Willay, a musical instrument maker of See also:

• BRUGES (Flemish Brugge, a name signifying the bridge or place of bridges)

Bruges, sold to Philippe le Bon a triple set of wood-wind instru- FIG . 2.-Old English ments, i.e . " 4 bombardes, 4 doucaines double curtail (before and 4 flutes," to be sent as a See also:

• GIFT (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

gift to 1688) . See also:

• NICOLAS
• NICOLAS, SIR NICHOLAS HARRIS (1799–1848)

Nicolas III., See also:

• MARQUIS

marquis of Ferrara . The (From Hari . MS . 20341n new instrument, the doucaine, we may Brit . 141us.) imagine, by its unusual See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance provoked the satirical wit of some courtier, and was henceforth known as fagotto . Just a century later Ravilius of Ferrara made Afranio's first phagotus from the inventor's design . The bassoon has been a favourite with all the great masters, excepting See also:

• HANDEL, GEORGE FREDERICK (1685–1759)

Handel . See also:

• BEETHOVEN, LUDWIG VAN (1770-1827)

Beethoven uses the bassoon largely in his symphonies, writing everywhere for it See also:

• INDEPENDENT

independent parts of great beauty and originality . See also:

• BACH, JOHANN SEBASTIAN (1685–1750)
• BACH, KARL PHILIPP EMANUEL (1714-1788)

Bach, in his See also:

• MASS (O.E. maesse; Fr. messe; Ger. Messe; Ital. messa; from eccl. Lat. missa)
• MASS, IN

mass in B See also:

• MIN

min., has parts for two bassoons .

See also:

• MOZART, WOLFGANG AMADEUS1 (1756–1791)

Mozart wrote a See also:

• CONCERTO (Lat. concertus, from certare, to strive, also con-fused with concentus)

concerto in Bb for bassoon, with orchestra (Kochel, No . 191) . Weber has also written a concerto for bassoon in F (op . 75), scored for full orchestra . See also See also:

• ETIENNE, CHARLES GUILLAUME (1778-1845)

Etienne Ozi, Nouvelle Methode du Bassoon (Paris, 1788 and 1800) ; J . B . J . Willent-Bordogny, Gran Methodo completo per it Fagottp (See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan, 1844), with illustrations of early bassoons (English edition, London, J . R . Lafleur & Son) ; See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

Joseph See also:

• FROHLICH, ABRAHAM EMANUEL (1796-1865)

Frohlich, Vollstandige Musikschule fur alle beym Orchester gebraachliche wichtigere Instrumente (many practical illustrations) (Cologne, See also:

• BONN

Bonn, 181x); article " Bassoon," by W . H . See also:

• STONE
• STONE (0. Eng. shin; the word is common to Teutonic languages, cf. Ger. Stein, Du. steen, Dan. and Swed. sten; the root is also seen in Gr. aria, pebble)
• STONE, CHARLES POMEROY (1824-1887)
• STONE, EDWARD JAMES (1831-1897)
• STONE, FRANK (1800-1859)
• STONE, GEORGE (1708—1764)
• STONE, LUCY [BLACKWELL] (1818-1893)
• STONE, MARCUS (184o— )
• STONE, NICHOLAS (1586-1647)

Stone and D .

J . Blaikley in See also:

• GROVE (O.E. graf, cf. O.E. gr(efa, brushwood, later" greave "; the word does not appear in any other Teutonic language, and the New English Dictionary finds no Indo-European root to which it can be referred; Skeat considers it connected with " grave," to
• GROVE, SIR GEORGE (182o-1900)
• GROVE, SIR WILLIAM ROBERT (1811-1896)

Grove's Dictionary of Music and Musicians (2nd ed.) ; article " Fagott " in Mendel's Musikalisches Conversations-Lexikon; for the history of the instrument, and of its prototypes, see OBOE and BOMBARD . (K . S.) BASSO-RELIEVO (Ital. for " See also:

• LOW, SETH (1850- )
• LOW, WILL HICOK (1853- )

low See also:

• RELIEF

relief "), the term applied to See also:

• SCULPTURE
• SCULPTURE (Lat. sculptura, from sculpere, to carve, cognate with Gr. yXb4ew)

sculpture in which the design projects butslightly from the See also:

• PLANE

plane of the background . The relief may not project at all from the See also:

• ORIGINAL

original See also:

• SURFACE

surface of the material, as in the sunken reliefs of the Egyptians, and may be nearly flat, as in the,Panathenaic See also:

• PRO

pro-cession of the See also:

• PARTHENON (HapOevwv)

Parthenon . In the early loth century the term basso-relievo, or " low relief," came to be employed loosely for all forms of relief, the term mezzo-relievo having already dropped out of general use owing to the difficulty of accurate application .