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Wind and Brass Instruments- The Solo Voices of the Orchestra

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Whitney George

on 9 January 2017

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Transcript of Wind and Brass Instruments- The Solo Voices of the Orchestra

Wind & Brass Instruments-
The Solo Voices of the Orchestra

Classification
& Categorization of Instruments

Musicologists divide instruments into five distinct categories based on how the instruments produce sound. The Wind and Brass instruments fall into the same category.
Aerophones
create sound with air. A column of air can be split with the presence of a mouthpiece or reed. The variety of methods of splitting the air stream or instigating a column of air to vibrate is one of the main contributors to instrumental color.
Composers, conductors, arrangers, and musicians in general tend to divide these instruments by family or group within the orchestra. These labels are determined by both the material that each instrument is made of, but also by the role each instrument plays within the orchestra. The woodwind family, due to the diversity of the group, is divided further by the way sound is produced
Woodwinds
is the most versatile of the families, due to the multitude of materials the instruments are made off and the variety of mouthpieces that are used for the woodwind instruments. The woodwind family can further be divided by how these aerophones split the air column:
Split Air Column
produce sound by splitting the air column with the use of a mouthpiece. The flute and its secondary relatives (such as the Piccolo, Alto, and Bass Flutes) are woodwinds within this category.
Single-Reeds
produce sound by splitting the air column against a single reed. The Clarinet (Eb Clarinet, A Clarinet, and Bb Bass Clarinet) and Saxophones (Soprano, Alto, Tenor, and Baritone) are woodwinds within this category.
Double-Reeds
produce sound by splitting the air column against two reeds (pressed against one another, so it produces a ‘mouthpiece’ in a sense). The Oboe (English Horn and Oboe d’Amore) and Bassoon (Contrabassoon and Contrabass Bassoon) are woodwinds within this category.
Brass
are considered a homogenous group, as all of the instruments use a relatively similar mouthpiece to produce the pitch and the instruments are made of a relatively similar material. Brass players buzz their lips in order to creative vibrations in the air column. The brass instruments have considerably fewer secondary instruments because they are a more homogenous group than the woodwinds. The primary brass instruments include: French Horn, Trumpet in Bb, Tenor Trombone, and Tuba.
Tone Color
timbre or tone color- the difference in the quality of sound between instruments
the differences in how these overtones are stressed (and unstressed) create the differences in timbre
The Characters of the Orchestra
Sergei Prokofiev
(1891-1953)
‘Peter and the Wolf’ (1936)
Each character in the story has a particular instrument and musical theme:
Bird (represented by the Flute)
Duck (represented by the Oboe)
Cat (represented by the Clarinet)
Grandfather (represented by the Bassoon)
Wolf (represented by the French Horns
Hunters (represented by the woodwind group + percussion)
Peter (represented by the string instruments)
Woodwind & Brass Ensembles

A Brief Survey of “The Virtuoso” in the 20th Century
Edgar Varese
(1883-1965)
‘Density 21.5 ’ (1936)
utilizes the extremes of the range- the lowest and highest notes of the instruments
uses a non traditional technique called lip pizzicato which mimics the sound of plucking a stringed instrument. The effect is very light and quiet
the name of the work is called ‘Density 21.5’ because it’s the density of Platinum, which is what the performer’s flute was made out of for whom the piece was written
Luciano Berio
(1925-2003)
‘Sequenza V for solo Trombone ’ (1965)
uses extended techniques or non-traditional techniques to maximize the number of different sounds that the trombone can make, including:
rattling mutes on the bell of the horn
vocalizing/speaking through the instrument
singing while playing at the same time
changing the direction of the bell to create spacial effects with the sound
changing placement on stage to create spacial effects with the sound
J.S. Bach
(1685-1759)
‘Toccata and Fugue in D minor’
(1740ish- exact date unknown)
lots of monophonic textures at the beginning
also lots of writing for parts that is in OCTAVES or UNISONS during the monophonic texture
also uses homophonic textures, in addition to polyphony, which was popular during the Baroque Era
FUGUE is a type of form that is related to a round, but more complicated, and automatically creates polyphony in texture
original version was for organ/keyboard, which is why the ORCHESTRATION for brass works so well (because it’s a homogenous group, and has a good blend)
Ferenc Farkas
(1905-2000)
‘Ugros’ (Jupiter)
from Ancient Hungarian Dances (1959)
the ensemble is small enough that, with practice, the ensemble does not need a conductor to stay together
like in an orchestra, the principle player (in this case, the flute player) is the leader
by having instruments play the same part together, new tone colors and timbres can be made to help expand the possibilities of the ensemble.
unlike the brass quintet, there is not nearly as much blend, as the instruments included are all made of different materials and produce pitch in the same manner
Wind and Brass Instrument- the solo instruments of the orchestra
Gustav Mahler
(1960-1911)
‘Symphony No. 6, Movement No. 1’ (1903-04)
during the beginning section, the texture is generally homophonic, with strings playing the accompaniment and brass playing the solo. Sometimes it moves into polyphony
during the contrasting section, where the string section plays the accompaniment texture (plucked), the woodwind section is featured.
Benjamin Britten
The Young People's Guide to the Orchestra
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