Musical woodwind. What are the types of wind instruments? Varieties of wind instruments

Woodwinds

The flute

The flute(from German - fleet), a woodwind musical instrument, according to its method of sound production, is the most primitive of the wind instruments. Numerous varieties of the flute, starting with the simplest whistles, have been known since antiquity. That is, on the other hand, the modern flute is one of the varieties of whistles, only very complicated, equipped with valves, levers and made of metal.

Spread across Europe in the 17th century longitudinal flute(now it would be called recorder, although it was a slightly different instrument) was supplanted by the transverse, which in the 18th century became not only a solo and ensemble instrument, but also a permanent member of the orchestra. modern type The transverse flute was invented by the German master Böhm in the twenties of the 19th century, the flute received greater fluency, the sound became more piercing, brighter and very effective. This was necessary for the orchestra - just at that time there was an increase in its composition, an increase in sonority.

Of course, it was impossible to do without losses - the charm of chamber sounding, baroque softness and intimacy was lost in this instrument. The following types of flutes currently exist: small(or piccolo), alto(flauto alto) and bass flute(flauto basso) - the latter is very rare, is found only in a few orchestras and, as a result, is rarely used in works (for lovers of large flutes - http://www.contrabass.com/pages/flutes.html). More distant relatives of the flute are extremely numerous - ranging from pan flutes(I immediately recall the leittema from the movie "Once Upon a Time in America") and ending with a kind of mutant - jazz flute with a backstage (like a trombone, i.e. with the possibility of glissando).

The flute, by the nature of sound, is a cheerful and cheerful instrument, but it can also represent light sadness (" Prelude to the Afternoon of a Faun"Debussy) and unrestrained melancholy (the finale of the 4th symphony of Brahms) and fantastic moments (there are many examples in" magic arrow"Weber)

In a modern orchestra, there are usually 2 flutes + piccolo, however, in large compositions, their composition can be significantly increased (up to 4 flutes, 2 piccolo and alto flute - Kancheli's 6th symphony)

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Oboe

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Clarinet

Clarinet(from French clarinette, in turn derived from lat. clarus- clear sound), woodwind reed musical instrument. Designed at the beginning of the 18th century.

Haydn and the composers of the Mingham school introduced him to the orchestra, and as soon as he appeared among the brass, all composers recognized his undeniable value. As you know, Wolfgang Amadeus Mozart re-instrumented his late symphonies (including the most famous - No. 40) by adding clarinets to the wind group (and gave them almost all the solo, by the way).

The clarinet has perhaps the largest range of expressive means. In Scriabin's early symphonies, for example, this is a soulful cantilena, expression fanned with bliss and purity. In Shostakovich's symphonies (as, for example, in the development of the 8th), these are sarcastic antics, malicious squeals. In Richard Strauss (in " Thiel Ulenspiegele") - colorful laughter. It is perfect for all sorts of figurations and unobtrusive accompaniments (so loved by Gustav Mahler). An excellent example of meditative lyrics can be found in Silvestrov's 5th symphony.

AT contemporary practice Soprano clarinets are common, piccolo clarinet (Italian piccolo) - in A or in Es, alto (so-called basset horn), bass - a colorful member of the clarinet family, the lower notes of which are an excellent bass for any ensemble (for me personally, I immediately remember the middle 1st part" Symphonic dances"Rachmaninoff (listen at Real Audio) where he creates a velvety backdrop as he descends to the lowest notes).

Clarinet Resources:
http://www.selmer.com/clarinet/discus/index.html
http://cctr.umkc.edu/user/etishkoff/clarinet.html
Clarinet - Yahoo links

Saxophone

Bassoon

Bassoon(from Italian fagotto, literally - knot, bunch) woodwind musical instrument. Originated in the 1st half of the 16th century. It has the largest range of all woodwinds (more than 3 octaves). I must say that in general, as a rule, the range of low instruments is large due to the fact that their overtones are not so high, and therefore they are not so difficult to extract. Bassoonists sit in the second row of the brass group, next to the clarinets, usually 2 bassoons are used in the orchestra.

For large compositions, it is common and contrabassoon- the only widespread type of bassoon. This is the lowest instrument of the orchestra (not counting the exotic contrabass clarinets and saxophones or the organ - a non-permanent member of the orchestra). He can take notes a fourth below the double bass and a second below the harp. Only a concert grand piano can be "proud" - its lowest note, la subcontroctaves - this is a record. True, as in a hundred meters - for a fraction of a second, and musically - on half tone .

However, perhaps I was too carried away by orchestral records. In terms of sound capabilities, the bassoon is in last place among wind instruments - the fluency is average, the dynamic capabilities are average, the range of images used is also small. Basically, these are either angry or persistent phrases with a typically slow attack of sound (the most typical example is the image of a grandfather from " Petit and the wolf"Prokofiev), or mournful intonations, most often in a high register (as, for example, in the side part of the reprise of the 1st part of Shostakovich's 7th symphony - it is better known as" Leningradskaya"). A common thing for a group of bassoons is the duplication of string basses (i.e. cellos and double basses), this gives the melodic line a greater density, coherence.

Of the combinations of instruments, the most characteristic are - bassoon + clarinet(Start " Romeo and Juliet"Tchaikovsky - chorale of 4 instruments), bassoon + horn(This was especially popular in those days when there were only 2 horns in the orchestra - classical harmony requires four voices, and this combination is perceived as a completely homogeneous sound). Naturally, other combinations are not excluded - each " mix" is useful and usable in a certain place.

Woodwinds

The flute

The flute(from German - Flote), a woodwind musical instrument, according to its method of sound production, is the most primitive of the wind instruments. Numerous varieties of the flute, starting with the simplest whistles, have been known since antiquity. That is, on the other hand, the modern flute is one of the varieties of whistles, only very complicated, equipped with valves, levers and made of metal.

The longitudinal flute that spread in Europe in the 17th century (now it would be called a recorder, although it was a slightly different instrument) was supplanted by the transverse flute, which in the 18th century became not only a solo and ensemble instrument, but also a permanent member of the orchestra. The modern type of transverse flute was invented by the German master Böhm in the twenties of the 19th century, the flute received greater fluency, the sound became more piercing, brighter and very effective. This was necessary for the orchestra - just at that time there was an increase in its composition, an increase in sonority.

Of course, it was impossible to do without losses - the charm of chamber sounding, baroque softness and intimacy was lost in this instrument. Currently, there are the following types of flutes: small (or piccolo), alto (flauto alto) and bass flute (flauto basso) - the latter is very rare, is found only in a few orchestras and, as a result, is rarely used in works (for lovers of large flutes - contrabass /pages/flutes.html). The more distant relatives of the flute are extremely numerous - starting from the Pan flute (I immediately recall the leitteme from the movie "Once Upon a Time in America") and ending with a kind of mutant - a jazz flute with a backstage (like a trombone, i.e. with the possibility of glissando).

The flute, by the nature of sound, is a cheerful and cheerful instrument, but it can also portray light sadness ("Prelude to the Afternoon of a Faun" by Debussy) and deep melancholy (finale 4 of Brahms' symphony) and fantastic moments (there are many examples in Weber's "Magic Arrow")

In a modern orchestra, there are usually 2 flutes + piccolo, however, in large compositions, their composition can be significantly increased (up to 4 flutes, 2 piccolo and alto flute - Kancheli's 6th symphony)

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Clarinet https://xreferat.com/image/63/1305919559_5.jpg" alt="(!LANG:clarinet" width="124" height="138" align="left" hspace="7">Кларнет имеет, пожалуй, самый большой диапазон выразительных средств. В ранних симфониях Скрябина, например, это проникновенная кантилена, овеянная негой и чистотой экспрессия. В симфониях Шостаковича (как например в разработке 8-й) это саркастичестические ужимки, злобные взвизги. У Рихарда Штрауса (в "Тиль Уленшпигеле") - колоритный смех. Он прекрасно подходит для всяческих фигураций и ненавязчивых аккомпанементов (так любимых Густавом Малером). Прекрасный образец медитативной лирики можно найти в 5 симфонии Сильвестрова.!}

In modern practice, soprano clarinets are common, piccolo clarinet (Italian piccolo) - in A or in Es, alto (so-called basset horn), bass - a colorful member of the clarinet family, the lower notes of which are an excellent bass for any ensemble (for me personally, I immediately remember the middle of the 1st movement of Rachmaninov's "Symphonic Dances" (listen in Real Audio), where he creates a velvet background, descending to the lowest notes).

Clarinet Resources:
selmer/clarinet/discus/index.html
cctr.umkc.edu/user/etishkoff/clarinet.html
Clarinet - Yahoo links

Saxophone

Bassoon

Bassoon(from the Italian fagotto, literally - a knot, a bunch) a woodwind musical instrument. Originated in the 1st half of the 16th century. It has the largest range of all woodwinds (more than 3 octaves). I must say that in general, as a rule, low instruments have a large range due to the fact that their overtones are not so high, and therefore they are not so difficult to extract. Bassoonists sit in the second row of the brass group, next to the clarinets, usually 2 bassoons are used in the orchestra.

For large compositions, it is common and contrabassoon- the only widespread type of bassoon. This is the lowest instrument of the orchestra (not counting the exotic contrabass clarinets and saxophones or the organ - a non-permanent member of the orchestra). He can take notes a fourth below the double bass and a second below the harp. Only a concert grand piano can be "proud" - its lowest note, la subcontroctaves - this is a record. True, as in a hundred-meter race - for a fraction of a second, and in musical terms - for half a tone.

However, perhaps I was too carried away by orchestral records. In terms of sound capabilities, the bassoon is in last place among wind instruments - the fluency is average, the dynamic capabilities are average, the range of images used is also small. Basically, these are either angry or persistent phrases with a typically slow attack of sound (the most typical example is the image of a grandfather from Prokofiev's "Peter and the Wolf") or mournful intonations, most often in a high register (as, for example, in the side part of the reprise of the 1st part of 7 Symphony by Shostakovich - it is better known as "Leningrad"). A common thing for a group of bassoons is the duplication of string basses (i.e. cellos and double basses), this gives the melodic line a greater density, coherence.

Of the combinations of instruments, the most characteristic are - bassoon + clarinet(beginning of "Romeo and Juliet" by Tchaikovsky - chorale of 4 instruments), bassoon + horn(This was especially popular in those days when there were only 2 horns in the orchestra - classical harmony requires four voices, and this combination is perceived as a completely homogeneous sound). Naturally, other combinations are not excluded - each "mix" is useful and usable in a certain place.

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Similar abstracts:

The Classical Concerto is a three-movement piece for a soloist-instrumentalist and orchestra. The contrast of sound is one instrument and tutti, the virtuosity of the soloist and the power of the orchestra.

Description of rare or unusual symphony orchestra instruments that do not belong to the main groups of instruments.

Features and history of the appearance of the lyre, harp, viola, violin, guitar.

Description of the main string instruments of a symphony orchestra

It is believed that the chalumeau appeared at the end of the 17th century during the alteration of the recorder in order to amplify the sound: a reed is built into it, and soon two valves are added, with the help of which the voids of the range are filled.

Short story emergence of symphony orchestras.

Multi-barreled flutes, similar to a fence of shortened reed pipes, are classically called Pan flutes - on behalf of ancient greek god fields, forests and grasses. And in Greece itself, it is still called the syrinx.

Woodwind instruments are the most ancient along with the drum and some other percussion instruments. On many plots of the pastoral, pictures of antiquity, you can see all kinds of pipes and pipes that our ancestors played.

The material was at hand. Reed reeds, bamboo and other branches served as the basis for future pipes. Who and when guessed to make holes in them, no one knows. However, wind instruments made from improvised materials have forever taken a place in the hearts of people.

People realized that as the barrel got bigger, the pitch changed, and this understanding was the impetus for improving the instruments. Gradually they changed until they were transformed into modern woodwind instruments.

To this day, musicians affectionately refer to these instruments as “wood” or “pieces of wood,” although this name has long ceased to reflect the material from which they are made. Today, these are not tubes of natural origin, but metal for flutes and saxophones, ebonite for clarinets, plastic for recorders.

Authentic wooden tools

However, wood remains the material of authentic woodwind instruments that are very popular and played on many stages around the world. These include, for example, duduk, zurna, zhaleyka, transverse flutes peoples of the world and other instruments. The voices of these instruments awaken the call of the ancestors in the souls of people.

All these tools have in common general system holes - holes that are created so that you can increase or decrease the length of the tool barrel.

Relationship between wood and brass instruments

Woodwinds, however, have some affinity with brass instruments. This relationship lies in the fact that in order to extract sound, air is needed, which is released by the lungs. There are no other common features for these two groups of instruments. Wood and brass instruments can be combined into.

Funny! One conductor, himself a violinist, was very fond of wind instruments. The sounds of stringed instruments seemed to him very transparent and weightless. He called the sounds of "copper" "meat", and the sounds of "wood" for him were like a good seasoning for the main course. Listening to wind instruments, he felt the music better, felt it.

Labial and reed woodwind instruments

According to the way the sound is extracted, woodwinds are labial , which include the flute and reed or reed , which include clarinet, saxophone, bassoon and oboe .

In the first case, the musician does not have to spend money on reeds and mouthpieces, while in the second, on the contrary, he has to worry about changing them periodically. Nevertheless, these expenses are justified by the beauty of the sound and the timbre of the instruments.

Which tool is right for a child?

For young children, woodwind instruments are just what you need. As a rule, they begin to teach on brass instruments when strength appears and the muscular corset is strengthened, although there are exceptions. As for woodwinds, the recorder is a great choice for kids. It is simple and easy to play because it does not require any effort on the part of the breathing apparatus.

Woodwind instruments are instruments of great possibilities and great potential. Throughout the history of mankind, they have repeatedly proved this. Let's rate them too!

Bassoon(Italian fagotto, lit. “knot, bundle, bundle of firewood”, German Fagott, French basson, English bassoon) is a woodwind instrument of the bass, tenor and partially alto registers. It has the form of a bent long tube with a valve system and a double (like an oboe) reed, which is put on a metal tube ("es") in the shape of the letter S, connecting the reed to the main body of the instrument. It got its name due to the fact that, when disassembled, it resembles a bundle of firewood.

The bassoon was constructed in the 16th century in Italy, it has been used in the orchestra since the end of the 17th - beginning of the 18th century, and took a permanent place in it by the end of the 18th century. The timbre of the bassoon is very expressive and rich in overtones throughout the entire range. The most common are the lower and middle registers of the instrument, the upper notes sound somewhat nasal and constricted. The bassoon is used in a symphony, less often in a brass band, and also as a solo and ensemble instrument.

The bassoon is a long tube of a gently conical shape. For greater compactness, the air column inside the instrument is doubled, as it were. The main material for the manufacture of the bassoon is maple wood.

The body of the bassoon consists of four parts: the lower knee (“boot”, which has a U-shape), the small knee (“wing”), the large knee and the bell. A thin long metal tube extends from the small knee, bent in the form of the letter S (hence its name - es), on which a reed is mounted - the sound-forming element of the bassoon.

There are numerous holes (about 25–30) on the body of the instrument, by opening and closing which the performer changes the pitch. Only 5-6 holes are controlled by fingers, the rest uses a complex valve mechanism.

With
axophone(from Sax - the surname of the inventor and Greek φωνή - “sound”, French saxophone, Italian sassofono, German Saxophon) - a wind musical instrument that, according to the principle of sound extraction, belongs to the wooden family, despite the fact that it was never made of wood . The family of saxophones was designed in 1842 by the Belgian musical master Adolf Sax and patented by him four years later. Since the middle of the 19th century, the saxophone has been used in a brass band, less often in a symphony, also as a solo instrument accompanied by an orchestra (ensemble). It is one of the main instruments of jazz and related genres, as well as pop music. The instrument has a full and powerful sound, melodious timbre and great technical mobility.

The fingering of the saxophone is close to the fingering of the oboe, but the lips do not turn up so much, and the principle of sound extraction is similar to the sound extraction on the clarinet, but it is a little easier to make embouchure. At the same time, the registers of the saxophone are more uniform than those of the clarinet.

The possibilities of the saxophone are very wide: in terms of technical mobility, especially in legato, it competes with the clarinet, a large amplitude of sound vibration is possible, a clear accentuated staccato, glissanded transitions from one sound to another. In addition, the saxophone has a much greater sound power than other woodwinds (approximately like a French horn). His ability to blend organically with both woodwind and brass groups helps him to successfully unite these groups in timbre.

In jazz and when performing modern music, saxophonists use a wide variety of playing techniques - frullato (tremolo on one note using the tongue), resonant sound, performance in an ultra-high register with harmonic sounds, polyphonic sound, etc.

F lajolet(French flageolet, shortened from old French flageol - flute) - an old flute of a high register, a pipe.

The first known flageolet was made in France by master V. Juvigny, in 1581.

It is a tube made of boxwood or Ivory with a channel of cylindrical or reverse-conical section, with 6 holes for fingers and a whistle device.

From the beginning of the 18th century, it consisted of two joining parts, and the upper one (with a whistle device) was increased (total length 300 mm) and turned into a special chamber with a tampon that sucks up moisture.

There are French flageolets (with four holes on the front side, and two on the back), and English (with all six holes on the front side). In addition, there is a double flageolet - with a single whistle device and two tubes, which allows you to extract two sounds at the same time.

Due to the high melodic sound, the flageolet was used to train birds to whistle various melodies.

The flageolet became most widespread in the 17th century, and was later replaced by the piccolo flute.

The flageolet was used in their works by J. S. Bach, G. F. Handel, K. V. Gluck and W. A. ​​Mozart.

And
Talian bagpipe unusual in that it has two tubes to play the melody, one for each hand. All 4 tubes have two reeds. Air blown into the tubes passes through two reeds and produces a sound reminiscent of an organ. The Italian bagpipe, accompanied by a giaramella (a small pipe), is played in small towns, especially at Christmas.

The Italian bagpipe is always played with the giaramella, a conical pipe. They are often heard together during Christmas. The Italian bagpipe belongs to the piffero genus of bagpipes.

G
kill harmonica(colloquial “(mouth) harmonica”, harp (from English harp)) is a common reed musical instrument. Inside the harmonica are copper plates (reeds) that vibrate in the air stream created by the musician. Unlike other reed musical instruments, the harmonica does not have a keyboard. Instead of a keyboard, the tongue and lips are used to select a hole (usually arranged linearly) corresponding to the desired note.

The harmonica is most often used in such musical styles as blues, folk, bluegrass, blues-rock, country, jazz, pop.

A musician playing the harmonica is called a harper.

Chromatic harmonics allow you to play all 12 notes in an octave (including semitones). Learning to play them is more difficult than diatonic ones, but they can play any melody without mastering special playing techniques, such as bending. Harmonics of this type actually consist of 2 harmonics in one package. Switching between them and extracting halftones is achieved using a special switch button - a slider located on one of the sides of the instrument.

Diatonic harmonicas use the diatonic scale (for example: C, D, E, F) without semitone intervals between notes (C#, D#, and so on). Playing the diatonic harmonica without the use of special techniques resembles playing the piano only on the white keys, without the black ones. Diatonic harmonicas have a range of 1-4 octaves.

The blues harmonica is the most popular today. It usually has 10 holes, each can be played both for inhalation (English draw) and for exhalation (English blow). With certain playing skills, you can play chromatically using special techniques - bends and overflows. Sold in different keys and settings, but the most common is C-dur.

In a tremolo harmonica, two soundbars sounding at the same time are slightly out of tune with respect to each other, creating a tremolo effect. Thus, there are 2 reeds for each note, and the sound is more saturated. The presence of the note la in the lower octave allows you to fully play Russian melodies.

The octave harmonica is another variation of the diatonic. In it, two sound plates sounding simultaneously are tuned exactly in an octave relative to each other. This gives more volume and a different timbre of sound.

The bass harmonica is actually two separate instruments, one above the other, hinged on both sides. Each hole plays only on exhalation, and for each note there are two sound plates tuned to an octave.

The chord harmonica, like the bass harmonica, also consists of two movably fixed plates, the double reeds of which are tuned to an octave. But unlike bass harmonics, it has notes for both exhalation and inhalation, which allows you to use different chords.

G
wallpaper(from French hautbois, literally “tall tree”, English, German and Italian oboe) is a soprano woodwind musical instrument, which is a conical tube with a valve system and a double reed (tongue). The oboe acquired its modern look in the first half of the 18th century. The instrument has a melodious, but somewhat nasal, and in the upper register - a sharp timbre.

Instruments that are considered the direct predecessors of the modern oboe have been known since antiquity and have been preserved in their original form in different cultures. Folk instruments such as the bombarda, bagpipes, zhaleika, duduk, gaita, khitiriks, zurna, together with the instruments of the New Age (musette, oboe proper, oboe d'amour, English horn, baritone oboe, baroque oboe) make up an extensive family of this instrument.

The oboe is used as a solo instrument, in chamber music and in symphony orchestras.

The basis of the repertoire for the oboe is made up of works of the Baroque era (works by Bach and his contemporaries) and classicism (Mozart). The works of romantic composers (Schumann) and modern composers are performed less frequently.

The first oboes were made of reed or bamboo - a natural cavity inside the tube was used to create the case. Despite the fact that some folk instruments are still made in this way, the need to find a material that is more durable and resistant to changes in the situation quickly became obvious. In search of a suitable option, musical masters tried different types of wood, usually hard, with the correct arrangement of fibers: boxwood, beech, wild cherry, rosewood, pear. Some baroque oboes were made from ivory.

In the 19th century, with the addition of new valves, an even stronger material was required. Ebony turned out to be a suitable option. Ebony wood has remained the main material for oboes to this day, although exotic woods such as cocobolo and purplewood are sometimes used. Experiments were carried out to create oboes from metal and plexiglass. One of the latest technological innovations is applied by Buffet Crampon: Green Line technology tools made of a material consisting of 95% ebony powder and 5% carbon fiber. With the same acoustic properties as ebony instruments, Green Line clarinets are much less sensitive to changes in temperature and humidity, which reduces the risk of damage to the instrument, and they are also lighter and cheaper.

BUT
English horn(Italian corno inglese, French cor anglais, German Englisch Horn) or alto oboe is a woodwind musical instrument, a kind of oboe.

The English horn is similar in structure to the oboe, but has a larger size, a pear-shaped bell and a special curved metal tube, through which the reed is connected to the main body.

The fingering of the English horn is exactly the same as that of the oboe, but due to the longer body length, it sounds a perfect fifth lower.

The playing technique and strokes when playing the English horn are the same as on the oboe, but the English horn is somewhat less technical. In his performance, the most typical are cantilena, drawn-out episodes in legato. The timbre of the English horn is thicker, fuller and softer than that of the oboe.

The range of the English horn in terms of actual sound is from e (mi of a small octave) to b2 (b-flat of the second octave). The uppermost sounds of the range are rarely used. With the same fingering as the oboe, the English horn sounds a fifth below it, that is, it belongs to the number of transposing instruments in F.

Italian composers of the late XVIII - first half of XIX centuries have notated the English horn part in a bass clef, an octave below the actual sound. In the French tradition, it was customary to write notes for him in a rare mezzo-soprano key. The most common was notation in the viola clef (it was later used by some composers of the 20th century, in particular, S. S. Prokofiev). In modern scores, the English horn part is written in the treble clef a perfect fifth above the actual sound.

In an orchestra, one English horn is usually used (rarely two), and its part can be a temporary replacement for one of the oboes (usually the last one in number).

To
ena(Quechua qina, Spanish quena) is a longitudinal flute used in the music of the Andean region of Latin America. Usually made from cane. It has six upper and one lower finger holes. Usually made in G tuning. The kenacho flute (quechua qinachu, Spanish quenacho) is a variant of the kena with a lower sound, in D tuning. It is similar in design and sound production to the Japanese shakuhachi flute: it does not have a whistle, only an oval notch of a wedge-shaped section at the top end. To extract sound, the musician puts the upper end of the flute to his lips and directs the air flow to the wedge. Thanks to this design, compared to a recorder, the range of airflow control possibilities is increased, which gives the instrument a lively, expressive sound.

F
leita-piccolo ( often called simply piccolo or piccolo; ital. flauto piccolo or ottavino, fr. petite flute, German. kleine flöte) is a woodwind musical instrument, a type of transverse flute, the highest sounding instrument among wind instruments. It has a brilliant, in the forte - a piercing and whistling timbre. A small flute is half as long as an ordinary one and sounds an octave higher, and it is impossible to extract a number of low sounds on it. The piccolo range is from d² to c5 (re of the second octave - up to the fifth octave), there are also instruments that have the ability to take c² and cis². Notes for ease of reading are written an octave lower.

The design of the piccolo flute is generally the same as that of the large flute, however, the embouchure (head) hole is smaller in diameter, there is no knee, and the holes in the body of the instrument are located closer to each other. The length of a piccolo is about 32 centimeters, which is almost two times shorter than a large flute, the drilling diameter is 1 centimeter. Piccolo flutes are made of wood, metal, less often from other composite materials. The technique for playing the piccolo flute is the same as for the grand flute, but full mastery of the instrument requires a long, purposeful period of mastery on the part of the performer (unlike, for example, the alto flute).

The main scope of the small flute is symphony and brass bands, its use as a solo instrument refers to isolated cases (Vivaldi - Concerto C-dur).

The precursor to the piccolo is the harmonica, which was widely used in military music in the Middle Ages. Actually, the piccolo flute was constructed in the 18th century and at the turn of the 18th-19th centuries became part of the symphony orchestra, where it became one of the highest register instruments. In 19th-century military and brass bands, piccolo flutes in D-flat or E-flat tuning were often used, today such instruments are extremely rare.

Usually, a symphony orchestra uses one small flute (rarely two), the part of which in the score is placed on a separate line above the parts of large flutes (that is, above all the other instruments of the orchestra). Often the part of the small flute is a temporary replacement for the part of one of the great flutes. The most common function of the piccolo flute in an orchestra is to support the upper voices in the overall sound, but sometimes composers trust this instrument to solo episodes (Ravel - Piano Concerto No. 1, Shchedrin - Piano Concerto No. 4), Shostakovich - Symphonies No. 9 and No. 10) .

Clarinet(Italian clarinetto, French clarinette, German Klarinette, English clarinet or clarionet) is a woodwind musical instrument with a single reed. It was invented around 1700 in Nuremberg, and has been actively used in music since the second half of the 18th century. It is used in a wide variety of musical genres and compositions: as a solo instrument, in chamber ensembles, symphony and brass bands, folk music, on the stage and in jazz. The clarinet has a wide range, warm, soft timbre and provides the performer with a wide range of expressive possibilities.

Such details of the clarinet as the mouthpiece with a single reed and the system of annular valves are borrowed almost without change by the saxophone.

basset horn(German Bassethorn; French cor de basset; Italian corno di bassetto) is a woodwind musical instrument, a kind of clarinet.

The basset horn has roughly the same structure as a regular clarinet, but is longer, which makes it sound lower. Its tube diameter tends to be somewhat wider than that of a regular clarinet, which makes a regular clarinet mouthpiece not suitable for it and an alto clarinet mouthpiece is used. For compactness, the tube of the modern basset horn is slightly curved at the mouthpiece and at the bell. Instruments built in the 18th and 19th centuries had more complex shape with several bends and a special chamber where the air channel changed direction several times, turning into an expanding metal bell.

The instrument is equipped with several additional valves that extend its range down compared to the clarinet to a note up to a small octave (as written in the treble clef). These valves are operated by the right thumb (typical on German models) or little fingers (on French instruments).

The basset horn is a transposing instrument. It is usually used in F (in the F system), that is, it sounds a perfect fifth below the written notes. Often the notes for such an instrument are written down like notes for a horn - in the bass clef a fourth above the written notes, in the violin clef - a fifth below. Basset horns in other tunings (G, D, Es, A, B) were used sporadically in the 18th century, but did not enter into widespread use. The tone of the basset horn is similar to that of the clarinet, but slightly more matte and softer.

The range of the modern basset horn in F is from the F of a large octave to the B flat of the second and higher (it is possible to extract sounds up to the F of the third, but they are not always stable in intonation)

BUT
accordion(from French accordéon) - a musical instrument, hand harmonica. In 1829, the Viennese organ master K. Damian gave this name to the harmonica he improved. In the Russian tradition, it is usually customary to name only instruments with a piano-type right-hand keyboard (usually several timbre registers) - in contrast, for example, to the button accordion. However, sometimes the name "button accordion" is also found. Some of its varieties are called button accordion.

AT late XIX century accordions were made in large quantities in Klingenthal (Saxony). Until now, the most common accordions in Russia are Weltmeister (various brands, for example, Diana, Stella, Amigo). There are also other manufacturing firms, both foreign ("Horch", "Hohner"), and Russian ("Birch", "Mercury").

There is an opinion that those who know how to play the piano will easily learn to play the accordion. However, despite the outward similarity of the accordion and piano keyboards, their keys have different sizes, it is also necessary to take into account completely different principles of sound extraction, playing techniques and the position of the performing apparatus. But at the same time, it is easier for an accordionist than for an accordion player to master the piano.

Tabla- Indian percussion instrument.

T
there is no exact information about the origin of tabla. But according to the existing tradition, the creation of this instrument (as well as many others whose origin is unknown) is attributed to Amir Khusro (XIII century). The very name “tabla” is foreign, but this does not apply to the instrument: ancient Indian reliefs depicting such pairs of drums are known, and even in the Natyashastra, a text almost two thousand years ago, mention is made of river sand of a certain quality, which is part of the membrane coating paste.

There is a legend about the birth of tabla. During the time of Akbar, there were two professional Pakhawaj players. They were bitter rivals and constantly competed with each other. Once, in a heated drumming match, one of the rivals - Sudhar Khan - was defeated and, unable to bear his bitterness, threw his pakhawaj to the ground. The drum broke into two pieces, which became tabla and dagga.

The big drum is called bayan, the small one is called daina.

There are several gharanas (schools) of tabla, the most famous are six of them: Ajrara gharana, Benares gharana, Delhi gharana, Farukhabad gharana, Lucknow gharana, Punjab gharana.

One of the most famous musicians who glorified this instrument all over the world is the Indian musician Zakir Hussain.

M arakas or maraca (Spanish maraca) - the oldest shock-noise instrument of the indigenous inhabitants of the Antilles - the Taino Indians, a kind of rattle that makes a characteristic rustling sound when shaken. Currently, maracas are popular throughout Latin America and are one of the symbols of Latin American music. Typically, a maraca player uses a pair of rattles, one in each hand.

In Russian, the name of the instrument is more often used in the not quite correct form "marakas" (masculine, singular) or "maracas" (masculine, plural). This is due to the mechanical transfer of the Spanish name of the instrument into Russian speech during plural(Spanish maracas), supplemented moreover by the ending of the plural, characteristic of the Russian language. A more correct form of the name is "maraka" (feminine, singular; plural - "maraki").

T amburine- an ancient musical drum of a cylindrical shape, as well as a dance in two-part meter and music for it.

The tambourine was known in the south of France around the 18th century. Usually the same performer played the flute (similar to a harmonic) and accompanied himself on the tambourine.

Charles-Marie Widor stated that the tambourine "differs from the ordinary drum in its strongly elongated appearance and the absence of a harsh sound". Joseph Baggers adds that the tambourine is not only longer and narrower than an ordinary drum, but, in contrast, has strings stretched over the skin, which gives the instrument its characteristic "somewhat nasal deafness." On the contrary, the French military conductor of the XVIII century M.-A. Suye be careful. He simply combines these provisions and states that the tambourine has "a very long body and is often without strings - sans timbre".

B
onang- Indonesian percussion instrument. It is a set of bronze gongs, with the help of cords, fixed in a horizontal position on a wooden stand. Each gong has a bulge (pencha) in the center. The sound is produced by hitting this bulge with a wooden stick wrapped at the end with cotton cloth or rope. Sometimes spherical resonators made of burnt clay are suspended under the gongs. The sound of the bonang is soft and melodious, slowly fading away.

In gamelan, the bonang usually performs harmonic functions, but sometimes it is also assigned to lead the main theme.

Among bonangs, male (vangun lanang) and female (vangun wedon) are distinguished. The former gongs have high sides and a more convex surface, while the latter have lower and flatter ones. Bonang penerus (small), bonang barung (medium) and bonang penembung (large) are also distinguished depending on the size.

H
elesta(Italian celesta - “heavenly”) - a small keyboard-percussion musical instrument that looks like a piano, sounds like bells.

The sound is produced by hammers driven by keys (the mechanism of the hammers is similar to that of a piano, but more simplified). Hammers hit steel plates mounted on wooden resonators. The range of the celesta is from c1 (up to the first octave) to c5 (up to the fifth octave).

Ernest Chausson was the first to use the celesta in the orchestra in the music for Shakespeare's play The Tempest (1888).

During his visit to Paris, Pyotr Ilyich Tchaikovsky heard the celesta and was so fascinated by its sound that he included the part of this instrument in his compositions: the ballad The Voyevoda (1891) and the ballet The Nutcracker (Dance of the Dragee Fairy; 1892).

The celesta is used almost exclusively as an orchestral instrument for creating special flavor by Gustav Holst in the Planets suite, by Dmitri Shostakovich in the thirteenth symphony, and by other academic composers. The celesta also plays the part of the glass harmonica, an instrument that has fallen into disuse, but is provided for in the works of some composers of the 19th century. As a rule, the full-time pianist of the orchestra plays the celesta (in the absence of a celesta, her part can be performed on the piano).

Also among the composers of the XX century they used the celesta in their works Bartok (Music for strings, percussion and celesta, 1936), Britten (opera "A Midsummer Night's Dream", 1960), Glass (opera "Akhenaton", 1984), Feldman ("Philip Guston, 1984).

Notes for the celesta are written on two staves one octave below the actual sound. In the score of the symphony orchestra, her part is located under the part of the harp, above the parts of string instruments.

The sound of this instrument was used by the Depeche Mode group in some of their works.

G
ender(gendir) is an Indonesian percussion instrument. It consists of 10-12 slightly convex metal plates, fixed in a horizontal position on a wooden stand with cords. Bamboo resonator tubes are suspended from the plates. Gender plates are selected in accordance with the 5-step slendro scale or the 7-step pelo scale.

The sound is produced by striking two short wooden sticks with rubber tips. Compared to its sister gambang, gender has a softer timbre. This instrument requires a virtuoso technique from the performer, since the performance of pieces in an improvisational manner requires extremely fast hand movements. Often gender is played by women.

In gamelan, gender carries out a variational development of the main theme given by the gambang.

Depending on the size of the instrument, there are varieties: gender penerus (small), gender barung (medium) and gender penembung (large).

To
astanets(Spanish: castañetas) - a percussion musical instrument, which consists of two concave shell plates, connected by a cord in the upper parts. Plates have traditionally been made from hardwood, although more recently fiberglass has been used for this. Castanets are most widely used in Spain, southern Italy and Latin America.

Such simple musical instruments, suitable for rhythmic accompaniment of dance and singing, were used in ancient Egypt and ancient Greece.

The name castanets in Russian is borrowed from Spanish, where they are called castañuelas ("chestnuts") because of their resemblance to chestnut fruits. In Andalusia, they are more commonly referred to as palillos ("sticks").

In world culture, castanets are most strongly associated with the image of Spanish music, especially with the music of Spanish gypsies, the flamenco style, etc. Therefore, this instrument is often used in classical music to create a “Spanish flavor” (for example, in G. Bizet’s opera Carmen "). In a symphony orchestra, for the convenience of performers, castanets are most often used mounted on a special stand (the so-called "castanets-machine").

To
alimba- the oldest and most common instrument in Africa (especially in Central and South, on some of the Antilles). Its wide popularity is evidenced by the abundance of names that designate kalimba among various tribes: tsantsa, sanza, mbira, mbila, ndimba, lukembu, lala, malimba, ndandi, ijari, mganga, likembe, selimba, etc., of which the "official" us is "tsantsa", in the West - "kalimba". Kalimba is used in traditional rituals and by professional musicians. It has been called the "African hand piano"; this is a rather virtuoso instrument, designed to perform melodic patterns, but it is also quite suitable for playing chords. Mostly used as an accompanying instrument. Large kalimbas give a unique low rumble to the lively bass rhythms of African music, small ones emit a completely ghostly, fragile sound, similar to a music box.

On the resonator body (it can be of various shapes) there is a row or several rows of wooden, bamboo or metal reed plates that serve as a sound source. The simplest samples have a flat one, while more complex ones have a cavity resonator made of tortoise shell, dugout wood, hollow pumpkin, etc., tongues (4-30) are attached to the resonator board. A high nut limits the sounding part of the reeds. When playing (standing, on the move, sitting), the kalimba is clamped with the palms of the hands bent at right angles and tightly pressed to the sides, or they are held on their knees, large and index fingers both hands pinch and release the free (upper) ends of the tongues, bringing them into a state of vibration. Kalimbas come in a variety of sizes; body length 100-350 mm, tongue length 30-100 mm, width 3-5 mm. The scale of the kalimba depends on the number of reeds.

With
steel drum(English steelpan) - a percussion instrument with a certain pitch. Used in Afro-Caribbean music such as calypso and soca. Invented in the 1930s, some sources consider the steel drum to be the only non-electronic musical instrument invented in the 20th century.

The instrument appeared after the adoption in Trinidad and Tobago of a law banning membrane drums and bamboo sticks for playing music. The drum began to be forged from steel barrels (in large numbers left on the beaches after the end of the Second World War), from sheets of steel 0.8 - 1.5 mm thick. The tuning of the instrument consists in forming petal-shaped areas in this steel sheet and giving them the necessary sound with the help of hammers. The instrument may need to be retuned once or twice a year.

Usually several types of instrument are played in the ensemble: ping-pong leads the melody, tune boom forms the harmonic basis, and bass boom keeps the rhythm. The instrument is even represented in the armed forces of the Republic of Trinidad and Tobago - since 1995 there has been a "steel band" with the defensive troops, which is the only military band in the world using a steel drum.

B
ongo(Spanish: bongó) - Cuban percussion instrument: a small doubled drum of African origin, usually played while sitting, holding the bongo between the calves of the legs. In Cuba, the bongo first appeared in the province of Oriente around 1900. The drums that make up the bongos vary in size; the smaller of them is considered “male” (macho - Spanish macho, literally “male”), and the larger one is considered “female” (embra - Spanish hembra, “female”), the main drum. Traditionally, a lower-tuned, "female" drum is located on the right hand of the bongocero musician (Spanish: bongocero). Bongos are widely used both in traditional Cuban music and in Latin American music in general.

In the 1920s, the bongo was tuned lower than it is now, and was played in a technique close to playing the conga, including changing the tension of the membrane during the game. Initially, the skin was fastened to the body of the drum with nails, and to tune it, the bongosero used a small brazier filled with coals, which was placed between the legs during the game.

The modern bongo is tuned higher than before, which is more in line with the role of these drums as a solo instrument. Now the technique of playing the bongo is based primarily on the rhythmic pattern "martillo" (Spanish martillo, "hammer"). The bongo part can also be overdubbed by other percussion instruments, such as the senserro, especially as the volume and intensity of the ensemble's rhythm increase.

T
arelets- a percussion musical instrument with an indefinite pitch. Plates have been known since ancient times, meeting in China, India, later in Greece and Turkey.

They are a convex-shaped disk made of special alloys by casting and subsequent forging. There is a hole in the center of the cymbal for attaching the instrument to a special stand or for attaching a strap.

Among the main techniques of the game: hitting suspended cymbals with various sticks and mallets, hitting paired cymbals against each other, playing with a bow. The sound stops when the musician places the cymbals against his chest.

As a rule, cymbal strikes fall on the strong beat, simultaneously with the bass drum. Their parties are written side by side. The sound of cymbals in the forte is sharp, brilliant, wild, in the piano it is rattling, but much softer. In an orchestra, cymbals primarily dynamically emphasize the climax, but often their role is reduced to colorful rhythms or special visual effects.

In jargon, musicians sometimes refer to a set of cymbals as "iron".

T ratchet- a folk musical instrument, an idiophone that replaces clapping.

Ratchets consist of a set of 18 - 20 thin boards (usually oak) 16 - 18 cm long. They are interconnected by a dense rope threaded through the holes in the upper part of the boards. To separate the boards, small wooden plates about 2 cm wide are inserted between them at the top.

There is another design of the ratchet - a rectangular box with a wooden gear placed inside, attached to a small handle. A cut is made in one of the walls of this box, in the hole of which a thin elastic wooden or metal plate is fixedly fixed.

The ratchet holds the rope with both hands, sharp or smooth movements allow you to make various sounds. At the same time, the hands are at the level of the chest, head, and sometimes rise to attract attention with their appearance.

P During archaeological excavations in Novgorod in 1992, two tablets were found, which, according to V. I. Povetkin, were included in the set of ancient Novgorod rattles in the 12th century.

Rattles were used in the wedding ceremony when singing praise songs with dancing. The choral performance of a laudatory song is often accompanied by the playing of an entire ensemble, sometimes numbering more than ten people. During a wedding, rattles are decorated with ribbons, flowers, and sometimes bells.

R learning bells usually made in a set, tuned to the notes of the scale. Entire choirs (teams) of ringers play the bells. Musicians require exceptional precision, regularity and agility of fingers. The sound is produced by the fast movements of the performer's hand, which causes the bell reed to beat against the bell body. Handbell playing is very popular in the UK and USA where choirs of 10 OR 12 players play large sets of handbells.

In England, during the 19th century, groups of bell ringers gathered, with a total of up to 200 bells, on which they performed melodies popular at that time.

At
gift installation(drum set, drumz from English drums) - a set of drums, cymbals and other percussion instruments adapted for the convenient playing of a drummer musician. Commonly used in jazz, rock and pop music.

Individual instruments are played with drum sticks, various brushes and mallets. Pedals are used to play the hi-hat and bass drum, so the drummer plays while sitting on a special chair or stool.

Different genres of music dictate the stylistically appropriate composition of the instruments in the drum set.

1. Plates | 2. Floor tom-tom | 3. Tom-tom

4. Bass drum | 5. Snare drum | 6. Hi-hat

The standard drum kit includes the following items:

Crash is a cymbal with a powerful but short sound for accents.

Ride (ride) - a plate with a sonorous, hissing sound.

Hi-hat (hi-hat) - two plates mounted on the same rod and controlled by a pedal.

Drums:

The snare drum (snare drum) is the main instrument of the setup.

3 tom-toms: high tom-tom (high tom-tom), low tom-tom (middle tom-tom) - both are colloquially called violas, floor tom-tom (or just floor tom-tom).

Bass drum ("barrel", bass drum).

The number of instruments in the setup is different for each performer and his style. The most minimal settings are used in rockabilly and dixieland jazz, and the settings of progressive rock, fusion, metal performers usually include a wide range of instruments: drummers use additional cymbals (combined by the term effect cymbals: splash (splash), china (china), etc.) and tom-toms or snare drums, two hi-hats are also used.

Some manufacturers offer another version of the drum kit with 1 mounted and 2 floor toms. Performers using this setup include Phil Rudd (AC/DC), Chad Smith (Red Hot Chili Peppers), Hena Habegger (Gotthard) and John Bonham (Led Zeppelin).

In heavy music (metal, hard rock, etc.), two bass drums or a double pedal (the so-called “cardan”) are often used - two pedals connected by a cardan shaft so that both beaters hit one bass drum in sequence.

There is also a variant of a drum kit designed for playing while standing (the so-called cocktail drum).

Flute (large)

(Flöte – German)

The most mobile of the woodwinds. It is easiest to recognize him, because. it's the only one

An instrument that must be held across the face during performance (transverse). Transverse in the 18th century replaced the longitudinal.

It is a hollow tube, closed at the top. in disassembled, detachable form consists of three parts (knees). Movable connections of all parts contribute, if required, to its adjustment. The upper part is a head with a hole for blowing air. The middle part is the main body, equipped with a valve lever mechanism that opens and closes the sound holes. There are 2-3 holes in the lower knee, controlled by the little finger of the right hand.

Until the 19th century, the scale was limited, but in the 30s of the 19th century, the outstanding German flutist Böhm took up its improvement. His instrument, after important design changes, turned into a virtuoso chromatic instrument. Range - 3 octaves. From "to" 1 octave to "to" 4 octaves.

Playing the flute requires a lot of air. When blown, part of it breaks on the sharp edge of the hole and leaves. This results in a characteristic "sibilant" overtone. The timbre is white with overtones, and this makes it coldish, dull. Different registers are very different in the nature of the sound. The lowest one is mysterious, “glass”. Medium - light, poetic. Top - shine. The nature of the sound depends on the adjustment of the air and the correct sound strikes with the brightness and position of the lips in relation to the hole. Of particular importance for the attack of sound is language. Type of attack: simple - on the syllable

“tu-tu”, double - “tu-ku”, triple - “tu-ku-ku”.

The flute is subject to such a form of sound as the natural world with its real and fantastic inhabitants.

Small flute (piccolo)

(Kleine Flöte - German)

Penetrated into the orchestra in the 2nd half of the 18th century. It is half as large as the large one, which extends the range by an octave higher - from "re" of the second octave to "do" of the fifth octave.

In orchestral parts, it is recorded in transport - an octave lower (using the “eight” icon).

In design, the piccolo flute is the same as the big flute. Lower case is rarely used. Medium sounds are graceful, plastic. Sharp sounds in the high register are distinguished by great power and brilliance.

This miniature tool is capable of "cutting" through fortissimo tutti the entire orchestra. In general, the timbre of the piccolo flute is even poorer in overtones than the timbre of the grand flute. The pictorial player, if necessary, changes the instrument to the grand flute and plays the part of the 2nd or 3rd flute. In the recording of the orchestral part, this is indicated muta Fluato piccolo in Fluato grando 3 and vice versa.

Flute technique

Legato on the flute is shorter than on other woodwind instruments due to the high air consumption. The lowest and partly the highest notes are especially short-lived (especially in fort).

This is not reflected in the usual small-breath phrases, but when playing wide melodies, the flute gives significantly more breaks in the melodic line than other woodwind instruments. Therefore, one should not make demands on the flute that contradict its nature, otherwise the performance will be strained and timid.

The flute instantly responds to the slightest breath (without transmission to the reed), and this leaves an imprint on the entire manner of performance, very flexible in terms of shading and without perceptible " attack 'i" (the moment of the appearance of air); the sound of the flat appears, one might say, by itself.

Phrases and passages of small breathing on the flute are obtained with amazing ease. Combinations of small legal phrases of the most whimsical alternation are especially good.

Diatonic and chromatic scales, various arpeggios are obtained on the flute with the utmost fluency and ease; only the clarinet can compete with it in the flexibility and mobility of a legate technique.

In the staccato technique, the flute has no rivals. In addition to the usual simple staccato , - very fast, because the sound on the flute occurs instantly without transmission to the reed - an amazing swift reception is possible on the flute double tongue and almost as fast triple language.

The double tongue separates with the tongue every stroke of the simple staccato for two strokes:

“ta-ka, ta-ka”, etc. and therefore it is especially common with rapidly repeating notes. With a double tongue, figures that are even in the number of notes are performed, not necessarily built from repeating notes.

Triple Tongue Splits Tongue Every Stroke Of A Simple staccato for three strokes:

“ta-ka-ta, ta-ka-ta”, etc. and is used to perform fast triplet figures with repeating and non-repeating notes. Both of these effects cannot reach a great sounding power.

In addition, a peculiar kind of tremolo , called "frulato" (German - flatterzunge ) both on one note and in small passages. sound flatterzunge reminiscent of a somewhat muffled police whistle; it is achieved by rapid vibration of the tongue and larynx (reception of gargling).

From everything it turns out that the flute is characterized by combinations of legate and staccato passages of the most whimsical shading, jumps (especially octaves), quick changes of registers and narrow light melodic phrases, more transparent, but less expressive than those of a clarinet or oboe. If you do not interfere with performance with uncomfortable tonalities, then the brilliance of the sound of the flute will be maximum. AT f approximately up to the note “G” of the 2nd octave, the flute is weaker than the oboe and clarinet and cannot balance them in a chordal combination. It should also be noted that the flute's staccato technique is somewhat slower in the lowest register than in the middle and upper registers, and is also slower in the highest register. Flute technique is most brilliant precisely in those registers where the lips are not overstretched, but not overly loose.

Oboe

(Hoboe - German)

It is a hollow tube with a socket at the end. There are from 15 to 19 holes in the wall, equipped with a valve mechanism. Length - 60-62 centimeters. Consists of three parts.

For blowing air there is a special device - a tip made of two reed plates adjacent to each other. During performance, the upper ends of the petals are pressed between the lips. In the cane arise sound vibrations, which are transferred to the air column inside the instrument. Due to some design features, the oboe has almost no tuning. Range - 2.5 octaves - from "si" of a small octave to "fa" of the 3rd octave. It has a fairly mobile technique, but is inferior to the flute, because. sound production is less convenient. This is due to the fact that little air enters between the petals. But where the oboe feels more comfortable is the world of simple sentimental and pastoral melodies. Sharply, dryly interrupted sounds radiate a joyful mood, children's fun.

The timbre of the oboe, with its peculiar "nasal" tone, stands out among other instruments for its sharpness and expressiveness. In the middle register, extremely expressive, the timbre is fresh, gentle, touchingly direct, sometimes pitiful, almost mournful. In the low - rough and nasal. At the top - noisy and "skinny".

Unlike the chilly flute, the oboe is characterized by great emotionality. His area is sadness, elegiacity, dreary moaning, good-natured slyness and grace are not alien. Sometimes the oboe is assigned comic roles.

Alto oboe (cor anglais)

(Englisches Horn - German)

The cor anglais is larger than the oboe and sounds a fifth lower. Its material, device and playing methods are the same as those of the oboe. Its difference is the bell, which has a pear-shaped shape, which gives the instrument a peculiar timbre. The cane is placed on a thin metal tube bent inward in the form of the letter "c".

The cor anglais is a transposing instrument (oboe in F ). Range - 2.5 octaves - from "mi" of a small octave to "si" of the second octave.

It entered orchestral practice only in the 19th century.

The cor anglais player is sometimes assigned to play the part of the 3rd oboe. In the score, this is indicated corno inglese muta in oboe 111 and vice versa.

oboe playing technique

Some laziness of extraction, less ease in overblowing do not allow the oboe to legato (with the same fingering as the flute) reach the speed of the flute. The oboe is even more inferior to the flute in the staccato technique, because the techniques of “double” or “triple” tongue are not applicable on it. However, the usual staccato it turns out very clearly and with sufficient speed, but only in the middle register. Lowercase and uppercase staccato much heavier

On the oboe, moderately fast legat passages work well, mixed with various figures of a simple staccato . If you don't obstruct the fingering of the oboe with an uncomfortable key, then you can achieve quite a lot of speed in the passages. The most comfortable keys for the oboe are D-dur and those close to her. The oboe is especially good in wide lyrical cantilenas.

The technique of the English horn is less mobile than that of the oboe, the sound is somewhat thicker and has a nasal tinge.

Clarinet

(Klarinette - German)

Appearance and in the setting of the game does not differ from the oboe. The case is slightly larger and longer, but otherwise it differs radically.

The body consists of five parts, of which the lower one is an expanding bell, the upper one is a beak-shaped mouthpiece. On the flat side of the mouthpiece there is a rectangular hole, on which a thin reed plate is superimposed and attached (like an oboe), but on the clarinet the reed is single.

The design and technique of the game is extremely complex. Here more holes and leverage than on others. The air flow is small. Coming into orchestral practice later than the flute and oboe, on the verge of the 18th and 19th centuries, the clarinet has turned into an exceptionally perfect instrument in 2.5 centuries.

As for dynamic nuances, the clarinet is more diverse and richer than any of the wind instruments. A valuable quality of the tool is that it easily adapts to other tools.

With a general range - from "mi" of a small octave to "salt" of the third octave - 4 colors are distinguished in the sound. These are peculiar dark, gloomy low sounds. After a transitional dull segment, a new timbre of the upper register appears. These sounds are silvery, clear and most poetic. The high register is piercing and noisy. To facilitate the game, the masters made instruments of various sizes. For sharp keys in tuning in A , for flat in formation in B . The difference in timbre between clarinets A and B is negligible.

Larger in size in A sounds soft, matte. Less in B sounds brighter. At present, the most common system is in B (regardless of tone). The clarinet part is written a major second above.

Small clarinet in Es came from a military brass band. The musicians were attracted by a specific timbre.

bass clarinet

(Bassklarinette - German)

The most impressive in size. He has a system in B . The range is from "to" a large octave to "to" the second octave. The instrument was built at the end of the 18th century. The form is unusual. Length - more than a meter, the mouthpiece is curved - tilted back in the shape of the letter " s ". The lower part, expanding and bent upwards in the form smoking pipe- bell. The bass clarinet rests on the floor with a metal pin fixed at the bottom of the body, and is supported by a cord worn around the performer's neck. The timbre of the bass clarinet is dark, mysterious.

All the features of the normal clarinet fingering are fully applicable to the bass clarinet, but due to big size he is less mobile.

In a modern orchestra, the bass clarinet player may play the 3rd or 4th clarinet part. AT the orchestral part is being recorded Clarinetto basso muta in clarinetto in A 1 at .

Clarinet technique

The clarinet in legat technique is in no way inferior, but even surpasses the flute.

On it, without overblowing, it is possible to perform passages in the duodecimal range. Diatonic and chromatic scales, arpeggios, jumps to duodecima (associated with a quick change of registers) come out on the clarinet with extraordinary swiftness. The clarinet is just as suitable for expressive melodies of wide breathing, thanks to the low air consumption. With regard to the strength of the sound, the clarinet gives a huge gradation fromppp before ff .

In the staccato technique, the clarinet is much inferior to the flute, because. “double” and “triple” tongues are impossible on it, and even in a single tongue, its speed is less than a flute and even, perhaps, inferior to an oboe (due to a denser reed). In any case, multiple staccato the clarinet is tiresome. In extreme registers staccato even slower than average.

Modern clarinets, like flutes, have a large number of additional valves and levers that allow you to take the same note with different fingers from different positions. The execution of trills is facilitated by special trill valves; therefore, almost all trills are possible on the clarinet.

All sorts of tremolo (trills, larger than in the interval of a major second) are the easier to perform, the less you have to resort to the help of side (alteration) valves. A prerequisite for feasibility tremolo is the possibility of extracting both of its notes on the same overtone.

The more you have to deviate from the use of the main holes, the less convenient all kinds of moves and passages become. Therefore, on the clarinet it is easier to perform musical works in keys close to G-dur (by recording), in them the clarinet will be more mobile and sonorous.

Currently used clarinets in the system in A and in the order in B . Clarinet

in B transpose down major second, clarinet in B - a small third down. Therefore, for sharp pieces, the use of a clarinet is preferable. in A , and for flat ones - in B . Under these conditions, it is possible to keep a small number of key characters and thereby facilitate fingering and performance, and, consequently, achieve an improvement in sound and an increase in fluency.

Bassoon

(Fagott - German

The first bassoon appeared in the middle of the 16th century. In the future, while retaining its external outlines, it underwent significant improvement and in the 17th century became part of the symphony orchestra.

The body of the bassoon is a large folded, double-bent pipe. In a straightened form, it reaches about three meters. Made of maple, disassembled into 3 parts (knee). A thin curved tube comes out of the small knee, a reed cane is attached to it (like an oboe - double, but twice as large), so sound production is somewhat easier and not as tiring as on an oboe. During the game, the bassoon is hung around the neck of the performer.

Range - 3.5 octaves - from "si flat" of the counteroctave to "fa" of the 3rd octave. The timbre changes throughout the entire range. Low sounds are powerful, thick, but somewhat clumsy. A melancholic upper register begins through a deaf octave. This sound segment is suitable for performing solo melodies. The nature of the upper sounds is compressed, clamped. General character lies in the timbre - hoarseness, tightness, tension. Rimsky-Korsakov very aptly defined the coloring: "The timbre is senilely mocking in major, painfully sad in minor." No other instrument is more prone to sarcastic mockery and grouchiness, and sometimes haughtiness. Meyerbeer in "Robert the Devil" forced the bassoon to portray "death laughter", from which frost runs through the skin.

The bassoon is notated in the bass and tenor clefs, rarely in the treble clef.

contrabassoon

(Kontrafagot - German)

The instrument is twice as large as the bassoon and, when unfolded, is about six meters. With the same recording as that of the bassoon, the counterbassoon sounds an octave lower than written and, therefore, is a transposing instrument. The range is from “la” subcontroctave to “fa” of the 1st octave. On the bassoon it is difficult to extract notes above the "A" of the small octave. AT technically the instrument is less mobile than the bassoon, and the air consumption on it is much greater. The timbre is thicker than that of the bassoon, but less expressive.

Bassoon playing technique

In general terms, it resembles the technique of playing the oboe, only the breath on the bassoon is consumed much faster than on the oboe.

The staccato technique is based on a simple single language, and in speed

simple staccato The bassoon is not only not inferior to other woodwind instruments with a reed, but also surpasses them. Staccato bassoon unusually distinct and sharp. All jumps of an octave and more are excellent; shifts of registers are overcome almost as imperceptibly as on the flute. Upper and lower case staccato slightly slower than average.

The bassoon technique is most characteristic of the alternation of melodic phrases of medium breathing with various segments of scale-like passages and arpeggios, mainly in staccato presentation (especially good in combined shading) and using a wide variety of jumps.