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 played in any key. Quick passages are avoided since they would be neither easy nor effective, the instrument being essentially a slow-speaking one. The lowest notes are only possible to a good player, and cannot be obtained _piano_; nevertheless, the instrument forms a fine bass to the reed family, and supplies in the orchestra the notes missing in the double bass in order to reach 16 ft. C. The origin of the contrafagotto, like that of the oboe (_q.v._) must be sought in the highest antiquity (see AULOS). Its immediate forerunner was the double bombard or bombardino or the great double quintpommer whose compass extended downwards to E [Illustration] It is not known precisely when the change took place, though it was probably soon after the transformation of the bassoon, but Handel scored for the instrument and it was used in military bands before being adopted in the orchestra. The original instrument made for Handel by T. Stanesby, junior, and played by J. F. Lampe at the Marylebone Gardens in 1739, was exhibited at the Royal Military Exhibition, London, in 1890. Owing to its faulty construction and weak rattling tone the double bassoon fell into disuse, in spite of the fact that the great composers Haydn, Mozart and Beethoven scored for it abundantly; the last used it in the C minor and choral symphonies and wrote an _obbligato_ for it in _Fidelio_. It was restored to favour in England by Dr W. H. Stone. (K. S.)