stylistic:style_transfer, stylistic:tone, information:extraction, information:classification
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 Russian 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. 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. The bassoon quartet became prominent at this time, with pieces such as Daniel Dorff 's It Takes Four to Tango.