The importance of wind instruments, both solo and in any type of orchestra, is very high. According to music experts, they are the ones who bring together the sounds of strings and keyboards and even out the sound, despite the fact that their technical and artistic qualities are not so outstanding and attractive. With the development of new technologies and the use of new materials for the manufacture of wind musical instruments, the popularity of wooden ones has decreased, but not so much that they have been completely eliminated from use. In symphony and folk orchestras, and in instrumental groups, various pipes and wooden pipes are widely used, since their sound is so unique that it is impossible to replace them with anything.
Types of woodwind instruments
Clarinet – capable of producing a wide range of sound, with a soft and warm timbre. These unique abilities of the instrument provide the performer with unlimited possibilities games with melody.The flute is a wind instrument with the highest sound. It is considered a unique instrument in terms of technical capabilities when performing melodies, which gives it the right to perform a solo part in any direction.
The oboe is a wooden instrument with a slightly harsh, nasal, but unusually melodious voice. It is most often used in symphony orchestras, for playing solo parts or excerpts from works.
The bassoon is a bass wind instrument that produces only a low sound. It is much more difficult to control and play than other wind instruments, but, nevertheless, at least 3 or 4 of them are used in a classical symphony orchestra.
Folklore orchestras use various pipes, pipes, whistles and ocarinas made of wood. Their structure is not complex, like that of symphonic instruments, the sound is not as diverse, but they are also much easier to control.
Where are woodwind instruments used?
In modern music, woodwind instruments are no longer used as often as in past centuries. Their popularity remains unchanged only in symphony and chamber orchestras, as well as in folk ensembles. When performing music of these genres, they often occupy leading positions, and it is they who are given the solo part. It is not uncommon to hear wooden instruments in jazz and pop compositions. But, unfortunately, there are fewer and fewer connoisseurs of such creativity.How and from what are modern wind instruments made?
Modern woodwind instruments only superficially resemble their predecessors. They are no longer made only of wood; the air flow is regulated not by the fingers, but by a multi-level system of valve keys that make the sound shorter or longer, raise or lower its pitch.For the production of wind instruments, maple, pear, walnut, or the so-called ebony- ebony. Their wood is porous, but elastic and durable; it does not burst during processing and does not crack during use.
The second unit of the modern symphony orchestra, capable of great variety and richness of expression, should be recognized as the “family” of woodwind instruments. Possessing a precious ability to withstand sound, they even have some advantage over strings - their sound power to a certain extent eliminates the need for an excessive increase in their number. The technical and artistic means of woodwinds are not so rich, varied and flexible. This applies primarily to their volume. They cannot freely change the degree of sound intensity and often find themselves unable to even control the qualities of their extreme steps at the bottom or at the very top of the sound fall. All representatives of this association have a genuine pianno or proper fone, and a range of degrees of sound power. Protected by complete freedom to change the strength of sound, woodwind instruments are also associated with certain features of extracting the sound itself, the reproduction of which requires relatively more time than bowed instruments. It's clean in theirs technical qualities, with their undoubted advantages, they are also inferior to string instruments - woodwind instruments are relatively less mobile, and the complexity of the constructions assigned to them is less intricate. Even in the means of their sound production, they differ significantly from bowed ones.
Currently, the association of woodwind instruments is represented by four main and two additional types, differing from each other not only purely natural properties, but also the inherent qualities and characteristics of each of them. In the orchestra of the past, which composers used until the very beginning of the 19th century, woodwind instruments were used in a fairly limited composition and not always evenly. With the development of more sophisticated artistic means of the orchestra, in general the capabilities of the woodwinds have greatly increased.
The community of woodwind instruments, as already mentioned, consists of four main and two additional more or less isolated types. The main ones include the family of flutes, oboes, clarinets and bassoons, and the additional ones include the families of saxophones and saruzophones. All these instruments belong to the so-called wide-bore instruments, that is, those whose main tube, despite its relatively wide diameter, is relatively short. Each musical instrument has its own special method of sound production, which depends on the exciter of vibrations. If for wind instruments the “sound-forming elements” are the edges of the cut of the sound hole, simple or double reeds are the reeds or the performer’s lip, and the exciters of vibrations are the exhaling stream or stream of air, and the “resonator” is the column of air enclosed in the instrument tube, then, based on These essentially important features, all wind instruments naturally fall into three well-founded types. The first includes instruments with “side holes” - the so-called labial or global instruments” - from the Latin labia - “lip”. To the second - instruments with a “tongue” or “pischik” - reed or “lingual” from the Latin “tongue” to the third - instruments with a mouth or “embouchure” - embouchure from the French embouchure - “mouthpiece”, “mouth”.
In musical notation, not all woodwind instruments use a uniform script, where the notes are written as they actually sound. These deviations in the recording arose in the course of the development and improvement of this or that instrument and in their essence are extremely deep roots which you don’t need to remember now. It’s enough just to know that this technique of “conditional” notation, when an instrument is written at one height or in one tuning, and read in another, is called transposition. Among the “woodwind instruments,” the “transposing” ones include alto flutes, small oboe, damour oboe, cor anglais, and all varieties of clarinets and saxophones. This rather strange at first glance custom of writing notes differently from how they actually sound has very good reasons. At a time when some ancient wind instruments were just being created, their design was extremely imperfect. The entire association of woodwind instruments, consisting of the main, completely independent and somewhat separate families - flutes, oboes, clarinets and bassoons with their specific and related instruments, and additional families - saxophones and saruzophones, which do not take such a long and constant role in the modern orchestra participation, in an orchestral score is usually located at the very top and in the same order as the instruments mentioned above. Some exceptions are made only by saxophones; they are often transferred to the combination of brass instruments and placed somewhere between trumpets and horns or even trombones, which, of course, does not fit in with the nature of the saxophones themselves, which belong not to “embouchure” instruments, but to “ reed” - that is, not with the mouth - the mouthpiece, but with the tongue - the peep.
Of all the currently known musical instruments, the flute undoubtedly belongs to those whose history dates back to ancient times. The word “flute” itself was used by the ancients very broadly, and with this concept they usually defined all wind instruments without distinguishing their natural characteristics and properties.
The true ancestor of the modern flute is by no means such representatives of this “breed” as the simple flute, the Phrynian flute or the double flute. These instruments were only called “flutes” but actually had no direct relation to flutes. The variety of “flute”, known under the general name of the “oblique” or transverse flute, had already gained universal recognition by the middle of the century and, despite the tenacity with which the flute with a tip was held in the orchestra, the oblique or transverse flute entered the path of decisive development and improvement.
In the 18th century, the flute enjoyed such love among its contemporaries that at one time it became something completely integral in their everyday life. Playing the flute until the mid-nineteenth century was considered a sign of good taste, and the flute, like the lute, harp or piano, soon appeared on the stage as a worthy participant in a dramatic performance. Among the varieties of ordinary flutes, the most common is the small flute and the somewhat smaller alto flute.
The first and most common variety of the “ordinary” flute is known as the small flute or flute - piccolo. It sounds an octave higher than an ordinary flute and in an orchestra is usually intended to strengthen and extend upward the extreme octaves of the generic instrument. The sonority of the small flute, especially in the upper segment of its scale and in forte, is distinguished by extreme sharpness and even roughness, but below, on the contrary, it is colorless and very weak.
The second type of ordinary flute was used by Rimsky-Korsakov, who sought to enrich the orchestra with the low steps of its scale, so charming in the sound of the flute. Finally, the last type of flute is known as the bass flute, or albisiphone. This instrument was built over fifty years ago, but, unfortunately, is still extremely rare in orchestras.
The second family of wind instruments consists of the oboe with all its many relatives. In the history of instruments, the oboe has been known almost since time immemorial. The modern oboe has all the tones of blowing and therefore, like the flute, belongs to the “octave” instruments. In technical terms, the oboe, in essence, has access to all the subtleties of modern writing. Classic symphonists - Haydn, Mozart and Beethoven - widely used the oboe in their works.
What is the oboe now capable of in an opera and symphony orchestra? As is already known, his timbre, slightly nasal by nature, was very reminiscent of a shepherd's horn or a pipe - a pipe. The sincerity of the oboe and its expressiveness does not know a worthy rival, and the clarity in the execution of technical patterns is generally beyond any praise.
“The oboe,” says Gratry, “shines as a ray of hope among the clouds of sorrow!” And this is quite fair.
In conclusion of the story about the oboe, it is interesting to recall Glinka’s review of it.
“The oboe,” he says, “is the best of wind instruments in terms of fidelity of intonation and richness of means. Transition to bowed ones. Lots of power and expressiveness in natural tones. Soft oboe octave - from la to la. Above is Chris, below is Goose. But in special, rare cases, the low notes of the oboe can be beneficial.”
The third representative of the family of woodwind instruments, the clarinet, is one of the youngest members of this association. It originated in Germany around 1700.
The clarinet in its primitive form existed for a long time as a folk pipe of a lower order in the shape of a short cylindrical tube, and these simple pipes were known to us with a beating tongue cut out of reeds or with a separate tongue tied to the beak. Now the clarinet is a magnificent instrument, with a huge volume of four incomplete octaves - from mi to the small octave in writing. In the low register the clarinet sounds a little dark and stern.
One of the most outstanding discoveries in the field of instrumental construction in the middle of the last century was the creation of a new wind instrument - the saxophone, which extremely successfully combined characteristic features brass and woodwind instruments.
The family of saxophones, originally intended for military brass bands, at least in France and Belgium, was introduced at the same time. About seventy-five years have passed since the birth of the saxophone, when Europe was literally stunned, first by rumors about the emergence of gazza, and then - a few years later - delighted and completely captivated by the first black gazz orchestra that arrived from New York to Paris. The last representative of the association of woodwind instruments remains - the bassoon.
In the 16th century, long before the invention of the bassoon, all bass voices of wind reed instruments were held various types low instruments. In France and Germany, improved bassoons were adopted in military music orchestras, and already in 1741 they were introduced in the orchestras of the French Guard and the Dian regiments of Marshal of Saxony. Thus, a modern bassoon was created - quite technically perfect. Its enormous volume extends from the sid counteroctave to the second re and its entire scale falls into several registers that are extremely characteristic in their sound.
These are the advantages of the bassoon - this true “worker” of the modern symphony orchestra.
To conclude, it is enough to say that in Russian chamber music, which is extremely poor in the participation of wind instruments, the bassoon nevertheless appeared more than once. More often than other instrumental combinations you can hear the “woodwind quartet”, where the bassoon participates on an equal footing with the flute, oboe and clarinet.
The combination of wind instruments will sound the better the more the “decorating” sonorities of some percussion instruments of the harp and strings, used mainly in pizzicaro or flags, are included in its composition. A lot of excellent music has been written for such a composition of instruments, either reminiscent of the play of “musical toys”, boxes and snuff boxes.
Woodwinds
Flute
Flute(from German - Flote), a woodwind musical instrument, in its method of sound production - the most primitive of wind instruments. Numerous varieties of flutes, starting with the simplest whistles, have been known since ancient times. That is, on the other hand, a modern flute is one of the varieties of whistles, only very complicated, equipped with valves, levers and made of metal.
The longitudinal flute, which 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 one, 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 Boehm in the twenties of the 19th century, the flute gained greater fluency, the sound became more piercing, brighter and very effective. This was necessary for the orchestra - just at that time its composition was growing, its sonority was increasing.
Of course, it was impossible to do without losses - this instrument lost the charm of its chamber sound, baroque softness and intimacy. 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 in only a few orchestras and, as a result, is rarely used in works (for lovers of large flutes - contrabass /pages/flutes.html). More distant relatives of the flute are extremely numerous - starting from the Pan flute (the theme from the film "Once Upon a Time in America" immediately comes to mind) and ending with a kind of mutant - a jazz flute with a wing (like a trombone, i.e. with the possibility of glissando).
The flute, by the nature of its sound, is a cheerful and cheerful instrument, but it can also depict light sadness (Prelude to the Afternoon of a Faun by Debussy) and unremitting melancholy (the finale of the 4th symphony of Brahms) and fantastic moments (there are many examples in Weber’s The Magic Arrow)
In a modern orchestra there are usually 2 flutes + piccolo, however in large works their composition can be significantly increased (up to 4 flutes, 2 piccolo and an alto flute - Kancheli's 6th symphony)
Large collection of links on the topic
Sheet music for flutedon't you want to?
Oboe
Uh... that's a separate conversation
Sheet music for oboedon't you want to?
Clarinet https://xreferat.com/image/63/1305919559_5.jpg" alt="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 the most common are soprano clarinets, 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, the middle is immediately remembered 1st movement of Rachmaninoff's "Symphonic Dances" (listen to Real Audio), where he creates a velvety 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 - knot, bunch) a woodwind musical instrument. It arose in the 1st half of the 16th century. It has the largest range of all woodwinds (more than 3 octaves). It must be said 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. The bassoonists sit in the second row of the wind group, next to the clarinets; usually the orchestra uses 2 bassoons.
For large essays it is common and contrabassoon- the only widespread type of bassoon. This is the lowest instrument of the orchestra (not counting the exotic double bass clarinets and saxophones or the organ - a fickle member of the orchestra). He can play 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 subcontractaves is a record. True, as in the 100-meter dash - for a fraction of a second, but in musical terms - for a 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 - fluency is average, 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 the 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 movement 7 Shostakovich's symphony - it is better known as "Leningrad"). A common thing for a bassoon group is doubling string basses (i.e. cellos and double basses), this gives the melodic line greater density and 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 can be used in a certain place.
Click on the picture to enlarge.
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Brief history the emergence of symphony orchestras.
Multi-barreled flutes, similar to a fence of shortened reed pipes, are classically called Pan flutes - after the ancient Greek god of fields, forests and grasses. And in Greece itself it is still called syrinx.
Flute
Flute(from German - Flote), a woodwind musical instrument, in its method of sound production - the most primitive of wind instruments. Numerous varieties of flutes, starting with the simplest whistles, have been known since ancient times. That is, on the other hand, a modern flute is one of the varieties of whistles, only very complicated, equipped with valves, levers and made of metal.
Spread to Europe in the 17th century longitudinal flute(now they would call her 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. The modern type of transverse flute was invented by the German master Boehm in the twenties of the 19th century, the flute gained greater fluency, the sound became more piercing, brighter and very effective. This was necessary for the orchestra - just at that time its composition was growing, its sonority was increasing.
Of course, it was impossible to do without losses - this instrument lost the charm of its chamber sound, baroque softness and intimacy. 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 in only 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 remember the theme from the film “Once Upon a Time in America”) and ending with a kind of mutant - jazz flute with a slide (like a trombone, i.e. with the possibility of glissando).
The flute, by the nature of its sound, is a cheerful and cheerful instrument, but it can also portray light sadness (“ Prelude to a Faun's Afternoon"Debussy) and endless melancholy (finale of Brahms' 4th symphony) and fantastic moments (there are many examples in " Magic Arrow"Weber)
In a modern orchestra there are usually 2 flutes + piccolo, however in large works their composition can be significantly increased (up to 4 flutes, 2 piccolo and an alto flute - Kancheli's 6th symphony)
Saxophone
Bassoon
Bassoon(from Italian fagotto, literally - knot, bundle) woodwind musical instrument. It arose in the 1st half of the 16th century. It has the largest range of all woodwinds (more than 3 octaves). It must be said 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. The bassoonists sit in the second row of the wind group, next to the clarinets; usually the orchestra uses 2 bassoons.
For large essays it is common and contrabassoon- the only widespread type of bassoon. This is the lowest instrument of the orchestra (not counting the exotic double bass clarinets and saxophones or the organ - a fickle member of the orchestra). He can play 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 subcontractaves is a record. True, as in the hundred-meter dash - for a split 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 - fluency is average, dynamic capabilities are average, the range of images used is also small. Basically these are either angry or insistent phrases with a typically slow attack of sound (the most typical example is the image of the grandfather from " Petya 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 movement of the 7th symphony of Shostakovich - it is better known as " Leningradskaya"). A common thing for a bassoon group is doubling string basses (i.e. cellos and double basses), this gives the melodic line greater density and coherence.
Of the combinations of instruments, the most characteristic are - bassoon + clarinet(beginning " 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"useful and can be used in a certain place.
Flute (large)
(Fl ö te – German)
The most agile of the woodwinds. It is the easiest to recognize, because... this is the only one
An instrument that must be held across the face during performance (transverse). The transverse one replaced the longitudinal one in the 18th century.
It is a hollow tube, closed at the top. When disassembled, detachable, it consists of three parts (elbows). Movable connections of all parts facilitate its adjustment, if required. Upper part– a head with a hole for air injection. Middle part - main building, 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 Boehm began improving it. His instrument, after important design changes, became a virtuoso chromatic instrument. Range – 3 octaves. From “C” 1 octave to “C” 4 octaves.
Playing the flute requires a lot of air consumption. When blown in, part of it breaks on the sharp edge of the hole and escapes. This is what produces the characteristic “hissing” sound. The timbre is whitened with overtones, and this makes it coldish and dull. Various registers differ greatly in the nature of their sound. The bottom one is mysterious, “glass”. Medium – light, poetic. The top one is shiny. The nature of the sound depends on the adjustment of the air and the correct p, striking the brightness and position of the lips in relation to the hole. The tongue is of particular importance for the attack of sound. Type of attack: simple - on a 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.
Piccolo (piccolo)
(Kleine Fl ö te – German)
Infiltrated the orchestra in the 2nd half of the 18th century. It is half the size of the major one, which extends the range an octave higher - from the “D” of the second octave to the “C” of the fifth octave.
In orchestral parts, it is written in transport - an octave lower (using the “eight” icon).
The design of the piccolo flute is the same as the major flute. Lowercase is rarely used. Middle sounds are elegant and flexible. Sharp sounds in the high register are distinguished by enormous strength and brilliance.
This miniature tool is capable of “cutting through” fortissimo tutti the entire orchestra. In general, the timbre of a small flute is even poorer in overtones than the timbre of a large flute. The performer on a small flute, if necessary, changes the instrument to a large 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 playing technique
Legato on the flute for less duration than on other woodwind instruments due to the high air flow. The lowest and partly the highest notes are especially short-lived (especially in forte).
This is not reflected in ordinary phrases of small breathing, 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 are contrary to its nature, otherwise the performance will be tense 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 a noticeable “ attacc ’i” (the moment of air appearance); 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 legato 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 legate technique.
In staccato technique, the flute has no rivals. In addition to the ordinary staccato , - very fast, because the sound on the flute occurs instantly without transmission to the reed - amazing rapid reception is possible on the flute dual language and almost as fast triple language.
The double tongue splits the tongue with every stroke of the simple staccato for two beats:
“ta-ka, ta-ka”, etc. and therefore especially useful for rapidly repeated notes Double tongue Figures that are even in the number of notes are performed, not necessarily constructed from repeating notes.
Triple tongue splits with tongue every single stroke staccato for three beats:
“ta-ka-ta, ta-ka-ta”, etc. and is used to perform fast triplet figures with repeated and non-repeated notes. Both of these effects cannot achieve great sound power.
In addition, a unique appearance is possible on the flute. tremolo , called "frulato" (German - flatterzunge ) both on one note and in small passages. Sound flatterzunge resembles a somewhat muffled police whistle; it is achieved by rapid vibration of the tongue and larynx (gargling technique).
From everything it turns out that the flute is characterized by combinations of legate and staccato passages of the most whimsical shading, leaps (especially octave ones), rapid changes of registers and narrow light melodic phrases, more transparent, but less expressive than those of the clarinet or oboe. If you do not complicate the performance with inconvenient tonalities, then the brilliance of the flute sound will be maximum. IN f up to approximately the note “G” of the 2nd octave, the flute is weaker than the oboe and clarinet and cannot balance them in the chord combination. It should also be taken into account that the staccato flute technique is somewhat slower in the lowest register than in the middle and upper register, and is also slower in the highest register. Flute technique is most brilliant precisely in those registers where the lips are not overextended, but also 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 air injection there is special device- a tip made of two reed plates adjacent to each other. During performance, the upper ends of the petals are pinched between the lips. Sound vibrations occur in the reed, which are transmitted to the air column inside the instrument. Due to some design features, the oboe has almost no tuning. Range - 2.5 octaves - from “B” of the small octave to “F” of the 3rd octave. It has a fairly flexible 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 most at home is in the world of simple sentimental and pastoral melodies. The sharp, dry sounds that end radiate a joyful mood, childish fun.
The timbre of the oboe with its peculiar “nasal” tint stands out among other instruments for its sharpness and expressiveness. In the middle register, which is extremely expressive, the timbre is fresh, gentle, touchingly spontaneous, sometimes pitiful, almost sorrowful. In the low range it is rough and nasal. At the top – loud and “skinny”.
Unlike the coldish flute, the oboe is characterized by greater emotionality. His domain is sadness, elegance, melancholy lamentations, and good-natured slyness and grace are not alien to him. Sometimes the oboe is assigned comic roles.
Alto oboe (English horn)
(Englisches Horn - German)
The cor anglais is larger than the oboe and sounds a fifth lower. Its material, structure and playing methods are the same as those of the oboe. What makes it different is the bell, which is pear-shaped, which gives the instrument a unique timbre. The cane is placed on a thin, inwardly curved metal tube in the shape of the letter “c.”
The English horn is a transposing instrument (oboe in F ). Range - 2.5 octaves - from “E” of the small octave to “B” of the second octave.
He entered orchestral practice only in the 19th century.
The English horn player is sometimes assigned to perform the 3rd oboe part. This is indicated in the score corno inglese muta in oboe 111 and vice versa.
Oboe playing technique
Some laziness in extraction and less ease in blowing do not allow the oboe to legato (with the same fingering as the flute) achieve flute speed. The oboe is even more inferior to the flute in the staccato technique, because the “double” or “triple” tongue techniques are not applicable to it. However, the usual staccato It comes out very clearly and with sufficient speed, but only in the middle register. In lower and uppermost case staccato much heavier
The oboe performs well in moderately fast legata passages mixed with various simple figures. staccato . If you do not complicate the oboe fingering with an inconvenient tonality, then you can achieve quite high speed in passages. The most convenient keys for oboe are D-dur and those close to her. The oboe is especially good in wide lyrical cantilenas.
The cor anglais technique is less flexible than the oboe technique, the sound is somewhat thicker and has a nasal tint.
Clarinet
(Klarinette - German)
Appearance and in terms of performance it is no different from the oboe. The body is a little more voluminous and longer, but otherwise fundamentally different.
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 onto which a thin reed plate is placed and attached (like an oboe), but on a clarinet the reed is single.
The design and playing technique are extremely complex. There are more holes and levers here than on others. Air consumption is small. Coming into orchestral practice later than the flute and oboe, on the verge of the 18th-19th centuries, the clarinet over the course of 2.5 centuries turned into an exceptionally perfect instrument.
As for dynamic nuances, the clarinet is more varied 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 “E” of the small octave to “G” of the third octave - there are 4 different colors in the sound. These are peculiar dark, gloomy low sounds. After the transitional dull section, a new timbre of the upper register appears. These sounds are silvery, clear and most poetic. The high register is shrill and loud. To make playing easier, craftsmen made instruments of different sizes. For sharp keys in tuning in A , for flats in tuning 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. Currently the most common system is in B (regardless of tone). The clarinet part is written with a big second above.
Small clarinet in Es came from a military brass band. Musicians were attracted by its specific timbre.
Bass clarinet
(Bassklarinette – German)
The most impressive in size. He has a system in B . The range is from “C” of the major octave to “C” of the second octave. The instrument was built at the end of the 18th century. The shape is unusual. The length is more than a meter, the mouthpiece is curved - tilted back in the shape of the letter " s " The lower part, expanding and bent upward 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 that goes around the performer's neck. The timbre of the bass clarinet is dark and mysterious.
All the fingering features of a regular clarinet completely apply to the bass clarinet, but due to large size he is less mobile.
In a modern orchestra, a bass clarinet player can play the 3rd or 4th clarinet part. IN orchestral part this is recorded Clarinetto basso muta in clarinetto in A 1 y .
Clarinet playing technique
The clarinet is in no way inferior in legato technique, but even superior to the flute.
On it, without overblowing, it is possible to perform passages in the duodecima range. Diatonic and chromatic scales, arpeggios, and duodecima jumps (associated with rapid changes of registers) appear on the clarinet with extraordinary swiftness. The clarinet is equally suitable for expressive melodies with wide breathing, due to its low air consumption. In terms of sound strength, the clarinet gives a huge gradation fromppp to 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 that of a flute and even, perhaps, inferior to that of an oboe (due to the denser reed). In any case, multiple times staccato the clarinet is tiring. In extreme registers staccato even slower than average.
Modern clarinets, like flutes, have large number additional valves and levers that allow you to play the same note with different fingers from different positions. The performance of trills is facilitated by special trill valves; Therefore, almost all trills are possible on the clarinet.
All sorts of tremolo (trills greater than in the interval of a major second) are easier to perform, the less you have to resort to the help of lateral (alternative) valves. A prerequisite for feasibility tremolo is the ability to extract both of its notes on one 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, it is easier to perform musical works on the clarinet in keys close to G-dur (according to recording), in them the clarinet will be more mobile and sonorous.
Currently, clarinets are used in the tuning in A and in formation in B. Clarinet
in B transposes major second down, clarinet in B - down a minor third. Therefore, for sharp pieces it is preferable to use a clarinet in A , and for flats – in B . Under these conditions, it is possible to preserve a small number of key characters and thereby facilitate fingering and ease of performance, and, consequently, achieve improved sound and increased fluency.
Bassoon
(Fagott – German
The first bassoon appeared in the mid-16th century. Subsequently, while maintaining its external outlines, it underwent significant improvements and in the 17th century became part of the symphony orchestra.
The body of the bassoon is a large folded pipe, bent in half. When straightened, it reaches about three meters. Made from maple, disassembled into 3 parts (knee). A thin curved tube comes out from 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. While playing, the bassoon is suspended from the performer's neck.
Range – 3.5 octaves – from “B” flat" counter octave to "F" 3rd octave. The timbre changes throughout the entire range. Low sounds are powerful, thick, but somewhat clumsy. After a dull octave, the melancholic upper register begins. 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, constriction, tension. Rimsky-Korsakov very aptly defined the color: “The timbre is senilely mocking in major, painfully sad in minor.” No instrument is more prone to sarcastic mockery and grumbling, and sometimes even arrogance. Meyerbeer in “Robert the Devil” made the bassoon depict “deathly laughter”, from which a chill runs through the skin.
The bassoon is notated in bass and tenor clefs, rarely in treble clefs.
Counterbassoon
(Kontrafagot – German)
The instrument is twice the size of a bassoon and, when unfolded, measures about six meters. When notated the same way as the bassoon, the counterbassoon sounds an octave lower than what is written and is therefore a transposing instrument. The range is from “A” of the subcontractive octave to “F” of the 1st octave. On the conrbassoon it is difficult to produce notes above the “A” of the small octave. Technically, the instrument is less mobile than the bassoon, and its air consumption is much greater. The timbre is thicker than that of the bassoon, but less expressive.
Bassoon playing technique
IN general outline reminiscent of oboe playing technique, only the breath on the bassoon is spent much faster than on the oboe.
The staccato technique is based on a simple single tongue, and in speed
simple staccato The bassoon is not only not inferior to other woodwind instruments with a reed, but also superior to them. Staccato the bassoon is unusually distinct and sharp. All jumps of an octave or more are excellent; Changes of registers are overcome almost as imperceptibly as on the flute. Upper and lower case staccato a little slower than average.
The bassoon technique is most characterized by the alternation of melodic phrases of medium breathing with various sections of scale-like passages and arpeggios, mainly in staccato presentation (especially good in combined shading) and using a wide variety of leaps.