Prout | Chapter VII | Figures
The Oboe:
The English horn:
The Bassoon:
The Contrabassoon:
Chapter 7: Wind Instruments: Double-Reed Instruments: The Oboe
Citation: Prout, 1899 (vol.I), p. 114
Summary of Figure: An example showing the appearance of the oboe
Exemplification of: Oboe illustration
Prout, 1899 (vol.I), p. 114 [Note: An example showing the appearance of the oboe.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Oboe
Citation: Prout, 1899 (vol.I), p. 114
Summary of Figure: The notes B3 and F6, which are the limits of the standard oboe range.
Exemplification of: Oboe range
Prout, 1899 (vol.I), p. 114 [Note: The notes B3 and F6, which are the limits of the standard oboe range.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Oboe
Citation:Prout, 1899 (vol.I), p. 114
Summary of Figure: The notes B3 and C#5, which are the limits of the range of fundamental notes on the oboe. On some instruments, this range extends down to Bb3.
Exemplification of: Oboe fundamental notes, low/middle register
Prout, 1899 (vol.I), p. 114 [Note: The notes B3 and C#5, which are the limits of the range of fundamental notes on the oboe. On some instruments, this range extends down to Bb3.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Oboe
Citation:Prout, 1899 (vol.I), p. 11
Summary of Figure: The notes G4 and A5, which are the approximate limits of the middle register on the oboe.
Exemplification of: Oboe middle register
Prout, 1899 (vol.I), p. 114 [Note: The notes G4 and A5, which are the approximate limits of the middle register on the oboe.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Oboe
Citation: Prout, 1899 (vol.I), p. 117
Summary of Figure: An example from Mendelssohn's "Psalm 42" demonstrating an oboe melody in the middle register. The subtle string accompaniment contains a mix of repeated and sustained notes, and the double bass is absent for all but a few notes near the end of this excerpt.
Exemplification of: oboe middle register
Composer and Work: Mendelssohn, Felix | Psalm 42, op.42 (Wie der Hirsch schreit; As Pants the Hart) <1837>
Prout, 1899 (vol.I), p. 117 [Note: (1/2) An example from Mendelssohn's "Psalm 42" demonstrating an oboe melody in the middle register. The subtle string accompaniment contains a mix of repeated and sustained notes, and the double bass is absent for all but a few notes near the end of this excerpt.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Oboe
Citation: Prout, 1899 (vol.I), p. 118
Summary of Figure: An example from Mendelssohn's "Psalm 42" demonstrating an oboe melody in the middle register. The subtle string accompaniment contains a mix of repeated and sustained notes, and the double bass is absent for all but a few notes near the end of this excerpt.
Exemplification of: oboe middle register
Prout, 1899 (vol.I), p. 118 [Note: (2/2) An example from Mendelssohn's "Psalm 42" demonstrating an oboe melody in the middle register. The subtle string accompaniment contains a mix of repeated and sustained notes, and the double bass is absent for all but a few notes near the end of this excerpt.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Oboe
Citation: Prout, 1899 (vol.I), p. 120
Summary of Figure: An example from Cherubini's "Eliza" demonstrating a florid and cantabile solo oboe melody accompanied by strings. The oboe line reaches into the high register and uses a scalar passage to approach the high F near the end of this excerpt. The violas play "col Basso," doubling the same line as the cellos and double basses, typically an octave above the cello line.
Exemplification of: oboe range, high register
Composer and Work: Cherubini, Luigi | Eliza (Le voyage aux glaciers du Mont St Bernard) <1794>
Prout, 1899 (vol.I), p. 120 [Note: An example from Cherubini's "Eliza" demonstrating a florid and cantabile solo oboe melody accompanied by strings. The oboe line reaches into the high register and uses a scalar passage to approach the high F near the end of this excerpt. The violas play "col Basso," doubling the same line as the cellos and double basses, typically an octave above the cello line.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Oboe
Citation: Prout, 1899 (vol.I), p. 122
Summary of Figure: An example from Schubert's Mass No. 6 in E-flat demonstrating the combination of the oboe's low-register with bassoon and trombone chords at a piano dynamic.
Exemplification of: oboe low register, trombones dynamics, piano
Composer and Work: Schubert, Franz | Mass No.6, D.950, E-flat major <1828>
Prout, 1899 (vol.I), p. 122 [Note: An example from Schubert's Mass No. 6 in E-flat demonstrating the combination of the oboe's low-register with bassoon and trombone chords at a piano dynamic.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Oboe
Citation: Prout, 1899 (vol.I), p. 115
Summary of Figure: The note D4, below which Prout recommends avoiding trills on the oboe.
Exemplification of: Oboe trills, range
Prout, 1899 (vol.I), p. 115 [Note: The note D4, below which Prout recommends avoiding trills on the oboe.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Oboe
Citation: Prout, 1899 (vol.I), p. 115
Summary of Figure: The note C6, above which Prout recommends avoiding trills on the oboe.
Exemplification of: Oboe trills, range
Prout, 1899 (vol.I), p. 115 [Note: The note C6, above which Prout recommends avoiding trills on the oboe.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Oboe
Citation: Prout, 1899 (vol.I), p. 115
Summary of Figure: An example showing trills on the oboe containing two sharp or flat notes, and which Prout recommends avoiding.
Exemplification of: oboe trills
Prout, 1899 (vol.I), p. 115 [Note: An example showing trills on the oboe containing two sharp or flat notes, and which Prout recommends avoiding.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Oboe
Citation: Prout, 1899 (vol.I), p. 116
Summary of Figure: An example from Gluck's "Iphigénie en Aulide" demonstrating a "beautiful and expressive" solo oboe melody with a simple string accompaniment.
Exemplification of: solo oboe melody, strings accompaniment
Composer and Work: Gluck, Christoph Willibald | Iphigénie en Aulide (Iphigenie in Aulis) <1774>
Prout, 1899 (vol.I), p. 116 [Note: An example from Gluck's "Iphigénie en Aulide" demonstrating a "beautiful and expressive" solo oboe melody with a simple string accompaniment.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Oboe
Citation: Prout, 1899 (vol.I), p. 116
Summary of Figure: An example from Hummel's Mass in E-flat demonstrating an oboe melody containing long sustained notes. The string accompaniment consists of repeated chords and a pizzicato bassline
Exemplification of: Oboe sustained notes
Composer and Work: Hummel, Johann Nepomuk | Mass in E-flat, op.80 <1804>
Prout, 1899 (vol.I), p. 116 [Note: (1/2) An example from Hummel's Mass in E-flat demonstrating an oboe melody containing long sustained notes. The string accompaniment consists of repeated chords and a pizzicato bassline.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Oboe
Citation: Prout, 1899 (vol.I), p. 117
Summary of Figure: An example from Hummel's Mass in E-flat demonstrating an oboe melody containing long sustained notes. The string accompaniment consists of repeated chords and a pizzicato bassline.
Exemplification of: oboe sustained notes
Composer and Work: Hummel, Johann Nepomuk | Mass in E-flat, op.80 <1804>
![Prout, 1899 (vol.I), p. 117 [Note: (2/2) An example from Hummel's Mass in E-flat demonstrating an oboe melody containing long sustained notes. The string accompaniment consists of repeated chords and a pizzicato bassline.]](https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634587713683-IC8SXDS7RPM46TSSOT8O/PROUT-1899-117%2C1-ex93-oboe-melody-sustained-strings-accompaniment-hummel.png)
Prout, 1899 (vol.I), p. 117 [Note: (2/2) An example from Hummel's Mass in E-flat demonstrating an oboe melody containing long sustained notes. The string accompaniment consists of repeated chords and a pizzicato bassline.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Oboe
Citation: Prout, 1899 (vol.I), p. 123
Summary of Figure: An example from Auber's "Le Philtre" demonstrating a passage in four-part harmony for two flutes and two oboes.
Exemplification of: flutes and oboes four-part harmony, oboe accompaniment
Composer and Work: Auber, Daniel-François-Esprit | Le Philtre, S.20 <1831>
Prout, 1899 (vol.I), p. 123 [Note: An example from Auber's "Le Philtre" demonstrating a passage in four-part harmony for two flutes and two oboes.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Oboe
Citation: Prout, 1899 (vol.I), p. 118
Summary of Figure: An example from Mozart's "Thamos, König in Ägypten" demonstrating an oboe melody in a major key. This example also shows an "echo" effect in the bassoons, and the mixing of pizzicato and arco in the string section.
Exemplification of: oboe major key
Composer and Work: Mozart, Wolfgang Amadeus | Thamos, König in Ägypten, K.345 (336a)
Prout, 1899 (vol.I), p. 118 [Note: (1/2) An example from Mozart's "Thamos, König in Ägypten" demonstrating an oboe melody in a major key. This example also shows an "echo" effect in the bassoons, and the mixing of pizzicato and arco in the string section.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Oboe
Citation: Prout, 1899 (vol.I), p. 11
Summary of Figure: An example from Mozart's "Thamos, König in Ägypten" demonstrating an oboe melody in a major key. This example also shows an "echo" effect in the bassoons, and the mixing of pizzicato and arco in the string section.
Exemplification of: oboe major key
Composer and Work: Mozart, Wolfgang Amadeus | Thamos, König in Ägypten, K.345 (336a)
Prout, 1899 (vol.I), p. 119 [Note: (2/2) An example from Mozart's "Thamos, König in Ägypten" demonstrating an oboe melody in a major key. This example also shows an "echo" effect in the bassoons, and the mixing of pizzicato and arco in the string section.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Oboe
Citation: Prout, 1899 (vol.I), p. 121
Summary of Figure: An example from Auber's "La Muette de Portici" demonstrating a staccato solo oboe melody accompanied by pizzicato strings.
Exemplification of: oboe articulations, staccato
Prout, 1899 (vol.I), p. 121 [Note: An example from Auber's "La Muette de Portici" demonstrating a staccato solo oboe melody accompanied by pizzicato strings.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Oboe
Citation: Prout, 1899 (vol.I), p. 122
Summary of Figure: An example from Spohr's "Jessonda" demonstrating a vivace solo oboe melody containing a mix of staccato and legato articulations. The strings provide a simple accompaniment.
Exemplification of: oboe articulations, staccato and legato
Composer and Work: Spohr, Ludwig (Louis) | Jessonda, WoO 53 <1822>
Prout, 1899 (vol.I), p. 122 [Note: An example from Spohr's "Jessonda" demonstrating a vivace solo oboe melody containing a mix of staccato and legato articulations. The strings provide a simple accompaniment.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Oboe
Citation: Prout, 1899 (vol.I), p. 122
Summary of Figure: An example from the finale of Raff's Symphony No. 4 demonstrating a "pastoral and rustic" solo oboe melody containing a mix of staccato and tenuto articulations. The accompaniment consists of a single held note in the first flute.
Exemplification of: oboe articulations, staccato and tenuto
Composer and Work: Raff, Joachim | Symphony No.4, op.167, G minor <1871-1872>
![Prout, 1899 (vol.I), p. 122 [Note: An example from the finale of Raff's Symphony No. 4 demonstrating a "pastoral and rustic" solo oboe melody containing a mix of staccato and tenuto articulations. The accompaniment consists of a single held note in the first flute.]](https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634588294536-EUBGVY987GCXGE8QO1WK/PROUT-1899-122%2C2-ex99-oboe-staccato-tenuto-flute-accompaniment-raff.png)
Prout, 1899 (vol.I), p. 122 [Note: An example from the finale of Raff's Symphony No. 4 demonstrating a "pastoral and rustic" solo oboe melody containing a mix of staccato and tenuto articulations. The accompaniment consists of a single held note in the first flute.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Oboe
Citation: Prout, 1899 (vol.I), p. 124
Summary of Figure: An example from C.H. Graun's "Kommt her und schaut" Passion demonstrating an oboe d'amore melody accompanied by strings and continuo. In this example, the oboe d'amore is written as a transposing instrument in A, notated pitches being a minor third above sounding.
Exemplification of: oboe d'amore transposing notation
Composer and Work: Graun, Carl (Karl) Heinrich | Kommt her und schaut (Passion oratorio), GraunWV B:VII:5 <c1>
Prout, 1899 (vol.I), p. 124 [Note: (1/2) An example from C.H. Graun's "Kommt her und schaut" Passion demonstrating an oboe d'amore melody accompanied by strings and continuo. In this example, the oboe d'amore is written as a transposing instrument in A, notated pitches being a minor third above sounding.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Oboe
Citation: Prout, 1899 (vol.I), p. 124
Summary of Figure: An example from C.H. Graun's "Kommt her und schaut" Passion demonstrating an oboe d'amore melody accompanied by strings and continuo. In this example, the oboe d'amore is written as a transposing instrument in A, notated pitches being a minor third above sounding.
Exemplification of: oboe d'amore transposing notation
Composer and Work: Graun, Carl (Karl) Heinrich | Kommt her und schaut (Passion oratorio), GraunWV B:VII:5 <c1>
Prout, 1899 (vol.I), p. 124 [Note: (2/2) An example from C.H. Graun's "Kommt her und schaut" Passion demonstrating an oboe d'amore melody accompanied by strings and continuo. In this example, the oboe d'amore is written as a transposing instrument in A, notated pitches being a minor third above sounding.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Oboe
Citation: Prout, 1899 (vol.I), p. 125
Summary of Figure: A soprano clef. Prout recommends a score-reading strategy for reading transposing parts written in A, such as the oboe d'amore. If the notes are read as if in the soprano clef, they are moved up a third in relation to treble clef - this compensates for the minor-third shift caused by the transposing part, giving the reader the correct concert pitches.
Exemplification of: oboe d'amore transposing notation
Prout, 1899 (vol.I), p. 125 [Note: A soprano clef. Prout recommends a score-reading strategy for reading transposing parts written in A, such as the oboe d'amore. If the notes are read as if in the soprano clef, they are moved up a third in relation to treble clef - this compensates for the minor-third shift caused by the transposing part, giving the reader the correct concert pitches.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The English Horn
Citation: Prout, 1899 (vol.I), p. 125
Summary of Figure: An example showing the appearance of the english horn.
Exemplification of: English horn illustration
Prout, 1899 (vol.I), p. 125 [Note: An example showing the appearance of the english horn.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The English Horn
Citation: Prout, 1899 (vol.I), p. 125
Summary of Figure: The notes E(b)3 and B5, which are the limits of the english horn range.
Exemplification of: English horn range
Prout, 1899 (vol.I), p. 125 [Note: The notes E(b)3 and B5, which are the limits of the english horn range.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The English Horn
Citation: Prout, 1899 (vol.I), p. 126
Summary of Figure: A mezzo soprano clef. An old notational custom among French composers was to use this clef for the English horn.
Exemplification of: English horn clefs
Prout, 1899 (vol.I), p. 126 [Note: A mezzo soprano clef. An old notational custom among French composers was to use this clef for the english horn.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The English Horn
Citation: Prout, 1899 (vol.I), p. 126
Summary of Figure: An example from Rossini's "William Tell" Overture demonstrating the obsolete notational custom of writing English horn parts in bass clef, an octave below sounding pitch.
Exemplification of: English horn clefs
Composer and Work: Rossini, Gioachino | Guillaume Tell (William Tell) <1829>
Prout, 1899 (vol.I), p. 126 [Note: An example from Rossini's "William Tell" Overture demonstrating the obsolete notational custom of writing english horn parts in bass clef, an octave below sounding pitch.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The English Horn
Citation: Prout, 1899 (vol.I), p. 126
Summary of Figure: An example from Rossini's "William Tell" Overture demonstrating the modern notational custom of writing english horn parts in treble clef, a fifth above sounding pitch. Treating the english horn as a transposing instrument in this way allows the written notes and fingerings to correspond between the english horn and oboe.
Exemplification of: English horn clefs, transposing notation
Composer and Work: Rossini, Gioachino | Guillaume Tell (William Tell) <1829>
Prout, 1899 (vol.I), p. 126 [Note: An example from Rossini's "William Tell" Overture demonstrating the modern notational custom of writing english horn parts in treble clef, a fifth above sounding pitch. Treating the english horn as a transposing instrument in this way allows the written notes and fingerings to correspond between the english horn and oboe.]
Hello, World!
Chapter 7: Wind Instruments: Double-Reed Instruments: The Oboe
Citation: Prout, 1899 (vol.I), p. 127
Summary of Figure: An example from Schumann's "Manfred" demonstrating a long and unaccompanied english horn solo that emulates the alpine "Ranz des Vaches."
Exemplification of: English horn unaccompanied solo
Prout, 1899 (vol.I), p. 127 [Note: An example from Schumann's "Manfred" demonstrating a long and unaccompanied english horn solo that emulates the alpine "Ranz des Vaches."]
Chapter 7: Wind Instruments: Double-Reed Instruments: The English Horn
Citation: Prout, 1899 (vol.I), p. 127
Summary of Figure: An example from "Robert, toi que j'aime" in Meyerbeer's "Robert le Diable" demonstrating the capacity of the english horn to imitate a solo voice. The harp accompaniment includes block chords and several forms of arpeggiation. The second harp part doubles the bassline for a few bars, and was left out of the example to save space.
Exemplification of: english horn voice imitation, harp accompaniment
Composer and Work: Meyerbeer, Giacomo |Robert le Diable <1831>
![Prout, 1899 (vol.I), p. 127 [Note: (1/2) An example from "Robert, toi que j'aime" in Meyerbeer's "Robert le Diable" demonstrating the capacity of the english horn to imitate a solo voice. The harp accompaniment includes block chords and several forms of arpeggiation. The second harp part doubles the bassline for a few bars, and was left out of the example to save space.]](https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634588906347-N4F3XZ5BJPLZ0PK125S6/PROUT-1899-127%2C2-ex105-english-horn-voice-imitation-harp-meyerbeer.png)
Prout, 1899 (vol.I), p. 127 [Note: (1/2) An example from "Robert, toi que j'aime" in Meyerbeer's "Robert le Diable" demonstrating the capacity of the english horn to imitate a solo voice. The harp accompaniment includes block chords and several forms of arpeggiation. The second harp part doubles the bassline for a few bars, and was left out of the example to save space.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The English Horn
Citation: Prout, 1899 (vol.I), p. 128
Summary of Figure: An example from "Robert, toi que j'aime" in Meyerbeer's "Robert le Diable" demonstrating the capacity of the english horn to imitate a solo voice. The harp accompaniment includes block chords and several forms of arpeggiation. The second harp part doubles the bassline for a few bars, and was left out of the example to save space.
Exemplification of: english horn voice imitation, harp accompaniment
Composer and Work: Meyerbeer, Giacomo |Robert le Diable <1831>
Prout, 1899 (vol.I), p. 128 [Note: (2/2) An example from "Robert, toi que j'aime" in Meyerbeer's "Robert le Diable" demonstrating the capacity of the english horn to imitate a solo voice. The harp accompaniment includes block chords and several forms of arpeggiation. The second harp part doubles the bassline for a few bars, and was left out of the example to save space.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The English Horn
Citation: Prout, 1899 (vol.I), p. 129
Summary of Figure: An example from Berlioz's "La damnation de Faust" demonstrating a solo english horn melody accompanied by quiet sustained chords in the strings without double bass.
Exemplification of: english horn solo, sustained strings accompaniment, string section without double bass
Composer and Work: Berlioz, Hector | La damnation de Faust, op.24 <1845–1846>
Prout, 1899 (vol.I), p. 129 [Note: An example from Berlioz's "La damnation de Faust" demonstrating a solo english horn melody accompanied by quiet sustained chords in the strings without double bass.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The English Horn
Citation: Prout, 1899 (vol.I), p. 129
Summary of Figure: An example from Dvořák's "New World" Symphony (No. 9) demonstrating a solo english horn melody with a pianissimo string accompaniment. The strings are also muted, violas and cello sections are divided, and the double bass is absent. Editor: The treatise identifies this work as "5th Symphony," but it is now known as No. 9.
Exemplification of: strings mutes, dynamics, pianississimo
Composer and Work: Dvořák, Antonín | Symphony No.9, op.95, B.178, E minor (From the New World; Z nového světa; Aus der Neuen Welt; Le nouveau monde) <1893>
Prout, 1899 (vol.I), p. 129 [Note: An example from Dvořák's "New World" Symphony (No. 9) demonstrating a solo english horn melody with a pianissimo string accompaniment. The strings are also muted, violas and cello sections are divided, and the double bass is absent. Editor: The treatise identifies this work as "5th Symphony," but it is now known as No. 9.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The English Horn
Citation: Prout, 1899 (vol.I), p. 130
Summary of Figure: An example from Wagner's "Die Walküre" demonstrating an english horn melody doubled an octave below, and with softer dynamics, by the first bassoon. In this example, the english horn part is written in keys that are enharmonically equivalent to the "true" keys, for easier readability. The string section, without double bass, provides a constant tremolo accompaniment.
Exemplification of: english horn keys, enharmomic equivalence, transposing notation
Composer and Work: Wagner, Richard | Die Walküre, WWV 86b <1854–1856>
Prout, 1899 (vol.I), p. 130 [Note: (1/2) An example from Wagner's "Die Walküre" demonstrating an english horn melody doubled an octave below, and with softer dynamics, by the first bassoon. In this example, the english horn part is written in keys that are enharmonically equivalent to the "true" keys, for easier readability. The string section, without double bass, provides a constant tremolo accompaniment.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The English Horn
Citation: Prout, 1899 (vol.I), p. 131
Summary of Figure: An example from Wagner's "Die Walküre" demonstrating an english horn melody doubled an octave below, and with softer dynamics, by the first bassoon. In this example, the english horn part is written in keys that are enharmonically equivalent to the "true" keys, for easier readability. The string section, without double bass, provides a constant tremolo accompaniment.
Exemplification of: english horn keys, enharmomic equivalence, transposing notation
Composer and Work: Wagner, Richard | Die Walküre, WWV 86b <1854–1856>
Prout, 1899 (vol.I), p. 131 [Note: (2/2) An example from Wagner's "Die Walküre" demonstrating an english horn melody doubled an octave below, and with softer dynamics, by the first bassoon. In this example, the english horn part is written in keys that are enharmonically equivalent to the "true" keys, for easier readability. The string section, without double bass, provides a constant tremolo accompaniment.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Bassoon
Citation: Prout, 1899 (vol.I), p. 132
Summary of Figure: An example showing the appearance of the bassoon.
Exemplification of: bassoon illustration
Prout, 1899 (vol.I), p. 132 [Note: An example showing the appearance of the bassoon.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Bassoon
Citation: Prout, 1899 (vol.I), p. 132
Summary of Figure: The note Bb1, which is the lowest note possible on the bassoon.
Exemplification of: bassoon range, lower limit
Prout, 1899 (vol.I), p. 132 [Note: The note Bb1, which is the lowest note possible on the bassoon.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Bassoon
Citation: Prout, 1899 (vol.I), p. 132
Summary of Figure: The note F3, which is the upper limit of the range of fundamental notes on the bassoon.
Exemplification of: bassoon fundamental notes
Prout, 1899 (vol.I), p. 132 [Note: The note F3, which is the upper limit of the range of fundamental notes on the bassoon.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Bassoon
Citation: Prout, 1899 (vol.I), p. 132
Summary of Figure: The notes Bb1 and Bb4, respectively in bass and tenor clef. These are the standard limits of the bassoon range in an orchestral context.
Exemplification of: bassoon range, clefs
Prout, 1899 (vol.I), p. 132 [Note: The notes Bb1 and Bb4, respectively in bass and tenor clef. These are the standard limits of the bassoon range in an orchestral context.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Bassoon
Citation: Prout, 1899 (vol.I), p. 132
Summary of Figure: The notes F2 and F4, which are the limits of the range recommended by Prout for trills on the bassoon.
Exemplification of: bassoon trills, range
Prout, 1899 (vol.I), p. 132 [Note: The notes F2 and F4, which are the limits of the range recommended by Prout for trills on the bassoon.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Bassoon
Citation: Prout, 1899 (vol.I), p. 132
Summary of Figure: An example from Mozart's Bassoon Concerto in Bb demonstrating the agility of the bassoon in the context of a solo concerto. This passage showcases the possibility of playing arpeggios, repeated notes, scales, and large leaps at a fast (allegro) tempo.
Exemplification of: bassoon agility, arpeggios, repeated notes, scales, large leaps
Composer and Work: Mozart, Wolfgang Amadeus | Concerto, Bassoon, K.191 (186e), B-flat major <1774>
Prout, 1899 (vol.I), p. 132 [Note: (1/2) An example from Mozart's Bassoon Concerto in Bb demonstrating the agility of the bassoon in the context of a solo concerto. This passage showcases the possibility of playing arpeggios, repeated notes, scales, and large leaps at a fast (allegro) tempo.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Bassoon
Citation: Prout, 1899 (vol.I), p. 133
Summary of Figure: An example from Mozart's Bassoon Concerto in Bb demonstrating the agility of the bassoon in the context of a solo concerto. This passage showcases the possibility of playing arpeggios, repeated notes, scales, and large leaps at a fast (allegro) tempo.
Exemplification of: bassoon agility, arpeggios, repeated notes, scales, large leaps
Composer and Work: Mozart, Wolfgang Amadeus | Concerto, Bassoon, K.191 (186e), B-flat major <1774>
Prout, 1899 (vol.I), p. 133 [Note: (2/2) An example from Mozart's Bassoon Concerto in Bb demonstrating the agility of the bassoon in the context of a solo concerto. This passage showcases the possibility of playing arpeggios, repeated notes, scales, and large leaps at a fast (allegro) tempo.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Bassoon
Citation: Prout, 1899 (vol.I), p. 133
Summary of Figure: An example from Cherubini's "Médée" demonstrating a bassoon melody with a string accompaniment. This excerpt makes use of the whole range of the bassoon, even extending to the extreme high register with the high C six bars from the end.
Exemplification of: bassoon range, extreme high register
Composer and Work: Cherubini, Luigi | Médée (Medea) <1797>
Prout, 1899 (vol.I), p. 133 [Note: (1/3) An example from Cherubini's "Médée" demonstrating a bassoon melody with a string accompaniment. This excerpt makes use of the whole range of the bassoon, even extending to the extreme high register with the high C six bars from the end.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Bassoon
Citation: Prout, 1899 (vol.I), p. 134
Summary of Figure: An example from Cherubini's "Médée" demonstrating a bassoon melody with a string accompaniment. This excerpt makes use of the whole range of the bassoon, even extending to the extreme high register with the high C six bars from the end.
Exemplification of: bassoon range, extreme high register
Composer and Work: Cherubini, Luigi | Médée (Medea) <1797>
Prout, 1899 (vol.I), p. 134 [Note: (2/3) An example from Cherubini's "Médée" demonstrating a bassoon melody with a string accompaniment. This excerpt makes use of the whole range of the bassoon, even extending to the extreme high register with the high C six bars from the end.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Bassoon
Citation: Prout, 1899 (vol.I), p. 135
Summary of Figure: An example from Cherubini's "Médée" demonstrating a bassoon melody with a string accompaniment. This excerpt makes use of the whole range of the bassoon, even extending to the extreme high register with the high C six bars from the end.
Exemplification of: bassoon range, extreme high register
Composer and Work: Cherubini, Luigi | Médée (Medea) <1797>
Prout, 1899 (vol.I), p. 135 [Note: (3/3) An example from Cherubini's "Médée" demonstrating a bassoon melody with a string accompaniment. This excerpt makes use of the whole range of the bassoon, even extending to the extreme high register with the high C six bars from the end.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Bassoon
Citation: Prout, 1899 (vol.I), p. 135
Summary of Figure: An example from Mendelssohn's "Lobgesang" Symphony (No. 2) demonstrating a melody doubled in octaves between oboe and bassoon, accompanied by pizzicato strings.
Exemplification of: oboe-bassoon octave doubling, oboe and bassoon melody, pizzicato strings accompaniment
Composer and Work: Mendelssohn, Felix | Symphony No. 2, Lobgesang, op.52 (Hymn of Praise) <1840>
Prout, 1899 (vol.I), p. 135 [Note: An example from Mendelssohn's "Lobgesang" Symphony (No. 2) demonstrating a melody doubled in octaves between oboe and bassoon, accompanied by pizzicato strings.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Bassoon
Citation: Prout, 1899 (vol.I), p. 136
Summary of Figure: An example from Haydn's "Creation" demonstrating the melodic interplay between solo bassoon and solo soprano voice, with a string accompaniment.
Exemplification of: bassoon-voice combination
Composer and Work: Haydn, Franz Joseph | Die Schöpfung (The Creation) <1798>
Prout, 1899 (vol.I), p. 136 [Note: An example from Haydn's "Creation" demonstrating the melodic interplay between solo bassoon and solo soprano voice, with a string accompaniment.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Bassoon
Citation: Prout, 1899 (vol.I), p. 137
Summary of Figure: An example from the Andante of Mozart's Symphony No. 25 demonstrating a passage in which two bassoons imitate the muted violins an octave below. Like the violin parts, the two bassoons move in parallel thirds for most of this excerpt.
Exemplification of: bassoons thirds doubling, bassoon strings imitation
Composer and Work: Mozart, Wolfgang Amadeus | Symphony No.25, K.183 (173dB), G minor <1773>
Prout, 1899 (vol.I), p. 137 [Note: An example from the Andante of Mozart's Symphony No. 25 demonstrating a passage in which two bassoons imitate the muted violins an octave below. Like the violin parts, the two bassoons move in parallel thirds for most of this excerpt.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Bassoon
Citation: Prout, 1899 (vol.I), p. 137
Summary of Figure: An example from the Romance in Act 1 of Weber's "Euryanthe" demonstrating a solo tenor voice passage accompanied by two bassoons and two cello parts. For the first four bars of this excerpt, the second bassoon plays the bassline and the first cello doubles the voice at the unison. In the remaining bars, the second cello plays the bassline and the first bassoon doubles the voice at the unison.
Exemplification of: bassoon and cello divisi accompaniment, bassoon-voice unison doubling, cello-voice unison doubling
Composer and Work: Weber, Carl Maria von | Euryanthe, J.291 <1822–1823>
Prout, 1899 (vol.I), p. 137 [Note: (1/2) An example from the Romance in Act 1 of Weber's "Euryanthe" demonstrating a solo tenor voice passage accompanied by two bassoons and two cello parts. For the first four bars of this excerpt, the second bassoon plays the bassline and the first cello doubles the voice at the unison. In the remaining bars, the second cello plays the bassline and the first bassoon doubles the voice at the unison.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Bassoon
Citation: Prout, 1899 (vol.I), p. 138
Summary of Figure: An example from the Romance in Act 1 of Weber's "Euryanthe" demonstrating a solo tenor voice passage accompanied by two bassoons and two cello parts. For the first four bars of this excerpt, the second bassoon plays the bassline and the first cello doubles the voice at the unison. In the remaining bars, the second cello plays the bassline and the first bassoon doubles the voice at the unison.
Exemplification of: bassoon and cello divisi accompaniment, bassoon-voice unison doubling, cello-voice unison doubling
Composer and Work: Weber, Carl Maria von | Euryanthe, J.291 <1822–1823>
Prout, 1899 (vol.I), p. 138 [Note: (2/2) An example from the Romance in Act 1 of Weber's "Euryanthe" demonstrating a solo tenor voice passage accompanied by two bassoons and two cello parts. For the first four bars of this excerpt, the second bassoon plays the bassline and the first cello doubles the voice at the unison. In the remaining bars, the second cello plays the bassline and the first bassoon doubles the voice at the unison.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Bassoon
Citation: Prout, 1899 (vol.I), p. 138
Summary of Figure: An example from Spontini's "Fernand Cortez" demonstrating a texture for winds and horns in which two bassoons play the bassline in unison
Exemplification of: bassoons unison bassline, winds and horns texture
Composer and Work: Spontini, Gaspare | Fernand Cortez, ou La conquête du Mexique <1809>
Prout, 1899 (vol.I), p. 138 [Note: An example from Spontini's "Fernand Cortez" demonstrating a texture for winds and horns in which two bassoons play the bassline in unison.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Bassoon
Citation: Prout, 1899 (vol.I), p. 139
Summary of Figure: An example from Beethoven's Symphony No. 4 demonstrating the bassoon in a mostly staccato melodic role, then in a middle voice role providing sustained harmonies. This example also features imitation between and within the wind and string sections.
Exemplification of: bassoon staccato melody, bassoon sustained middle voice harmony, winds and strings imitation
Composer and Work: Beethoven, Ludwig van | Symphony No.4, op.60, B-flat major <1806>
Prout, 1899 (vol.I), p. 139 [Note: (1/2) An example from Beethoven's Symphony No. 4 demonstrating the bassoon in a mostly staccato melodic role, then in a middle voice role providing sustained harmonies. This example also features imitation between and within the wind and string sections.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Bassoon
Citation: Prout, 1899 (vol.I), p. 140
Summary of Figure: An example from Beethoven's Symphony No. 4 demonstrating the bassoon in a mostly staccato melodic role, then in a middle voice role providing sustained harmonies. This example also features imitation between and within the wind and string sections.
Exemplification of: bassoon staccato melody, bassoon sustained middle voice harmony, winds and strings imitation
Composer and Work: Beethoven, Ludwig van | Symphony No.4, op.60, B-flat major <1806>
Prout, 1899 (vol.I), p. 140 [Note: (2/2) An example from Beethoven's Symphony No. 4 demonstrating the bassoon in a mostly staccato melodic role, then in a middle voice role providing sustained harmonies. This example also features imitation between and within the wind and string sections.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Bassoon
Citation: Prout, 1899 (vol.I), p. 140
Summary of Figure: An example from Beethoven's Symphony No. 4 demonstrating a staccato accompanimental figure played in unison by both bassoons. Other winds and horns sustain long chords, and the melody is in the first violins.
Exemplification of: bassoon articulations, staccato
Composer and Work: Beethoven, Ludwig van | Symphony No.4, op.60, B-flat major <1806>
Prout, 1899 (vol.I), p. 140 [Note: (1/2)An example from Beethoven's Symphony No. 4 demonstrating a staccato accompanimental figure played in unison by both bassoons. Other winds and horns sustain long chords, and the melody is in the first violins.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Bassoon
Citation: Prout, 1899 (vol.I), p. 141
Summary of Figure: An example from Beethoven's Symphony No. 4 demonstrating a staccato accompanimental figure played in unison by both bassoons. Other winds and horns sustain long chords, and the melody is in the first violins.
Exemplification of: bassoon articulations, staccato
Composer and Work: Beethoven, Ludwig van | Symphony No.4, op.60, B-flat major <1806>
Prout, 1899 (vol.I), p. 141 [Note: (2/2)An example from Beethoven's Symphony No. 4 demonstrating a staccato accompanimental figure played in unison by both bassoons. Other winds and horns sustain long chords, and the melody is in the first violins.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Bassoon
Citation: Prout, 1899 (vol.I), p. 141
Summary of Figure: An example from Auber's "Le Maçon" demonstrating a staccato melody doubled two octaves apart between solo flute and bassoon, and accompanied by strings.
Exemplification of: bassoon articulations, staccato
Composer and Work: Auber, Daniel-François-Esprit | Le Maçon <1825>
Prout, 1899 (vol.I), p. 141 [Note: (1/2) An example from Auber's "Le Maçon" demonstrating a staccato melody doubled two octaves apart between solo flute and bassoon, and accompanied by strings.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Bassoon
Citation: Prout, 1899 (vol.I), p. 142
Summary of Figure: An example from Auber's "Le Maçon" demonstrating a staccato melody doubled two octaves apart between solo flute and bassoon, and accompanied by strings.
Exemplification of: bassoon articulations, staccato
Composer and Work: Auber, Daniel-François-Esprit | Le Maçon <1825>
Prout, 1899 (vol.I), p. 142 [Note: (2/2) An example from Auber's "Le Maçon" demonstrating a staccato melody doubled two octaves apart between solo flute and bassoon, and accompanied by strings.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Bassoon
Citation: Prout, 1899 (vol.I), p. 142
Summary of Figure: An example from Berlioz's "La damnation de Faust" demonstrating a bass voice solo accompanied primarily by four bassoons.
Exemplification of: solo bass voice melody, four-bassoon accompaniment
Composer and Work: Berlioz, Hector | La damnation de Faust, op.24 <1845–1846>
Prout, 1899 (vol.I), p. 142 [Note: (1/2) An example from Berlioz's "La damnation de Faust" demonstrating a bass voice solo accompanied primarily by four bassoons.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Bassoon
Citation: Prout, 1899 (vol.I), p. 143
Summary of Figure: An example from Berlioz's "La damnation de Faust" demonstrating a bass voice solo accompanied primarily by four bassoons.
Exemplification of: solo bass voice melody, four-bassoon accompaniment
Composer and Work: Berlioz, Hector | La damnation de Faust, op.24 <1845–1846>
Prout, 1899 (vol.I), p. 143 [Note: (2/2) An example from Berlioz's "La damnation de Faust" demonstrating a bass voice solo accompanied primarily by four bassoons.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Contrabassoon
Citation: Prout, 1899 (vol.I), p. 143
Summary of Figure: An example showing the appearance of the contrabassoon
Exemplification of: contrabassoon illustration
Prout, 1899 (vol.I), p. 143 [Note: An example showing the appearance of the contrabassoon.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Contrabassoon
Citation: Prout, 1899 (vol.I), p. 14
Summary of Figure: The notes D1 and F3, which are the limits of the range recommended by Prout for the contrabassoon. Sounding pitches are an octave lower than notated.
Exemplification of: contrabassoon range
Prout, 1899 (vol.I), p. 143 [Note: The notes D1 and F3, which are the limits of the range recommended by Prout for the contrabassoon. Sounding pitches are an octave lower than notated.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Contrabassoon
Citation: Prout, 1899 (vol.I), p. 144
Summary of Figure: An example from Haydn's "Creation" demonstrating fortissimo interjections for bassoons and contrabassoon in the context of a piano passage for strings and bass voice. The first written note for the contrabassoon is a low Bb, which would be played either in unison with or an octave below the bassoons, depending on the range of the individual instrument.
Exemplification of: Contrabassoon dynamics, fortissimo
Composer and Work: Haydn, Franz Joseph | Die Schöpfung (The Creation) <1798>
Prout, 1899 (vol.I), p. 144 [Note: (1/2) An example from Haydn's "Creation" demonstrating fortissimo interjections for bassoons and contrabassoon in the context of a piano passage for strings and bass voice. The first written note for the contrabassoon is a low Bb, which would be played either in unison with or an octave below the bassoons, depending on the range of the individual instrument.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Contrabassoon
Citation: Prout, 1899 (vol.I), p. 145
Summary of Figure: An example from Haydn's "Creation" demonstrating fortissimo interjections for bassoons and contrabassoon in the context of a piano passage for strings and bass voice. The first written note for the contrabassoon is a low Bb, which would be played either in unison with or an octave below the bassoons, depending on the range of the individual instrument.
Exemplification of: Contrabassoon dynamics, fortissimo
Composer and Work: Haydn, Franz Joseph | Die Schöpfung (The Creation) <1798>
Prout, 1899 (vol.I), p. 145 [Note: (2/2) An example from Haydn's "Creation" demonstrating fortissimo interjections for bassoons and contrabassoon in the context of a piano passage for strings and bass voice. The first written note for the contrabassoon is a low Bb, which would be played either in unison with or an octave below the bassoons, depending on the range of the individual instrument.]
Chapter 7: Wind Instruments: Double-Reed Instruments: The Contrabassoon
Citation: Prout, 1899 (vol.I), p. 145
Summary of Figure: An example from Spohr's "Notturno" for winds demonstrating a pianissimo bassline played only by the contrabassoon. The melody is doubled in thirds between two clarinets, and both melodic lines are in turn doubled an octave below by two bassoons.
Exemplification of: contrabassoon dynamics, pianissimo
Composer and Work: Spohr, Ludwig (Louis) | Notturno, op.34, C major <1815>
Prout, 1899 (vol.I), p. 145 [Note: An example from Spohr's "Notturno" for winds demonstrating a pianissimo bassline played only by the contrabassoon. The melody is doubled in thirds between two clarinets, and both melodic lines are in turn doubled an octave below by two bassoons.]