Of a bassoon (A 1) B ♭ 1–E 5 (A 5) ( ()) (A 1) B ♭ 1–C 5 (D 5–G 5) The range of the bassoon begins at B ♭ 1 (the first one below the ) and extends upward over three, roughly to the G above the treble staff (G 5). Higher notes are possible but difficult to produce, and rarely called for: orchestral and concert band parts rarely go higher than C 5 or D 5. Even 's famously difficult opening solo in only ascends to D 5. A 1 is possible with a special extension to the instrument—see ' below. Construction [ ].

A of the bassoon's B ♭ in four. The bassoon disassembles into six main pieces, including the.

The bell (6), extending upward; the bass joint (or long joint) (5), connecting the bell and the boot; the boot (or butt) (4), at the bottom of the instrument and folding over on itself; the wing joint (or tenor joint) (3), which extends from boot to bocal; and the (or crook) (2), a crooked metal tube that attaches the wing joint to a reed (1) ( ()). Bassoons are double reed instruments like the. A modern beginner's bassoon is generally made of, with medium-hardness types such as and preferred. Less-expensive models are also made of materials such as and, primarily for student and outdoor use; metal bassoons were made in the past but have not been produced by any major manufacturer since 1889. The of the bassoon is conical, like that of the oboe and the, and the two adjoining bores of the boot joint are connected at the bottom of the instrument with a U-shaped metal connector. Both bore and are precision-machined, and each instrument is finished by hand for proper tuning.

The walls of the bassoon are thicker at various points along the bore; here, the tone holes are drilled at an angle to the axis of the bore, which reduces the distance between the holes on the exterior. This ensures coverage by the fingers of the average adult hand. Wooden instruments are lined with hard rubber along the interior of the wing and boot joints to prevent damage from moisture; wooden instruments are also and. The end of the bell is usually fitted with a ring, either of metal, plastic.

Serial Number. 1885 - 1926, no records. 1/1/29, 3070. 1/1/31, 9999. 12/1/31, L1000. 2/1/39, M1000.

The joints between sections consist of a tenon fitting into a socket; the tenons are wrapped in either cork or string as a seal against air leaks. The bocal connects the reed to the rest of the instrument and is inserted into a socket at the top of the wing joint. Bocals come in many different lengths and styles, depending on the desired tuning and playing characteristics. Folded upon itself, the bassoon stands 1.34 m (4 ft 5 in) tall, but the total sounding length is 2.54 m (8 ft 4 in).

Playing is facilitated by doubling the tube back on itself and by closing the distance between the widely spaced holes with a complex system of key work, which extends throughout nearly the entire length of the instrument. There are also short-reach bassoons made for the benefit of young or petite players. Development [ ] Early history [ ]. Two views of a Fox model 220 bassoon. Except for a brief 1940s wartime conversion to manufacture, the Heckel concern has produced instruments continuously to the present day. Heckel bassoons are considered by many to be the best, although a range of Heckel-style instruments is available from several other manufacturers, all with slightly different playing characteristics.

Because its mechanism is primitive compared to most modern woodwinds, makers have occasionally attempted to 'reinvent' the bassoon. In the 1960s, began to develop what he called the 'logical bassoon,' which aimed to improve intonation and evenness of tone through use of an electrically activated mechanism, making possible key combinations too complex for the human hand to manage. Brindley's logical bassoon was never marketed.

Buffet (French) system [ ] The Buffet system bassoon achieved its basic acoustical properties somewhat earlier than the Heckel. Thereafter, it continued to develop in a more conservative manner. While the early history of the Heckel bassoon included a complete overhaul of the instrument in both and key work, the development of the Buffet system consisted primarily of incremental improvements to the key work. This minimalist approach of the Buffet deprived it of improved consistency of intonation, ease of operation, and increased power, which is found in Heckel bassoons, but the Buffet is considered by some to have a more vocal and expressive quality. The conductor lamented in 1934 the dominance of the Heckel-style bassoon, considering them too homogeneous in sound with the.

The modern Buffet system has 22 keys with its range being about the same as the Heckel. Compared to the Heckel bassoon, Buffet system bassoons have a narrower bore and simpler mechanism, requiring different fingerings for many notes. Switching between Heckel and Buffet requires extensive retraining. Buffet instruments are known for a reedier sound and greater facility in the, reaching e' and f' with far greater ease and less air resistance.

French woodwind instruments' tone in general exhibits a certain amount of 'edge,' with more of a vocal quality than is usual elsewhere, and the Buffet bassoon is no exception. This type of sound can be beneficial in music by French composers, but has drawn criticism for being too intrusive. As with all bassoons, the tone varies considerably, depending on individual instrument and performer.

In the hands of a lesser player, the Heckel bassoon can sound flat and woody, but good players succeed in producing a vibrant, singing tone. Conversely, a poorly played Buffet can sound buzzy and nasal, but good players succeed in producing a warm, expressive sound, different from—but not inferior to—the Heckel. Though the United Kingdom once favored the French system, Buffet-system instruments are no longer made there and the last prominent British player of the French system retired in the 1980s. However, with continued use in some regions and its distinctive tone, the Buffet continues to have a place in modern bassoon playing, particularly in France, where it is originated. Buffet-model bassoons are currently made in Paris by and the atelier Ducasse (Romainville, France). The Selmer Company stopped fabrication of French system bassoons a few years ago. Some players, for example the late Gerald Corey in Canada, have learned to play both types and will alternate between them depending on the repertoire.

Use in ensembles [ ] Earlier ensembles [ ] Orchestras first used the bassoon to reinforce the bass line, and as the bass of the double reed choir (oboes and taille). Baroque composer and his Les Petits Violons included oboes and bassoons along with the strings in the 16-piece (later 21-piece) ensemble, as one of the first orchestras to include the newly invented double reeds. Included a bassoon in his 1668 opera (The Golden Apple).

However, use of bassoons in concert orchestras was sporadic until the late 17th century when double reeds began to make their way into standard instrumentation. This was largely due to the spread of the hautbois to countries outside France.

Increasing use of the bassoon as a instrument meant that it began to be included in orchestras, first in France and later in Italy, Germany and England. Meanwhile, composers such as,,,, and Telemann wrote demanding solo and ensemble music for the instrument. Antonio Vivaldi brought the bassoon to prominence by featuring it in 37 for the instrument. By the mid-18th century, the bassoon's function in the orchestra was still mostly limited to that of a continuo instrument—since scores often made no specific mention of the bassoon, its use was implied, particularly if there were parts for oboes or other winds. Beginning in the early era, composers such as,,, and included parts that exploited the bassoon for its unique color, rather than for its perfunctory ability to double the bass line. Orchestral works with fully independent parts for the bassoon would not become commonplace until the era.

's symphony is a prime example, with its famous bassoon solos in the first. The bassoons were generally paired, as in current practice, though the famed boasted four. Another important use of the bassoon during the Classical era was in the, a chamber ensemble consisting of pairs of oboes, horns and bassoons; later, two would be added to form an octet. The Harmonie was an ensemble maintained by German and Austrian noblemen for private music-making, and was a cost-effective alternative to a full orchestra. Haydn, Mozart, Ludwig van Beethoven and all wrote considerable amounts of music for the Harmonie. Modern ensembles [ ] The modern symphony orchestra typically calls for two bassoons, often with a third playing the.

Some works call for four or more players. The first player is frequently called upon to perform solo passages.

The bassoon's distinctive tone suits it for both plaintive, lyrical solos such as 's and more comical ones, such as the grandfather's theme in. Its agility suits it for passages such as the famous running line (doubled in the and ) in the overture to.

In addition to its solo role, the bassoon is an effective bass to a woodwind choir, a bass line along with the cellos and, and support along with the French horns. L'Orchestre de L'Opera, (1868) A will usually also include two bassoons and sometimes contrabassoon, each with independent parts; other types of concert wind ensembles will often have larger sections, with many players on each of first or second parts; in simpler arrangements there will be only one bassoon part and no contrabassoon. The bassoon's role in the concert band is similar to its role in the orchestra, though when scoring is thick it often cannot be heard above the brass instruments also in its range. La Fiesta Mexicana, by, features the instrument prominently, as does the transcription of 's, which has become a staple of the concert band repertoire. The bassoon is part of the standard instrumentation, along with the flute, oboe, clarinet, and horn; it is also frequently combined in various ways with other woodwinds.

's 'Duet-Concertino' pairs it with the clarinet as concertante instruments, with string orchestra in support. An ensemble known as the 'reed quintet' also makes use of the bassoon. A reed quintet is made up of an oboe, clarinet, saxophone, bass clarinet, and bassoon. The has also gained favor in recent times. The bassoon's wide range and variety of tone colors make it well suited to grouping in a like-instrument ensemble. 's 'Last Tango in Bayreuth' (after themes from ) is a popular work; Schickele's fictional alter ego exploits the more humorous aspects with his quartet 'Lip My Reeds,' which at one point calls for players to perform on the reed alone.

It also calls for a low at the very end of the prelude section in the fourth bassoon part. It is written so that the first bassoon does not play; instead, the player's role is to place an extension in the bell of the fourth bassoon so that the note can be played. Jazz [ ] The bassoon is infrequently used as a instrument and rarely seen in a.

It first began appearing in the 1920s, including specific calls for its use in 's group, the unusual of, and a few other session appearances. The next few decades saw the instrument used only sporadically, as symphonic jazz fell out of favor, but the 1960s saw artists such as and incorporate bassoon into their recordings. Lateef's diverse and eclectic instrumentation saw the bassoon as a natural addition (see, e.g., (1960) which features bassoon as part of a 6-man horn section, including a few solos) while Corea employed the bassoon in combination with. More recently,,,, and have both doubled on bassoon in addition to their saxophone performances. Bassoonist, a performer of, is one of the few jazz musicians to play only bassoon;, the Spanish bassoonist, and, an American resident in, Norway, are others. Plays the bassoon in the ensembles of.,, the Brazilian bassoonist, and are also currently using the bassoon in jazz.

French bassoonists and have both recorded jazz, exploiting the flexibility of the Buffet system instrument to good effect. Popular music [ ]. The contemporary quintet Edmund Wayne at the The bassoon is even rarer as a regular member of rock bands. However, several 1960s pop music hits feature the bassoon, including ' by (the bassoonist was Charles R.

Sirard ), ' by, ' '(third verse,overdub), ' by, and the oompah bassoon underlying 's '. From 1974 to 1978, the bassoon was played by in the British.

In the 1970s it was played, in the British medieval/ band, by Brian Gulland, as well as by the American band, where it was played by drummer Burleigh Drummond. The Belgian -band is also known for its use of the bassoon.

In the 1990s, provided bassoon for the alternative metal band as did Aimee DeFoe, in what is self-described as 'grouchily lilting garage bassoon' in the indie-rock band from, Pennsylvania. More recently, 's 2010 album makes heavy use of the instrument throughout; their principal songwriter, Jack Barnett, claimed repeatedly to be 'writing a lot of music for bassoon' in the run-up to its recording. In early 2011, American artist updated his account to inform followers that he recently added the bassoon to a yet unnamed song. The rock band took their name from a passage in 's in which the author comments that listening to an annoyingly talkative person is still “better than Ezra learning how to play the bassoon,” referring to. British / band features the bassoon playing of Chloe Herrington, who also plays for orchestra. Technique [ ].

Close-up of a hand rest attached to a bassoon, viewed from behind. The bassoon is held diagonally in front of the player, but unlike the flute, oboe and clarinet, it cannot be easily supported by the player's hands alone. Some means of additional support is usually required; the most common ones are a seat strap attached to the base of the boot joint, which is laid across the chair seat prior to sitting down, or a neck strap or shoulder harness attached to the top of the boot joint.

Occasionally a spike similar to those used for the cello or the bass clarinet is attached to the bottom of the boot joint and rests on the floor. It is possible to play while standing up if the player uses a neck strap or similar harness, or if the seat strap is tied to the belt. Sometimes a device called a balance hanger is used when playing in a standing position. This is installed between the instrument and the neck strap, and shifts the point of support closer to the center of gravity, adjusting the distribution of weight between the two hands.

The bassoon is played with both hands in a stationary position, the left above the right, with five main finger holes on the front of the instrument (nearest the audience) plus a sixth that is activated by an open-standing key. Five additional keys on the front are controlled by the little fingers of each hand. The back of the instrument (nearest the player) has twelve or more keys to be controlled by the thumbs, the exact number varying depending on model. To stabilize the right hand, many bassoonists use an adjustable comma-shaped apparatus called a 'crutch,' or a hand rest, which mounts to the boot joint.

The crutch is secured with a thumb screw, which also allows the distance that it protrudes from the bassoon to be adjusted. Players rest the curve of the right hand where the thumb joins the palm against the crutch. The crutch also keeps the right hand from tiring and enables the player to keep the finger pads flat on the finger holes and keys. An aspect of bassoon technique not found on any other woodwind is called flicking. It involves the left hand thumb momentarily pressing, or 'flicking' the high A, and keys at the beginning of certain notes in the middle octave to achieve a clean slur from a lower note. This eliminates cracking, or brief that happens without the use of this technique. Flicking is not universal amongst bassoonists; some American players, principally on the, use it sparingly, if at all.

The rest use it virtually 100% of the time—it has become in essence part of the fingering. The alternative method is 'venting', which requires that the register key be used as part of the full fingering as opposed to being open momentarily at the start of the note. This is sometimes called the 'European Style.' While flicking is used to higher notes, the whisper key is used for lower notes.

From the A ♭ right below middle C and lower, the whisper key is pressed with the left thumb and held for the duration of the note. This prevents cracking, as low notes can sometimes crack into a higher octave. Both flicking and using the whisper key is especially important to ensure notes speak properly during slurring between high and low registers. While bassoons are usually critically tuned at the factory, the player nonetheless has a great degree of flexibility of pitch control through the use of breath support,, and reed profile. Players can also use alternate fingerings to adjust the pitch of many notes. Similar to other woodwind instruments, the length of the bassoon can be increased to lower pitch or decreased to raise pitch.

On the bassoon, this is done preferably by changing the bocal to one of a different length, (lengths are denoted by a number on the bocal, usually starting at 0 for the shortest length, and 3 for the longest, but there are some manufacturers who will use other numbers) but it is possible to push the bocal in or out to adjust the pitch. Embouchure [ ] The bassoon embouchure is a very important aspect of producing a full, round, and dark bassoon tone. The bassoon embouchure is made by opening one's mouth, rolling lips inward to cover the teeth, and then dropping the jaw down as in a yawning motion (without actually yawning or opening the mouth). Both upper and lower teeth should be covered by the lips in order to protect the reed and control applied pressure.

The reed is then placed in the mouth, with the lips and facial muscles maintaining an airtight seal around the reed. The upper lip will be farther forward on the reed than the lower lip, as in an 'overbite' of the upper jaw.

Modern fingering [ ]. Diagram describing the keys on a bassoon. The left thumb alone operates nine keys: B ♭ 1, B 1, C 1, D 1, D 4, C 4 (also B 4), two keys when combined create A 4, and the whisper key. The whisper key should be held down for notes between and including F 1 and G ♯ 2 and certain other notes. Additional notes can be created with the left thumb keys.

The D 1 and bottom key above the whisper key on the tenor joint (C ♯ key) together create both C ♯ 2 and C ♯ 3. The same bottom tenor-joint key is also used, with additional fingering, to create E 4 and F 4. D 4 and C 4 together create C ♯ 4. When the two keys on the tenor joint to create A 4 are used with slightly altered fingering on the boot joint, B ♭ 4 is created.

The whisper key may also be used throughout the instrument's register, along with other fingerings, to produce either a more muted or more piercing sound. The right thumb operates four keys. The top key is used to produce B ♭ 2 and B ♭ 3, and is used in B 4, C 4, D 4, F 4, and E ♭ 4. The large circular key, otherwise known as the 'pancake key', is held down for all the lowest notes from E 1 down to B ♭ 1. It is also used, like the whisper key, in additional fingerings for muting the sound.

For example, in 's ', the bassoon is asked to play the ostinato on G 4. This is easy to perform with the normal fingering for G 4, but with the E 1 key (pancake key). The next key operated by the right thumb is known as the 'spatula key': its primary use is to produce F ♯ 1 and F ♯ 2.

The bottom key is used less often: is used to produce A ♭ 1 (G ♯ 1) and A ♭ 2 (G ♯ 2), when the tone may be improved by combining this with the backmost key E ♭ 1 of the right hand little finger: this is most advantageous in pieces like 's '. The four fingers of the left hand can each be used in at least two different positions, three in the case of the index finger. The key normally operated by this finger is primarily used for E 4. (Rarely it can be used as a trill key.) This key has a small hole drilled into it. The player can lift the finger completely off the key, or press the key down, closing the hole. A third possibility is to slide the finger down, so the key remains closed, but the hole is open. The middle finger typically stays on the centre hole on the tenor joint.

It can also move to a lever used for E ♭ 4 and a rarely-used trill key. The ring finger operates, on most models, one key. Some models, like a bassoon, have two assignments.

The upper assignment is used for alternate fingerings in the alto register. The smallest finger operates two side keys on the bass joint. The lower key is typically used for C ♯ 1. The upper key is used for E ♭ 1, E 3, F 3, F ♯ 3, A 4, B ♭ 4, B 4, C 4, C ♯ 4, and D 4. The four fingers of the right hand have at least one assignment each.

The index finger stays over one hole, except that when E ♭ 4 is played a side key at the top of the boot is used. The middle finger remains stationary over the hole with a ring around it, and this ring and other pads are lifted when the smallest finger on the right hand pushes a lever.

The ring finger typically remains stationary on the lower ring-finger key. However, the upper ring-finger key can be used, typically for B ♭ 2 and B ♭ 3, in place of the top thumb key on the front of the boot joint. The smallest finger operates three keys. The backmost one, closest to the bassoonist, is held down throughout most of the bass register. The key is not used after F 1 is played. F ♯ 2 is created with this key, as well as G 4, B ♭ 4, B 4, and C 4. The lowest key for the smallest finger on the right hand is primarily used for A ♭ 1 (G ♯ 1) and A ♭ 2 (G ♯ 2) but can be used E ♭ 4, and F 4.

The frontmost key is used with the bottom thumb key on the boot joint to create A ♭ 1 and A ♭ 2. Extended techniques [ ] Many extended techniques can be performed on the bassoon, such as,,,, and harmonics. In the case of the bassoon, flutter-tonguing may be accomplished by 'gargling' in the back of the throat as well as by the conventional method of rolling Rs. Multiphonics on the bassoon can be achieved by using particular alternative fingerings. Also, using certain fingerings, notes may be produced on the instrument that sound lower pitches than the actual range of the instrument. These 'impossible notes' tend to sound very gravelly and out of tune, but technically sound below the low B ♭.

Alternatively, lower notes can be produced by inserting a small paper or rubber tube into the end of the bell, which converts the lower B ♭ into a lower note such as an A natural; this lowers the pitch of the instrument, but has the positive effect of bringing the lowest register (which is typically quite sharp) into tune. A notable piece that calls for the use of a low A bell is 's, op.

43, which includes an optional low A for the final cadence of the work. Bassoonists sometimes use the end bell segment of an English horn or clarinet if one is available instead of a specially made extension. This often yields unsatisfactory results, though, as the resultant A can be quite sharp. The idea of using low A was begun by, who wanted to extend the range of the bassoon. Many passages in his later operas require the low A as well as the B-flat above. (This is impossible on a normal bassoon using an A extension as the fingering for the B-flat yields the low A.) These passages are typically realized on the contrabassoon, as recommended by the composer. Some bassoons have been made to allow bassoonists to realize similar passages.

These bassoons are made with a 'Wagner bell' which is an extended bell with a key for both the low A and the low B-flat. Bassoons with Wagner bells suffer similar intonational deficiencies as a bassoon with an A extension. Another composer who has required the bassoon to be down to low A is. Also calls for the low A in his opera. Learning the bassoon [ ] The complicated fingering and the problem of reeds make the bassoon more of a challenge to learn than some of the other woodwind instruments.

Cost is another big factor in a person's decision to pursue the bassoon. Prices range from $3,000 up to $60,000 for a good-quality instrument.

[ ] In North America, schoolchildren typically take up bassoon only after starting on another reed instrument, such as clarinet or saxophone. Students in America often begin to pursue the study of bassoon performance and technique in the middle years of their music education.

Students are often provided with a school instrument and encouraged to pursue lessons with private instructors. Students typically receive instruction in proper posture, hand position, embouchure, tone production, and reed making. Reeds and reed construction [ ] Modern reeds [ ]. Detail of binding around base of reed.

Bassoon reeds, made of cane, are often made by the players themselves, although beginner bassoonists tend to buy their reeds from professional reed makers or use reeds made by their teachers. Reeds begin with a length of tube cane that is split into three or four pieces using a tool called a cane splitter. The cane is then trimmed and gouged to the desired thickness, leaving the bark attached. After soaking, the gouged cane is cut to the proper shape and milled to the desired thickness, or profiled, by removing material from the bark side. This can be done by hand with a file; more frequently it is done with a machine or tool designed for the purpose. After the profiled cane has soaked once again it is folded over in the middle. Prior to soaking, the reed maker will have lightly scored the bark with parallel lines with a knife; this ensures that the cane will assume a cylindrical shape during the forming stage.

On the bark portion, the reed maker binds on one, two, or three coils or loops of brass wire to aid in the final forming process. The exact placement of these loops can vary somewhat depending on the reed maker. The bound reed blank is then wrapped with thick cotton or linen thread to protect it, and a conical steel (which sometimes has been heated in a flame) is quickly inserted in between the blades.

Using a special pair of pliers, the reed maker presses down the cane, making it conform to the shape of the mandrel. (The steam generated by the heated mandrel causes the cane to permanently assume the shape of the mandrel.) The upper portion of the cavity thus created is called the 'throat,' and its shape has an influence on the final playing characteristics of the reed.

The lower, mostly cylindrical portion will be reamed out with a special tool called a reamer, allowing the reed to fit on the bocal. After the reed has dried, the wires are tightened around the reed, which has shrunk after drying, or replaced completely. The lower part is sealed (a -based cement such as Duco may be used) and then wrapped with thread to ensure both that no air leaks out through the bottom of the reed and that the reed maintains its shape. The wrapping itself is often sealed with Duco or clear nail varnish (polish).

Electrical tape can also be used as a wrapping for amateur reed makers. The bulge in the wrapping is sometimes referred to as the 'Turk's head'—it serves as a convenient handle when inserting the reed on the bocal. Recently, more players are choosing the more modern heat-shrink tubing instead of the time-consuming and fiddly thread. To finish the reed, the end of the reed blank, originally at the center of the unfolded piece of cane, is cut off, creating an opening. New Order Remastered Rar.

The blades above the first wire are now roughly 27–30 mm (1.1–1.2 in) long. For the reed to play, a slight bevel must be created at the tip with a knife, although there is also a machine that can perform this function. Other adjustments with the reed knife may be necessary, depending on the hardness, the profile of the cane, and the requirements of the player. The reed opening may also need to be adjusted by squeezing either the first or second wire with the pliers. Additional material may be removed from the sides (the 'channels') or tip to balance the reed. Additionally, if the 'e' in the bass clef staff is sagging in pitch, it may be necessary to 'clip' the reed by removing 1–2 mm (0.039–0.079 in) from its length using a pair of very sharp scissors or the equivalent.

Playing styles of individual bassoonists vary greatly; because of this, most advanced players will make their own reeds, in the process customizing them to their individual playing requirements. Many companies and individuals do offer reeds for sale, but even with store-bought reeds, players must know how to make adjustments to suit their particular playing style.

The tools used for adjusting reeds are very similar to those used to make the reeds themselves. Early reeds [ ] Little is known about the early construction of the bassoon reed, as few examples survive, and much of what is known is only what can be gathered from artistic representations.

The earliest known written instructions date from the middle of the 17th century, describing the reed as being held together by wire or resined thread; the earliest actual reeds that survive are more than a century younger, a collection of 21 reeds from the late 18th-century Spanish bajon. Bassoon repertoire [ ].

German saxophone manufacturers are a bit difficult to learn about, primarily because a lot of the documentation has been destroyed either in the manufacturer's move from one part of Germany to another or in the WWII and the conversion of many of the music instrument factories over to producing war material. This brings us to Kohlert. A brief digression: Kohlert is NOT K�hler.

K�hler was founded in Markneukirchen, Germany in 1933 by Franz K�hler. They stopped producing instruments around 1961. However, while the K�hler example I've seen does not look like a Keilwerth or Kohlert design, yes, there's always the possibility that K�hler did stencil some horns from either Keilwerth or Kohlert. The similarity in names and similarity in the saxophone designs from Kohlert and K�hler throws most folks for a considerable loop.

The similarity in design is not because they shared a common ancestor, but more rather because company X would produce a good design and then everyone else would copy it (this tidbit of information popped up numerous times while I researched Kohlert and Keilwerth). Matters grew more complicated after Keilwerth began producing saxophones in 1925/6: not only did Keilwerth produce stencils of their horns (of which, they branded at least one Kohlert model), but they furnished saxophone bodies to a variety of other German and Czech manufacturers which would affix their own keywork and sell the horn under a different name - sometimes with no trace of the Keilwerth mark on the horn. However, Kohlert IS 'Vincenta (or 'V.' Or 'Vizenze' or several other variants) Kohlerta Synov%uFFFD Kraslice'. This is the Czech form of Kohlert's name. There are other Anglicized/Germanized variants of the VKS label (e.g. Kohlert's Sons'), but some variant of 'Kohlert' is always listed.

Timeline • 1840: The Kohlert Company was founded in Graslitz, Czechoslovakia by Vincenz Ferarius Kohlert. However, he did not produce any saxophones. • 1900/01: V.F. Kohlert dies and the ownership of the Kohlert Company is transferred to his sons, Rudolf, Daniel and Franz and the company's name is changed to 'V. Kohlert's Sohne'. Kohlert produces the first German-made saxophone around this time.

• 1910-1916 (Approximately): Kohlert stencils saxophones for HN White (King) in the USA. • 1914-1925 (Approximately): Julius Keilwerth apprentices at the Kohlert company. Generic Touchpad Driver Windows 10 there. It is arguable if Keilwerth influences Kohlert's designs more or vice versa. • 1938 (Approximately): Kohlert has become the largest German instrument maker, employing 600 craftsmen and producing an entire range of brass, woodwind and double-reed instruments. Keilwerth is a distant second with 150 craftsmen and producing only saxophones. • 1939-1945 (Approximately): WWII. Kohlert produced relatively few instruments during this time, as production was limited by the conversion of most factories to producing war materiel and the Nazi original disgust of all things Western, especially jazz.

There was some limited production and some horns produced during WWII are labeled 'Reich' and are quite elaborately engraved - with Nazi regalia. • 1945-1947: After WWII, the firm was 'nationalized' into the Amati cooperative (Amati's website says the cooperative was founded in 1945 and was fully 'nationalized' by 1948 ) and the Kohlerts became workmen in their own factory, similar to what happened with the Keilwerth family. According to the Lein article, the Kohlert family was no longer even allowed to put their stamp on their instruments. It's an unconfirmed fact that Amati used Kohlert and Keilwerth tooling in their first horns, rather than producing anything new: the first Amatis were labeled 'Toneking' - a Keilwerth model name - and had the Keilwerth 'Best in the World' logo stamped on the back. Some even used the Keilwerth serial number chart!

I'm not quite sure if Amati just decided to use Keilwerth saxophones as their template for future models, but the 'second generation' of Amati horns, such as the 'Classic Super' is fairly reminiscent of Kohlert, not Keilwerth, designs. • 1948: The 'last' generation of the Kohlerts migrated ('evacuated' would be more accurate, according to the Lein article) to West Germany: Max Kohlert, an instrument maker, died in 1949. Kurt Kohlert, a businessman, died in 1973. Ernst Kohlert, a musician, died in 1986 or '87. None of the three brothers ever married.

After arriving in the West, Ernst worked for a short while with instrument makers near F%uFFFDrth. Shortly thereafter, the city of Winnenden provided the brothers with a former barracks (actually a wooden house) in which to establish a new workshop. • 1948/49: About forty people were employed in the Winnenden factory.

At first, they only repaired instruments, mainly for the American army, but resumed instrument production began in the fall of 1949 with saxophones. A new serial number chart was instituted, starting at zero and the 'V. Kohlert's S%uFFFDhne' mark was dropped in favor of just 'Kohlert'. Cybersax.com and a few miscellaneous newsgroup/forum posts also indicate that there was a Kohlert model that had beveled tone holes, like the Martin and early Couesnon horns.

Considering this design is a radical departure from the standard Kohlert designs AND because Keilwerth also produced a similar design right after they fled Czechoslovakia, it's possible that either this 'new' model is either a Keilwerth design or could have been jointly developed between the two companies (there is a suggestion that the bodies were imported from the Martin company, but that's a bit of a stretch and there's nothing to corroborate this suggestion). • 1953/54: Kohlert employed around 100 people from 1953 to 1954, with about seventy working in the 'barracks' and another thirty working at home. These 'home workers' had small shops in their homes and would receive the materials, complete their part of the assembly process and return them.

Several craftsmen only made saxophone bodies and even the bells and necks were made in Winnenden [sic]. The Kohlerts also employed four tool-makers whose job it was to make the tools and apparati used in the factory according to the designs and needs of the instrument makers.

Thus everything was done 'in house' with specially crafted tools. • 1955-1965: The two remaining Kohlert brothers, Kurt and Ernst, entered into contracts with American wholesalers which guaranteed that the Kohlerts would supply instruments at the same price for ten years. What the brothers didn't foresee was the onset of the 'Deutsche Wirtschaftswunder,' or 'German economic miracle', when the materials costs and wages rose dramatically. At this point they couldn't get out of these long-term commitments -- the penalty for breach of contract was severe. Instead of specializing on a single instrument, like the Julius Keilwerth company, Kohlert continued to make the whole range of instruments - and, so the profit margin kept shrinking. Realizing they couldn't continue in this manner, Kohlert tried to cut labor costs by minimizing handwork and started mass-producing hundreds of parts. This idea didn't work and left Kohlert with a financial situation which required declaring bankruptcy in 1965.

• 1966: About twenty employees continued producing instruments to meet bankruptcy obligations. Serial numbers stood at about 85,000 at the time of the bankruptcy.

• 1967: Fritz Pfannenschwarz, an industrialist from Nordheim who was interested in music as a hobby, came to Kohlert to buy a bass clarinet and was told that nothing could be sold without consulting the administrator of the bankrupt estate. He asked the price of the bankrupt firm, was told 40,000 DM and subsequently bought it. Although plans had already been drawn for a new factory, nothing had come of them and work continued in the 'barracks'.

Later Pfannenschwarz moved final assembly operations and sales to Nordheim, concentrating on flutes, saxophones and clarinets. • 1977 (Approximately): The final line of Kohlert saxophones was discontinued and the final model name list was Popular, Regent, Star and Excelsior.

The best of these horns was and is considered to be fairly low quality. • 1981-1983: Albert Moosmann, once an apprentice in the firm, his son Bernd and another partner purchased the remains of Kohlert in Winnenden.

Today the name 'Bernd Moosmann' appears on the bassoons, which is what Kohlert now specializes in. Errata • Contrary to some Internet forums and newsgroups, I see no relation between SML and Kohlert. The connection that people use between the two companies is that both used rolled tone holes and that some Kohlert models are said to have the 'switchable' articulated G# key. Literally dozens of companies used rolled tone holes and Leblanc/Beaugnier/Vito used the switchable G#, too, and none of these have any connection to SML. Additionally, I can't really see a French manufacturer cooperating that closely with a German manufacturer around WWII (SML was founded in the late 1930's). • There has been a lot of discussion about the Kohlert model that has the fancy little letter keyguards.

First of all, the letters are 'VKS', not 'JSK', and it probably stands for 'V. Kohlert's S%uFFFDhne'. The 'JSK', in this interpretation, is expanded to mean 'Julius S. I've not found any documentation that even says that Julius' middle name started with an 'S' and the mark on Keilwerth horns is 'JGK: The best in the world.'