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The lighter group 7 elements are known to form volatile heptoxides M2O7 (M = Mn, Tc, Re), so bohrium should also form the volatile oxide Bh2O7. The oxide should dissolve in water to form perbohric acid, HBhO4. Rhenium and technetium form a range of oxyhalides from the halogenation of the oxide. The chlorination of the oxide forms the oxychlorides MO3Cl, so BhO3Cl should be formed in this reaction. Fluorination results in MO3F and MO2F3 for the heavier elements in addition to the rhenium compounds ReOF5 and ReF7. Therefore, oxyfluoride formation for bohrium may help to indicate eka-rhenium properties. Since the oxychlorides are asymmetrical, and they should have increasingly large dipole moments going down the group, they should become less volatile in the order TcO3Cl > ReO3Cl > BhO3Cl: this was experimentally confirmed in 2000 by measuring the enthalpies of adsorption of these three compounds. The values are for TcO3Cl and ReO3Cl are −51 kJ/mol and −61 kJ/mol respectively; the experimental value for BhO3Cl is −77.8 kJ/mol, very close to the theoretically expected value of −78.5 kJ/mol.
Physical and atomic. Bohrium is expected to be a solid under normal conditions and assume a hexagonal close-packed crystal structure ("c"/"a" = 1.62), similar to its lighter congener rhenium. Early predictions by Fricke estimated its density at 37.1 g/cm3, but newer calculations predict a somewhat lower value of 26–27 g/cm3. The atomic radius of bohrium is expected to be around 128 pm. Due to the relativistic stabilization of the 7s orbital and destabilization of the 6d orbital, the Bh+ ion is predicted to have an electron configuration of [Rn] 5f14 6d4 7s2, giving up a 6d electron instead of a 7s electron, which is the opposite of the behavior of its lighter homologues manganese and technetium. Rhenium, on the other hand, follows its heavier congener bohrium in giving up a 5d electron before a 6s electron, as relativistic effects have become significant by the sixth period, where they cause among other things the yellow color of gold and the low melting point of mercury. The Bh2+ ion is expected to have an electron configuration of [Rn] 5f14 6d3 7s2; in contrast, the Re2+ ion is expected to have a [Xe] 4f14 5d5 configuration, this time analogous to manganese and technetium. The ionic radius of hexacoordinate heptavalent bohrium is expected to be 58 pm (heptavalent manganese, technetium, and rhenium having values of 46, 57, and 53 pm respectively). Pentavalent bohrium should have a larger ionic radius of 83 pm.
Experimental chemistry. In 1995, the first report on attempted isolation of the element was unsuccessful, prompting new theoretical studies to investigate how best to investigate bohrium (using its lighter homologs technetium and rhenium for comparison) and removing unwanted contaminating elements such as the trivalent actinides, the group 5 elements, and polonium. In 2000, it was confirmed that although relativistic effects are important, bohrium behaves like a typical group 7 element. A team at the Paul Scherrer Institute (PSI) conducted a chemistry reaction using six atoms of 267Bh produced in the reaction between 249Bk and 22Ne ions. The resulting atoms were thermalised and reacted with a HCl/O2 mixture to form a volatile oxychloride. The reaction also produced isotopes of its lighter homologues, technetium (as 108Tc) and rhenium (as 169Re). The isothermal adsorption curves were measured and gave strong evidence for the formation of a volatile oxychloride with properties similar to that of rhenium oxychloride. This placed bohrium as a typical member of group 7. The adsorption enthalpies of the oxychlorides of technetium, rhenium, and bohrium were measured in this experiment, agreeing very well with the theoretical predictions and implying a sequence of decreasing oxychloride volatility down group 7 of TcO3Cl > ReO3Cl > BhO3Cl. The longer-lived heavy isotopes of bohrium, produced as the daughters of heavier elements, offer advantages for future radiochemical experiments. Although the heavy isotope 274Bh requires a rare and highly radioactive berkelium target for its production, the isotopes 272Bh, 271Bh, and 270Bh can be readily produced as daughters of more easily produced moscovium and nihonium isotopes.
Barbara Olson Barbara Kay Olson (née Bracher; December 27, 1955September 11, 2001) was an American lawyer and conservative television commentator who worked for CNN, Fox News Channel, and several other outlets. She was a passenger on American Airlines Flight 77 en route to a taping of Bill Maher's television show "Politically Incorrect" when it was flown into the Pentagon in the September 11 attacks. Early life. Olson was born Barbara Kay Bracher in Houston, Texas, on December 27, 1955. Her older sister, Toni Bracher-Lawrence, was a member of the Houston City Council from 2004 to 2010. She graduated from Waltrip High School. Personal life. She married Theodore Olson in 1996, becoming his third wife. Olson was a frequent critic of the Bill Clinton administration and wrote a book about then–First Lady Hillary Clinton, "Hell to Pay: The Unfolding Story of Hillary Rodham Clinton" (1999). Olson's second book, "The Final Days: The Last, Desperate Abuses of Power by the Clinton White House" was published posthumously.
Death and legacy. Olson was a passenger on American Airlines Flight 77, on her way to a taping of "Politically Incorrect" in Los Angeles, when it was flown into the Pentagon in the September 11 attacks. Her original plan had been to fly to California on September 10, but she waited until the next day so that she could wake up with her husband on his birthday, September 11. At the National September 11 Memorial, Olson's name is located on Panel S-70 of the South Pool, along with those of other passengers of Flight 77. Three months after the attacks, Olson's remains were identified. She was buried at her family's retreat in Wisconsin.
Barnard's Star Barnard's Star is a small red dwarf star in the constellation of Ophiuchus. At a distance of from Earth, it is the fourth-nearest-known individual star to the Sun after the three components of the Alpha Centauri system, and is the closest star in the northern celestial hemisphere. Its stellar mass is about 16% of the Sun's, and it has 19% of the Sun's diameter. Despite its proximity, the star has a dim apparent visual magnitude of +9.5 and is invisible to the unaided eye; it is much brighter in the infrared than in visible light. Barnard's Star is among the most studied red dwarfs because of its proximity and favorable location for observation near the celestial equator. Historically, research on Barnard's Star has focused on measuring its stellar characteristics, its astrometry, and also refining the limits of possible extrasolar planets. Although Barnard's Star is ancient, it still experiences stellar flare events, one being observed in 1998. Barnard's Star hosts a system of four close-orbiting, sub-Earth-mass planets; Barnard's Star b was discovered in 2024 and another three were confirmed in 2025. Previously, it was subject to multiple claims of much larger planets that were subsequently disproven.
Discovery and naming. The star is named after Edward Emerson Barnard, an American astronomer who in 1916 measured its proper motion as 10.3 arcseconds per year relative to the Sun, the highest known for any star. The star had previously appeared on Harvard University photographic plates in 1888 and 1890. In 2016, the International Astronomical Union organized a Working Group on Star Names (WGSN) to catalogue and standardize proper names for stars. The WGSN approved the name "Barnard's Star" for this star on 1 February 2017 and it is now included in the List of IAU-approved Star Names. Description. Barnard's Star is a red dwarf of the dim spectral type M4 and is too faint to see without a telescope; its apparent magnitude is 9.5. At 7–12 billion years of age, Barnard's Star is considerably older than the Sun, which is 4.5 billion years old, and it might be among the oldest stars in the Milky Way galaxy. Barnard's Star has lost a great deal of rotational energy; the periodic slight changes in its brightness indicate that it rotates once in 130 days (the Sun rotates in 25). Given its age, Barnard's Star was long assumed to be quiescent in terms of stellar activity. In 1998, astronomers observed an intense stellar flare, showing that Barnard's Star is a flare star. Barnard's Star has the variable star designation V2500 Ophiuchi. In 2003, Barnard's Star presented the first detectable change in the radial velocity of a star caused by its motion. Further variability in the radial velocity of Barnard's Star was attributed to its stellar activity.
The proper motion of Barnard's Star corresponds to a relative lateral speed of 90km/s. The 10.3 arcseconds it travels in a year amount to a quarter of a degree in a human lifetime, roughly half the angular diameter of the full Moon. The radial velocity of Barnard's Star is , as measured from the blueshift due to its motion toward the Sun. Combined with its proper motion and distance, this gives a "space velocity" (actual speed relative to the Sun) of . Barnard's Star will make its closest approach to the Sun around 11,800 CE, when it will approach to within about 3.75 light-years. Proxima Centauri is the closest star to the Sun at a position currently 4.24 light-years distant from it. However, despite Barnard's Star's even closer pass to the Sun in 11,800 CE, it will still not then be the nearest star, since by that time Proxima Centauri will have moved to a yet-nearer proximity to the Sun. At the time of the star's closest pass by the Sun, Barnard's Star will still be too dim to be seen with the naked eye, since its apparent magnitude will only have increased by one magnitude to about 8.5 by then, still being 2.5 magnitudes short of visibility to the naked eye.
Barnard's Star has a mass of about 0.16 solar masses (), and a radius about 0.2 times that of the Sun. Thus, although Barnard's Star has roughly 150 times the mass of Jupiter (), its radius is only roughly 2 times larger, due to its much higher density. Its effective temperature is about 3,220 kelvin, and it has a luminosity of only 0.0034 solar luminosities. Barnard's Star is so faint that if it were at the same distance from Earth as the Sun is, it would appear only 100 times brighter than a full moon, comparable to the brightness of the Sun at 80 astronomical units. Barnard's Star has 10–32% of the solar metallicity. Metallicity is the proportion of stellar mass made up of elements heavier than helium and helps classify stars relative to the galactic population. Barnard's Star seems to be typical of the old, red dwarf population II stars, yet these are also generally metal-poor halo stars. While sub-solar, Barnard's Star's metallicity is higher than that of a halo star and is in keeping with the low end of the metal-rich disk star range; this, plus its high space motion, have led to the designation "intermediate population II star", between a halo and disk star. However, some recently published scientific papers have given much higher estimates for the metallicity of the star, very close to the Sun's level, between 75 and 125% of the solar metallicity.
Planetary system. In August 2024, by using data from ESPRESSO spectrograph of the Very Large Telescope, the existence of an exoplanet with a minimum mass of and orbital period of 3.15 days was confirmed. This constituted the first convincing evidence for a planet orbiting Barnard's Star. Additionally, three other candidate low-mass planets were proposed in this study. All of these planets orbit closer to the star than the habitable zone. The confirmed planet is designated Barnard's Star b (or Barnard b), a re-use of the designation originally used for the refuted super-Earth candidate. An examination of TESS photometry revealed no planetary transits, implying that the system is not viewed edge-on. In March 2025, an independent follow-up study confirmed all four planets. The data ruled out planets with masses greater than in the habitable zone of Barnard's Star with 99% confidence. With a minimum mass of only , Barnard's Star e is the least massive exoplanet yet detected by the radial velocity method. The best-fit orbital solution implies the planets have slightly eccentric orbits, but simulations suggest that these orbits would be unstable while circular orbits remain stable, so the eccentricities may be overestimated.
Previous planetary claims. Barnard's Star has been subject to multiple claims of planets that were later disproven. From the early 1960s to the early 1970s, Peter van de Kamp argued that planets orbited Barnard's Star. His specific claims of large gas giants were refuted in the mid-1970s after much debate. In November 2018, a candidate super-Earth planetary companion was reported to orbit Barnard's Star. It was believed to have a minimum mass of and orbit at . However, work presented in July 2021 refuted the existence of this planet. Astrometric planetary claims. For a decade from 1963 to about 1973, a substantial number of astronomers accepted a claim by Peter van de Kamp that he had detected, by using astrometry, a perturbation in the proper motion of Barnard's Star consistent with its having one or more planets comparable in mass with Jupiter. Van de Kamp had been observing the star from 1938, attempting, with colleagues at the Sproul Observatory at Swarthmore College, to find minuscule variations of one micrometre in its position on photographic plates consistent with orbital perturbations that would indicate a planetary companion; this involved as many as ten people averaging their results in looking at plates, to avoid systemic individual errors.
Van de Kamp's initial suggestion was a planet having about at a distance of 4.4AU in a slightly eccentric orbit, and these measurements were apparently refined in a 1969 paper. Later that year, Van de Kamp suggested that there were two planets of 1.1 and . Other astronomers subsequently repeated Van de Kamp's measurements, and two papers in 1973 undermined the claim of a planet or planets. George Gatewood and Heinrich Eichhorn, at a different observatory and using newer plate measuring techniques, failed to verify the planetary companion. Another paper published by John L. Hershey four months earlier, also using the Swarthmore observatory, found that changes in the astrometric field of various stars correlated to the timing of adjustments and modifications that had been carried out on the refractor telescope's objective lens; the claimed planet was attributed to an artifact of maintenance and upgrade work. The affair has been discussed as part of a broader scientific review. Van de Kamp never acknowledged any error and published a further claim of two planets' existence as late as 1982; he died in 1995. Wulff Heintz, Van de Kamp's successor at Swarthmore and an expert on double stars, questioned his findings and began publishing criticisms from 1976 onwards. The two men were reported to have become estranged because of this.
Refuted 2018 planetary claim. In November 2018, an international team of astronomers announced the detection by radial velocity of a candidate super-Earth orbiting in relatively close proximity to Barnard's Star. Led by Ignasi Ribas of Spain their work, conducted over two decades of observation, provided strong evidence of the planet's existence. However, the existence of the planet was refuted in 2021, when the radial velocity signal was found to originate from long-term activity on the star itself, related to its rotation. Further studies in the following years confirmed this result. Dubbed Barnard's Star b, the planet was thought to be near the stellar system's snow line, which is an ideal spot for the icy accretion of proto-planetary material. It was thought to orbit at 0.4AU every 233 days and had a proposed minimum mass of . The planet would have most likely been frigid, with an estimated surface temperature of about , and lie outside Barnard Star's presumed habitable zone. Direct imaging of the planet and its tell-tale light signature would have been possible in the decade after its discovery. Further faint and unaccounted-for perturbations in the system suggested there may be a second planetary companion even farther out.
Refining planetary boundaries. For the more than four decades between van de Kamp's rejected claim and the eventual announcement of a planet candidate, Barnard's Star was carefully studied and the mass and orbital boundaries for possible planets were slowly tightened. M dwarfs such as Barnard's Star are more easily studied than larger stars in this regard because their lower masses render perturbations more obvious. Null results for planetary companions continued throughout the 1980s and 1990s, including interferometric work with the Hubble Space Telescope in 1999. Gatewood was able to show in 1995 that planets with were impossible around Barnard's Star, in a paper which helped refine the negative certainty regarding planetary objects in general. In 1999, the Hubble work further excluded planetary companions of with an orbital period of less than 1,000 days (Jupiter's orbital period is 4,332 days), while Kuerster determined in 2003 that within the habitable zone around Barnard's Star, planets are not possible with an ""M" sin "i" value greater than 7.5 times the mass of the Earth (), or with a mass greater than 3.1 times the mass of Neptune (much lower than van de Kamp's smallest suggested value).
In 2013, a research paper was published that further refined planet mass boundaries for the star. Using radial velocity measurements, taken over a period of 25 years, from the Lick and Keck Observatories and applying Monte Carlo analysis for both circular and eccentric orbits, upper masses for planets out to 1,000-day orbits were determined. Planets above two Earth masses in orbits of less than 10 days were excluded, and planets of more than ten Earth masses out to a two-year orbit were also confidently ruled out. It was also discovered that the habitable zone of the star seemed to be devoid of roughly Earth-mass planets or larger, save for face-on orbits. Even though this research greatly restricted the possible properties of planets around Barnard's Star, it did not rule them out completely as terrestrial planets were always going to be difficult to detect. NASA's Space Interferometry Mission, which was to begin searching for extrasolar Earth-like planets, was reported to have chosen Barnard's Star as an early search target, however the mission was shut down in 2010. ESA's similar Darwin interferometry mission had the same goal, but was stripped of funding in 2007.
The analysis of radial velocities that eventually led to the announcement of a candidate super-Earth orbiting Barnard's Star was also used to set more precise upper mass limits for possible planets, up to and within the habitable zone: a maximum of up to the inner edge and on the outer edge of the optimistic habitable zone, corresponding to orbital periods of up to 10 and 40 days respectively. Therefore, it appears that Barnard's Star indeed does not host Earth-mass planets or larger, in hot and temperate orbits, unlike other M-dwarf stars that commonly have these types of planets in close-in orbits. Stellar flares. 1998. In 1998 a stellar flare on Barnard's Star was detected based on changes in the spectral emissions on 17 July during an unrelated search for variations in the proper motion. Four years passed before the flare was fully analyzed, at which point it was suggested that the flare's temperature was 8,000K, more than twice the normal temperature of the star. Given the essentially random nature of flares, Diane Paulson, one of the authors of that study, noted that "the star would be fantastic for amateurs to observe".
The flare was surprising because intense stellar activity is not expected in stars of such age. Flares are not completely understood, but are believed to be caused by strong magnetic fields, which suppress plasma convection and lead to sudden outbursts: strong magnetic fields occur in rapidly rotating stars, while old stars tend to rotate slowly. For Barnard's Star to undergo an event of such magnitude is thus presumed to be a rarity. Research on the star's periodicity, or changes in stellar activity over a given timescale, also suggest it ought to be quiescent; 1998 research showed weak evidence for periodic variation in the star's brightness, noting only one possible starspot over 130 days. Stellar activity of this sort has created interest in using Barnard's Star as a proxy to understand similar stars. It is hoped that photometric studies of its X-ray and UV emissions will shed light on the large population of old M dwarfs in the galaxy. Such research has astrobiological implications: given that the habitable zones of M dwarfs are close to the star, any planet located therein would be strongly affected by solar flares, stellar winds, and plasma ejection events. 2019.
In 2019, two additional ultraviolet stellar flares were detected, each with far-ultraviolet energy of 3×1022 joules, together with one X-ray stellar flare with energy 1.6×1022 joules. The flare rate observed to date is enough to cause loss of 87 Earth atmospheres per billion years through thermal processes and ≈3 Earth atmospheres per billion years through ion loss processes on Barnard's Star b. Environment. Barnard's Star shares much the same neighborhood as the Sun. The neighbors of Barnard's Star are generally of red dwarf size, the smallest and most common star type. Its closest neighbor is currently the red dwarf Ross 154, at a distance of 1.66 parsecs (5.41 light-years). The Sun (5.98 light-years) and Alpha Centauri (6.47 light-years) are, respectively, the next closest systems. From Barnard's Star, the Sun would appear on the diametrically opposite side of the sky at coordinates RA=, Dec=, in the westernmost part of the constellation Monoceros. The absolute magnitude of the Sun is 4.83, and at a distance of 1.834 parsecs, it would be a first-magnitude star, as Pollux is from the Earth.
Proposed exploration. Project Daedalus. Barnard's Star was studied as part of Project Daedalus. Undertaken between 1973 and 1978, the study suggested that rapid, uncrewed travel to another star system was possible with existing or near-future technology. Barnard's Star was chosen as a target partly because it was believed to have planets. The theoretical model suggested that a nuclear pulse rocket employing nuclear fusion (specifically, electron bombardment of deuterium and helium-3) and accelerating for four years could achieve a velocity of 12% of the speed of light. The star could then be reached in 50 years, within a human lifetime. Along with detailed investigation of the star and any companions, the interstellar medium would be examined and baseline astrometric readings performed. The initial Project Daedalus model sparked further theoretical research. In 1980, Robert Freitas suggested a more ambitious plan: a self-replicating spacecraft intended to search for and make contact with extraterrestrial life. Built and launched in Jupiter's orbit, it would reach Barnard's Star in 47 years under parameters similar to those of the original Project Daedalus. Once at the star, it would begin automated self-replication, constructing a factory, initially to manufacture exploratory probes and eventually to create a copy of the original spacecraft after 1,000 years.
Bayer designation A Bayer designation is a stellar designation in which a specific star is identified by a Greek or Latin letter followed by the genitive form of its parent constellation's Latin name. The original list of Bayer designations contained 1564 stars. The brighter stars were assigned their first systematic names by the German astronomer Johann Bayer in 1603, in his star atlas "Uranometria". Bayer catalogued only a few stars too far south to be seen from Germany, but later astronomers (including Nicolas-Louis de Lacaille and Benjamin Apthorp Gould) supplemented Bayer's catalog with entries for southern constellations. Scheme. Bayer assigned a lowercase Greek letter (alpha (α), beta (β), gamma (γ), etc.) or a Latin letter (A, b, c, etc.) to each star he catalogued, combined with the Latin name of the star's parent constellation in genitive (possessive) form. The constellation name is frequently abbreviated to a standard three-letter form. For example, Aldebaran in the constellation Taurus (the Bull) is designated "α Tauri" (abbreviated "α Tau", pronounced "Alpha Tauri"), which means "Alpha of the Bull".
Bayer used Greek letters for the brighter stars, but the Greek alphabet has only twenty-four letters, while a single constellation may contain fifty or more stars visible to the naked eye. When the Greek letters ran out, Bayer continued with Latin letters: uppercase "A", followed by lowercase "b" through "z" (omitting "j" and "v", but "o" was included), for a total of another 24 letters. Bayer did not label "permanent" stars with uppercase letters (except for "A", which he used instead of "a" to avoid confusion with "α"). However, a number of stars in southern constellations have uppercase letter designations, like B Centauri and G Scorpii. These letters were assigned by later astronomers, notably Lacaille in his "Coelum Australe Stelliferum" and Gould in his "Uranometria Argentina". Lacaille followed Bayer's use of Greek letters, but this was insufficient for many constellations. He used first the lowercase letters, starting with "a", and if needed the uppercase letters, starting with "A", thus deviating somewhat from Bayer's practice. Lacaille used the Latin alphabet three times over in the large constellation Argo Navis, once for each of the three areas that are now the constellations of Carina, Puppis and Vela. That was still insufficient for the number of stars, so he also used uppercase Latin letters such as N Velorum and Q Puppis. Lacaille assigned uppercase letters between R and Z in several constellations, but these have either been dropped to allow the assignment of those letters to variable stars or have actually turned out to be variable.
Order by magnitude class. In most constellations, Bayer assigned Greek and Latin letters to stars within a constellation in rough order of apparent brightness, from brightest to dimmest. The order is not necessarily a precise labeling from brightest to dimmest: in Bayer's day stellar brightness could not be measured precisely. Instead, stars were traditionally assigned to one of six magnitude classes (the brightest to first magnitude, the dimmest to sixth), and Bayer typically ordered stars within a constellation by class: all the first-magnitude stars (in some order), followed by all the second-magnitude stars, and so on. Within each magnitude class, Bayer made no attempt to arrange stars by relative brightness. As a result, the brightest star in each class did not always get listed first in Bayer's order—and the brightest star overall did not necessarily get the designation "Alpha". A good example is the constellation Gemini, where Pollux is Beta Geminorum and the slightly dimmer Castor is Alpha Geminorum.
In addition, Bayer did not always follow the magnitude class rule; he sometimes assigned letters to stars according to their location within a constellation, or the order of their rising, or to historical or mythological details. Occasionally the order looks quite arbitrary. Of the 88 modern constellations, there are at least 30 in which Alpha is not the brightest star, and four of those lack a star labeled "Alpha" altogether. The constellations with no Alpha-designated star include Vela and Puppis—both formerly part of Argo Navis, whose Greek-letter stars were split among three constellations. Canopus, the former α Argus, is now α Carinae in the modern constellation Carina. Norma's Alpha and Beta were reassigned to Scorpius and re-designated N and H Scorpii respectively, leaving Norma with no Alpha. Francis Baily died before designating an Alpha in Leo Minor, so it also has no Alpha. (The star 46 Leonis Minoris would have been the obvious candidate.) Orion as an example. In Orion, Bayer first designated Betelgeuse and Rigel, the two 1st-magnitude stars (those of magnitude 1.5 or less), as Alpha and Beta from north to south, with Betelgeuse (the shoulder) coming ahead of Rigel (the foot), even though the latter is usually the brighter. (Betelgeuse is a variable star and can at its maximum occasionally outshine Rigel.) Bayer then repeated the procedure for the stars of the 2nd magnitude, labeling them from "gamma" through "zeta" in "top-down" (north-to-south) order. Letters as far as Latin "p" were used for stars of the sixth magnitude.
Bayer's miscellaneous labels. Although Bayer did not use uppercase Latin letters (except "A") for "fixed stars", he did use them to label other items shown on his charts, such as neighboring constellations, "temporary stars", miscellaneous astronomical objects, or reference lines like the Tropic of Cancer. In Cygnus, for example, Bayer's fixed stars run through "g", and on this chart Bayer employs "H" through "P" as miscellaneous labels, mostly for neighboring constellations. Bayer did not intend such labels as catalog designations, but some have survived to refer to astronomical objects: P Cygni for example is still used as a designation for Nova Cyg 1600. Tycho's Star (SN 1572), another "temporary star", appears as B Cassiopeiae. In charts for constellations that did not exhaust the Greek letters, Bayer sometimes used the leftover Greek letters for miscellaneous labels as well. Revised designations. Ptolemy designated four stars as "border stars", each shared by two constellations: Alpheratz (in Andromeda and Pegasus), Elnath (in Taurus and Auriga), Nu Boötis (Nu1 and Nu2)(in Boötes and Hercules) and Fomalhaut (in Piscis Austrinus and Aquarius). Bayer assigned the first three of these stars a Greek letter from both constellations: , , and . (He catalogued Fomalhaut only once, as Alpha Piscis Austrini.) When the International Astronomical Union (IAU) assigned definite boundaries to the constellations in 1930, it declared that stars and other celestial objects can belong to only one constellation. Consequently, the redundant second designation in each pair above has dropped out of use.
Bayer assigned two stars duplicate names by mistake: (duplicated as ) and (Kappa1 and Kappa2) (duplicated as ). He corrected these in a later atlas, and the duplicate names were no longer used. Other cases of multiple Bayer designations arose when stars named by Bayer in one constellation were transferred by later astronomers to a different constellation. Bayer's Gamma and Omicron Scorpii, for example, were later reassigned from Scorpius to Libra and given the new names Sigma and Upsilon Librae. (To add to the confusion, the star now known as Omicron Scorpii was not named by Bayer but was assigned the designation o Scorpii (Latin lowercase 'o') by Lacaille—which later astronomers misinterpreted as omicron once Bayer's omicron had been reassigned to Libra.) A few stars no longer lie (according to the modern constellation boundaries) within the constellation for which they are named. The proper motion of Rho Aquilae, for example, carried it across the boundary into Delphinus in 1992. A further complication is the use of numeric superscripts to distinguish neighboring stars that Bayer (or a later astronomer) labeled with a common letter. Usually these are double stars (mostly optical doubles rather than true binary stars), but there are some exceptions such as the chain of stars π1, π2, π3, π4, π5 and π6 Orionis. The most stars given the same Bayer designation but with an extra number attached to it is Psi Aurigae. (ψ1, ψ2, ψ3, ψ4, ψ5, ψ6, ψ7, ψ8, ψ9, ψ10, although according to the modern IAU constellation boundaries, ψ10 lies in Lynx).
Boötes Boötes ( ) is a constellation in the northern sky, located between 0° and +60° declination, and 13 and 16 hours of right ascension on the celestial sphere. The name comes from , which comes from 'herdsman' or 'plowman' (literally, 'ox-driver'; from "boûs" 'cow'). One of the 48 constellations described by the 2nd-century astronomer Ptolemy, Boötes is now one of the 88 modern constellations. It contains the fourth-brightest star in the night sky, the orange giant Arcturus. Epsilon Boötis, or Izar, is a colourful multiple star popular with amateur astronomers. Boötes is home to many other bright stars, including eight above the fourth magnitude and an additional 21 above the fifth magnitude, making a total of 29 stars easily visible to the naked eye. History and mythology. In ancient Babylon, the stars of Boötes were known as SHU.PA. They were apparently depicted as the god Enlil, who was the leader of the Babylonian pantheon and special patron of farmers. Boötes may have been represented by the animal foreleg constellation in ancient Egypt, resembling that of an ox sufficiently to have been originally proposed as the "foreleg of ox" by Berio.
Homer mentions Boötes in the "Odyssey" as a celestial reference for navigation, describing it as "late-setting" or "slow to set". Exactly whom Boötes is supposed to represent in Greek mythology is not clear. According to one version, he was a son of Demeter, Philomenus, twin brother of Plutus, a plowman who drove the oxen in the constellation Ursa Major. This agrees with the constellation's name. The ancient Greeks saw the asterism now called the "Big Dipper" or "Plough" as a cart with oxen. Some myths say that Boötes invented the plow and was memorialized for his ingenuity as a constellation. Another myth associated with Boötes by Hyginus is that of Icarius, who was schooled as a grape farmer and winemaker by Dionysus. Icarius made wine so strong that those who drank it appeared poisoned, which caused shepherds to avenge their supposedly poisoned friends by killing Icarius. Maera, Icarius' dog, brought his daughter Erigone to her father's body, whereupon both she and the dog died by suicide. Zeus then chose to honor all three by placing them in the sky as constellations: Icarius as Boötes, Erigone as Virgo, and Maera as Canis Major or Canis Minor.
Following another reading, the constellation is identified with Arcas and also referred to as Arcas and Arcturus, son of Zeus and Callisto. Arcas was brought up by his maternal grandfather Lycaon, to whom one day Zeus went and had a meal. To verify that the guest was really the king of the gods, Lycaon killed his grandson and prepared a meal made from his flesh. Zeus noticed and became very angry, transforming Lycaon into a wolf and giving life back to his son. In the meantime Callisto had been transformed into a she-bear by Zeus's wife Hera, who was angry at Zeus's infidelity. This is corroborated by the Greek name for Boötes, "Arctophylax", which means "Bear Watcher". Callisto, in the form of a bear was almost killed by her son, who was out hunting. Zeus rescued her, taking her into the sky where she became Ursa Major, "the Great Bear". Arcturus, the name of the constellation's brightest star, comes from the Greek word meaning "guardian of the bear". Sometimes Arcturus is depicted as leading the hunting dogs of nearby Canes Venatici and driving the bears of Ursa Major and Ursa Minor.
Several former constellations were formed from stars now included in Boötes. Quadrans Muralis, the Quadrant, was a constellation created near Beta Boötis from faint stars. It was designated in 1795 by Jérôme Lalande, an astronomer who used a quadrant to perform detailed astronometric measurements. Lalande worked with Nicole-Reine Lepaute and others to predict the 1758 return of Halley's Comet. Quadrans Muralis was formed from the stars of eastern Boötes, western Hercules and Draco. It was originally called "Le Mural" by Jean Fortin in his 1795 "Atlas Céleste"; it was not given the name "Quadrans Muralis" until Johann Bode's 1801 "Uranographia". The constellation was quite faint, with its brightest stars reaching the 5th magnitude. Mons Maenalus, representing the Maenalus mountains, was created by Johannes Hevelius in 1687 at the foot of the constellation's figure. The mountain was named for the son of Lycaon, Maenalus. The mountain, one of Diana's hunting grounds, was also holy to Pan. Non-Western astronomy.
The stars of Boötes were incorporated into many different Chinese constellations. Arcturus was part of the most prominent of these, variously designated as the celestial king's throne ("Tian Wang") or the Blue Dragon's horn ("Daijiao"); the name "Daijiao", meaning "great horn", is more common. Arcturus was given such importance in Chinese celestial mythology because of its status marking the beginning of the lunar calendar, as well as its status as the brightest star in the northern night sky. Two constellations flanked "Daijiao": "Yousheti" to the right and "Zuosheti" to the left; they represented companions that orchestrated the seasons. "Zuosheti" was formed from modern Zeta, Omicron and Pi Boötis, while "Yousheti" was formed from modern Eta, Tau and Upsilon Boötis. "Dixi", the Emperor's ceremonial banquet mat, was north of Arcturus, consisting of the stars 12, 11 and 9 Boötis. Another northern constellation was "Qigong", the Seven Dukes, which mostly straddled the Boötes-Hercules border. It included either Delta Boötis or Beta Boötis as its terminus.
The other Chinese constellations made up of the stars of Boötes existed in the modern constellation's north; they are all representations of weapons. "Tianqiang", the spear, was formed from Iota, Kappa and Theta Boötis; "Genghe", variously representing a lance or shield, was formed from Epsilon, Rho and Sigma Boötis. There were also two weapons made up of a singular star. "Xuange", the halberd, was represented by Lambda Boötis, and "Zhaoyao", either the sword or the spear, was represented by Gamma Boötis. Two Chinese constellations have an uncertain placement in Boötes. "Kangchi", the lake, was placed south of Arcturus, though its specific location is disputed. It may have been placed entirely in Boötes, on either side of the Boötes-Virgo border, or on either side of the Virgo-Libra border. The constellation "Zhouding", a bronze tripod-mounted container used for food, was sometimes cited as the stars 1, 2 and 6 Boötis. However, it has also been associated with three stars in Coma Berenices. Boötes is also known to Native American cultures. In Yup'ik language, Boötes is "Taluyaq", literally "fish trap," and the funnel-shaped part of the fish trap is known as "Ilulirat."
Characteristics. Boötes is a constellation bordered by Virgo to the south, Coma Berenices and Canes Venatici to the west, Ursa Major to the northwest, Draco to the northeast, and Hercules, Corona Borealis and Serpens Caput to the east. The three-letter abbreviation for the constellation, as adopted by the International Astronomical Union in 1922, is "Boo". The official constellation boundaries, as set by Belgian astronomer Eugène Delporte in 1930, are defined by a polygon of 16 segments. In the equatorial coordinate system, the right ascension coordinates of these borders lie between and , while the declination coordinates stretch from +7.36° to +55.1°. Covering 907 square degrees, Boötes culminates at midnight around 2 May and ranks 13th in area. Colloquially, its pattern of stars has been likened to a kite or ice cream cone. However, depictions of Boötes have varied historically. Aratus described him circling the north pole, herding the two bears. Later ancient Greek depictions, described by Ptolemy, have him holding the reins of his hunting dogs (Canes Venatici) in his left hand, with a spear, club, or staff in his right hand. After Hevelius introduced Mons Maenalus in 1681, Boötes was often depicted standing on the Peloponnese mountain. By 1801, when Johann Bode published his "Uranographia", Boötes had acquired a sickle, which was also held in his left hand.
The placement of Arcturus has also been mutable through the centuries. Traditionally, Arcturus lay between his thighs, as Ptolemy depicted him. However, Germanicus Caesar deviated from this tradition by placing Arcturus "where his garment is fastened by a knot". Features. Stars. In his "Uranometria", Johann Bayer used the Greek letters alpha through to omega and then A to k to label what he saw as the most prominent 35 stars in the constellation, with subsequent astronomers splitting Kappa, Mu, Nu and Pi as two stars each. Nu is also the same star as Psi Herculis. John Flamsteed numbered 54 stars for the constellation. Located 36.7 light-years from Earth, Arcturus, or Alpha Boötis, is the brightest star in Boötes and the fourth-brightest star in the sky at an apparent magnitude of −0.05; It is also the brightest star north of the celestial equator, just shading out Vega and Capella. Its name comes from the Greek for "bear-keeper". An orange giant of spectral class K1.5III, Arcturus is an ageing star that has exhausted its core supply of hydrogen and cooled and expanded to a diameter of 27 solar diameters, equivalent to approximately 32 million kilometers. Though its mass is approximately one solar mass (), Arcturus shines with 133 times the luminosity of the Sun ().
Bayer located Arcturus above the Herdman's left knee in his "Uranometria". Nearby Eta Boötis, or Muphrid, is the uppermost star denoting the left leg. It is a 2.68-magnitude star 37 light-years distant with a spectral class of G0IV, indicating it has just exhausted its core hydrogen and is beginning to expand and cool. It is 9 times as luminous as the Sun and has 2.7 times its diameter. Analysis of its spectrum reveals that it is a spectroscopic binary. Muphrid and Arcturus lie only 3.3 light-years away from each other. Viewed from Arcturus, Muphrid would have a visual magnitude of −2½, while Arcturus would be around visual magnitude −4½ when seen from Muphrid. Marking the herdsman's head is Beta Boötis, or Nekkar, a yellow giant of magnitude 3.5 and spectral type G8IIIa. Like Arcturus, it has expanded and cooled off the main sequence—likely to have lived most of its stellar life as a blue-white B-type main sequence star. Its common name comes from the Arabic phrase for "ox-driver". It is 219 light-years away and has a luminosity of .
Located 86 light-years distant, Gamma Boötis, or Seginus, is a white giant star of spectral class A7III, with a luminosity 34 times and diameter 3.5 times that of the Sun. It is a Delta Scuti variable, ranging between magnitudes 3.02 and 3.07 every 7 hours. These stars are short period (six hours at most) pulsating stars that have been used as standard candles and as subjects to study asteroseismology. Delta Boötis is a wide double star with a primary of magnitude 3.5 and a secondary of magnitude 7.8. The primary is a yellow giant that has cooled and expanded to 10.4 times the diameter of the Sun. Of spectral class G8IV, it is around 121 light-years away, while the secondary is a yellow main sequence star of spectral type G0V. The two are thought to take 120,000 years to orbit each other. Mu Boötis, known as Alkalurops, is a triple star popular with amateur astronomers. It has an overall magnitude of 4.3 and is 121 light-years away. Its name is from the Arabic phrase for "club" or "staff". The primary appears to be of magnitude 4.3 and is blue-white. The secondary appears to be of magnitude 6.5, but is actually a close double star itself with a primary of magnitude 7.0 and a secondary of magnitude 7.6. The secondary and tertiary stars have an orbital period of 260 years. The primary has an absolute magnitude of 2.6 and is of spectral class F0. The secondary and tertiary stars are separated by 2 arcseconds; the primary and secondary are separated by 109.1 arcseconds at an angle of 171 degrees.
Nu Boötis is an optical double star. The primary is an orange giant of magnitude 5.0 and the secondary is a white star of magnitude 5.0. The primary is 870 light-years away and the secondary is 430 light-years. Epsilon Boötis, also known as "Izar" or "Pulcherrima", is a close triple star popular with amateur astronomers and the most prominent binary star in Boötes. The primary is a yellow- or orange-hued magnitude 2.5 giant star, the secondary is a magnitude 4.6 blue-hued main-sequence star, and the tertiary is a magnitude 12.0 star. The system is 210 light-years away. The name "Izar" comes from the Arabic word for "girdle" or "loincloth", referring to its location in the constellation. The name "Pulcherrima" comes from the Latin phrase for "most beautiful", referring to its contrasting colors in a telescope. The primary and secondary stars are separated by 2.9 arcseconds at an angle of 341 degrees; the primary's spectral class is K0 and it has a luminosity of . To the naked eye, Izar has a magnitude of 2.37.
Nearby Rho and Sigma Boötis denote the herdsman's waist. Rho is an orange giant of spectral type K3III located around 160 light-years from Earth. It is ever so slightly variable, wavering by 0.003 of a magnitude from its average of 3.57. Sigma, a yellow-white main-sequence star of spectral type F3V, is suspected of varying in brightness from 4.45 to 4.49. It is around 52 light-years distant. Traditionally known as "Aulād al Dhiʼbah" (أولاد الضباع – "aulād al dhiʼb"), "the Whelps of the Hyenas", Theta, Iota, Kappa and Lambda Boötis (or Xuange) are a small group of stars in the far north of the constellation. The magnitude 4.05 Theta Boötis has a spectral type of F7 and an absolute magnitude of 3.8. Iota Boötis is a triple star with a primary of magnitude 4.8 and spectral class of A7, a secondary of magnitude 7.5, and a tertiary of magnitude 12.6. The primary is 97 light-years away. The primary and secondary stars are separated by 38.5 arcseconds, at an angle of 33 degrees. The primary and tertiary stars are separated by 86.7 arcseconds at an angle of 194 degrees. Both the primary and tertiary appear white in a telescope, but the secondary appears yellow-hued.
Kappa Boötis is another wide double star. The primary is 155 light-years away and has a magnitude of 4.5. The secondary is 196 light-years away and has a magnitude of 6.6. The two components are separated by 13.4 arcseconds, at an angle of 236 degrees. The primary, with spectral class A7, appears white and the secondary appears bluish. An apparent magnitude 4.18 type A0p star, Lambda Boötis is the prototype of a class of chemically peculiar stars, only some of which pulsate as Delta Scuti-type stars. The distinction between the Lambda Boötis stars as a class of stars with peculiar spectra, and the Delta Scuti stars whose class describes pulsation in low-overtone pressure modes, is an important one. While many Lambda Boötis stars pulsate and are Delta Scuti stars, not many Delta Scuti stars have Lambda Boötis peculiarities, since the Lambda Boötis stars are a much rarer class whose members can be found both inside and outside the Delta Scuti instability strip. Lambda Boötis stars are dwarf stars that can be either spectral class A or F. Like BL Boötis-type stars they are metal-poor. Scientists have had difficulty explaining the characteristics of Lambda Boötis stars, partly because only around 60 confirmed members exist, but also due to heterogeneity in the literature. Lambda has an absolute magnitude of 1.8.
There are two dimmer F-type stars, magnitude 4.83 12 Boötis, class F8; and magnitude 4.93 45 Boötis, class F5. Xi Boötis is a G8 yellow dwarf of magnitude 4.55, and absolute magnitude is 5.5. Two dimmer G-type stars are magnitude 4.86 31 Boötis, class G8, and magnitude 4.76 44 Boötis, class G0. Of apparent magnitude 4.06, Upsilon Boötis has a spectral class of K5 and an absolute magnitude of −0.3. Dimmer than Upsilon Boötis is magnitude 4.54 Phi Boötis, with a spectral class of K2 and an absolute magnitude of −0.1. Just slightly dimmer than Phi at magnitude 4.60 is O Boötis, which, like Izar, has a spectral class of K0. O Boötis has an absolute magnitude of 0.2. The other four dim stars are magnitude 4.91 6 Boötis, class K4; magnitude 4.86 20 Boötis, class K3; magnitude 4.81 Omega Boötis, class K4; and magnitude 4.83 A Boötis, class K1. There is one bright B-class star in Boötes; magnitude 4.93 Pi1 Boötis, also called Alazal. It has a spectral class of B9 and is 40 parsecs from Earth. There is also one M-type star, magnitude 4.81 34 Boötis. It is of class gM0.
Multiple stars. Besides Pulcherrima and Alkalurops, there are several other binary stars in Boötes: 44 Boötis (i Boötis) is a double variable star 42 light-years away. It has an overall magnitude of 4.8 and appears yellow to the naked eye. The primary is of magnitude 5.3 and the secondary is of magnitude 6.1; their orbital period is 220 years. The secondary is itself an eclipsing variable star with a range of 0.6 magnitudes; its orbital period is 6.4 hours. It is a W Ursae Majoris variable that ranges in magnitude from a minimum of 7.1 to a maximum of 6.5 every 0.27 days. Both stars are G-type stars. Another eclipsing binary star is ZZ Boötis, which has two F2-type components of almost equal mass, and ranges in magnitude from a minimum of 6.79 to a maximum of 7.44 over a period of 5.0 days. Variable stars. Two of the brighter Mira-type variable stars in the constellation are R and S Boötis. Both are red giants that range greatly in magnitude—from 6.2 to 13.1 over 223.4 days, and 7.8 to 13.8 over a period of 270.7 days, respectively. Also red giants, V and W Boötis are semi-regular variable stars that range in magnitude from 7.0 to 12.0 over a period of 258 days, and magnitude 4.7 to 5.4 over 450 days, respectively.
BL Boötis is the prototype of its class of pulsating variable stars, the anomalous Cepheids. These stars are somewhat similar to Cepheid variables, but they do not have the same relationship between their period and luminosity. Their periods are similar to RRAB variables; however, they are far brighter than these stars. BL Boötis is a member of the cluster NGC 5466. Anomalous Cepheids are metal poor and have masses not much larger than the Sun's, on average, . BL Boötis type stars are a subtype of RR Lyrae variables. T Boötis was a nova observed in April 1860 at a magnitude of 9.7. It has never been observed since, but that does not preclude the possibility of it being a highly irregular variable star or a recurrent nova. Stars with planetary systems. Extrasolar planets have been discovered encircling ten stars in Boötes as of 2012. Tau Boötis is orbited by a large planet, discovered in 1999. The host star itself is a magnitude 4.5 star of type F7V, 15.6 parsecs from Earth. It has a mass of and a radius of 1.331 solar radii (); a companion, GJ527B, orbits at a distance of 240 AU. Tau Boötis b, the sole planet discovered in the system, orbits at a distance of 0.046 AU every 3.31 days. Discovered through radial velocity measurements, it has a mass of 5.95 Jupiter masses (). This makes it a hot Jupiter. The host star and planet are tidally locked, meaning that the planet's orbit and the star's particularly high rotation are synchronized. Furthermore, a slight variability in the host star's light may be caused by magnetic interactions with the planet. Carbon monoxide is present in the planet's atmosphere. Tau Boötis b does not transit its star, rather, its orbit is inclined 46 degrees.
Like Tau Boötis b, HAT-P-4b is also a hot Jupiter. It is noted for orbiting a particularly metal-rich host star and being of low density. Discovered in 2007, HAT-P-4 b has a mass of and a radius of . It orbits every 3.05 days at a distance of 0.04 AU. HAT-P-4, the host star, is an F-type star of magnitude 11.2, 310 parsecs from Earth. It is larger than the Sun, with a mass of and a radius of . Boötes is also home to multiple-planet systems. HD 128311 is the host star for a two-planet system, consisting of HD 128311 b and HD 128311 c, discovered in 2002 and 2005, respectively. HD 128311 b is the smaller planet, with a mass of ; it was discovered through radial velocity observations. It orbits at almost the same distance as Earth, at 1.099 AU; however, its orbital period is significantly longer at 448.6 days. The larger of the two, HD 128311 c, has a mass of and was discovered in the same manner. It orbits every 919 days inclined at 50°, and is 1.76 AU from the host star. The host star, HD 128311, is a K0V-type star located 16.6 parsecs from Earth. It is smaller than the Sun, with a mass of and a radius of ; it also appears below the threshold of naked-eye visibility at an apparent magnitude of 7.51.
There are several single-planet systems in Boötes. HD 132406 is a Sun-like star of spectral type G0V with an apparent magnitude of 8.45, 231.5 light-years from Earth. It has a mass of and a radius of . The star is orbited by a gas giant, HD 132406 b, discovered in 2007. HD 132406 orbits 1.98 AU from its host star with a period of 974 days and has a mass of . The planet was discovered by the radial velocity method. WASP-23 is a star with one orbiting planet, WASP-23 b. The planet, discovered by the transit method in 2010, orbits every 2.944 days very close to its Sun, at 0.0376 AU. It is smaller than Jupiter, at and . Its star is a K1V-type star of apparent magnitude 12.7, far below naked-eye visibility, and smaller than the Sun at and . HD 131496 is also encircled by one planet, HD 131496 b. The star is of type K0 and is located 110 parsecs from Earth; it appears at a visual magnitude of 7.96. It is significantly larger than the Sun, with a mass of and a radius of 4.6 solar radii. Its one planet, discovered in 2011 by the radial velocity method, has a mass of ; its radius is as yet undetermined. HD 131496 b orbits at a distance of 2.09 AU with a period of 883 days.
Another single planetary system in Boötes is the HD 132563 system, a triple star system. The parent star, technically HD 132563B, is a star of magnitude 9.47, 96 parsecs from Earth. It is almost exactly the size of the Sun, with the same radius and a mass only 1% greater. Its planet, HD 132563B b, was discovered in 2011 by the radial velocity method. , it orbits 2.62 AU from its star with a period of 1544 days. Its orbit is somewhat elliptical, with an eccentricity of 0.22. HD 132563B b is one of very few planets found in triple star systems; it orbits the isolated member of the system, which is separated from the other components, a spectroscopic binary, by 400 AU. Also discovered through the radial velocity method, albeit a year earlier, is HD 136418 b, a two-Jupiter-mass planet that orbits the star HD 136418 at a distance of 1.32 AU with a period of 464.3 days. Its host star is a magnitude 7.88 G5-type star, 98.2 parsecs from Earth. It has a radius of and a mass of . WASP-14 b is one of the most massive and dense exoplanets known, with a mass of and a radius of . Discovered via the transit method, it orbits 0.036 AU from its host star with a period of 2.24 days. WASP-14 b has a density of 4.6 grams per cubic centimeter, making it one of the densest exoplanets known. Its host star, WASP-14, is an F5V-type star of magnitude 9.75, 160 parsecs from Earth. It has a radius of and a mass of . It also has a very high proportion of lithium.
Deep-sky objects. Boötes is in a part of the celestial sphere facing away from the plane of our home Milky Way galaxy, and so does not have open clusters or nebulae. Instead, it has one bright globular cluster and many faint galaxies. The globular cluster NGC 5466 has an overall magnitude of 9.1 and a diameter of 11 arcminutes. It is a very loose globular cluster with fairly few stars and may appear as a rich, concentrated open cluster in a telescope. NGC 5466 is classified as a Shapley–Sawyer Concentration Class 12 cluster, reflecting its sparsity. Its fairly large diameter means that it has a low surface brightness, so it appears far dimmer than the catalogued magnitude of 9.1 and requires a large amateur telescope to view. Only approximately 12 stars are resolved by an amateur instrument. Boötes has two bright galaxies. NGC 5248 (Caldwell 45) is a type Sc galaxy (a variety of spiral galaxy) of magnitude 10.2. It measures 6.5 by 4.9 arcminutes. Fifty million light-years from Earth, NGC 5248 is a member of the Virgo Cluster of galaxies; it has dim outer arms and obvious H II regions, dust lanes and young star clusters. NGC 5676 is another type Sc galaxy of magnitude 10.9. It measures 3.9 by 2.0 arcminutes. Other galaxies include NGC 5008, a type Sc emission-line galaxy, NGC 5548, a type S Seyfert galaxy, NGC 5653, a type S HII galaxy, NGC 5778 (also classified as NGC 5825), a type E galaxy that is the brightest of its cluster, NGC 5886, and NGC 5888, a type SBb galaxy. NGC 5698 is a barred spiral galaxy, notable for being the host of the 2005 supernova SN 2005bc, which peaked at magnitude 15.3.
Further away lies the 250-million-light-year-diameter Boötes void, a huge space largely empty of galaxies. Discovered by Robert Kirshner and colleagues in 1981, it is roughly 700 million light-years from Earth. Beyond it and within the bounds of the constellation, lie two superclusters at around 830 million and 1 billion light-years distant. The Hercules–Corona Borealis Great Wall, the largest-known structure in the Universe, covers a significant part of Boötes. Meteor showers. Boötes is home to the Quadrantid meteor shower, the most prolific annual meteor shower. It was discovered in January 1835 and named in 1864 by Alexander Herschel. The radiant is located in northern Boötes near Kappa Boötis, in its namesake former constellation of Quadrans Muralis. Quadrantid meteors are dim, but have a peak visible hourly rate of approximately 100 per hour on January 3–4. The zenithal hourly rate of the Quadrantids is approximately 130 meteors per hour at their peak; it is also a very narrow shower. The Quadrantids are notoriously difficult to observe because of a low radiant and often inclement weather. The parent body of the meteor shower has been disputed for decades; however, Peter Jenniskens has proposed 2003 EH1, a minor planet, as the parent. 2003 EH1 may be linked to C/1490 Y1, a comet previously thought to be a potential parent body for the Quadrantids. 2003 EH1 is a short-period comet of the Jupiter family; 500 years ago, it experienced a catastrophic breakup event. It is now dormant. The Quadrantids had notable displays in 1982, 1985 and 2004. Meteors from this shower often appear to have a blue hue and travel at a moderate speed of 41.5–43 kilometers per second.
On April 28, 1984, a remarkable outburst of the normally placid Alpha Bootids was observed by visual observer Frank Witte from 00:00 to 2:30 UTC. In a 6 cm telescope, he observed 433 meteors in a field of view near Arcturus with a diameter of less than 1°. Peter Jenniskens comments that this outburst resembled a "typical dust trail crossing". The Alpha Bootids normally begin on April 14, peaking on April 27 and 28, and finishing on May 12. Its meteors are slow-moving, with a velocity of 20.9 kilometers per second. They may be related to Comet 73P/Schwassmann–Wachmann 3, but this connection is only theorized. The June Bootids, also known as the Iota Draconids, is a meteor shower associated with the comet 7P/Pons–Winnecke, first recognized on May 27, 1916, by William F. Denning. The shower, with its slow meteors, was not observed prior to 1916 because Earth did not cross the comet's dust trail until Jupiter perturbed Pons–Winnecke's orbit, causing it to come within of Earth's orbit the first year the June Bootids were observed.
In 1982, E. A. Reznikov discovered that the 1916 outburst was caused by material released from the comet in 1819. Another outburst of the June Bootids was not observed until 1998, because Comet Pons–Winnecke's orbit was not in a favorable position. However, on June 27, 1998, an outburst of meteors radiating from Boötes, later confirmed to be associated with Pons-Winnecke, was observed. They were incredibly long-lived, with trails of the brightest meteors lasting several seconds at times. Many fireballs, green-hued trails, and even some meteors that cast shadows were observed throughout the outburst, which had a maximum zenithal hourly rate of 200–300 meteors per hour. Two Russian astronomers determined in 2002 that material ejected from the comet in 1825 was responsible for the 1998 outburst. Ejecta from the comet dating to 1819, 1825 and 1830 was predicted to enter Earth's atmosphere on June 23, 2004. The predictions of a shower less spectacular than the 1998 showing were borne out in a display that had a maximum zenithal hourly rate of 16–20 meteors per hour that night. The June Bootids are not expected to have another outburst in the next 50 years.
Typically, only 1–2 dim, very slow meteors are visible per hour; the average June Bootid has a magnitude of 5.0. It is related to the Alpha Draconids and the Bootids-Draconids. The shower lasts from June 27 to July 5, with a peak on the night of June 28. The June Bootids are classified as a class III shower (variable), and has an average entry velocity of 18 kilometers per second. Its radiant is located 7 degrees north of Beta Boötis. The Beta Bootids is a weak shower that begins on January 5, peaks on January 16, and ends on January 18. Its meteors travel at 43 km/s. The January Bootids is a short, young meteor shower that begins on January 9, peaks from January 16 to January 18, and ends on January 18. The Phi Bootids is another weak shower radiating from Boötes. It begins on April 16, peaks on April 30 and May 1, and ends on May 12. Its meteors are slow-moving, with a velocity of 15.1 km/s. They were discovered in 2006. The shower's peak hourly rate can be as high as six meteors per hour. Though named for a star in Boötes, the Phi Bootid radiant has moved into Hercules. The meteor stream is associated with three different asteroids: 1620 Geographos, 2062 Aten and 1978 CA.
The Lambda Bootids, part of the Bootid-Coronae Borealid Complex, are a weak annual shower with moderately fast meteors; 41.75 km/s. The complex includes the Lambda Bootids, as well as the Theta Coronae Borealids and Xi Coronae Borealids. All of the Bootid-Coronae Borealid showers are Jupiter family comet showers; the streams in the complex have highly inclined orbits. There are several minor showers in Boötes, some of whose existence is yet to be verified. The Rho Bootids radiate from near the namesake star, and were hypothesized in 2010. The average Rho Bootid has an entry velocity of 43 km/s. It peaks in November and lasts for three days. The Rho Bootid shower is part of the SMA complex, a group of meteor showers related to the Taurids, which is in turn linked to the comet 2P/Encke. However, the link to the Taurid shower remains unconfirmed and may be a chance correlation. Another such shower is the Gamma Bootids, which were hypothesized in 2006. Gamma Bootids have an entry velocity of 50.3 km/s. The Nu Bootids, hypothesized in 2012, have faster meteors, with an entry velocity of 62.8 km/s. References. Citations References
Bernardino Ochino Bernardino Ochino (1487–1564) was an Italian, who was raised a Roman Catholic and later turned to Protestantism and became a Protestant reformer. Biography. Bernardino Ochino was born in Siena, the son of the barber Domenico Ochino, and at the age of 7 or 8, in around 1504, was entrusted to the order of Franciscan Friars. From 1510 he studied medicine at Perugia. Transfer to the Capuchins. At the age of 38, Ochino transferred himself in 1534 to the newly founded Order of Friars Minor Capuchin. By then he was the close friend of Juan de Valdés, Pietro Bembo, Vittoria Colonna, Pietro Martire, Carnesecchi. In 1538 he was elected vicar-general of his order. In 1539, urged by Bembo, he visited Venice and delivered a course of sermons showing a sympathy with justification by faith, which appeared more clearly in his "Dialogues" published the same year. He was suspected and denounced, but nothing ensued until the establishment of the Inquisition in Rome in June 1542, at the instigation of Cardinal Giovanni Pietro Carafa. Ochino received a citation to Rome, and set out to obey it about the middle of August. According to his own statement, he was deterred from presenting himself at Rome by the warnings of Cardinal Contarini, whom he found at Bologna, allegedly dying of poison administered by the reactionary party.
Escape to Geneva. Ochino turned aside to Florence, and after some hesitation went across the Alps to Geneva. He was cordially received by John Calvin, and published within two years several volumes of "Prediche", controversial tracts rationalizing his change of religion. He also addressed replies to marchioness Vittoria Colonna, Claudio Tolomei, and other Italian sympathizers who were reluctant to go to the same length as himself. His own breach with the Roman Catholic Church was final. Augsburg and England. In 1545 Ochino became minister of the Italian Protestant congregation at Augsburg. From this time dates his contact with Caspar Schwenckfeld. In 1546 he participated in the anti-Trinitarian Collegia Vicentina. He was compelled to flee from Augsburg when, in January 1547, the city was occupied by the imperial forces for the Diet of Augsburg. Ochino found asylum in England, where he was made a prebendary of Canterbury Cathedral, received a pension from Edward VI's privy purse, and composed his major work, the "Tragoedie or Dialoge of the unjuste usurped primacie of the Bishop of Rome". This text, originally written in Latin, is extant only in the 1549 translation of Bishop John Ponet. The form is a series of dialogues. Lucifer, enraged at the spread of Jesus's kingdom, convokes the fiends in council, and resolves to set up the pope as antichrist. The state, represented by the emperor Phocas, is persuaded to connive at the pope's assumption of spiritual authority; the other churches are intimidated into acquiescence; Lucifer's projects seem fully accomplished, when Heaven raises up Henry VIII of England and his son for their overthrow.
Several of Ochino's "Prediche" were translated into English by Anna Cooke; and he published numerous controversial treatises on the Continent. Ochino's "Che Cosa è Christo" was translated into Latin and English by the future Queen Elizabeth I of England in 1547. Zürich. In 1553 the accession of Mary I drove Ochino from England. He went to Basel, where Lelio Sozzini and the lawyer Martino Muralto were sent to secure Ochino as pastor of the Italian church at Zurich, which Ochino accepted. The Italian congregation there was composed mainly of refugees from Locarno. There for 10 years Ochino wrote books which gave increasing evidence of his alienation from the orthodoxy around him. The most important of these was the "Labyrinth", a discussion of the freedom of the will, covertly undermining the Calvinistic doctrine of predestination. In 1563 a long simmering storm burst on Ochino with the publication of his "Thirty Dialogues", in one of which his adversaries maintained that he had justified polygamy under the disguise of a pretended refutation. His dialogues on divorce and against the Trinity were also considered heretical.
Poland, and death. Ochino was not given opportunity to defend himself, and was banished from Zürich. After being refused admission by other Protestant cities, he directed his steps towards Poland, at that time the most tolerant state in Europe. He had not resided there long when an edict appeared (August 8, 1564) banishing all foreign dissidents. Fleeing the country, he encountered the plague at Pińczów; three of his four children were carried off; and he himself, worn out by misfortune, died in solitude and obscurity at Slavkov in Moravia, about the end of 1564. Legacy. Ochino's reputation among Protestants was low. He was charged by Thomas Browne in 1643 with the authorship of the legendary-apocryphal heretical treatise "De tribus Impostoribus", as well as with having carried his alleged approval of polygamy into practice. His biographer Karl Benrath justified him, representing him as a fervent evangelist and at the same time as a speculative thinker with a passion for free inquiry. The picture is of Ochino always learning and unlearning and arguing out difficult questions with himself in his dialogues, frequently without attaining to any absolute conviction.
Bay of Quinte The Bay of Quinte () is a long, narrow bay shaped like the letter "Z" on the northern shore of Lake Ontario in the province of Ontario, Canada. It is just west of the head of the Saint Lawrence River that drains the Great Lakes into the Gulf of Saint Lawrence. It is located about east of Toronto and west of Montreal. The name "Quinte" is derived from "Kenté" or Kentio, an Iroquoian village located near the south shore of the Bay. Later on, an early French Catholic mission was built at Kenté, located on the north shore of what is now Prince Edward County, leading to the Bay being named after the Mission. Officially, in the Mohawk language, the community is called , which means "the place of the bay". The Cayuga name is or , "land of two logs." The Bay, as it is known locally, provides some of the best trophy walleye angling in North America as well as most sport fish common to the great lakes. The bay is subject to algal blooms in late summer. Zebra mussels as well as the other invasive species found in the Great Lakes are present.
The Quinte area played a vital role in bootlegging during prohibition in the United States, with large volumes of liquor being produced in the area, and shipped via boat on the bay to Lake Ontario finally arriving in New York State where it was distributed. Prohibition-era illegal sales of liquor accounted for many fortunes made in and around Belleville. Tourism in the area is significant, especially in the summer months due to the Bay of Quinte and its fishing, local golf courses, provincial parks, and wineries. Geography. The northern side of the bay is defined by Ontario's mainland, while the southern side follows the shore of the Prince Edward County headland. Beginning in the east with the outlet to Lake Ontario, the bay runs west-southwest for to Picton (although this section is also called Adolphus Reach), where it turns north-northwest for another as far as Deseronto. From there it turns south-southwest again for another , running past Big Island on the south and Belleville on the north. The width of the bay rarely exceeds . The bay ends at Trenton (Quinte West) and the Trent River, both also on the north side. The Murray Canal has been cut through the "Carrying Place", the few kilometres separating the end of the bay and Lake Ontario on the west side. The Trent River is part of the Trent-Severn Waterway, a canal connecting Lake Ontario to Lake Simcoe and then Georgian Bay on Lake Huron.
There are several sub-bays off the Bay of Quinte, including Hay Bay, Big Bay, and Muscote Bay. Bay of Quinte Region. Quinte is also a region comprising several communities situated along the Bay of Quinte, including Quinte West, Brighton and the City of Belleville, which is the largest city in the Quinte Region, and represents a midpoint between Montreal, Ottawa, and Toronto. The Greater Bay of Quinte area includes the municipalities of Brighton, Quinte West, Belleville, Prince Edward County, and Greater Napanee as well as the Native Tyendinaga Mohawk Territory. Overall population of the area exceeds 200,000. Mohawks of the Bay of Quinte. The Mohawks of the Bay of Quinte (Kenhtè:ke Kanyen'kehá:ka) live on traditional Tyendinaga Mohawk Territory. Their reserve Band number 244, their current land base, is on the Bay of Quinte in southeastern Ontario east of Belleville and immediately to the west of Deseronto. The community takes its name from a variant spelling of Mohawk leader Joseph Brant's traditional Mohawk name, Thayendanegea (standardized spelling Thayentiné:ken), which means 'two pieces of fire wood beside each other'. Officially, in the Mohawk language, the community is called "Kenhtè:ke" (Tyendinaga), which means "on the bay", and was the birthplace of Tekanawí:ta. The Cayuga name is Tyendinaga, "Tayęda:ne:gęˀ or Detgayę:da:negęˀ", "land of two logs."
Education. The Quinte Region, specifically the City of Belleville, is home to Loyalist College of Applied Arts and Technology. Other post-secondary schools in the region include Maxwell College of Advanced Technology, CDI College, and Quinte Literacy. Secondary schools in the region include Albert College (private school) and Sir James Whitney (a school for the deaf and severely hearing-impaired). Industry and employment. The Bay of Quinte region is a hub for industry in eastern Ontario. The region is home to a diverse cluster of domestic and multi-national manufacturing and logistics companies. Sectors include; food processing, auto-parts, plastics and packaging, consumer goods, and more. The region's close proximity to North American markets, strong labour force and start-up and operating costs have attracted attention and new investment from companies all over the globe. Industry in the Bay of Quinte region is supported by a workforce of over 11,000. Investment attraction and industrial retention are supported regionally by the Quinte Economic Development Commission. Just a few of over 350 industries located in the Bay of Quinte Region include:
Bassoon The bassoon is a musical instrument in the woodwind family, which plays in the tenor and bass ranges. It is composed of six pieces, and is usually made of wood. It is known for its distinctive tone color, wide range, versatility, and virtuosity. It is a non-transposing instrument and typically its music is written in the bass and tenor clefs, and sometimes in the treble. There are two forms of modern bassoon: the Buffet (or French) and Heckel (or German) systems. It is typically played while sitting using a seat strap, but can be played while standing if the player has a harness to hold the instrument. Sound is produced by rolling both lips over the reed and blowing direct air pressure to cause the reed to vibrate. Its fingering system can be quite complex when compared to those of other instruments. Appearing in its modern form in the 19th century, the bassoon figures prominently in orchestral, concert band, and chamber music literature, and is occasionally heard in pop, rock, and jazz settings as well. One who plays a bassoon is called a bassoonist.
Etymology. The word bassoon comes from French and from Italian ( with the augmentative suffix ). However, the Italian name for the same instrument is , in Spanish, Dutch, Danish, Czech, Polish, Serbo-Croatian and Romanian it is , in German it is and in Portuguese it is . Fagot is an Old French word meaning a bundle of sticks. The dulcian came to be known as fagotto in Italy. However, the usual etymology that equates fagotto with "bundle of sticks" is somewhat misleading, as the latter term did not come into general use until later. However an early English variation, "faget", was used as early as 1450 to refer to firewood, which is 100 years before the earliest recorded use of the dulcian (1550). Further citation is needed to prove the lack of relation between the meaning "bundle of sticks" and "fagotto" (Italian) or variants. Some think that it may resemble the Roman fasces, a standard of bound sticks with an axe. A further discrepancy lies in the fact that the dulcian was carved out of a single block of wood—in other words, a single "stick" and not a bundle.
Characteristics. Range. The range of the bassoon begins at B1 (the first one below the bass staff) and extends upward over three octaves, roughly to the G above the treble staff (G5). However, most writing for bassoon rarely calls for notes above C5 or D5; even Stravinsky's opening solo in "The Rite of Spring" only ascends to D5. Notes higher than this are possible, but seldom written, as they are difficult to produce (often requiring specific reed design features to ensure reliability), and at any rate are quite homogeneous in timbre to the same pitches on cor anglais, which can produce them with relative ease. French bassoon has greater facility in the extreme high register, and so repertoire written for it is somewhat likelier to include very high notes, although repertoire for French system can be executed on German system without alterations and vice versa. The extensive high register of the bassoon and its frequent role as a lyric tenor have meant that tenor clef is very commonly employed in its literature after the Baroque, partly to avoid excessive ledger lines, and, beginning in the 20th century, treble clef is also seen for similar reasons.
Like other woodwind instruments, the lowest note is fixed, but A1 is possible with a special extension to the instrument—see "Extended techniques" below. Although the primary tone hole pitches are a pitched perfect 5th lower than other non-transposing Western woodwinds (effectively an octave beneath English horn) the bassoon is non-transposing, meaning that notes sounded match the written pitch. Construction. The bassoon disassembles into six main pieces, including the reed. The bell (6), extending upward; the bass joint (or long joint) (5), connecting the bell and the boot; the boot (or butt) (4), at the bottom of the instrument and folding over on itself; the wing joint (or tenor joint) (3), which extends from boot to bocal; and the bocal (or crook) (2), a crooked metal tube that attaches the wing joint to a reed (1) (). Structure. The bore of the bassoon is conical, like that of the oboe and the saxophone, and the two adjoining bores of the boot joint are connected at the bottom of the instrument with a U-shaped metal connector. Both bore and tone holes are precision-machined, and each instrument is finished by hand for proper tuning. The walls of the bassoon are thicker at various points along the bore; here, the tone holes are drilled at an angle to the axis of the bore, which reduces the distance between the holes on the exterior. This ensures coverage by the fingers of the average adult hand. Playing is facilitated by closing the distance between the widely spaced holes with a complex system of key work, which extends throughout nearly the entire length of the instrument. The overall height of the bassoon stretches to tall, but the total sounding length is considering that the tube is doubled back on itself. There are also short-reach bassoons made for the benefit of young or petite players.
Materials. A modern beginner's bassoon is generally made of maple, with medium-hardness types such as sycamore maple and sugar maple preferred. Less-expensive models are also made of materials such as polypropylene and ebonite, primarily for student and outdoor use. Metal bassoons were made in the past but have not been produced by any major manufacturer since 1889. Double Reeds. The art of reed-making has been practiced for several hundred years, some of the earliest known reeds having been made for the dulcian, a predecessor of the bassoon. Current methods of reed-making consist of a set of basic methods; however, individual bassoonists' playing styles vary greatly and thus require that reeds be customized to best suit their respective bassoonist. Advanced players usually make their own reeds to this end. With regards to commercially made reeds, many companies and individuals offer pre-made reeds for sale, but players often find that such reeds still require adjustments to suit their particular playing style.
Modern bassoon reeds, made of "Arundo donax" cane, are often made by the players themselves, although beginner bassoonists tend to buy their reeds from professional reed makers or use reeds made by their teachers. Reeds begin with a length of tube cane that is split into three or four pieces using a tool called a cane splitter. The cane is then trimmed and "gouged" to the desired thickness, leaving the bark attached. After soaking, the gouged cane is cut to the proper shape and milled to the desired thickness, or "profiled", by removing material from the bark side. This can be done by hand with a file; more frequently it is done with a machine or tool designed for the purpose. After the profiled cane has soaked once again it is folded over in the middle. Prior to soaking, the reed maker will have lightly scored the bark with parallel lines with a knife; this ensures that the cane will assume a cylindrical shape during the forming stage. On the bark portion, the reed maker binds on one, two, or three coils or loops of brass wire to aid in the final forming process. The exact placement of these loops can vary somewhat depending on the reed maker. The bound reed blank is then wrapped with thick cotton or linen thread to protect it, and a conical steel mandrel (which sometimes has been heated in a flame) is quickly inserted in between the blades. Using a special pair of pliers, the reed maker presses down the cane, making it conform to the shape of the mandrel. (The steam generated by the heated mandrel causes the cane to permanently assume the shape of the mandrel.) The upper portion of the cavity thus created is called the "throat", and its shape has an influence on the final playing characteristics of the reed. The lower, mostly cylindrical portion will be reamed out with a special tool called a reamer, allowing the reed to fit on the bocal.
After the reed has dried, the wires are tightened around the reed, which has shrunk after drying, or replaced completely. The lower part is sealed (a nitrocellulose-based cement such as Duco may be used) and then wrapped with thread to ensure both that no air leaks out through the bottom of the reed and that the reed maintains its shape. The wrapping itself is often sealed with Duco or clear nail varnish (polish). Electrical tape can also be used as a wrapping for amateur reed makers. The bulge in the wrapping is sometimes referred to as the "Turk's head"—it serves as a convenient handle when inserting the reed on the bocal. Alternatively, hot glue, epoxy, or heat shrink wrap may be used to seal the tube of the reed. The thread wrapping (commonly known as a "Turban" due to the criss-crossing fabric) is still more common in commercially sold reeds. To finish the reed, the end of the reed blank, originally at the center of the unfolded piece of cane, is cut off, creating an opening. The blades above the first wire are now roughly long. For the reed to play, a slight bevel must be created at the tip with a knife, although there is also a machine that can perform this function. Other adjustments with the reed knife may be necessary, depending on the hardness, the profile of the cane, and the requirements of the player. The reed opening may also need to be adjusted by squeezing either the first or second wire with the pliers. Additional material may be removed from the sides (the "channels") or tip to balance the reed. Additionally, if the "e" in the bass clef staff is sagging in pitch, it may be necessary to "clip" the reed by removing from its length using a pair of very sharp scissors or the equivalent.
History. Origin. Music historians generally consider the dulcian to be the forerunner of the modern bassoon, as the two instruments share many characteristics: a double reed fitted to a metal crook, obliquely drilled tone holes and a conical bore that doubles back on itself. The origins of the dulcian are obscure, but by the mid-16th century it was available in as many as eight different sizes, from soprano to great bass. A full consort of dulcians was a rarity; its primary function seems to have been to provide the bass in the typical wind band of the time, either loud (shawms) or soft (recorders), indicating a remarkable ability to vary dynamics to suit the need. Otherwise, dulcian technique was rather primitive, with eight finger holes and two keys, indicating that it could play in only a limited number of key signatures.
Modern configuration. Increasing demands on capabilities of instruments and players in the 19th century—particularly larger concert halls requiring greater volume and the rise of virtuoso composer-performers—spurred further refinement. Increased sophistication, both in manufacturing techniques and acoustical knowledge, made possible great improvements in the instrument's playability. The modern bassoon exists in two distinct primary forms, the Buffet (or "French") system and the Heckel ("German") system. Most of the world plays the Heckel system, while the Buffet system is primarily played in France, Belgium, and parts of Latin America. A number of other types of bassoons have been constructed by various instrument makers, such as the rare Galandronome. Owing to the ubiquity of the Heckel system in English-speaking countries, references in English to the contemporary bassoon always mean the Heckel system, with the Buffet system being explicitly qualified where it appears. Heckel (German) system. The design of the modern bassoon owes a great deal to the performer, teacher, and composer Carl Almenräder. Assisted by the German acoustic researcher Gottfried Weber, he developed the 17-key bassoon with a range spanning four octaves. Almenräder's improvements to the bassoon began with an 1823 treatise describing ways of improving intonation, response, and technical ease of playing by augmenting and rearranging the keywork. Subsequent articles further developed his ideas. His employment at Schott gave him the freedom to construct and test instruments according to these new designs, and he published the results in "Caecilia", Schott's house journal. Almenräder continued publishing and building instruments until his death in 1846, and Ludwig van Beethoven himself requested one of the newly made instruments after hearing of the papers. In 1831, Almenräder left Schott to start his own factory with a partner, Johann Adam Heckel.
Heckel and two generations of descendants continued to refine the bassoon, and their instruments became the standard, with other makers following. Because of their superior singing tone quality (an improvement upon one of the main drawbacks of the Almenräder instruments), the Heckel instruments competed for prominence with the reformed Wiener system, a Boehm-style bassoon, and a completely keyed instrument devised by Charles-Joseph Sax, father of Adolphe Sax. F.W. Kruspe implemented a latecomer attempt in 1893 to reform the fingering system, but it failed to catch on. Other attempts to improve the instrument included a 24-keyed model and a single-reed mouthpiece, but both these had adverse effects on tone and were abandoned. Coming into the 20th century, the Heckel-style German model of bassoon dominated the field. Heckel himself had made over 1,100 instruments by the turn of the 20th century (serial numbers begin at 3,000), and the British makers' instruments were no longer desirable for the changing pitch requirements of the symphony orchestra, remaining primarily in military band use.
Except for a brief 1940s wartime conversion to ball bearing manufacture, the Heckel concern has produced instruments continuously to the present day. Heckel bassoons are considered by many to be the best, although a range of Heckel-style instruments is available from several other manufacturers, all with slightly different playing characteristics. Because its mechanism is primitive compared to most modern woodwinds, makers have occasionally attempted to "reinvent" the bassoon. In the 1960s, Giles Brindley began to develop what he called the "logical bassoon", which aimed to improve intonation and evenness of tone through use of an electrically activated mechanism, making possible key combinations too complex for the human hand to manage. Brindley's logical bassoon was never marketed. Buffet (French) system. The Buffet system bassoon achieved its basic acoustical properties somewhat earlier than the Heckel. Thereafter, it continued to develop in a more conservative manner. While the early history of the Heckel bassoon included a complete overhaul of the instrument in both acoustics and key work, the development of the Buffet system consisted primarily of incremental improvements to the key work. This minimalist approach of the Buffet deprived it of improved consistency of intonation, ease of operation, and increased power, which is found in Heckel bassoons, but the Buffet is considered by some to have a more vocal and expressive quality. The conductor John Foulds lamented in 1934 the dominance of the Heckel-style bassoon, considering them too homogeneous in sound with the horn. The modern Buffet system has 22 keys with its range being the same as the Heckel; although Buffet instruments have greater facility in the upper registers, reaching E5 and F5 with far greater ease and less air resistance.
Compared to the Heckel bassoon, Buffet system bassoons have a narrower bore and simpler mechanism, requiring different, and often more complex fingerings for many notes. Switching between Heckel and Buffet, or vice versa, requires extensive retraining. French woodwind instruments' tone in general exhibits a certain amount of "edge", with more of a vocal quality than is usual elsewhere, and the Buffet bassoon is no exception. This sound has been utilised effectively in writing for Buffet bassoon, but is less inclined to blend than the tone of the Heckel bassoon. As with all bassoons, the tone varies considerably, depending on individual instrument, reed, and performer. In the hands of a lesser player, the Heckel bassoon can sound flat and woody, but good players succeed in producing a vibrant, singing tone. Conversely, a poorly played Buffet can sound buzzy and nasal, but good players succeed in producing a warm, expressive sound. Though the United Kingdom once favored the French system, Buffet-system instruments are no longer made there and the last prominent British player of the French system retired in the 1980s. However, with continued use in some regions and its distinctive tone, the Buffet continues to have a place in modern bassoon playing, particularly in France, where it originated. Buffet-model bassoons are currently made in Paris by Buffet Crampon and the atelier Ducasse (Romainville, France). The Selmer Company stopped fabrication of French system bassoons around the year 2012. Some players, for example the late Gerald Corey in Canada, have learned to play both types and will alternate between them depending on the repertoire.
Use in ensembles. Ensembles prior to the 20th century. Pre-1760. Prior to 1760, the early ancestor of the bassoon was the dulcian. It was used to reinforce the bass line in wind ensembles called consorts. However, its use in concert orchestras was sporadic until the late 17th century when double reeds began to make their way into standard instrumentation. Increasing use of the dulcian as a "basso continuo" instrument meant that it began to be included in opera orchestras, in works such as those by Reinhard Keiser and Jean-Baptiste Lully. Meanwhile, as the dulcian advanced technologically and was able to achieve more virtuosity, composers such as Joseph Bodin de Boismortier, Johann Ernst Galliard, Johann Friedrich Fasch and Georg Philipp Telemann wrote demanding solo and ensemble music for the instrument. Antonio Vivaldi brought it to prominence by featuring it in thirty-nine concerti. c. 1760–1830.
The bassoon's similarity to the human voice, in addition to its newfound virtuosic ability, was another quality many composers took advantage of during the classical era. After 1730, the German bassoon's range expended up to B♭4, and much higher with the French instrument. Technological advances also caused the bassoon's tenor register sound to become more resonant, and playing in this register grew in popularity, especially in the Austro-Germanic musical world. Pedagogues such as Josef Frohlich instructed students to practice scales, thirds, and fourths as vocal students would. In 1829, he wrote that the bassoon was capable of expressing "the worthy, the virile, the solemn, the great, the sublime, composure, mildness, intimacy, emotion, longing, heartfulness, reverence, and soulful ardour." In G.F. Brandt's performance of Carl Maria von Weber's Concerto for Bassoon in F Major, Op. 75 (J. 127) it was also likened to the human voice. In France, Pierre Cugnier described the bassoon's role as encompassing not only the bass part, but also to accompany the voice and harp, play in pairs with clarinets and horns in Harmonie, and to play in "nearly all types of music," including concerti, which were much more common than the sonatas of the previous era. Both Cugnier and Étienne Ozi emphasized the importance of the bassoon's similarity to the singing voice.
The role of the bassoon in the orchestra varied depending on the country. In the Viennese orchestra the instrument offered a three-dimensional sound to the ensemble by doubling other instruments such as violins, as heard in Mozart's overture to "The Marriage of Figaro", K 492. where it plays a rather technical part alongside the strings. He also wrote for the bassoon to change its timbre depending on which instrument it was paired with; warmer with clarinets, hollow with flutes, and dark and dignified with violins. In Germany and Scandinavian countries, orchestras typically featured only two bassoons. But in France, orchestras increased the number to four in the latter half of the nineteenth century. In England, the bassoonist's role varied depending on the ensemble. Johann Christian Bach wrote two concertos for solo bassoon, and it also appeared in more supportive roles such as accompanying church choirs after the Puritan revolution destroyed most church organs. In the American colonies, the bassoon was typically seen in a chamber setting. After the Revolutionary War, bassoonists were found in wind bands that gave public performances. By 1800, there was at least one bassoon in the United States Marine Band. In South America, the bassoon also appeared in small orchestras, bands, and military musique (similar to Harmonie ensembles).
c. 1830–1900. The role of the bassoon during the Romantic era varied between a role as a supportive bass instrument and a role as a virtuosic, expressive, solo instrument. In fact, it was very much considered an instrument that could be used in almost any circumstance. The comparison of the bassoon's sound to the human voice continued on during this time, as much of the pedagogy surrounded emulating this sound. Giuseppe Verdi used the instrument's lyrical, singing voice to evoke emotion in pieces such as his "Messa da Requiem". Eugène Jancourt compared the use of vibrato on the bassoon to that of singers, and Luigi Orselli wrote that the bassoon blended well with human voice. He also noted the function of the bassoon in the French orchestra at the time, which served to support the sound of the viola, reinforce staccato sound, and double the bass, clarinet, flute, and oboe. Emphasis also began to be placed on the unique sound of the bassoon's staccato, which might be described as quite short and aggressive, such as in Hector Berlioz's "Symphonie fantastique, Op. 14" in the fifth movement. Paul Dukas utilized the staccato to depict the image of two brooms coming to life in "The Sorcerer's Apprentice."
It was common for there to be only two bassoons in German orchestras. Austrian and British military bands also only carried two bassoons, and were mainly used for accompaniment and offbeat playing. In France, Hector Berlioz also made it fashionable to use more than two bassoons; he often scored for three or four, and at time wrote for up to eight such as in his "l'Impériale". At this point, composers expected bassoons to be as virtuosic as the other wind instruments, as they often wrote solos challenging the range and technique of the instrument. Examples of this include Nikolai Rimsky-Korsakov's bassoon solo and cadenza following the clarinet in "Sheherazade," Op. 35 and in Richard Wagner's "Tannhäuser", which required the bassoonist to triple tongue and also play up to the top of its range at an E5. Wagner also used the bassoon for its staccato ability in his work, and often wrote his three bassoon parts in thirds to evoke a darker sound with noticeable tone color. In Modest Mussorgsky's "Night on Bald Mountain", the bassoons play fortissimo alongside other bass instruments in order to evoke "the voice of the Devil." 20th and 21st century ensembles.
At this point in time, the development of the bassoon slowed. Rather than making large leaps in technological improvements, tiny imperfections in the instrument's function were corrected. The instrument became quite versatile throughout the twentieth century; the instrument was at this point able to play three octaves, a variety of different trills, and maintained stable intonation across all registers and dynamic levels. The pedagogy among bassoonists varied among different countries, and so the overall instrument itself played a variety of roles. As was a common theme in previous eras, the bassoon was valued by composers for its unique voice, and its use rose higher in pitch. A famous example of this is the beginning of Igor Stravinsky's "Rite of Spring" in which the bassoon plays in its highest register in order to mimic the Ukrainian Dentsivka. Composers also wrote for the bassoon's middle register, such as in Stravinsky's "Berceuse" in The "Firebird" and Symphony No. 5 in E-flat major, Op. 82 by Jean Sibelius. They also continued to highlight the staccato sound of the bassoon, as heard in Sergei Prokofiev's "Humorous Scherzo". In Sergei Prokofiev's Peter and the Wolf, the part of the grandfather is played by the bassoon.
In orchestral settings, most orchestras from the beginning of the twentieth century to the present have three or four bassoonists, with the fourth typically covering contrabassoon as well. Greater emphasis on the use of timbre, vibrato, and phrasing began to appear in bassoon pedagogy, and many followed Marcel Tabuteau's philosophy on musical phrasing. Vibrato began to be used in ensemble playing, depending on the phrasing of the music. The bassoon was, and currently is, expected to be fluent with other woodwinds in terms of virtuosity and technique. Examples of this include the cadenza for bassoons in Maurice Ravel's "Rapsodie espagnole" and the multi-finger trills used in Stravinsky's Octet. In the twentieth century, the bassoon was less of a concerto soloist, and when it was, the accompanying ensemble was made softer and quieter. In addition, it was no longer used in marching bands, though still existed in concert bands with one or two of them. Orchestral repertoire remained very much the same Austro-Germanic tradition throughout most Western countries.
Orchestral repertoire remained very much the same Austro-Germanic tradition throughout most Western countries. It mostly appeared in solo, chamber, and symphonic settings. By the mid-1900s, broadcasting and recording grew in popularity, allowing for new opportunities for bassoonists, and leading to a slow decline of live performances. Much of the new music for bassoon in the late twentieth and early twenty-first centuries, often included extended techniques and was written for solo or chamber settings. One piece that included extended techniques was Luciano Berio's "Sequenza XII", which called for microtonal fingerings, glissandos, and timbral trills. Double and triple tonguing, flutter tonguing, multiphonics, quarter-tones, and singing are all utilized in Bruno Bartolozzi's "Concertazioni." There were also a variety of concerti and bassoon and piano pieces written, such as John Williams's "Five Sacred Trees" and André Previn's "Sonata for bassoon and piano". There were also "performance" pieces such as Peter Schickele's "Sonata Abassoonata", which required the bassoonist to be both a musician and an actor. such as John Williams's "Five Sacred Trees" and André Previn's "Sonata for bassoon and piano". There were also "performance" pieces such as Peter Schickele's "Sonata Abassoonata", which required the bassoonist to be both a musician and an actor. The bassoon quartet became prominent at this time, with pieces such as Daniel Dorff's "It Takes Four to Tango".
Jazz. The bassoon is infrequently used as a jazz instrument and rarely seen in a jazz ensemble. It first began appearing in the 1920s, when Garvin Bushell began incorporating the bassoon in his performances. Specific calls for its use occurred in Paul Whiteman's group, the unusual octets of Alec Wilder, and a few other session appearances. The next few decades saw the instrument used only sporadically, as symphonic jazz fell out of favor, but the 1960s saw artists such as Yusef Lateef and Chick Corea incorporate bassoon into their recordings. Lateef's diverse and eclectic instrumentation saw the bassoon as a natural addition (see, e.g., "The Centaur and the Phoenix" (1960) which features bassoon as part of a 6-man horn section, including a few solos) while Corea employed the bassoon in combination with flautist Hubert Laws. More recently, Illinois Jacquet, Ray Pizzi, Frank Tiberi, and Marshall Allen have both doubled on bassoon in addition to their saxophone performances. Bassoonist Karen Borca, a performer of free jazz, is one of the few jazz musicians to play only bassoon; Michael Rabinowitz, the Spanish bassoonist Javier Abad, and James Lassen, an American resident in Bergen, Norway, are others. Katherine Young plays the bassoon in the ensembles of Anthony Braxton. Lindsay Cooper, Paul Hanson, the Brazilian bassoonist Alexandre Silvério, Trent Jacobs and Daniel Smith are also currently using the bassoon in jazz. French bassoonists Jean-Jacques Decreux and Alexandre Ouzounoff have both recorded jazz, exploiting the flexibility of the Buffet system instrument to good effect.
Popular music. In conjunction with the use of electronic pickups and amplification, the instrument began to be used more somewhat in jazz and rock settings. However, the bassoon is still quite rare as a regular member of rock bands. Several 1960s pop music hits feature the bassoon, including "The Tears of a Clown" by Smokey Robinson and the Miracles (the bassoonist was Charles R. Sirard), "Jennifer Juniper" by Donovan, "59th Street Bridge Song" by Harpers Bizarre, and the oompah bassoon underlying The New Vaudeville Band's "Winchester Cathedral". From 1974 to 1978, the bassoon was played by Lindsay Cooper in the British avant-garde band Henry Cow. The Leonard Nimoy song "The Ballad of Bilbo Baggins" features the bassoon. In the 1970s it was played, in the British medieval/progressive rock band Gryphon, by Brian Gulland, as well as by the American band Ambrosia, where it was played by drummer Burleigh Drummond. The Belgian Rock in Opposition-band Univers Zero is also known for its use of the bassoon. More recently, These New Puritans's 2010 album "Hidden" makes heavy use of the instrument throughout; their principal songwriter, Jack Barnett, claimed repeatedly to be "writing a lot of music for bassoon" in the run-up to its recording. The rock band Better Than Ezra took their name from a passage in Ernest Hemingway's "A Moveable Feast" in which the author comments that listening to an annoyingly talkative person is still "better than Ezra learning how to play the bassoon", referring to Ezra Pound.
British psychedelic/progressive rock band Knifeworld features the bassoon playing of Chloe Herrington, who also plays for experimental chamber rock orchestra Chrome Hoof. Fiona Apple featured the bassoon in the opening track of her 2004 album "Extraordinary Machine". In 2016, the bassoon was featured on the album "Gang Signs and Prayers" by UK "grime" artist Stormzy. Played by UK bassoonist Louise Watson, the bassoon is heard in the tracks "Cold" and "Mr Skeng" as a complement to the electronic synthesizer bass lines typically found in this genre. Appearance in Television. The Cartoon Network animated series "Over the Garden Wall" features a bassoon in episode 6 entitled "Lullaby in Frogland", where the main character is encouraged to play the bassoon to impress a group of frogs. The character Jan Bellows in the Hulu series "Only Murders in the Building" is a professional bassoonist. Technique. The bassoon is held diagonally in front of the player, but unlike the flute, oboe and clarinet, it cannot be easily supported by the player's hands alone. Some means of additional support is usually required; the most common ones are a seat strap attached to the base of the boot joint, which is laid across the chair seat prior to sitting down, or a neck strap or shoulder harness attached to the top of the boot joint. Occasionally a spike similar to those used for the cello or the bass clarinet is attached to the bottom of the boot joint and rests on the floor. It is possible to play while standing up if the player uses a neck strap or similar harness, or if the seat strap is tied to the belt. Sometimes a device called a "balance hanger" is used when playing in a standing position. This is installed between the instrument and the neck strap, and shifts the point of support closer to the center of gravity, adjusting the distribution of weight between the two hands.
The bassoon is played with both hands in a stationary position, the left above the right, with five main finger holes on the front of the instrument (nearest the audience) plus a sixth that is activated by an open-standing key. Five additional keys on the front are controlled by the little fingers of each hand. The back of the instrument (nearest the player) has twelve or more keys to be controlled by the thumbs, the exact number varying depending on model. To stabilize the right hand, many bassoonists use an adjustable comma-shaped apparatus called a "crutch", or a hand rest, which mounts to the boot joint. The crutch is secured with a thumb screw, which also allows the distance that it protrudes from the bassoon to be adjusted. Players rest the curve of the right hand where the thumb joins the palm against the crutch. The crutch also keeps the right hand from tiring and enables the player to keep the finger pads flat on the finger holes and keys. An aspect of bassoon technique not found on any other woodwind is called "flicking". It involves the left hand thumb momentarily pressing, or "flicking" the high A, C and D keys at the beginning of certain notes in the middle octave to achieve a clean slur from a lower note. This eliminates cracking, or brief multiphonics that happens without the use of this technique. Alternatively, a similar method is called "venting", which requires that the register key be used as part of the full fingering as opposed to being open momentarily at the start of the note. This is sometimes called the "European style"; venting raises the intonation of the notes slightly, and it can be advantageous when tuning to higher frequencies. Some bassoonists flick A and B when tongued, for clarity of articulation, but flicking (or venting) is practically ubiquitous for slurs.
While flicking is used to slur up to higher notes, the whisper key is used for lower notes. From the A right below middle C and lower, the whisper key is pressed with the left thumb and held for the duration of the note. This prevents cracking, as low notes can sometimes crack into a higher octave. Both flicking and using the whisper key is especially important to ensure notes speak properly during slurring between high and low registers. While bassoons are usually critically tuned at the factory, the player nonetheless has a great degree of flexibility of pitch control through the use of breath support, embouchure, and reed profile. Players can also use alternate fingerings to adjust the pitch of many notes. Similar to other woodwind instruments, the length of the bassoon can be increased to lower pitch or decreased to raise pitch. On the bassoon, this is done preferably by changing the bocal to one of a different length, (lengths are denoted by a number on the bocal, usually starting at 0 for the shortest length, and 3 for the longest, but there are some manufacturers who will use other numbers) but it is possible to push the bocal in or out slightly to grossly adjust the pitch.
Embouchure and sound production. The bassoon embouchure is a very important aspect of producing a full, round, and rich sound on the instrument. The lips are both rolled over the teeth, often with the upper lip further along in an "overbite". The lips provide micromuscular pressure on the entire circumference of the reed, which grossly controls intonation and harmonic excitement, and thus must be constantly modulated with every change of note. How far along the reed the lips are placed affects both tone (with less reed in the mouth making the sound more edged or "reedy", and more reed making it smooth and less projectile) and the way the reed will respond to pressure. The musculature employed in a bassoon embouchure is primarily around the lips, which pressure the reed into the shapes needed for the desired sound. The jaw is raised or lowered to adjust the oral cavity for better reed control, but the jaw muscles are used much less for upward vertical pressure than in single reeds, only being substantially employed in the very high register. However, double reed students often "bite" the reed with these muscles because the control and tone of the labial and other muscles is still developing, but this generally makes the sound sharp and "choked" as it contracts the aperture of the reed and stifles the vibration of its blades.
Apart from the embouchure proper, students must also develop substantial muscle tone and control in the diaphragm, throat, neck and upper chest, which are all employed to increase and direct air pressure. Air pressure is a very important aspect of the tone, intonation and projection of double reed instruments, affecting these qualities as much, or more than the embouchure does. Attacking a note on the bassoon with imprecise amounts of muscle or air pressure for the desired pitch will result in poor intonation, cracking or multiphonics, accidentally producing the incorrect partial, or the reed not speaking at all. These problems are compounded by the individual qualities of reeds, which are categorically inconsistent in behaviour for inherent and exherent reasons. The muscle requirements and variability of reeds mean it takes some time for bassoonists (and oboists) to develop an embouchure that exhibits consistent control across all reeds, dynamics and playing environments. Modern fingering. The fingering technique of the bassoon varies more between players, by a wide margin, than that of any other orchestral woodwind. The complex mechanism and acoustics mean the bassoon lacks simple fingerings of good sound quality or intonation for some notes (especially in the higher range), but, conversely, there is a great variety of superior, but generally more complicated, fingerings for them. Typically, the simpler fingerings for such notes are used as alternate or trill fingerings, and the bassoonist will use as "full fingering" one or several of the more complex executions possible, for optimal sound quality. The fingerings used are at the discretion of the bassoonist, and, for particular passages, he or she may experiment to find new alternate fingerings that are thus idiomatic to the player.
These elements have resulted in both "full" and alternate fingerings differing extensively between bassoonists, and are further informed by factors such as cultural difference in what sound is sought, how reeds are made, and regional variation in tuning frequencies (necessitating sharper or flatter fingerings). Regional enclaves of bassoonists tend to have some uniformity in technique, but on a global scale, technique differs such that two given bassoonists may share no fingerings for certain notes. Owing to these factors, ubiquitous bassoon technique can only be partially notated. The left thumb operates nine keys: B1, B1, C2, D2, D5, C5 (also B4), two keys when combined create A4, and the whisper key. The whisper key should be held down for notes between and including F2 and G3 and certain other notes; it can be omitted, but the pitch will destabilise. Additional notes can be created with the left thumb keys; the D2 and bottom key above the whisper key on the tenor joint (C key) together create both C3 and C4. The same bottom tenor-joint key is also used, with additional fingering, to create E5 and F5. D5 and C5 together create C5. When the two keys on the tenor joint to create A4 are used with slightly altered fingering on the boot joint, B4 is created. The whisper key may also be used at certain points throughout the instrument's high register, along with other fingerings, to alter sound quality as desired.
The right thumb operates four keys. The uppermost key is used to produce B2 and B3, and may be used in B4,F4, C5, D5, F5, and E5. The large circular key, otherwise known as the "pancake key", is held down for all the lowest notes from E2 down to B1. It is also used, like the whisper key, in additional fingerings for muting the sound. For example, in Ravel's "Boléro", the bassoon is asked to play the ostinato on G4. This is easy to perform with the normal fingering for G4, but Ravel directs that the player should also depress the E2 key (pancake key) to mute the sound (this being written with Buffet system in mind; the G fingering on which involves the Bb key – sometimes called "French" G on Heckel). The next key operated by the right thumb is known as the "spatula key": its primary use is to produce F2 and F3. The lowermost key is used less often: it is used to produce A2 (G2) and A3 (G3), in a manner that avoids sliding the right fourth finger from another note. The four fingers of the left hand can each be used in two different positions. The key normally operated by the index finger is primarily used for E5, also serving for trills in the lower register. Its main assignment is the upper tone hole. This hole can be closed fully, or partially by rolling down the finger. This half-holing technique is used to overblow F3, G3 and G3. The middle finger typically stays on the centre hole on the tenor joint. It can also move to a lever used for E5, also a trill key. The ring finger operates, on most models, one key. Some bassoons have an alternate E key above the tone hole, predominantly for trills, but many do not. The smallest finger operates two side keys on the bass joint. The lower key is typically used for C2, but can be used for muting or flattening notes in the tenor register. The upper key is used for E2, E4, F4, F4, A4, B4, B4, C5, C5, and D5; it flattens G3 and is the standard fingering for it in many places that tune to lower Hertz levels such as A440.
The four fingers of the right hand have at least one assignment each. The index finger stays over one hole, except that when E5 is played a side key at the top of the boot is used (this key also provides a C3 trill, albeit sharp on D). The middle finger remains stationary over the hole with a ring around it, and this ring and other pads are lifted when the smallest finger on the right hand pushes a lever. The ring finger typically remains stationary on the lower ring-finger key. However, the upper ring-finger key can be used, typically for B2 and B3, in place of the top thumb key on the front of the boot joint; this key comes from the oboe, and some bassoons do not have it because the thumb fingering is practically universal. The smallest finger operates three keys. The backmost one, closest to the bassoonist, is held down throughout most of the bass register. F4 may be created with this key, as well as G4, B4, B4, and C5 (the latter three employing solely it to flatten and stabilise the pitch). The lowest key for the smallest finger on the right hand is primarily used for A2 (G2) and A3 (G3) but can be used to improve D5, E5, and F5. The frontmost key is used, in addition to the thumb key, to create G2 and G3; on many bassoons this key operates a different tone hole to the thumb key and produces a slightly flatter F ("duplicated F"); some techniques use one as standard for both octaves and the other for utility, but others use the thumb key for the lower and the fourth finger for the higher.
Extended techniques. Many extended techniques can be performed on the bassoon, such as multiphonics, flutter-tonguing, circular breathing, double tonguing, and harmonics. In the case of the bassoon, flutter-tonguing may be accomplished by "gargling" in the back of the throat as well as by the conventional method of rolling Rs. Multiphonics on the bassoon are plentiful, and can be achieved by using particular alternative fingerings, but are generally heavily influenced by embouchure position. Also, again using certain fingerings, notes may be produced on the instrument that sound lower pitches than the actual range of the instrument. These notes tend to sound very gravelly and out of tune, but technically sound below the low B. The bassoonist may also produce lower notes than the bottom B by extending the length of bell. This can be achieved by inserting a specially made "low A extension" into the bell, but may also be achieved with a small paper or rubber tube or a clarinet/cor anglais bell sitting inside the bassoon bell (although the note may tend sharp). The effect of this is to convert the lower B into a lower note, almost always A natural; this broadly lowers the pitch of the instrument (most noticeably in the lower register) and will often accordingly convert the lowest B to B (and render the neighbouring C very flat). The idea of using low A was begun by Richard Wagner, who wanted to extend the range of the bassoon. Many passages in his later operas require the low A as well as the B-flat immediately above it; this is possible on a normal bassoon using an extension which also flattens low B to B, but all extensions to the bell have significant effects on intonation and sound quality in the bottom register of the instrument, and passages such as this are more often realised with comparative ease by the contrabassoon.
Some bassoons have been specially made to allow bassoonists to realize similar passages. These bassoons are made with a "Wagner bell" which is an extended bell with a key for both the low A and the low B-flat, but they are not widespread; bassoons with Wagner bells suffer similar intonational problems as a bassoon with an ordinary A extension, and a bassoon must be constructed specifically to accommodate one, making the extension option far less complicated. Extending the bassoon's range even lower than the A, though possible, would have even stronger effects on pitch and make the instrument effectively unusable. Despite the logistic difficulties of the note, Wagner was not the only composer to write the low A. Another composer who has required the bassoon to be chromatic down to low A is Gustav Mahler. Richard Strauss also calls for the low A in his opera "Intermezzo". Some works have optional low As, as in Carl Nielsen's Wind Quintet, op. 43, which includes an optional low A for the final cadence of the work.
Learning the bassoon. The complex fingering system and the expense and lack of access to quality bassoon reeds can make the bassoon more of a challenge to learn than some of the other woodwind instruments. Cost is another factor in a person's decision to pursue the bassoon. Prices may range from US$7,000 to over $45,000 for a high-quality instrument. In North America, schoolchildren may take up bassoon only after starting on another reed instrument, such as clarinet or saxophone. Students in America often begin to pursue the study of bassoon performance and technique in the middle years of their music education, often in association with their school band program. Students are often provided with a school instrument and encouraged to pursue lessons with private instructors. Students typically receive instruction in proper posture, hand position, embouchure, repertoire, and tone production.
Bipedalism Bipedalism is a form of terrestrial locomotion where an animal moves by means of its two rear (or lower) limbs or legs. An animal or machine that usually moves in a bipedal manner is known as a biped , meaning 'two feet' (from Latin "bis" 'double' and "pes" 'foot'). Types of bipedal movement include walking or running (a bipedal gait) and hopping. Several groups of modern species are habitual bipeds whose normal method of locomotion is two-legged. In the Triassic period some groups of archosaurs (a group that includes crocodiles and dinosaurs) developed bipedalism; among the dinosaurs, all the early forms and many later groups were habitual or exclusive bipeds; the birds are members of a clade of exclusively bipedal dinosaurs, the theropods. Within mammals, habitual bipedalism has evolved multiple times, with the macropods, kangaroo rats and mice, springhare, hopping mice, pangolins and hominin apes (australopithecines, including humans) as well as various other extinct groups evolving the trait independently.
A larger number of modern species intermittently or briefly use a bipedal gait. Several lizard species move bipedally when running, usually to escape from threats. Many primate and bear species will adopt a bipedal gait in order to reach food or explore their environment, though there are a few cases where they walk on their hind limbs only. Several arboreal primate species, such as gibbons and indriids, exclusively walk on two legs during the brief periods they spend on the ground. Many animals rear up on their hind legs while fighting or copulating. Some animals commonly stand on their hind legs to reach food, keep watch, threaten a competitor or predator, or pose in courtship, but do not move bipedally. Etymology. The word is derived from the Latin words "bi(s)" 'two' and "ped-" 'foot', as contrasted with quadruped 'four feet'. Advantages. Limited and exclusive bipedalism can offer a species several advantages. Bipedalism raises the head; this allows a greater field of vision with improved detection of distant dangers or resources, access to deeper water for wading animals and allows the animals to reach higher food sources with their mouths. While upright, non-locomotory limbs become free for other uses, including manipulation (in primates and rodents), flight (in birds), digging (in the giant pangolin), combat (in bears, great apes and the large monitor lizard) or camouflage.
The maximum bipedal speed appears slower than the maximum speed of quadrupedal movement with a flexible backbone – both the ostrich and the red kangaroo can reach speeds of , while the cheetah can exceed . Even though bipedalism is slower at first, over long distances, it has allowed humans to outrun most other animals according to the endurance running hypothesis. Bipedality in kangaroo rats has been hypothesized to improve locomotor performance, which could aid in escaping from predators. Facultative and obligate bipedalism. Zoologists often label behaviors, including bipedalism, as "facultative" (i.e. optional) or "obligate" (the animal has no reasonable alternative). Even this distinction is not completely clear-cut — for example, humans other than infants normally walk and run in biped fashion, but almost all can crawl on hands and knees when necessary. There are even reports of humans who normally walk on all fours with their feet but not their knees on the ground, but these cases are a result of conditions such as Uner Tan syndrome — very rare genetic neurological disorders rather than normal behavior. Even if one ignores exceptions caused by some kind of injury or illness, there are many unclear cases, including the fact that "normal" humans can crawl on hands and knees. This article therefore avoids the terms "facultative" and "obligate", and focuses on the range of styles of locomotion "normally" used by various groups of animals. Normal humans may be considered "obligate" bipeds because the alternatives are very uncomfortable and usually only resorted to when walking is impossible.
Movement. There are a number of states of movement commonly associated with bipedalism. Bipedal animals. The great majority of living terrestrial vertebrates are quadrupeds, with bipedalism exhibited by only a handful of living groups. Humans, gibbons and large birds walk by raising one foot at a time. On the other hand, most macropods, smaller birds, lemurs and bipedal rodents move by hopping on both legs simultaneously. Tree kangaroos are able to walk or hop, most commonly alternating feet when moving arboreally and hopping on both feet simultaneously when on the ground. Extant reptiles. Many species of lizards become bipedal during high-speed, sprint locomotion, including the world's fastest lizard, the spiny-tailed iguana (genus "Ctenosaura"). Early reptiles and lizards. The first known biped is the bolosaurid "Eudibamus" whose fossils date from 290 million years ago. Its long hind-legs, short forelegs, and distinctive joints all suggest bipedalism. The species became extinct in the early Permian. Archosaurs (includes crocodilians and dinosaurs).
Birds. All birds are bipeds, as is the case for all theropod dinosaurs. However, hoatzin chicks have claws on their wings which they use for climbing. Other archosaurs. Bipedalism evolved more than once in archosaurs, the group that includes both dinosaurs and crocodilians. All dinosaurs are thought to be descended from a fully bipedal ancestor, perhaps similar to "Eoraptor". Dinosaurs diverged from their archosaur ancestors approximately 230 million years ago during the Middle to Late Triassic period, roughly 20 million years after the Permian-Triassic extinction event wiped out an estimated 95 percent of all life on Earth. Radiometric dating of fossils from the early dinosaur genus "Eoraptor" establishes its presence in the fossil record at this time. Paleontologists suspect "Eoraptor" resembles the common ancestor of all dinosaurs; if this is true, its traits suggest that the first dinosaurs were small, bipedal predators. The discovery of primitive, dinosaur-like ornithodirans such as "Marasuchus" and "Lagerpeton" in Argentinian Middle Triassic strata supports this view; analysis of recovered fossils suggests that these animals were indeed small, bipedal predators.
Bipedal movement also re-evolved in a number of other dinosaur lineages such as the iguanodonts. Some extinct members of Pseudosuchia, a sister group to the avemetatarsalians (the group including dinosaurs and relatives), also evolved bipedal forms – a poposauroid from the Triassic, "Effigia okeeffeae", is thought to have been bipedal. Pterosaurs were previously thought to have been bipedal, but recent trackways have all shown quadrupedal locomotion. Mammals. A number of groups of extant mammals have independently evolved bipedalism as their main form of locomotion for example, humans, ground pangolins, the extinct giant ground sloths, numerous species of jumping rodents and macropods. Humans, as their bipedalism has been extensively studied, are documented in the next section. Macropods are believed to have evolved bipedal hopping only once in their evolution, at some time no later than 45 million years ago. Bipedal movement is less common among mammals, most of which are quadrupedal. All primates possess some bipedal ability, though most species primarily use quadrupedal locomotion on land. Primates aside, the macropods (kangaroos, wallabies and their relatives), kangaroo rats and mice, hopping mice and springhare move bipedally by hopping. Very few non-primate mammals commonly move bipedally with an alternating leg gait. Exceptions are the ground pangolin and in some circumstances the tree kangaroo. One black bear, Pedals, became famous locally and on the internet for having a frequent bipedal gait, although this is attributed to injuries on the bear's front paws. A two-legged fox was filmed in a Derbyshire garden in 2023, most likely having been born that way.
Primates. Most bipedal animals move with their backs close to horizontal, using a long tail to balance the weight of their bodies. The primate version of bipedalism is unusual because the back is close to upright (completely upright in humans), and the tail may be absent entirely. Many primates can stand upright on their hind legs without any support. Chimpanzees, bonobos, gorillas, gibbons and baboons exhibit forms of bipedalism. On the ground sifakas move like all indrids with bipedal sideways hopping movements of the hind legs, holding their forelimbs up for balance. Geladas, although usually quadrupedal, will sometimes move between adjacent feeding patches with a squatting, shuffling bipedal form of locomotion. However, they can only do so for brief amounts, as their bodies are not adapted for constant bipedal locomotion. Humans are the only primates who are normally biped, due to an extra curve in the spine which stabilizes the upright position, as well as shorter arms relative to the legs than is the case for the nonhuman great apes. The evolution of human bipedalism began in primates about four million years ago, or as early as seven million years ago with "Sahelanthropus" or about 12 million years ago with "Danuvius guggenmosi". One hypothesis for human bipedalism is that it evolved as a result of differentially successful survival from carrying food to share with group members, although there are alternative hypotheses.
Injured chimpanzees and bonobos have been capable of sustained bipedalism. Three captive primates, one macaque Natasha and two chimps, Oliver and Poko (chimpanzee), were found to move bipedally. Natasha switched to exclusive bipedalism after an illness, while Poko was discovered in captivity in a tall, narrow cage. Oliver reverted to knuckle-walking after developing arthritis. Non-human primates often use bipedal locomotion when carrying food, or while moving through shallow water. Limited bipedalism. Limited bipedalism in mammals. Other mammals engage in limited, non-locomotory, bipedalism. A number of other animals, such as rats, raccoons, and beavers will squat on their hindlegs to manipulate some objects but revert to four limbs when moving (the beaver will move bipedally if transporting wood for their dams, as will the raccoon when holding food). Bears will fight in a bipedal stance to use their forelegs as weapons. A number of mammals will adopt a bipedal stance in specific situations such as for feeding or fighting. Ground squirrels and meerkats will stand on hind legs to survey their surroundings, but will not walk bipedally. Dogs (e.g. Faith) can stand or move on two legs if trained, or if birth defect or injury precludes quadrupedalism. The gerenuk antelope stands on its hind legs while eating from trees, as did the extinct giant ground sloth and chalicotheres. The spotted skunk will walk on its front legs when threatened, rearing up on its front legs while facing the attacker so that its anal glands, capable of spraying an offensive oil, face its attacker.
Limited bipedalism in non-mammals (and non-birds). Bipedalism is unknown among the amphibians. Among the non-archosaur reptiles bipedalism is rare, but it is found in the "reared-up" running of lizards such as agamids and monitor lizards. Many reptile species will also temporarily adopt bipedalism while fighting. One genus of basilisk lizard can run bipedally across the surface of water for some distance. Among arthropods, cockroaches are known to move bipedally at high speeds. Bipedalism is rarely found outside terrestrial animals, though at least two species of octopus walk bipedally on the sea floor using two of their arms, allowing the remaining arms to be used to camouflage the octopus as a mat of algae or a floating coconut. Evolution of human bipedalism.

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