Woodwinds Flute Engaging the Past Semantic Issues

Total Page:16

File Type:pdf, Size:1020Kb

Woodwinds Flute Engaging the Past Semantic Issues Woodwinds Welcome to the Woodwinds lecture! By the end of this lecture, you will be able to: • Identify historical and physical characteristics of the flute, the piccolo flute, the clarinet, the oboe, the English horn, the bassoon and the contrabassoon. • Identify the role and use of the flute, the piccolo flute, the clarinet, the oboe, the English horn, the bassoon and the contrabassoon. • Recognize the characteristic sounds of the flute, the piccolo flute, the clarinet, the oboe, the English horn, the bassoon and the contrabassoon. • Visually recognize the flute, the piccolo flute, the clarinet, the oboe, the English horn, the bassoon and the contrabassoon. Flute Why do loud, obnoxious whistles exist at some factories? • To give us some sort of appreciation for flutes. The flute may perhaps be the most exciting of all the woodwind instruments. Its versatile character allows it to be a regular fixture in all musical genres. Why is this so? Let’s go find out! Engaging the Past The flute is the oldest woodwind instrument. Historians estimate that flute-like instruments can be traced as far back as the 9th century B.C. Prehistoric artwork shows evidence of the use of flute like instruments. The modern mechanism of the flute was invented by Theobald Boehm. He was a German goldsmith who was an adept mechanical artist. He lived in Munich from 1794 to 1881. A flute player himself, Mr. Boehm designed and built flutes with his own key mechanism. His key system revolutionized the modern design of the flute since it allowed flute players to play difficult passages with ease. Boehm’s system has been adopted by other instruments within the woodwind family. Semantic Issues There are two possible Latin origins of the word flute. One of them stems from the word flutus, meaning breath. The other word is flare, which means to flow. The Ancients The term flute has been used for many instruments whose origins go back all the way to ancient civilizations. The flageolet, and the fife and considered direct ancestors of the modern flute. The panpipes are flute-like instruments used by many native tribes around the world for dance and entertainment purposes. Another important ancestor of the flute is the recorder flute. Today, the recorder flute is still in use, and is commonly taught in elementary schools. Body and Soul The flute used to be made out of bone or wood. Today’s flutes are generally made of silver so they can create a bright, clear and penetrating sound. Nickel, or sometimes even gold, is also used to make flutes. Putting the Pieces Together The following parts are considered to be the most important parts of the flute. • Head joint • Embouchure • Tuning slide • Body joint or barrel • Tail joint Cool Facts The oldest member of the woodwind family is the flute. The modern flute is about 26 inches long. Out of all the woodwind instruments, the flute and its variations do not require the use of a reed. There are a wide variety of flutes from all parts of the world. The two main flute groups are: the recorder family and the transverse family. The flute has a smaller version called the piccolo flute, which plays an octave higher. The piccolo flute is exactly the same as the flute, but it is shorter and sounds much higher. The first major composer to use the piccolo in one of his composition was Beethoven. Job Description Today, flutes are able to play music which previously had been too technically demanding for pre-Boehm instruments. The extended range used by composers of the Romantic era demands a flute which can play in excess of three octaves. This is still true today, as the flute is a vital piece of any orchestra. Contemporary flute soloists enjoy a vast repertoire of great solo pieces that have been written by prominent composers such as Brahms, Strauss, and Tchaikovsky. Let the Show Begin The flute has three main parts: the mouthpiece, the body and the tail. The mouthpiece hole is where the player blows air to produce sound. The other holes of the flute were replaced with keys by Theobald Boehm in the 17th century. With the help of special keys or foot joints, the flute is capable of playing a range of over three octaves. Alley Oop Learning how to play the flute is not very difficult. However, one must produce a beautiful sound with the instrument. This is what takes a long time to master. Circular Breathing is a special playing technique that requires a performer to hold the sound of the flute indefinitely with no audible breathing interruptions. Flutter tonguing is another special technique that is produced by rolling the front of the tongue, as in the Spanish "rr,“. The tone produced is articulated very rapidly. Hall of Fame Miyazawa flutes are state of the art flutes that use new flute technologies to facilitate performances. Sir James Galway is regarded as both a supreme interpreter of the classical flute and a consummate entertainer. Ludwig van Beethoven was the first major composer to use the piccolo flute in a symphony. Oboe What's the difference between an oboe and an onion? • You don't cry when you're cutting up the oboe. The oboe is the instrument that tunes the symphony orchestra before a concert performance. Its stable sound provides the consistent pitch necessary for all instruments to match their tones. Don’t just get the idea that the oboe is only good for tuning the orchestra! Follow me through this tour where we’ll explore the universe of the oboe. Historical The history of the oboe is not as extensive as the history of its woodwind counterparts. Most of the oboe’s history is represented in paintings and drawings of ancient civilizations. These documents give us the idea that some kind of double reed instruments existed and played a very important role in past civilizations. The oboe was invented in the 17th century by two French musicians, and gained its place in the orchestra by the early part of the 18th century. The "modern oboe" was developed by the Triebert family in the later part of the 18th century. Their oboe design became the quintessential model used at the Paris Music Conservatory. Origin of the Name The word oboe comes from the French hautbois which means high pitched woodwind instrument. Ancestors or close relative The aulos was an ancient instrument considered to be an important part of the cultural and social life of Greece. The aulos is the earliest reference to double reed instruments and bagpipes. Historically, the oboe descended from the shawm instrument family that divided into the hautbois and gros-bois: the high woods and the great woods. The shawm is the closest relative of the oboe. This instrument was introduced in Europe during the Crusades as invading armies used the instrument for war and entertainment purposes. Construction The body of the oboe is made of ebony wood, granadilla wood, rosewood or cocus wood. The oboe keys are mostly silver plated. The reed of the oboe is made of two pieces of very thin cane. Both pieces are threaded in such a way as to leave a small opening of air for the player to blow through. The oboe has three important sections: the upper joint, the lower joint, and the bell. Each part fits inside a smaller inner tube that is covered with cork to avoid air leakage. Parts of the Oboe The following parts are considered to be the most important parts of the oboe. • Upper joint • Cane reed • Body or middle joint • The bell Cool Facts The oboe is known as a double reed instrument. A musician that plays the oboe is called oboist. The oboe is the instrument that tunes the symphony orchestra. Along with the recorder flute, the oboe is one the oldest woodwind instruments. The oboe is about the same length as the flute; about 26 inches. The technique for playing requires great breathing control. The oboe is capable of playing a range of three octaves. However, it is a very difficult instrument to play. Role of the instrument For many years after its inception, the modern oboe was used mostly as a prominent member of the woodwind family of the orchestra. The improvements upon the oboe have inspired oboe makers and musicians to attain a superb level of instrumental construction and musical performance and composition. Within the orchestra, the oboe plays small solo parts or doubles the melodies played by the violins. The oboe was not regularly used as a solo instrument until the middle part of the 20th century, when oboist began to push the envelope of oboe technique. Today, we enjoy the oboe to its fullest capacity. It is a major component of the woodwinds of the orchestra and is used to play major solos within the symphony orchestra and chamber orchestra. Oboe concerti are pieces that feature the oboe as a soloist with orchestral accompaniment. These concerti allow the instrument to display its unique and penetrating sound. Use of the instrument The oboe is seldom used in other musical genres. When it is used outside of the symphony orchestra, the oboe is used in recordings of jingles and television commercials. It is rarely used for jazz or pop music. Occasionally, some folk musical genres feature the sound of the oboe. The oboist’s reed is actually a double reed. This double reed is made of two pieces of cane tied into another piece of tubing which fits into the end of the oboe.
Recommended publications
  • The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
    The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below).
    [Show full text]
  • Rhythmic Foundation and Accompaniment
    Introduction To Flamenco: Rhythmic Foundation and Accompaniment by "Flamenco Chuck" Keyser P.O. Box 1292 Santa Barbara, CA 93102 [email protected] http://users.aol.com/BuleriaChk/private/flamenco.html © Charles H. Keyser, Jr. 1993 (Painting by Rowan Hughes) Flamenco Philosophy IA My own view of Flamenco is that it is an artistic expression of an intense awareness of the existential human condition. It is an effort to come to terms with the concept that we are all "strangers and afraid, in a world we never made"; that there is probably no higher being, and that even if there is he/she (or it) is irrelevant to the human condition in the final analysis. The truth in Flamenco is that life must be lived and death must be faced on an individual basis; that it is the fundamental responsibility of each man and woman to come to terms with their own alienation with courage, dignity and humor, and to support others in their efforts. It is an excruciatingly honest art form. For flamencos it is this ever-present consciousness of death that gives life itself its meaning; not only as in the tragedy of a child's death from hunger in a far-off land or a senseless drive-by shooting in a big city, but even more fundamentally in death as a consequence of life itself, and the value that must be placed on life at each moment and on each human being at each point in their journey through it. And it is the intensity of this awareness that gave the Gypsy artists their power of expression.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 2001, Tanglewood
    SEMI OIAWA MUSIC DIRECTOR BERNARD HAITINK PRINCIPAL GUEST CONDUCTOR • i DALE CHIHULY INSTALLATIONS AND SCULPTURE / "^ik \ *t HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE ELM STREET, STOCKBRIDGE, MA 01262 . ( 41 3.298.3044 www. holstenga I leries * Save up to 70% off retail everyday! Allen-Edmoi. Nick Hilton C Baccarat Brooks Brothers msSPiSNEff3svS^:-A Coach ' 1 'Jv Cole-Haan v2^o im&. Crabtree & Evelyn OB^ Dansk Dockers Outlet by Designs Escada Garnet Hill Giorgio Armani .*, . >; General Store Godiva Chocolatier Hickey-Freeman/ "' ft & */ Bobby Jones '.-[ J. Crew At Historic Manch Johnston & Murphy Jones New York Levi's Outlet by Designs Manchester Lion's Share Bakery Maidenform Designer Outlets Mikasa Movado Visit us online at stervermo OshKosh B'Gosh Overland iMrt Peruvian Connection Polo/Ralph Lauren Seiko The Company Store Timberland Tumi/Kipling Versace Company Store Yves Delorme JUh** ! for Palais Royal Phone (800) 955 SHOP WS »'" A *Wtev : s-:s. 54 <M 5 "J* "^^SShfcjiy ORIGINS GAUCftV formerly TRIBAL ARTS GALLERY, NYC Ceremonial and modern sculpture for new and advanced collectors Open 7 Days 36 Main St. POB 905 413-298-0002 Stockbridge, MA 01262 Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship Bernard Haitink, Principal Guest Conductor One Hundred and Twentieth Season, 2000-2001 SYMPHONY HALL CENTENNIAL SEASON Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman Dr. Nicholas T. Zervas, President Julian Cohen, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Deborah B. Davis, Vice-Chairman Vincent M. O'Reilly, Treasurer Nina L. Doggett, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson John F. Cogan, Jr. Edna S.
    [Show full text]
  • What Handel Taught the Viennese About the Trombone
    291 What Handel Taught the Viennese about the Trombone David M. Guion Vienna became the musical capital of the world in the late eighteenth century, largely because its composers so successfully adapted and blended the best of the various national styles: German, Italian, French, and, yes, English. Handel’s oratorios were well known to the Viennese and very influential.1 His influence extended even to the way most of the greatest of them wrote trombone parts. It is well known that Viennese composers used the trombone extensively at a time when it was little used elsewhere in the world. While Fux, Caldara, and their contemporaries were using the trombone not only routinely to double the chorus in their liturgical music and sacred dramas, but also frequently as a solo instrument, composers elsewhere used it sparingly if at all. The trombone was virtually unknown in France. It had disappeared from German courts and was no longer automatically used by composers working in German towns. J.S. Bach used the trombone in only fifteen of his more than 200 extant cantatas. Trombonists were on the payroll of San Petronio in Bologna as late as 1729, apparently longer than in most major Italian churches, and in the town band (Concerto Palatino) until 1779. But they were available in England only between about 1738 and 1741. Handel called for them in Saul and Israel in Egypt. It is my contention that the influence of these two oratorios on Gluck and Haydn changed the way Viennese composers wrote trombone parts. Fux, Caldara, and the generations that followed used trombones only in church music and oratorios.
    [Show full text]
  • Catalogue 2021
    medir .cat Catalogue 2021 Summary Clarinet Sax Historic Instruments Bassoon Oboe & English Horn Traditional & Folk Bag Pipe & Uilleann Pipe Cork Summary Clarinet 04 Sax 12 Historic Instruments 21 Bassoon 28 Oboe & English Horn 51 Traditional & Folk Instruments 73 Bag pipe & Uilleann Pipe 79 Cork 88 medir.cat 03 Clarinet medir.cat 04 Summary Clarinet Sax Historic Instruments Bassoon Oboe & English Horn Traditional & Folk Bag Pipe & Uilleann Pipe Cork Medir Reeds C108 Bb Clarinet - 10 pieces C1085 Bb Clarinet - 5 pieces C117 Eb Clarinet - 10 pieces C1175 Eb Clarinet - 5 pieces Strenght: 1,5 / 2 / 2,5 / 3 / 3,5 / 4 / 4,5 / 5 C113 Bass Clarinet - 10 pieces C1135 Bass Clarinet - 5 pieces C108 C1085 Strenght: 2 / 2,5 / 3 / 3,5 / 4 / 4,5 C113 C108 medir.cat 05 Summary Clarinet Sax Historic Instruments Bassoon Oboe & English Horn Traditional & Folk Bag Pipe & Uilleann Pipe Cork Medir Cane C101 Clarinet Tube Cane - 1 Kg Diameter: >25mm / Thickness >3 mm C103 Bb Clarinet Splits - 100 pieces Length: 69 mm / Thickness: >3 mm C104 Bb Clarinet Flat Blank - 100 pieces Length: 69 mm / Thickness: 2,2 mm C101 C103 C105 Bb Clarinet Blanks - 100 pieces Filled / Unfilled C106 Bb German Clarinet Blanks - 100 pieces C107 Eb Petit Clarinet Blanks - 100 pieces Filled C104 C105 medir.cat 06 Summary Clarinet Sax Historic Instruments Bassoon Oboe & English Horn Traditional & Folk Bag Pipe & Uilleann Pipe Cork Mouthpieces C110B Bb Clarinet C110E Eb Clarinet C110BS Bb Bass Clarinet Tip opening: close, 3, 4, 5, 6, open Ligatures C111 C111B Bb Clarinet C111E Eb Clarinet
    [Show full text]
  • Finale Transposition Chart, by Makemusic User Forum Member Motet (6/5/2016) Trans
    Finale Transposition Chart, by MakeMusic user forum member Motet (6/5/2016) Trans. Sounding Written Inter- Key Usage (Some Common Western Instruments) val Alter C Up 2 octaves Down 2 octaves -14 0 Glockenspiel D¯ Up min. 9th Down min. 9th -8 5 D¯ Piccolo C* Up octave Down octave -7 0 Piccolo, Celesta, Xylophone, Handbells B¯ Up min. 7th Down min. 7th -6 2 B¯ Piccolo Trumpet, Soprillo Sax A Up maj. 6th Down maj. 6th -5 -3 A Piccolo Trumpet A¯ Up min. 6th Down min. 6th -5 4 A¯ Clarinet F Up perf. 4th Down perf. 4th -3 1 F Trumpet E Up maj. 3rd Down maj. 3rd -2 -4 E Trumpet E¯* Up min. 3rd Down min. 3rd -2 3 E¯ Clarinet, E¯ Flute, E¯ Trumpet, Soprano Cornet, Sopranino Sax D Up maj. 2nd Down maj. 2nd -1 -2 D Clarinet, D Trumpet D¯ Up min. 2nd Down min. 2nd -1 5 D¯ Flute C Unison Unison 0 0 Concert pitch, Horn in C alto B Down min. 2nd Up min. 2nd 1 -5 Horn in B (natural) alto, B Trumpet B¯* Down maj. 2nd Up maj. 2nd 1 2 B¯ Clarinet, B¯ Trumpet, Soprano Sax, Horn in B¯ alto, Flugelhorn A* Down min. 3rd Up min. 3rd 2 -3 A Clarinet, Horn in A, Oboe d’Amore A¯ Down maj. 3rd Up maj. 3rd 2 4 Horn in A¯ G* Down perf. 4th Up perf. 4th 3 -1 Horn in G, Alto Flute G¯ Down aug. 4th Up aug. 4th 3 6 Horn in G¯ F# Down dim.
    [Show full text]
  • 47Th Idrs Conference
    SPECIAL ISSUE 47TH IDRS CONFERENCE AUG 28TH TO SEPT 1ST 2018 GRANADA, SPAIN Sophie Dartigalongue performing Jolivet Concerto with the Orquesta Ciudad de Granada. GRANADA SPECIAL ISSUE 2018 the taxis were the cleanest Introduction in the world and the drivers exceedingly honest, the history Contents from The Editor and architecture captivating, the Two years ago I announced at flamenco exhilarating, and then a meeting of the ADRSSA that there was the conference … 4 A Message from Sarah I was going to Granada to attend five days of a multiple number of Roper, IDRS 2018 the IDRS Conference before I sessions to choose from at any Conference Coordinator became too old to travel! given moment of the day. My flippant question “who’s Whatever your interest – baroque/ 6 Granada! coming with me?” prompted early music, chamber music, From The President an enthusiastic and immediate bassoon quartets, oboe ensembles, BY DR MARK GAYDON response of “I will!” from more than flamenco, master classes, one person. contemporary repertoire, audition 8 A Double Take on the The idea gained momentum and excerpts, technique, competitions, Double Reed picked up others from Adelaide performance tips, trying like a snowball rolling down a hill, instruments, trying reeds, selecting BY GRAHAM NORTON especially once the promotional cane, perusing music, instrument accessories – it was all there, and YouTube clip went viral extolling 10 Session Reviews the beauty and culture of Granada. of course, concerts, concerts and more concerts to wallow in. This conference captured the 15 Memorable Oboe hearts and imagination of double The collegiality, common Moments from IDRS reed players the world over and interest and passion for playing attracted some 1200 registrants, double reed instruments was Granada 2018 along with the push to break overwhelming.
    [Show full text]
  • Dayton C. Miller Flute Collection
    Guides to Special Collections in the Music Division at the Library of Congress Dayton C. Miller Flute Collection LIBRARY OF CONGRESS WASHINGTON 2004 Table of Contents Introduction...........................................................................................................................................................iii Biographical Sketch...............................................................................................................................................vi Scope and Content Note......................................................................................................................................viii Description of Series..............................................................................................................................................xi Container List..........................................................................................................................................................1 FLUTES OF DAYTON C. MILLER................................................................................................................1 ii Introduction Thomas Jefferson's library is the foundation of the collections of the Library of Congress. Congress purchased it to replace the books that had been destroyed in 1814, when the Capitol was burned during the War of 1812. Reflecting Jefferson's universal interests and knowledge, the acquisition established the broad scope of the Library's future collections, which, over the years, were enriched by copyright
    [Show full text]
  • Boosey & Hawkes
    City Research Online City, University of London Institutional Repository Citation: Howell, Jocelyn (2016). Boosey & Hawkes: The rise and fall of a wind instrument manufacturing empire. (Unpublished Doctoral thesis, City, University of London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/16081/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Boosey & Hawkes: The Rise and Fall of a Wind Instrument Manufacturing Empire Jocelyn Howell PhD in Music City University London, Department of Music July 2016 Volume 1 of 2 1 Table of Contents Table of Contents .................................................................................................................................... 2 Table of Figures......................................................................................................................................
    [Show full text]
  • Major and Minor Scales Half and Whole Steps
    Dr. Barbara Murphy University of Tennessee School of Music MAJOR AND MINOR SCALES HALF AND WHOLE STEPS: half-step - two keys (and therefore notes/pitches) that are adjacent on the piano keyboard whole-step - two keys (and therefore notes/pitches) that have another key in between chromatic half-step -- a half step written as two of the same note with different accidentals (e.g., F-F#) diatonic half-step -- a half step that uses two different note names (e.g., F#-G) chromatic half step diatonic half step SCALES: A scale is a stepwise arrangement of notes/pitches contained within an octave. Major and minor scales contain seven notes or scale degrees. A scale degree is designated by an Arabic numeral with a cap (^) which indicate the position of the note within the scale. Each scale degree has a name and solfege syllable: SCALE DEGREE NAME SOLFEGE 1 tonic do 2 supertonic re 3 mediant mi 4 subdominant fa 5 dominant sol 6 submediant la 7 leading tone ti MAJOR SCALES: A major scale is a scale that has half steps (H) between scale degrees 3-4 and 7-8 and whole steps between all other pairs of notes. 1 2 3 4 5 6 7 8 W W H W W W H TETRACHORDS: A tetrachord is a group of four notes in a scale. There are two tetrachords in the major scale, each with the same order half- and whole-steps (W-W-H). Therefore, a tetrachord consisting of W-W-H can be the top tetrachord or the bottom tetrachord of a major scale.
    [Show full text]
  • Flamenco Music Theory Pdf
    Flamenco music theory pdf Continue WHAT YOU NEED TO KNOW:1) Andalusian Cadence is a series of chords that gives flamenco music its characteristic sound: In Music, a sequence of notes or chords consisting of the closing of the musical phrase: the final cadences of the Prelude.3) This progression of chords consists of i, VII, VI and V chords of any insignificant scale, Ending on V chord.4) The most commonly used scale for this chord progression is the Harmonic minor scale (in C minor: B C D E F G))5) The most common keys in flamenco are the Frigian, known as Por Medio in flamenco guitar, and consisting of Dm, C, Bb. Another common key is E Phrygian, known as Por Arriba on Flamenco guitar, and consisting of Am, G, F, E. E Phrygian (Por Arriba) is often used in Solea and Fandangos Del Huelva.THE ANDALUSIAN CADENCE: Today we will discuss really common chords and sound in flamenco: Andalus Cadens! Learning more about this sound will help the audience better appreciate flamenco music, provide flamenco dancers with a better understanding of the music that accompanies them, and non-flamenco musicians some basic theory to incorporate flamenco sounds into their music. At this point, if you want to skip the theory and just listen, go to LISTENING: ANDALUSIAN CADENCE IN THE WORLD. I would recommend reading the pieces of the theory just for some context. MUSIC THEORY: CHORD PROGRESSIONThic series of four chords is so ubiquitous in flamenco that anyone who listens to it should know it when they hear it.
    [Show full text]
  • Tuning In” Podcast Terminology
    H+H “TUNING IN” PODCAST TERMINOLOGY Alto A designation for a range of the human voice, between soprano and tenor. Both women and men perform in the alto range. Aria A song movement which features a soloist singing in a steady tempo (as opposed to the unmeasured, sung-speech style of the recitativ). In addition to the standard continuo accompaniment, an aria can call for a few additional instruments and sometimes even feature a solo instrument, such as the solo violin in “Erbarme dich”. Bass Used to describe a musical instrument and the lowest line of music, in this case it refers to a range of the human voice below tenor. Bass line The lowest written line of music, usually carried out by instruments such as cellos and double basses along with a doubling keyboard instrument such as the organ or harpsichord. In some instances, Bach composes a bass line for an instrument in a higher range, such as the oboe da caccia, but keeps the voice and other instrument or instruments above that range. Chorale A movement which typically features a four-part hymn supported by the orchestra such that the high-pitched instruments play the same line as the sopranos, mid-range instruments play the alto line, etc.; in a Lutheran service, chorale movements allowed the congregation to join in song. Continuo As in Basso Continuo, or “Continuous Bass.” Refers to the group of players who play the lowest line of the music, typically a keyboard instrument such as organ or harpsichord, sometimes a plucked instrument such as theorbo (bass lute), and a sustaining instrument such as the cello; bass instruments which provide the harmonic foundation throughout the entire Passion, even in solo vocal movements (for which the rest of the orchestra does not play).
    [Show full text]