page_title: Rackett
hierarchical_section_title: Rackett
caption_attribution_description: Syntagma Musicum Theatrum Instrumentorum seu Sciagraphia Wolfenbüttel 1620 This is a crop of Image:Syntagma07.png, showing Raketts
context_page_description: The rackett, cervelas, or Sausage Bassoon is a Renaissance-era double reed wind instrument, introduced late in the sixteenth century and already superseded by bassoons at the end of the seventeenth century.
  There are four sizes of rackett, in a family ranging from descant, tenor-alto, bass to great bass. Relative to their pitch, racketts are quite small
context_section_description: The rackett, cervelas, or Sausage Bassoon is a Renaissance-era double reed wind instrument, introduced late in the sixteenth century and already superseded by bassoons at the end of the seventeenth century.
  There are four sizes of rackett, in a family ranging from descant (soprano), tenor-alto, bass to great bass. Relative to their pitch, racketts are quite small (the descant rackett is only 4½ inches long, yet its lowest note is G2. This is achieved through its ingenious construction; the body consists of a solid wooden cylinder into which nine parallel bores are drilled. These are connected alternately at the top and bottom, resulting in a long, cylindrical wind passage within a compact body so that one can carry in one's pocket an instrument that will descend as low in pitch as a modern bassoon.
  However, its unusual construction requires its fingering to be somewhat different from other period woodwinds; it is similar to the front seven holes of the crumhorn and blends well with recorders and krumhorns, but with the hands placed side by side. Additional holes are covered by the thumbs and second joint of the index finger in order to extend the range a perfect fourth below the nominal scale, like the curtal. Thus the descant rackett is considered to be in C, but its range covers a perfect twelfth from d' to G. The ranges for the rest of the family as given by Praetorius are: tenor alt: g to C; bass: c to FF; great bass: A to DD or G to CC. The range could be extended upward by several more notes since the renaissance rackett overblows at the twelfth like a clarinet. Praetorius writes in Syntagma Musicum II: "if a rackett is well drilled and is played by a good musician, it then can be made to produce a few more tones." The three extant renaissance racketts are housed in two European collections; one is in the Musikinstrumenten Museum in Leipzig, and two are in the Kunsthistorisches Museum in Vienna.
  The baroque rackett (developed by the Nuremberg maker J. C. Denner, 1655–1707) combined the folded bore concept with a conical (or pseudo-conical) bore profile; in essence, it is a bassoon in rackett form. It has ten parallel cylindrical bores whose diameters increase in succession to function as a true conical bore and allow overblowing at the octave. A number of tetines were added, which are tubular metal extensions covered by the middle joint of the index fingers as well as the pinkies. Condensation usually remains in the coil of the removable brass crook, thus it is fairly simple to expel during pauses. Despite its idiosyncrasies, the baroque rackett is a versatile instrument with a wide range of notes and dynamics. With an appropriate reed, the baroque rackett has a similar chromatic range to the baroque bassoon (g' to BB♭), and with its agility, can perform most bass-instrument repertoire from the time in which it was in vogue. Extant specimens of the baroque rackett can be found in the Musikinstrumenten-Museum Berlin and the Bayerisches Nationalmuseum in Munich.
caption: Racketts, from Michael Praetorius' Syntagma Musicum Theatrum Instrumentorum seu Sciagraphia (1619)
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