# Concerning the Rarity of Contrabass Woodwind Instruments



## GermanTC

Why is it that the contrabass instruments of some families seem to be somewhat rare, and would it be worth the time and money investments to learn them?

Ever since I first started playing music 12 years ago, the bassier side of the art has always fascinated me. I've always been perfectly happy filling out the low end of any music ensemble in which I partook--bass guitar, double bass, bass voice, and even bass drum in marching band. I'm at a stage in life where I'd like to begin exploring other instrument families (primarily brass and woodwind) to expand my repertoire and appreciation of music, but I'd like to continue my specialization in the contrabass range if at all possible. However, in both my personal orchestral experiences and in watching performances on YouTube, I've noticed that the contrabass instruments of the woodwind family don't appear to be in very many orchestras. This strikes me as curious, given that the contrabass members of the string and brass families are a standard feature, even in small ensembles. Why is it, for example, that you almost always see double basses alongside the cellos, and tubas alongside the trombones, but not always contrabassoons alongside the bassoons? Is it an issue of finance or repertoire (i.e., are the instruments disproportionately expensive to purchase and maintain, or have composers historically neglected these instruments)? If the latter is the case, would you suggest that I play bass woodwinds (e.g., bassoon, bass clarinet, bari sax), rather than their contrabass counterparts, just for the sake of being able to participate more in local ensembles, or would the investment in contrabass still be worth it? Would it be entirely unorthodox, for example, for me to suggest to my conductor that I simply double the bass parts an octave lower?

Thank you for your insights!


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## Vasks

Money does play a part, no doubt. Yes learn bassoon if you want to have a chance at playing in an amateur orchestra. Learn bass clarinet if you want to play in a community concert band. There will be more competition for sax players that already own a bari sax.


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## Enthalpy

There aren't so many contrabass woodwinds...

The flute fails at that height. The contrabass saxophone is impractical (but the tubax is better). The oboe becomes a bassoon. The sarrusophone has practically disappeared. This leaves the clarinet and the contrabassoon (and variant, the contraforte).

Every symphonic orchestra has a *contrabassoon*, easily played by a bassoonist. Nearly no wind band has one because it's *inaudible*. Worse than a bassoon. And check the price! In a wind band, the contraforte would be a less bad choice.

The (contraalto and) *contrabass clarinets* are excellent instruments, agile, loud, easy. Less expensive. They would be excellent in symphonic orchestras, but alas scores don't require them. Since the composition of wind bands is more flexible, you may ask if they want you to play one.

Or you just play the *contrabass tuba*, instead of a contrabass woodwind. Excellent instrument, agile, powerful, easy. By far not as expensive. Played everywhere and in demand.

Do wind bands have enough bass and *contrabass trombones*? Possible niche!

If you're willing to travel, you could own and play a *cimbasso*. Demanded by Rossini and Verdi, hence needed a few times per year, where orchestras lend one IF it is available and let a tubist play it. If you have the instrument and can jump in, you may be more useful.


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## Enthalpy

I wonder if wind bands could welcome a *cimbasso*? It's a decent contrabass to the trumpets and trombones, while a tuba sounds completely different. The cimbasso competes with the contrabass trombone, which isn't frequent neither.

Or maybe just a *baritone saxophone* could be wanted in wind bands? To my knowledge, many wind bands possess a baritone saxophone and let an alto or tenor saxophonist play it. Possibly a baritone saxophonist would be enrolled for being a specialist, or to replace a missing saxophonist, or to have a second baritone.


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## Enthalpy

Maybe a *contraforte* would make sense. It's a louder replacement for the contrabassoon, with similar sound and different fingerings.
voices.washingtonpost.com
In a wind band, it could be considered while the contrabassoon is inaudible. Maybe symphonic orchestras would hire a musician occasionally when the contrabassoon is too weak.

Or the two *tubax*. They are contrabass saxophones build narrower and better folded, hence reasonably transported. Standard saxophone fingerings but baritone or bass (I've forgotten) mouthpiece and reeds, hence easily played. I could imagine wind bands adding them to their sax or even clarinet section.

The best path is to ask conductors what instrument they covet.


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