Thumbless high G – keeping it simple…

Bolero is tricky enough.  Do you really need the thumb whisper key on high G?

Our standard fingering for high G calls for the whisper vent to be closed.  A deep dive into this issue reveals that it is often an unnecessary complication. 

Tenor G is typically played with the thumb whisper key.  Closing the bocal vent helps clean up a slight inharmonic in the attack and keeps the pitch down on a note which tends to be a bit sharp for many players.  Elsewhere we have addressed the complex bore resonances utilized in the third octave of the bassoon.  G4’s ancestry in the fundamental bottom register is a bit elusive, but it seems to operate like Eb4, E4, F4 and F#4 – all very sharp third harmonic bore resonances.  For example, tenor F operates as a half-step sharp 12th of low A – facilitated by opening up a big bore leak with the 2nd finger left hand.  High G likely operates with a similar bore length as low F, deconstructed by opening 2 tone holes on the boot joint and keeping the low G tone hole shut by engaging the right hand little finger.  Those substantial leaks in the down bore of the boot eliminate any chance of a low F surviving, and we don’t face quite the same attack problems that plague much of the tenor range bassoon. Younger players often have setups that lean toward sharpness, and the whisper key keeps that high G under control.  But experienced players often don’t need this crutch, often using the closed whisper vent mainly for cleaner attacks.

Experienced embouchures and well designed reeds will allow G4 to work successfully without the thumb.  And, as long as we are not articulating, the argument for its use for cleaner attacks is moot.  Which takes us to consider several key bassoon passages where use of the thumb is more trouble than its worth: Bolero and Sacre come to mind!!

Take a look at the first two measures of Bolero above.  Those first 3 high G’s [all 1/16th notes] do not need that overworked left thumb, though the longer G might still be more comfortable using it.  The accented G in the 7th measure of the solo needs it, but your thumb is already engaged for the Ab.  Now, take a look at another passage… you may recognize this….

Many bassoonists will choose to use the thumb whisper key on every G in the opening.  But using the thumb is even more counterproductive than in the opening measures of Bolero – and not just because it involves unnecessary physical work.  If you are paying attention to the intonation on B4, which is almost invariably a bit sharp, then your embouchure will already be compensating in the right position to cope with any sharpness presented on the thumbless G!  In fact, the only G that might benefit from the thumb is the grace note after the high D at the end of measure 2.  High D requires some work to be up to pitch and may compromise the thumbless G on the grace note.

So, let me suggest two practice methods to deal with the thumbless G4:

• Sustain long tones on high G while repeatedly removing and adding the whisper key.  There will be a change in pitch and tonal structure, but you can easily learn to make the embouchure adjustment required.

• Practice slurring high B down to G and back to B, over and over.  Correct for intonation!! There’s a very good chance that this fingering change will lead to an improvement in your pitch and resonance in this upper part of the third octave.

While we’re on the subject…..remember that the high C key is only necessary to begin the high B!  Once you have started the note you can remove the thumb, allowing the C vent to close. The pitch will hold just fine.

Christopher Millard is the former Principal Bassoon for Canada’s National Arts Centre Orchestra.