F#4. Birnstingl, Roger. In Apfelstadt, Marc and Klimko, Ronald. Bassoon Performance Practice, Teaching Materials, Techniques and Methods. Idaho: University of Idaho, 1993, p. 66. For piannisimo.

o x o | o x o Ab

F#4. Blackman, Paul (A. Hennige). In Apfelstadt, Marc and Klimko, Ronald. Bassoon Performance Practice, Teaching Materials, Techniques and Methods. Idaho: University of Idaho, 1993, p. 58.

o o o | x x o Ab

F#4. Brightman, Kay. In Apfelstadt, Marc and Klimko, Ronald. Bassoon Performance Practice, Teaching Materials, Techniques and Methods. Idaho: University of Idaho, 1993, p. 63. Jones, Lorraine. In Apfelstadt, Marc and Klimko, Ronald. Bassoon Performance Practice, Teaching Materials, Techniques and Methods. Idaho: University of Idaho, 1993, p. 68. Same as Cooper p. 227.

o x o | x x o F

F#4. Cooper, L. Hugh. "Bassoon Clinic Series, Part Four," Etude: the Music Magazine 47/6 (June 1949): 356.

For pianissimo:

   (Eb) 
/ x x | x o o

Other fingerings:

   (Eb)               (Eb)             (Eb)
o x o | x x o      o x x | x x o    o x o | x x o F
       Bb                 Bb               Bb

F#4. Corey, Gerald E. "How to Improve Your Tuning on the Bassoon." The Journal of the International Double Reed Society 8 (1980): 33

"I recommend 3 fingerings for this F#":

"For rapid passage work":

    Eb
o x x | x x o
       Bb

"For best quality of tone and usually fine tuning":

    Eb
/ x x | x x o F

"For long slurs":

    Eb
o x o | x x o
       Bb

F#4. Davies, Mark. In Apfelstadt, Marc and Klimko, Ronald. Bassoon Performance Practice, Teaching Materials, Techniques and Methods. Idaho: University of Idaho, 1993, p. 54.

    Eb
x o x | x x o
   w   Bb

F#4. Dowdakin, J. Daniel. In Apfelstadt, Marc and Klimko, Ronald. Bassoon Performance Practice, Teaching Materials, Techniques and Methods. Idaho: University of Idaho, 1993, p. 70. Same as Cooper p. 230 except half hole D hole.

    Eb
o / x | x x o
       Bb

F#4. Friedman, Jonathan. The Double Reed 1/3 (December 1978): 30. For softer, lower pitch. Similar to Cooper p. 241 except add R. H. thumb F# key; use L. H. Eb key.

    Eb
o o o | o x o
           F#

F#4. Groeling, Charles R. "Cultivating Bassoonists." The Instrumentalist 47/1 (August 1992): 50. Cooper p. 226.

    Eb
/ x x | x x o
       Bb

F#4. Groeling, Charles R. "Cultivating Bassoonists." The Instrumentalist 47/1 (August 1992): 50. Hardisty, Donald M. "Tuning those Bassoons: Part II--Tuning Individual Notes and Registers." The Instrumentalist 36/8 (March 1982): 72.

    Eb
o x o | x x o
       Bb

F#4. Grossman, Arthur. (18 September 1996). For rapid slur from B4 to F#4 back to B4.

   (Eb)
o x o | o x o

F#4. Huff, Douglas (Dickie, James). In Apfelstadt, Marc and Klimko, Ronald. Bassoon Performance Practice, Teaching Materials, Techniques and Methods. Idaho: University of Idaho, 1993, p. 69. Same as Cooper p. 241 except no Eb key

o o o | o x o

F#4? Karr, Matt. In Apfelstadt, Marc and Klimko, Ronald. Bassoon Performance Practice, Teaching Materials, Techniques and Methods. Idaho: University of Idaho, 1993, p. 77.

o x o | x x x

F#4. Moritz, Frederick. "A Dissertation on the Use of Alternate Fingerings for Some of the High Register Notes on the Heckel and Heckel-Type Bassoons." The Double Reed 8/3 (Winter 1985): 28, 29, 32.

    Eb
o x x | x x o
       Bb

    Eb
/ x x | x x o
       Bb

    Eb
/ x x | x x o F

    Eb
o / x | x o o

F#4. Swanson, Robert. "Pictorial Bassoon Fingerings." Woodwind Magazine 4/1 (September 1951): 9. Same as Cooper p. 228 except whisper key is optional.

    Eb
/ x x | x o o
  (w)

F#4. Swanson, Robert. "Pictorial Bassoon Fingerings." Woodwind Magazine 4/2 (September 1951): 7. Same as Cooper p. 226 except L.H. no Eb key and you may cover C hole; R. H. either thumb or trill (third finger) Bb key.

            (Bb)
o x (x) | x x o
         Bb

F#4. Swanson, Robert. "Pictorial Bassoon Fingerings." Woodwind Magazine 4/2 (September 1951): 7.

x o x | x x o
       Bb

F#4. Swanson, Robert. "Pictorial Bassoon Fingerings." Woodwind Magazine 4/2 (September 1951): 7. Same as Cooper p. 229 except no L. H. Eb key.

x o x | x o o

F#4. Swanson, Robert. "Pictorial Bassoon Fingerings." Woodwind Magazine 4/2 (September 1951): 7.

o(x)(x)| o x o F

F#4. Swanson, Robert. "Pictorial Bassoon Fingerings." Woodwind Magazine 4/2 (September 1951): 7. For some slurs.

o o o | x x o F

F#4. Turkovic, Milan. In Klimko, Ronald. Bassoon Performance Practices and Teaching in the United States and Canada. Idaho: University of Idaho, 1974 p. 70. Same as Cooper p. 228 except no L. H whisper key and no Eb key. For fast passages.

/ x x | x o o

F#4. Wilson, George H. "Bassoon Intonation: No Mystery!" The Instrumentalist 18/7 (February 1964): 66. Reprinted inWoodwind Anthology (Evanston: The Instrumentalist Company, 1976), p. 589.

Same as Cooper p. 228:

    Eb
/ x x | x o o
   w

Same as Cooper p. 227:

    Eb
o x o | x x o F

Same as Cooper p. 230:

    Eb
o x x | x x o
       Bb

F#4. Winstead, William. In Apfelstadt, Marc and Klimko, Ronald. Bassoon Performance Practice, Teaching Materials, Techniques and Methods. Idaho: University of Idaho, 1993, p. 53. Half-hole D hole helps slurs to F#4. Also see Winstead's half-hole fingering for G4.

    Eb
o / x | x x o F

For difficult technical passages use Cooper p. 241:

    Eb
o o o | o x o

Heckel-system bassoon fingerings by note name