Musical Performance
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21 November, 2008
The Woodwind Family: Flute, clarinet, saxophone, and Double Reeds part 4

The double-reed family of woodwinds consists of the oboe, English horn, bassoon, and contrabassoon. Each has a double reed made of cane that the player holds between his lips and blows air through, just as you did earlier with the paper drinking straw.

There have been many types of double-reed instruments throughout history. Imported to Europe from the Orient, they have rather strange names such as bombarde, pommer, schryari, krummhorn, and rackett. It was during the seventeenth century that these instruments began taking on the appearance and sound of our modern instruments. (More…)

The Woodwind Family: Flute, clarinet, saxophone, and Double Reeds part 3

All the instruments of the flute family are very similar. Their sound is produced by a vibrating air column, they are all fingered the same way, and they are made from metal. Although it is a small family and the instruments can’t play very loudly, the flute family has an important place in both our musical heritage and the music of today.

Instruments of the clarinet family are perhaps the most versatile and useful of the woodwinds. Descendants of a family of seventeenth-century instruments called shawms, shalmeys, or chalumeaux, their sounds are produced by blowing air across a single reed. (More…)

The Woodwind Family: Flute, clarinet, saxophone, and Double Reeds part 2

Although the key mechanism on modern woodwind instruments looks very complicated to a beginner, all the keys, rings, rods, and springs actually make the fingering much easier; ten fingers can now do the work of twenty. If a student practises hard, he will soon be playing much faster than even a professional could play 250 years ago.

Since the time of the pipes of Pan in ancient Greece, hundreds of woodwind instruments have come and gone. (More…)

The Flute continue…

Repertoire

According to Berlioz the flute ‘is an instrument well-nigh devoid of expression, but which may be introduced anywhere and everywhere, on account of its facility in executing groups of rapid notes, and in sustaining high sounds useful in the orchestra for adding fullness to the upper harmonies.’ This is a fair description of the way the flute is generally written for in orchestral works, but there are many exceptions. The sounds of the middle and upper registers combine well with any ensemble and add lustre. The lower register lacks penetration but has a soft and seductive quality. ‘These low sounds‘, wrote Berlioz in his Treatise on Instrumentation, `are seldom, or else ill, employed by the majority of composers.’ All the great orchestrators have however always known how to write for the low register. (More…)

The Flute

The compass of the flute is three octaves from middle C, but a good player can obtain a few notes above this. The piccolo sounds an octave above, but from b.

The flute is the only woodwind instrument held crosswise, parallel to the shoulders. Sometimes it is made of dart wood, sometimes of glittering silver. The sound, which is produced by blowing across the embouchure or blow hole, has a relatively simple and uncoloured quality due to the small number of harmonics present in it. When the breath strikes the sharp edge of the embouchure it enters the tube, sets the column of air in motion and this in its turn agitates the body of the instrument. (More…)

Special Music Instrument, the Oboe & CorAnglais

The timbre of the oboe can be identified more easily and quickly than that of any other instrument of the orchestra because during tuning up it can be heard sounding long, steady As to which the whole orchestra, in what seems like a total chaos of sound, tune their strings, pipes and percussion.

Made of grenadilla, rose or’ cocus wood, the oboe has a narrow conical bore terminating in a slight flare or bell. It is held vertically and the double reed, which is mounted in the top, is held in the ‘player’s mouth,. When blown the lips of the double reed start beating; this drives beaten air into the pipe which then becomes alive with sound. The quality of sound or timbre depends to a major degree on the dimensions of the reed, the grain and its density. (More…)

History of Percussion continue…

The bass drum stands vertically, the rim of the shallow wooden shell facing the audience. This was originally known as the Turkish drum. Sometimes it has two heads, sometimes only one, the former model producing somewhat greater clarity. It is beaten with upward — or downward — glancing blows with a soft stick, and sometimes brushed simultaneously on the other side with a switch of sorts. (More…)

History of Percussion

The staves for the percussion instruments are massed in the middle of the score. Who plays what depends on manpower, availability and ability.

The glockenspiel and celesta are both metallophones, the first having a resemblance to a small xylophone and the second to a small piano.

`Glockenspiel‘ means ‘bell-play’ in German. The glockenspiel used in marching bands is a set of steel bars set in a lyre-shaped frame. Mozart specified an instrumento d’ acciaio (steel instrument) for the part of Papageno’s magic bells in Die Zauberflote; this may have been a set of small tuned bells played from a keyboard like a modern celesta. These bells were also used by carillon players for practice. (More…)

The Quality Timbre of Trumpet Ignored by the Concert continue…

Before Bach, trumpeters were classified as principals and clarino players, the former playing in the lower register with its widely-stepped harmonics, the latter in the high register where the harmonics lie close together. Shanks and crooks were already used as early as 1600 and by the end of the 18th century there were crooks for every key. These altered the timbre of the instrument, and there was some degree of energy loss as the vibrating air column negotiated the loops. Then came the valves, introducing more loops, and someone writing at the time of their application, towards the end of the 19th century, described them as ‘a failure as they obscure the upper harmonics, the main source of characteristic tone’. (More…)

Themes in Music: Trombone

In the score the music for the trombone is written in a bass or tenor clef on the stave over and sometimes beneath that of the timpani. The compass is two octaves and a sixth. The sound, produced by means of a shallow cupped mouthpiece which is lip vibrated, is powerful and rich in harmonics. (More…)



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