hat instruments of this pattern are
less fatiguing to blow than those resembling the bassoon. The bore is
truly conical, starting with a diameter of 1/4 in. at the reed and ending
in a diameter of 4 in. at the open end of the tube which points upwards
and has no defined bell, being merely finished with a rim. Alfred
Morton, in England, has constructed double bassoons on Dr Stone's design
(fig. 2). (3) The third model is of brass and consists of a conical tube
of wide calibre some 15 or 16 ft. long, curved round four times upon
itself and having a brass tuba or euphonium bell which points upwards.
This brass model, usually known as the Belgian or French (fig. 3), was
really of Austrian origin, having been first introduced by Schoellnast of
Presburg about 1839. B. F. Czerveny of Koeniggraetz and Victor Mahillon of
Brussels both appear to have followed up this idea independently; the
former producing a metal contrafagotto in E[flat] in 1856 and one in
B[flat] which he called sub-contrafagotto in 1867, while Mahillon's was
ready in 1868. In the brass contrafagotto the lateral holes are pierced
at theoretically correct intervals along the bore, and have a diameter
almost equal to the section of the bore at the point where the hole is
pierced. The octave harmonic only is obtainable on this instrument owing
to the great length of the bore and its large calibre. There are
therefore two octave keys which give a chromatic compass [Illustration:
8va. bassa.]

The modern wooden contrafagotto has a pitch one octave below that of the
bassoon and three below that of the oboe; its compass extending from 16
ft. C. to middle C. The harmonics of the octave in the middle register
and of the 12th in the upper register are obtained by skilful
manipulation of the reed with the lips and increased pressure of the
breath. The notes of both extremes are difficult to produce.

[Illustration: FIG. 3.--The French or Belgian Contrafagotto.]

Although the double bassoon is not a transposing instrument the music
for it is written an octave higher than the real sounds in order to
avoid the ledger lines. The quality of tone is somewhat rough and
rattling in the lowest register, the volume of sound not being quite
adequate considering the depth of the pitch. In the middle and upper
registers the tone of the wooden contrafagotto possesses all the
characteristics of the bassoon. The contrafagotto has a complete
chromatic compass, and it may therefore be p