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Musical instrument: Bassoon

The word "bassoon" translated from Italian means "knot" or "ligament". Why is the largest and lowest instrument in the woodwind group so called? It's simple - the first bassoons, which appeared more than half a millennium ago, were of immense size and, when disassembled, looked more like a bundle of firewood than musical instrument. In its modern form, the bassoon looks like oboe : It has the same elongated conical tube shape and double reed. But due to its impressive size - more than two meters, the tube is folded in half.

History and variety interesting facts Read about this musical instrument on our page.

Bassoon sound

The bassoon is considered a moving musical instrument, but it is not easy to perform fast passages on it. However, it was precisely this feature that became its “highlight” - the fast, abrupt execution of sounds (staccato technique) creates a “mumbling”, comic effect, which many composers hastened to take advantage of. Among them - M. Glinka in the opera Ruslan and Ludmila ", where such a technique is used to characterize the cowardly Farlaf.

This instrument can sound completely different: tender, affectionate, languid with a hint of passion. Just listen to Nemorino’s famous romance from Donizetti’s opera “ love potion " It is the bassoon, accompanied by pizzicato strings, that begins this, perhaps, one of the most romantic and soulful arias in the world.

The timbre of this instrument is difficult to confuse with any other. He is short, hoarse, and very expressive. The lowest and middle registers are used most often, but the upper notes turn out to be very compressed and even nasal. The range of the bassoon is relatively small - almost three octaves, from B flat counter octave to D second. It’s interesting that you can also produce higher notes, but they don’t always sound good and composers almost never use them, knowing this feature. The bassoon part is usually recorded in bass or tenor keys.

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Interesting Facts

• The dynamic range of the instrument is about 33 dB: from 50 dB when playing piano, to 83 dB when playing loudly.
• Antonio Vivaldi wrote 39 concertos for bassoon.
• For a long time, the bassoon was known as doltsina, as well as dultsina-bassoon, which meant only its gentle sound. Naturally, it was considered as such in comparison with the bombard.

• Playing the bassoon requires all the fingers of both hands, which is not required by any other instrument in a symphony orchestra. Moreover thumb left hand controls 9 valves at once, and the thumb right hand presses on 4 valves.
• In the 18th century, the bassoon was especially common in Germany. There, craftsmen made instruments with different volumes and scale ranges, and they were all used in the church choir to support the voice and enhance its sound.
• The reeds of the oboe and bassoon are similar in structure, only in the former it is smaller and includes a metal pin and reeds. The bassoon is made only of reeds wrapped in thread, and the role of the pin is played by the es. IN Lately Plastic canes are gaining popularity.
• Sometimes the score requires the use of the A counter-octave sound. For example, in " Ring of the Nibelung » Richard Wagner. Then a regular newspaper comes to the aid of musicians. It is rolled into a tube and inserted into the bell, the B flat is lost and a lower sound sounds - A. Occasionally, composers make instruments do the impossible. R. Wagner in his opera " Tannhäuser “forced the bassoon to use the unusually high “E” sound of the second octave for him. But he supported him and enhanced the sound of the bassoon with a string group.

• All initial versions of the mute were rejected and musicians refused to use them, as it negatively affected the sound quality. Only the mechanism invented by the Soviet bassoonist Yu. Neklyudov began to be widely used. He installed a metal circle covered with velvet in the middle part of the bell. Using a mechanism, this circle changed position and obscured the tube, muffling the sound.
• You can start learning the bassoon at the age of 9-10.
• The bassoon is made exclusively from light maple wood, with the exception of some school models made of plastic.
• The cost of bassoons can reach up to 30,000 euros, we're talking about about the instruments of the famous Haeckel company.
• There are two types of instruments - with the French and German systems. Their differences concern only the performer; the listener will hardly notice the difference. The German system is considered the most common.
• In 1856, the sarrusophone was invented, a metal version of the counterbassoon for playing the outdoors. This instrument is very similar in appearance to a saxophone, but has a double reed.

Popular compositions for bassoon

V.A. Mozart - Concerto for bassoon and orchestra in B flat major (listen)

Antonio Vivaldi - Concerto for bassoon and orchestra in E minor (listen)

K. Weber - Hungarian Fantasy (listen)

Bassoon design

Externally, the bassoon looks like a bent tube, and is a noble combination of dark wood and metal parts. This instrument has a double cane. It is put on a tube made of metal and shaped like the letter S, hence the name es. It is this tube that connects the cane to the main body. If you pay attention to the bell of the bassoon, you will easily notice that it is smooth, without a flared end - this affects the sound of the instrument. Its main tone is poorly distinguished, and the high “overtones” are rather poor. In addition, this is precisely why the bassoon is not endowed with enormous sound power.

The bassoon has 33 holes, many of which are closed by 29 valves of rather complex mechanics.

If you unfold the bassoon's pipe, its length will be 2.6 meters; the counter-bassoon's is almost 5 meters. The bassoon weighs about three kilograms.

Varieties of bassoon

During the entire period of formation of this instrument, there were several types: quartbassoon, bassoon and. The last of them has survived to this day and is successfully used in symphony orchestras.

Story

The appearance of the first bassoons dates back to XVI century, its predecessor was the ancient bombard wind instrument. The new invention has slightly modified the design and divided the tube into several parts. At first, the instrument was called “dulcian”. The name of the real inventor of the bassoon is still unknown. It is only known that gradually the instrument was slightly changed and improved. A special place, among all the masters involved in this, belongs to the bassoonist and bandmaster Karl Almenderer and Johann Adam Haeckel. It was they who, in 1843, presented a 17-valve bassoon model, which was adopted as the basis.

Role in the orchestra

For a long time, the bassoon was assigned an auxiliary role in the orchestra - he was not trusted to do anything other than “support” the bass parts. But everything changed with the birth of the opera genre - composers saw something special in it. From now on, this owner of an expressive and rich overtone timbre with a slight hoarseness became a bright and full-fledged soloist. Usually the orchestra uses several bassoons - two or three, four are very rare, and the latter is more often replaced by a counterbassoon if the score requires it.

Video: listen to the bassoon

Links to articles about everyone instruments of the symphony orchestra are here: . Bassoon- This is the lowest sounding instrument from the wooden group. Its register includes bass, tenor, and alto sounds. Like the oboe, it has a double reed that is mounted on a curved metal tube. This makes the bassoon very different from the other instruments in the group.

Unlike the oboe (and other pieces of wood), its body is folded in half (otherwise it would be too long). For ease of transportation, the bassoon can be disassembled into parts.

Folded in such parts, it resembles a bundle of firewood, which was the reason for the name of the instrument (translated as “fagging”). Bassoon is Italian and his ancestry dates back to the 16th century. Its range is from B counter octave to f second.

The material for making this instrument is maple wood. The timbre of the bassoon is most perfect in the lower register. In the upper range it acquires some compression and nasality, which is also a distinctive timbre feature.

In fact, the timbre of the bassoon is very beautiful and easy to distinguish. In addition, it is very gentle; for this quality, this instrument was initially called “dulcian” from the word dolce (gentle).

Usually the bassoon is used in brass and symphony orchestras, but it is also played in solo numbers, and is also used in ensembles.

There are up to 30 holes on the tool body. Only a small part of them is covered with fingers; mainly a valve system is used.

Like other wind instruments, the bassoon has undergone evolution in its development. Like most wind instruments, its heyday came in the 19th century (German company Haeckel).

Since the second half of this century, the bassoon has even been assigned solo episodes in orchestral parts, although initially this instrument simply duplicated the bass line in the orchestra.

In terms of playing technique, the bassoon is similar to the oboe, but the breath is spent less economically, since there is a longer column of air. Jumps are easy to make, the change of registers is almost unnoticeable, the staccato touch is quite sharp.

IN modern music for the bassoon it is possible to use intonations smaller than a semitone (a quarter and a third tone). Notes for the bassoon are usually written in bass and tenor clefs. The violin one is also occasionally used.

Sometimes used in orchestras contrabassoon- a variant of the instrument that sounds an octave lower.

To illustrate the sound of a bassoon with an orchestra, I would like to offer you a performance by the laureate international competition Alexey Levin (class of Professor V.V. Budkevich): K.M. Weber - fragment from the Concerto for Bassoon and OrchestraF- dur(State Academic Symphony Orchestra The Republic of Belarus).

Varieties of bassoon

IN different time Several types of bassoon were created:

• quartbassoon- bassoon large sizes, with the same volume in writing, but sounding a perfect quart lower than what was written;
• bassoon (quintbassoon or small bassoon) - an instrument that sounded a fifth higher than the written notes;
• - the only type of bassoon that has survived to this day.

Bassoon playing technique

IN general outline The technique of playing the bassoon resembles that of oboe, however, the breath on the bassoon is spent faster due to its large size. The staccato bassoon is clear and sharp. Jumps of an octave or more are good. Changing registers is almost invisible.

The bassoon technique is most characterized by alternating melodic phrases of medium breathing with various shades scale-like passages and arpeggios, mainly in staccato presentation and using various leaps.

Video: Bassoon on video + sound

Thanks to these videos you can familiarize yourself with the tool, watch real game on it, listen to its sound, feel the specifics of the technique.

Among the wide variety of woodwind instruments, the bassoon ranks special place. It is distinguished from other instruments of the wooden group by its large size, an s-shaped tube to which the cane is attached, and an unusual U-shaped body.

But that's only external characteristics instrument, its main expressive means is an incomparable sound - a low, unusually colored timbre. To some it resembles the buzzing of a bumblebee, to others it resembles the sound of an oboe (especially when it comes to the upper register), it is bright and expressive, sometimes it can even seem a little harsh, and is rich in overtones.

The one who plays the bassoon is called a bassoonist.

History of the bassoon

Bassoon - translated from Italian. "bundle of firewood" It was precisely these associations that it evoked among the Italians in its unfolded form - a fairly young instrument, unlike other woodwinds, the history of which has long since sunk into oblivion.

It was invented by Italians in the 16th century. and was called “dulcian”, which translated means “gentle”, “mellifluous”. The identity of the inventor remains unknown.

Its immediate predecessor is considered to be the “bombarda” - an ancient large-sized woodwind instrument.

In contrast, the bassoon, for ease of transportation, was divided into several parts.

Initially, the instrument had only 3 valves, but in subsequent eras, the mechanics of the bassoon gradually improved, up to its modern form.

Bassoon design

The instrument is made mainly from maple.

Comparing the differences in how a bassoon looks relative to the musical instruments of a wind group, we can say that its design is quite complex. The body is a long, about 2.5 m, hollow tube of a hollow conical shape and consists of four parts: a lower U-shaped elbow, also called a “boot”, an “outhouse” - a small elbow, as well as a large elbow and a bell.

The neck is a thin, long, S-shaped metal tube that connects the sound-producing double reed to the body of the instrument.
Mechanics – valve system. A modern bassoon has about 25-30 holes, with the help of which the pitch of the reproduced sound is changed; they are covered with a system of cupronickel valves, and only 5-6 - directly with the fingers.

Belongs to the subgroup of “double-tongued” instruments that have a double reed. These also include oboe, duduk, etc./p>

Types of bassoon: types of instrument

Currently, there are two common types of bassoon: French and German - they differ in the mechanics of the valves.

There are two types of bassoons - the classical instrument itself and the contrabassoon - which has an additional octave in the lower register.

IN old times The following varieties of dulcians were popular:

• Treble bassoon;
• Alto bassoon;
• Piccolo-bassoon - these types mainly sounded a fourth or fifth higher;
• Fagottino or “small bassoon” – sounds an octave higher modern instrument. Was widespread until the 19th century.

These varieties are distinguished by high pitch and were common in the 16th-17th centuries.

How to play the bassoon

Playing this large-sized instrument is quite difficult - you need a large supply of breathing. His repertoire consists of fast works requiring a high level of skill and virtuosity from the performer.

The range covers from the “B flat” of the counter octave to the “F” of the second octave; you can play higher sounds, but their timbre will not be so beautiful.
Notes for the bassoon are written in bass and tenor clefs, very rarely in treble clefs.

Sharp staccato, various passages, arpeggios and jumps at large intervals, double staccato, frullato, glissando and other technical techniques sound impressive on the instrument.

Where is the tool used?

It cannot be said that the bassoon has always occupied some kind of important place among orchestral instruments— at first it only performed the function of amplifying and supporting the bass line.

Starting from the 17th century, solo and ensemble works began to be written for him, and in the 18th century. — the updated bassoon became widespread and became part of opera orchestras.

The repertoire of “dulcians” consists of the works of such composers as Kaiser, Speer, Lully, Telemann, Vivaldi, Mozart, Haydn, Weber, Rossini, Saint-Saens, Glinka, Tchaikovsky and others - all of them considered the bassoon a bright instrument in melodic and technical terms .

This is a fairly rare instrument, which largely depends on the difficulty of playing it. It is distinguished by its bright, spectacular “appearance” and the same sound - that is why not a single symphony orchestra, and often even a brass orchestra, can do without it.

The bassoon was designed in the 16th century in Italy and is used in orchestras with late XVII - early XVIII century, took a permanent place in it by the end of the 18th century. The timbre of the bassoon is very expressive and rich in overtones throughout the entire range. The lower and middle registers of the instrument are most common; the upper notes sound somewhat nasal and compressed. The bassoon is used in symphony orchestras, less often in brass orchestras, and also as a solo and ensemble instrument.

History of the emergence and development of the bassoon

The appearance of the bassoon dates back to the first half of the 16th century. Its invention was for many years attributed to a canon from Ferrara named Afranio del Albonesi. In particular, such information is contained in “ESBE”. In the 20th century, however, it was established that Afranio’s instrument was something like a bagpipe with metal reeds and had nothing in common with a bassoon.

The immediate predecessor of the bassoon was an ancient wind instrument called the bombarda. In contrast, the bassoon was divided into several parts for ease of manufacture and transportation. The change in design had a beneficial effect on the timbre of the instrument, which was reflected in its name - at first it was called “dulcian” (from Italian dolce - “gentle, sweet”). The name of the true inventor of the bassoon still remains unknown.

On initial stage bassoons had only 3 valves. In the 18th century - 5 valves, as well as octave valves, which significantly expanded the upper register.

IN early XIX century leading place instruments of the French system, which had 11 valves, occupied the music market. The author of these models was Jean-Nicole Savarri. Later, instruments of the model of the French masters A. Buffet and F. Treber appeared.

Bassoonist and bandmaster Karl Almenröder occupies a special place in the history of the improvement of the instrument. In the city, together with Johann Adam Haeckel, he founded the production of woodwind instruments in Biebrich. In Almenröder he presented an improved 17-valve bassoon he had designed. This model was adopted as a basis and brought to perfection by the Haeckel company. French and then Austrian bassoons, produced in mid-19th centuries by the company "Ziegler and Son", could not withstand the competition with Haeckel's instruments and were supplanted in a number of countries.

The role of the bassoon in music

XVI–XIX centuries

In the early days of its existence, the bassoon served as amplification and duplication of bass voices. He began to play a more independent role in early XVII century. Works for dulcian and one or two instruments accompanied by basso continuo appear - sonatas by Biagio Marini, Dario Castello, Giovanni Batista Buonamente, Giovanni Battista Fontana and other authors. The first composition for solo dulcian - Fantasia from the collection Canzoni, fantasie et correnti Bartolome de Selma y Salaverde, published in 1638 in Venice. The author assigned the solo instrument a rather complex part for those times in a range extended down to B 1 (B flat counter octave). Philipp Friedrich Boedeker's Sonata (1651) also places high demands on the performer. In a monumental work Grunde-richtiger … Unterricht der musicalischen Kunst, oder Vierfaches musicalisches Kleblatt(1687) by Daniel Speer there are two sonatas for three dulcians. All these works are designed for an instrument with two valves.

At the turn of the 17th–18th centuries, a new, improved instrument, the bassoon, began to rapidly gain popularity. First of all, he became part of the opera orchestra: in some of Reinhard Keyser's operas up to five bassoons are used. Jean-Baptiste Lully interpreted the bassoon as a bass voice in a wind trio, where the upper voices were assigned to two oboes, and the trio itself was contrasted in timbre with the string group of the orchestra (for example, in the opera “Psyche”, 1678).

The bassoon was often used as one of the solo instruments in concert symphonies. The most famous of them belong to Haydn (for oboe, bassoon, violin and cello) and Mozart (for oboe, clarinet, bassoon and horn). Several concertos were written for two bassoons and orchestra.

Works for bassoon, starting from the second half of the XVIII centuries, can be conditionally divided into two groups. The first of them is the works of the bassoonists themselves, such as F. Gebauer, K. Jacobi, K. Almenröder. Intended for personal performances, they were often written in the form of variations or fantasies on popular themes. The second is works by professional composers with the expectation of being performed by a specific musician. It includes concerts by K. Stamitz, Devien, Krommer, Danzi, Reicha, Hummel, Calliwoda, M. Haydn, Kozeluch, Berwald and others. Carl Maria von Weber wrote the Concerto in F major, op. 75, for the Munich court bassoonist Brandt, in addition, he owns the Andante and the Hungarian Rondo, originally intended for viola. More recently, Gioachino Rossini's Concerto (1845) was discovered.

The bassoon was used much less frequently in chamber music. Only a few sonatas with piano are known: Anton Liste, Johannes Amon, Antonin Reicha, Camille Saint-Saëns, small pieces were written by Ludwig Spohr and Christian Rummel. French bassoonist Eugene Jancourt expanded his repertoire with transcriptions of works written for other instruments.

The role of the bassoon in the 19th century orchestra is also quite modest. Berlioz reproached him for the lack of expression and power of sound, although he noted the special timbre of his upper register. Only from the second half of the century did composers begin to assign solo episodes to the bassoon, for example, Bizet in the opera Carmen, Tchaikovsky in the Fourth and Sixth Symphonies, etc.

XX-XXI century

Thanks to improvements in the design of the bassoon and the technique of playing it, its repertoire expanded significantly in the 20th century. Solo literature for the bassoon was written by:

• Edward Elgar, Romance for bassoon and orchestra, Op. 62 (1909)
• Ermanno Wolf-Ferrari Concertino Suite in F-Dur for bassoon, string orchestra and two horns, Op. 16 (1932)
• Heitor Villa-Lobos, "Dance of the Seven Notes" for bassoon and string orchestra (1933)
• Victor Bruns 4 concertos for bassoon: Op. 5 (1933), Op. 15 (1946), Op. 41 (1966) and Op. 83 (1986)
• Jean Français Divertimento for bassoon and string orchestra (1942); Concerto for bassoon and 11 strings (1979); Quadruple Concerto for flute, oboe, clarinet and bassoon with orchestra
• Eugene Bozza Concertino for bassoon and chamber orchestra, Op. 49 (1946)
• Gordon Jacob Concerto for bassoon, percussion and string orchestra (1947)
• Paul Hindemith Concerto for trumpet, bassoon and string orchestra (1949)
• Franco Donatoni Concerto for bassoon and orchestra (1952)
• André Jolivet Concerto for bassoon, harp, piano and string orchestra (1954)
• Stjepan Szulek Concerto for bassoon and orchestra (1958)
• Henri Tomasi Concerto for bassoon and orchestra (1961)
• Bruno Bartolozzi Conzertazioni for bassoon, strings and percussion instruments (1963)
• Henk Badings Concerto for bassoon, counterbassoon and brass band (1964)
• Lev Knipper Double Concerto for trumpet, bassoon and orchestra (1968); Bassoon Concert with Orchestra (1970)
• Sofia Gubaidulina Concerto for bassoon and low strings (1975)
• Nino Rota Bassoon Concerto (1974-77)
• Pierre Boulez "Dialogue of two shadows" transcription for bassoon and electronics (1985-1995)
• Luciano Berio Sequenza XII for solo bassoon (1995)
• John Williams "The Five Sacred Trees" concerto for bassoon and orchestra (1995)
• Yuri Kaspara Concerto for bassoon and orchestra (1996)
• Moses Weinberg Sonata for solo bassoon, Op. 133
• Edison Denisov 5 sketches; Sonata for solo bassoon.
• Alan Hovaness
• Nikas Skalkottas
• Alexander Tansman Sonatina for bassoon and piano
• Frank Bedrossian "Transmission" for bassoon and electronics (2002)
• Marjan Mozetić Concerto for bassoon, marimba and string orchestra (2003)
• Pierluigi Billone "Legno. Edre V. Metrio" for solo bassoon (2003); "Legno.Stele" for two bassoons and ensemble (2004)
• Kalevi Aho Concerto for bassoon and orchestra (2004)
• Wolfgang Rihm "Psalmus" for bassoon and orchestra (2007)

Important orchestral parts were assigned to the bassoon by Maurice Ravel, Igor Stravinsky, Carl Orff, and Sergei Prokofiev. There are extended solo parts in the Seventh, Eighth and Ninth Symphonies of Dmitry Shostakovich.

In chamber music, the bassoon plays an important role. The bassoon is used in chamber works by such composers as Camille Saint-Saëns (Sonata for bassoon and piano), Francis Poulenc (Sonata for clarinet and bassoon), Alfred Schnittke (Hymn III, IV), Paul Hindemith (Sonata for bassoon and piano) -no), Heitor Villa-Lobos (Brazilian Bahians), Sofia Gubaidulina, Jean France, Igor Stravinsky ("Story of a Soldier"), André Jolivet ("Christmas Pastoral" for flute, bassoon and harp), Yun Isan, Kalevi Aho and others .

Bassoon structure

The bassoon is a long, hollow-conical tube. For greater compactness, the air column inside the instrument is folded in half. The main material for making a bassoon is maple wood.

The bassoon body consists of four parts: lower knee ("boot", having a U-shape), small knee ("wing"), large knee and bell. From the small knee extends a thin long metal tube, bent in the shape of the letter S (hence its name - es), onto which a cane - the sound-producing element of the bassoon - is attached.

There are numerous holes on the body of the instrument (about 25–30), by opening and closing which the performer changes the pitch of the sound. Only 5-6 holes are controlled by fingers; for the rest, a complex valve mechanism is used.

Bassoon playing technique

In general terms, the technique of playing the bassoon resembles that of the oboe, however, the breath on the bassoon is consumed faster due to its larger size. The staccato bassoon is clear and sharp. Jumps of an octave or more are good; the change of registers is almost imperceptible.

The bassoon technique is most characterized by alternating melodic phrases of medium breathing with various shades of scale-like passages and arpeggios, mainly in a staccato presentation and using various leaps.

Bassoon range - from B 1(B-flat counteroctave) to f²(F of the second octave), it is possible to extract higher sounds, but they are not always stable in sound. The bassoon can be equipped with a bell that allows you to extract la counter octaves (this sound is used in some of Wagner's works). Notes are written in bass, tenor, and occasionally in treble clef in accordance with the actual sound.

The latest playing techniques that entered the performing practice of bassoonists in the 20th century are double and triple staccato, playing several sounds on the instrument simultaneously (multiphonics), quarter-tone and third-tone intonation, frullato, tremolo, glissando, circular breathing and others. These techniques are most in demand in the works of avant-garde composers, including for solo bassoon.

Varieties of bassoon

In modern orchestral practice, along with the bassoon itself, only one of its varieties, the contrabassoon, has been preserved - an instrument with the same valve system as the bassoon, but sounding an octave lower than it.

At different times, there were also higher-sounding varieties of the bassoon. Michael Pretorius in one of the first major works in history on instrumentation Syntagma musicum(1611) mentions the high order Dulcian family in three varieties, designated as Diskantfagott, Altfagott And Fagott Piccolo. They were in use until the end of the 17th century, but even with the advent and spread of the modern bassoon, craftsmen continued to make instruments of high tunings, many of which have survived to this day. They were usually tuned to a fifth (rarely a fourth or minor third) higher than a regular bassoon. In English-language literature such instruments are known as tenoroon, and in French as basson quinte. There was also an even higher variety, sounding an octave higher than the bassoon, called “bassoon” or “small bassoon”. An early copy of such an instrument by I. H. Denner is kept in Boston.

The small bassoon was used sporadically in 18th-century scores. At the beginning of the 19th century in some opera houses In France they replaced the English horn, and Eugene Jancourt practiced solo performance on it. However, to end of the 19th century century, all high varieties of bassoon fell out of use.

In 1992, bassoon maker Guntram Wolff made a small bassoon for the first time in many years for the British bassoonist Richard Moore, who commissioned composer Victor Bruns to write several works for him. Another area of ​​application of the small bassoon is learning to play: Karl Almenröder also advised starting training at the age of ten on small varieties of the bassoon, so that at an older age you can easily switch to big tool. Wolf also developed a tool contraforte with a wider scale and larger reed, but with the same range as a contrabassoon, capable of producing louder sounds (hence the name).

Famous artists

• Sharrow, Leonard

Bibliography

• S. Levin Bassoon. - M.: Music, 1963.
• Lyndesay Graham Langwill. Bassoon and Contrabassoon. - L.: E. Benn, 1965.

Notes

Links

• // Encyclopedic Dictionary of Brockhaus and Efron: In 86 volumes (82 volumes and 4 additional ones). - St. Petersburg. , 1890-1907.

Categories:

• Musical instruments in alphabetical order
• Woodwind musical instruments
• Bass musical instruments
• Aerophones
• Bassoon

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