Author: Lorelei Dowling

Dyads on the contraforte are possible but only have a dynamic range between pianissimo and piano. I use a very tight embouchure with equal lip pressure at the back of the reed to execute them. Below is an example of a mezzo-piano dyad progression with the fingerings: Dyads #1 https://youtu.be/_4lVOTK58eM?si=rF-8hxr63qJ-TYxy Examples of Isolated Dyads: Dyad …

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I discovered that a Harmon Trombone mute fits into the bell of the Contraforte. It affects the sound of the bottom register, and I discuss this in the video. https://youtu.be/lcSKm6al_Oo

I started experimenting with different mouthpieces on the contraforte. I tried baritone, tenor and alto saxophone mouthpieces first but the result was a sound like a saxophone. I then experimented with a trumpet mouthpiece. A trumpet mouthpiece on the crook of the contraforte produced a nasal sound. However, when I added a cut-off bassoon reed …

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I use my fingering chart, which I developed after finding the supplied chart too flat for this octave. Feel free to download and try it! C5-C6 pdfDownload

I used a glissando fingering chart while learning the Berio Sequenza, so I made one for the contraforte. The difficulty is the notation: the fingering is written before the note. I use this chart as a base and then work out other fingerings accordingly. Contraforte Glissando Fingering ChartDownload I used this chart when playing Leah …

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This chart works best with a combination of lip and ear adjustments as you play. While these fingerings work for me, you may need to make small adjustments by adding other auxiliary keys. Essentially, this chart is a building block. I use voicings–hee and me to lift the pitch and who to lower the pitch–when …

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These are my suggestions, and they work for me, but they may need adjusting when played by another player. Essentially, this chart is a building block. I use voicings–hee and me to lift the pitch and who to lower the pitch–when I play to aid in the intonation. I would recommend that as well. I …

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Australian Lorelei Dowling, bassoonist and contrafortist, is a world-renowned contemporary specialist. Since winning a position in the Sydney Symphony Orchestra aged 24, she has appeared with many esteemed ensembles including Orchestre de la Suisse Romande, Mozarteum Orchestra, RSO Wien, Australian Opera and Ballet Orchestra, Ensemble Modern, Esbjerg Ensemble, Musikfabrik, Lausanne and Munich Chamber Orchestras and …

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I notated my multiphonics using a transparent rectangle to represent the dominant frequency, while the subsequent frequencies were notated using black noteheads. If additional oscillations in the multiphonic required their frequencies to be notated, I added up to two more notes to the chord, which was notated using a smaller, light grey notehead. Where necessary, …

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