Contrabassoon

A Contrabassoon has entered my life recently and I am very excited to start using it. This instrument was owned by Steve Braunstein. He ordered it from Heckel while he was playing with the Toronto symphony, it was finished 1984. Over the summer I trialled 2 other Heckel contras and this instrument was by far the standout. I am very lucky to be the custodian of this horn for a few years.

I get asked about the Contraforte vs. Contrabassoon and I mostly stay quiet. But I think that the entire repertoire is accessible to either instrument. I would like to experiment with using both instruments this season, choosing the instrument that fits the character of the piece.

Heckel Order Form

Heckel Bassoon

 

A few months ago I had my first correspondence with Heckel. I am looking for my next bassoon and I have play tested a few new Heckels that I really liked. After emailing back and forth to find out what options were possible, they sent me a mail packet with an order form. I thought that I knew the bassoon options that I wanted, but seeing all of the options layer out on a list was overwhelming!

I am going over the new instrument piece by piece to figure out how it will all look together. I don’t EVER want to buy another instrument after this so I need it to have everything on it that I would need for the rest of my career. Like how high E was a standard key for a while but in the past few years the high F key is becoming normal.  I haven been able to make decisions about most things, except for the bell options. The French and Italian bells look great and then the gentleman vs. regular bell lengths…

Italian Bell Gentleman (current favorite)

Italian Bell Heckel

German Bell Gentleman

German Bell Heckel

French Bell Regular

French Bell Heckel

Little finger whisper key

french whisper key

The little finger whisper key, or french whisper key; should become a standard key on the bassoon. It adds an extra option besides the whisper key lock and reduces fatigue in the repeated transition from low note thumb position to the flick key thumb position. The first example  comes from Robert Rønnes book “12 Virtouso Studies” in the first study “Warming Up” This passage is a good example of the low register to middle register thumb shift. The left thumb need to shift from the low C key across to the whisper key. However  with the little finger whisper key, you can hold down the whisper key for the entire measure. This allows the left thumb to stay in the low register position and play low C as it comes. By using the french whisper key there is the option of quickly removing it, unlike the whisper key lock. It can be added or removed during a fast passage without a reach or shifting.

Rønnes

The next example comes from Simon Kovar’s “24 Daily Exercises” and is a more common issue on the bassoon, the shift from the whisper key to flick keys. The usual technique is to leave the whisper key slightly early in order to get to the flick key in time. With a french whisper key a passage like this takes minimal energy with greater accuracy.

Kovar

Contraforte Reed Dimensions

Contraforte Reed

This isn’t an IDRS journal but I think it is still an appropriate place to post reed dimensions. I have only had a few months with the contraforte so far I have come to two styles of reed. One wider and one narrower, the wider shape is a real robust contraforte sound and the narrow shape is a simpler contrabassoon sound.

The wide shape is using the Reiger contraforte shape (23.25mm wide) and formed on a Reiger contraforte mandrel.

160mm cane

35mm blade (collar to tip)

45mm tube (collar to end)

5mm from first wire to second wire

The narrow reed is shaped on a Reiger K1 contrabassoon shape, it’s important to use a fold-over shaper for this since I still use 160mm cane. 160mm cane will not fit into a contrabassoon straight shaper which is meant to hold 150mm cane, but on a fold over shaper the tube continues further. Using this extra tube length also allows the reed to be formed on a contraforte mandrel. Besides using a different shape all of the dimensions are the same.

160mm cane

35mm blade (collar to tip)

45mm tube (collar to end)

5mm from first wire to second wire

contraforte reed

The narrow reed is essential to making the CF work in every situation. This style produces a simple, dryer sound, requiring less air, and achieves an easy pianissimo response.

the wide reed is now available on kingbassoonreeds.com

 

 

 

Leitzinger Bocal

I get a big kick out of experimenting with my setup and trying different options. Leitzinger bocals have been around for a few years now, and I have only heard good things about them. I play a Fox 601 which has the benefit of being very flexible, the bocal that I use completely changes the instrument.

I’m very spoiled in that I live in San Francisco and pretty close to Forrests Music. I picked up a few Leitzinger bocals to play test for the week and I decided to try different platings and different alloys. When I try bocals, two bocals of the same model and size sound so different.  I don’t usually try different platings because I can’t tell if the difference is between the platings or just different bocals. I ended up with a N ML 1

Leitzinger Bocal

Contraforte Stand

 

contraforte stand
contraforte stand

After a long search,  I have finally found an instrument stand for the contraforte. This was a find off of eBay and it was made by Aureum. This seems to be a generic low-woodwind stand that can adjust to fit many different instruments, it certainly fits contrabassoon on top of contraforte. The top of the stand is completely adjustable in height, width, and angle that it hold the contra. My only complaint would be that the peg cup at the bottom of the stand is too small, but I might remove it and add a different one.

I am unable to find out where this stand can be bought. It’s a company in Korea and I don’t think that they have any U.S. distributors. I have seen a few of these pop up on eBay though!

contraforte stand