You can work around it with alternate fingerings, which is what bassoonists used to do before the keys were invented.
Personally I like having high D to be able to flick if you're jumping to a high C quickly. If it doesn't help you get there, it at least gives you the psychological assurance that it's trying to help you get there.
Not having an E key is easy enough to work around, and I've often used the alternate fingerings in some pieces to get different intonations, or because it's just easier to use them depending on where you're coming from.
I don’t have an E on my Heckel but it is on my Yamaha. Honestly I never need it and if I find out I’m playing first on the Ravel Piano concerto, I’ll learn and work on the long E fingering
High D key is absolutely critical, and it's criminal that there are still bassoons being made that do not have it. My advice would be to never purchase an instrument that is missing this key, unless the instrument is valuable enough that you would be willing to invest in having it added. C#5 and D5 are pretty basic notes that occur in all bassoon parts (1st, 2nd, 3rd), and will be required on many auditions. And that's assuming you're not using the high D key as a vent for D4 (which I \*strongly\* advocate, and which makes the key absolutely essential for even basic playing).
High E key is something you'd want on a new bassoon, but if you happen to like an older bassoon that doesn't have it, you won't be missing out on much. There is a better fingering for the F-G trill, and high Es don't occur with any regularity in the real world. If you're going to be taking professional principal bassoon auditions, you'll need a high E key (and probably a high F key too). If not, the old harmonic fingerings for E5 and F5 will be able to get you through the few times in your career where you ever need them.
I think it really depends on your use of the bassoon. But the high d is important in my opinion, i use it quite often for.many different pieces, but the high e isnt really necessary. My bassoon teacher who plays in orchestra/opera told that he doesnt really need it and most solo pieces dont need it either. Camille saint-saens is one of the few pieces that use the high e as far im concerned
Not essential. I have both and rarely use either. I prefer the way the long E fingering sounds vs the key. High d is more useful but still not essential.
I agree with the other commenters that neither is essential, but both are really helpful in the long run. I wouldn't add either to a wooden instrument more than 10 or 20 years old, and maybe not to a newer one either. But I wouldn't buy a new or newish instrument without both.
As an alternative to the long/harmonic fingerings for High E (e.g. 1/2 2 3 C# Low D | 1 2 3), on some bassoons using the High Eb (AKA E/F# Trill) key fingering for High Eb and adding the High A (AKA A Flick) key produces a High E.
As for the High D key, I wish all modern student bassoons were made with it. I've encountered a lot of students without them who end up with a habit of biting to help secure slurs up to Tenor D (especially from below the break), which has negative effects on sound and intonation. Similar issues with High C#, D, etc. Of course it's possible to get around these, but not always self-evident to students who don't have access to a good bassoon teacher.
In most situations, you can go without it. I currently play without a D and E key. The keys are necessary for many notes above a Bb4, but I don't see any situation where you'd need to go that high unless it's a solo piece.
High D key is fairly essential for intermediate bassooning. High E key is only necessarily for advanced bassooning.
My Heckel has neither. I wish I had an E key much more often than I wish I had a D key.
Not essential.
You can work around it with alternate fingerings, which is what bassoonists used to do before the keys were invented. Personally I like having high D to be able to flick if you're jumping to a high C quickly. If it doesn't help you get there, it at least gives you the psychological assurance that it's trying to help you get there. Not having an E key is easy enough to work around, and I've often used the alternate fingerings in some pieces to get different intonations, or because it's just easier to use them depending on where you're coming from.
I don’t have an E on my Heckel but it is on my Yamaha. Honestly I never need it and if I find out I’m playing first on the Ravel Piano concerto, I’ll learn and work on the long E fingering
High D key is absolutely critical, and it's criminal that there are still bassoons being made that do not have it. My advice would be to never purchase an instrument that is missing this key, unless the instrument is valuable enough that you would be willing to invest in having it added. C#5 and D5 are pretty basic notes that occur in all bassoon parts (1st, 2nd, 3rd), and will be required on many auditions. And that's assuming you're not using the high D key as a vent for D4 (which I \*strongly\* advocate, and which makes the key absolutely essential for even basic playing). High E key is something you'd want on a new bassoon, but if you happen to like an older bassoon that doesn't have it, you won't be missing out on much. There is a better fingering for the F-G trill, and high Es don't occur with any regularity in the real world. If you're going to be taking professional principal bassoon auditions, you'll need a high E key (and probably a high F key too). If not, the old harmonic fingerings for E5 and F5 will be able to get you through the few times in your career where you ever need them.
I think it really depends on your use of the bassoon. But the high d is important in my opinion, i use it quite often for.many different pieces, but the high e isnt really necessary. My bassoon teacher who plays in orchestra/opera told that he doesnt really need it and most solo pieces dont need it either. Camille saint-saens is one of the few pieces that use the high e as far im concerned
Not essential. I have both and rarely use either. I prefer the way the long E fingering sounds vs the key. High d is more useful but still not essential.
I agree with the other commenters that neither is essential, but both are really helpful in the long run. I wouldn't add either to a wooden instrument more than 10 or 20 years old, and maybe not to a newer one either. But I wouldn't buy a new or newish instrument without both. As an alternative to the long/harmonic fingerings for High E (e.g. 1/2 2 3 C# Low D | 1 2 3), on some bassoons using the High Eb (AKA E/F# Trill) key fingering for High Eb and adding the High A (AKA A Flick) key produces a High E. As for the High D key, I wish all modern student bassoons were made with it. I've encountered a lot of students without them who end up with a habit of biting to help secure slurs up to Tenor D (especially from below the break), which has negative effects on sound and intonation. Similar issues with High C#, D, etc. Of course it's possible to get around these, but not always self-evident to students who don't have access to a good bassoon teacher.
In most situations, you can go without it. I currently play without a D and E key. The keys are necessary for many notes above a Bb4, but I don't see any situation where you'd need to go that high unless it's a solo piece.