Frequently Asked Questions – FAQ Bassoon 1.1 Where Can I Find My Instrument Number? 1.2 How Can I Get Information
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Instruments of the Orchestra
INSTRUMENTS OF THE ORCHESTRA String Family WHAT: Wooden, hollow-bodied instruments strung with metal strings across a bridge. WHERE: Find this family in the front of the orchestra and along the right side. HOW: Sound is produced by a vibrating string that is bowed with a bow made of horse tail hair. The air then resonates in the hollow body. Other playing techniques include pizzicato (plucking the strings), col legno (playing with the wooden part of the bow), and double-stopping (bowing two strings at once). WHY: Composers use these instruments for their singing quality and depth of sound. HOW MANY: There are four sizes of stringed instruments: violin, viola, cello and bass. A total of forty-four are used in full orchestras. The string family is the largest family in the orchestra, accounting for over half of the total number of musicians on stage. The string instruments all have carved, hollow, wooden bodies with four strings running from top to bottom. The instruments have basically the same shape but vary in size, from the smaller VIOLINS and VIOLAS, which are played by being held firmly under the chin and either bowed or plucked, to the larger CELLOS and BASSES, which stand on the floor, supported by a long rod called an end pin. The cello is always played in a seated position, while the bass is so large that a musician must stand or sit on a very high stool in order to play it. These stringed instruments developed from an older instrument called the viol, which had six strings. -
New Zealand Works for Contrabassoon
Hayley Elizabeth Roud 300220780 NZSM596 Supervisor- Professor Donald Maurice Master of Musical Arts Exegesis 10 December 2010 New Zealand Works for Contrabassoon Contents 1 Introduction 3 2.1 History of the contrabassoon in the international context 3 Development of the instrument 3 Contrabassoonists 9 2.2 History of the contrabassoon in the New Zealand context 10 3 Selected New Zealand repertoire 16 Composers: 3.1 Bryony Jagger 16 3.2 Michael Norris 20 3.3 Chris Adams 26 3.4 Tristan Carter 31 3.5 Natalie Matias 35 4 Summary 38 Appendix A 39 Appendix B 45 Appendix C 47 Appendix D 54 Glossary 55 Bibliography 68 Hayley Roud, 300220780, New Zealand Works for Contrabassoon, 2010 3 Introduction The contrabassoon is seldom thought of as a solo instrument. Throughout the long history of contra- register double-reed instruments the assumed role has been to provide a foundation for the wind chord, along the same line as the double bass does for the strings. Due to the scale of these instruments - close to six metres in acoustic length, to reach the subcontra B flat’’, an octave below the bassoon’s lowest note, B flat’ - they have always been difficult and expensive to build, difficult to play, and often unsatisfactory in evenness of scale and dynamic range, and thus instruments and performers are relatively rare. Given this bleak outlook it is unusual to find a number of works written for solo contrabassoon by New Zealand composers. This exegesis considers the development of contra-register double-reed instruments both internationally and within New Zealand, and studies five works by New Zealand composers for solo contrabassoon, illuminating what it was that led them to compose for an instrument that has been described as the 'step-child' or 'Cinderella' of both the wind chord and instrument makers. -
Instrument Descriptions
RENAISSANCE INSTRUMENTS Shawm and Bagpipes The shawm is a member of a double reed tradition traceable back to ancient Egypt and prominent in many cultures (the Turkish zurna, Chinese so- na, Javanese sruni, Hindu shehnai). In Europe it was combined with brass instruments to form the principal ensemble of the wind band in the 15th and 16th centuries and gave rise in the 1660’s to the Baroque oboe. The reed of the shawm is manipulated directly by the player’s lips, allowing an extended range. The concept of inserting a reed into an airtight bag above a simple pipe is an old one, used in ancient Sumeria and Greece, and found in almost every culture. The bag acts as a reservoir for air, allowing for continuous sound. Many civic and court wind bands of the 15th and early 16th centuries include listings for bagpipes, but later they became the provenance of peasants, used for dances and festivities. Dulcian The dulcian, or bajón, as it was known in Spain, was developed somewhere in the second quarter of the 16th century, an attempt to create a bass reed instrument with a wide range but without the length of a bass shawm. This was accomplished by drilling a bore that doubled back on itself in the same piece of wood, producing an instrument effectively twice as long as the piece of wood that housed it and resulting in a sweeter and softer sound with greater dynamic flexibility. The dulcian provided the bass for brass and reed ensembles throughout its existence. During the 17th century, it became an important solo and continuo instrument and was played into the early 18th century, alongside the jointed bassoon which eventually displaced it. -
The Source Spectrum of Double-Reed Wood-Wind Instruments
Dept. for Speech, Music and Hearing Quarterly Progress and Status Report The source spectrum of double-reed wood-wind instruments Fransson, F. journal: STL-QPSR volume: 8 number: 1 year: 1967 pages: 025-027 http://www.speech.kth.se/qpsr MUSICAL ACOUSTICS A. THE SOURCE SPECTRUM OF DOUBLE-REED WOOD-VIIND INSTRUMENTS F. Fransson Part 2. The Oboe and the Cor Anglais A synthetic source spectrum for the bassoon was derived in part 1 of the present work (STL-GPSR 4/1966, pp. 35-37). A synthesis of the source spectrum for two other representative members of the double-reed family is now attempted. Two oboes of different bores and one cor anglais were used in this experiment. Oboe No. 1 of the old system without marking, manufactured in Germany, has 13 keys; Oboe No. 2, manufactured in France and marked Gabart, is of the modern system; and the Cor Anglais No. 3 is of the old system with 13 keys and made by Bolland & Wienz in Hannover. Measurements A mean spectrogram for tones within one octave covering a frequen- cy range from 294 to 588 c/s was produced for the oboes by playing two scrics of tones. One serie was d4, e4, f4, g4, and a and the other 4 serie was g 4, a4, b4, c 5' and d5. Both series were blown slurred ascending and descending in rapid succession, recorded and combined to a rather inharmonic duet on one loop. The spectrograms are shown in Fig. 111-A- 1 whcre No. 1 displays the spectrogram for the old sys- tem German oboe and No. -
Woodwind Family
Woodwind Family What makes an instrument part of the Woodwind Family? • Woodwind instruments are instruments that make sound by blowing air over: • open hole • internal hole • single reeds • double reed • free reeds Some woodwind instruments that have open and internal holes: • Bansuri • Daegeum • Fife • Flute • Hun • Koudi • Native American Flute • Ocarina • Panpipes • Piccolo • Recorder • Xun Some woodwind instruments that have: single reeds free reeds • Clarinet • Hornpipe • Accordion • Octavin • Pibgorn • Harmonica • Saxophone • Zhaleika • Khene • Sho Some woodwind instruments that have double reeds: • Bagpipes • Bassoon • Contrabassoon • Crumhorn • English Horn • Oboe • Piri • Rhaita • Sarrusaphone • Shawm • Taepyeongso • Tromboon • Zurla Assignment: Watch: Mr. Gendreau’s woodwind lesson How a flute is made How bagpipes are made How a bassoon reed is made *Find materials in your house that you (with your parent’s/guardian’s permission) can use to make a woodwind (i.e. water bottle, straw and cup of water, piece of paper, etc). *Find some other materials that you (with your parent’s/guardian’s permission) you can make a different woodwind instrument. *What can you do to change the sound of each? *How does the length of the straw effect the sound it makes? *How does the amount of water effect the sound? When you’re done, click here for your “ticket out the door”. Some optional videos for fun: • Young woman plays music from “Mario” on the Sho • Young boy on saxophone • 9 year old girl plays the flute. -
Chamber & Ensemble Music
Chamber & Ensemble Music New Releases 2000–2011 Contents I. WORKS BY COMPOSER – Alphabetical List ���������������������������������������������������������� p.3 A. New compositions and arrangements �������������������������������������������������������������������� 3 B. Additions to the catalogue ��������������������������������������������������������������������������������������� 25 II. WORKS BY GENRE ��������������������������������������������������������������������������������������������������� 30 1. Solo instrumental (also with accompaniment) ������������������������������������������������������� 30 1.1. Violin ��������������������������������������������������������������������������������������������������������������������������� 30 1.2. Viola ���������������������������������������������������������������������������������������������������������������������������� 31 1.3. Cello ��������������������������������������������������������������������������������������������������������������������������� 31 1.4. Double bass ��������������������������������������������������������������������������������������������������������������� 32 1.5. Flute ��������������������������������������������������������������������������������������������������������������������������� 33 1.6. Oboe ��������������������������������������������������������������������������������������������������������������������������� 33 1.7. Clarinet/Bass clarinet ������������������������������������������������������������������������������������������������� -
Reed Instruments About Reeds
Reed Instruments About Reeds A reed is a thin elastic strip of cane fixed at one end and free at the other. It is set into vibration by moving air. Reeds are the sound generators in the instruments described below. Cane reeds are built as either double or single reeds. A double reed consists of two pieces of cane carved and bound into a hollow, round shape at one end and flattened out and shaved thin at the other. The two pieces are tied together to form an channel. The single reed is a piece of cane shaved at one end and fastened at the other to a mouthpiece. Single Reed Instruments Clarinet: A family of single reed instruments with mainly a cylindrical bore. They are made of grenadilla (African blackwood) or ebonite, plastic, and metal. Clarinets are transposing instruments* and come in different keys. The most common ones used in orchestras are the clarinet in A and the clarinet in Bb. When a part calls for a clarinet in A, the player may either double -i.e. play the clarinet in A, or play the clarinet in Bb and transpose* the part as he plays. During the time of Beethoven, the clarinet in C was also in use and players were expected to be able to play all three instruments when required. All clarinets are notated in the treble clef and have approximately the same written range: E below middle C to c´´´´ (C five ledger lines above the staff). Bass Clarinet: A member of the clarinet family made of wood, which sounds an octave lower than the Clarinet in Bb. -
Concerto for Bassoon and Chamber Orchestra
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2011 Concerto for Bassoon and Chamber Orchestra Timothy Patrick Cooper [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Composition Commons Recommended Citation Cooper, Timothy Patrick, "Concerto for Bassoon and Chamber Orchestra. " Master's Thesis, University of Tennessee, 2011. https://trace.tennessee.edu/utk_gradthes/964 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Timothy Patrick Cooper entitled "Concerto for Bassoon and Chamber Orchestra." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Kenneth A. Jacobs, Major Professor We have read this thesis and recommend its acceptance: Brendan P. McConville, Daniel R. Cloutier Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) Concerto For Bassoon and Chamber Orchestra A Thesis Presented for the Master of Music Degree The University of Tennessee, Knoxville Timothy Patrick Cooper August 2011 Copyright © 2011 by Timothy Cooper. All Rights Reserved. ii Acknowledgements Several individuals deserve credit for their assistance in this project. -
Let's Play Bassoon
LET’S PLAY Bassoon By Hugo Fox Hugo Fox From 1922 until 1949, Hugo Fox served as principal bassoonist of the Chicago Symphony Orchestra, where he acquired an almost legendary reputation as one of the outstanding bassoonists of his era. During fifteen years of this period, he was instructor of bassoon at Northwestern University, and many of his students became ranked among the prominent bassoonists of America. During this period, his studies of the acoustics of the instrument and a desire to experiment, prompted him to form the Fox Bassoon Company, which now produces the well-known instru- ments that bear his name. 2 INTRODUCTION: This booklet has been prepared for the bandmaster or woodwind instructor who teaches the instrument, while not being an accomplished bassoonist. It is intended to serve as a handy reminder of some of the more important points to consider when starting a student, maintaining the instrument, and finishing reeds or reed blanks. The fingering chart is based on competent professional practices, and while not extensive in its treatment of alternate fingerings, is sufficiently complete to be used with almost any properly constructed instrument. 3 INDEX Introduction ....................................................................2-3 Starting the Student on Bassoon .................................... 5 Assembly of the Bassoon ...............................................6-7 Care of the Instrument ...................................................8-9 The Reed.....................................................................10-11 Fingering Charts .........................................................12-22 4 STARTING THE STUDENT ON THE BASSOON Either transfer the students from another instrument, or bassoon, much like when playing trombone. The air start them directly on bassoon. If you have access to a stream must have a clear, unobstructed path through the short-reach model bassoon, it is practical to start them in reed, continuing through the instrument. -
Bassoon-Trombone-Euphonium-String Bass
School of Theatre & Music 1040 West Harrison Street P 312 996 2977 College of Architecture, ETMSW Building F 312 996 0954 Design, and the Arts MC 255 theatreandmusic.uic.edu University of Illinois Chicago, Illinois 60607 at Chicago November 2019 Dear UIC Honors Band Student, Congratulations on your acceptance to the Eighth Annual Honors Band Festival at the University of Illinois at Chicago! The UIC Band Program has planned an exciting weeKend for all involved. We look forward to seeing you on Friday, November 1. Auditions will taKe place on Friday, November 1 from 3:30 pm – 6:30 pm. This audition is simply a hearing to place students on correct parts for the duration of the festival. The following is information regarding the audition procedure. Please read carefully. Audition Procedures: • Auditions will taKe place on UIC’s campus in the ETMSW building located at 1040 W. Harrison on the corner of Harrison and Morgan. Signs will direct you to the lower level where you will find the registration table. Here UIC students will direct you to the appropriate areas. • You may arrive any time during the 3:30 pm – 6:30 pm time blocK, though we always encourage students to arrive early to ensure auditions are completed on time. • Students will be directed to a warm-up area. A reception area will also be set up for parents. • A monitor will visit the warm-up areas periodically and then guide students to the audition room. • Students should choose any one complete excerpt found in the audition excerpts. *Percussion should choose any one complete excerpt from the snare drum excerpts and any one complete excerpt from the mallet excerpts. -
Heckelphone / Bass Oboe Repertoire
Heckelphone / Bass Oboe Repertoire by Peter Hurd; reorganized and amended by Holger Hoos, editor-in-chief since 2020 version 1.2 (21 March 2021) This collection is based on the catalogue of musical works requiring heckelphone or bass oboe instrumen- tation assembled by Peter Hurd beginning in 1998. For this new edition, the original version of the repertoire list has been edited for accuracy, completeness and consistency, and it has been extended with a number of newly discovered pieces. Some entries could not (yet) be rigorously verified for accuracy; these were included nonetheless, to provide leads for future investigation, but are marked clearly. Pieces were selected for inclusion based solely on the use of heckelphone, bass oboe or lupophone, without any attempt at assessing their artistic merit. Arrangements of pieces not originally intended for these instruments were included when there was clear evidence that they had found a significant audience. The authors gratefully acknowledge contributions by Michael Finkelman, Alain Girard, Thomas Hiniker, Robert Howe, Gunther Joppig, Georg Otto Klapproth, Mark Perchanok, Andrew Shreeves and Michael Sluman. A · B · C · D · E · F · G · H · I · J · K · L · M · N · O · P · Q · R · S · T · U · V · W · X · Y · Z To suggest additions or corrections to the repertoire list, please contact the authors at [email protected]. All rights reserved by Peter Hurd and Holger H. Hoos, 2021. A Adès, Thomas (born 1971, UK): Asyla, op. 17, 1997 Duration: 22-25min Publisher: Faber Music (057151863X) Remarks: for large orchestra; commissioned by the John Feeney Charitable Trust for the CBSO; first performed on 1997/10/01 in the Symphony Hall, Birmingham, UK by the City of Birmingham Symphony Orchestra under Simon Rattle Tags: bass oboe; orchestra For a link to additional information about the piece, the composer and to a recording, please see the on-line version of this document at http://repertoire.heckelphone.org. -
Houston Grand Opera Orchestra & Houston Ballet Orchestra
Houston Grand Opera Orchestra & Houston Ballet Orchestra 2019 Substitute and Extra Musicians Audition Material March 4th, 2019: Oboe & Bassoon March 6th, 2019: Horn, Trombone, Bass Trombone, Tuba, & Percussion March 7th, 2019: Violin, Viola, Cello, & Bass March 4th, 2019: Oboe & Bassoon Section Oboe Solo Repertoire Mozart, W. A. Oboe Concerto, Mvt. I, exposition Excerpts Brahms, J. Violin Concerto, Mvt. II, mm. 3–32 (Oboe 1) Strauss, R. Don Juan, beginning to four before B (Oboe 1) Strauss, R. Don Juan, four after L to seventeen after M (Oboe 1) Tchaikovsky, P. Casse-Noisette, Act I, No. 1, E to one before F (Oboe 2) Section Bassoon (optional Contrabassoon) Solo Repertoire Mozart, W. A. Bassoon Concerto, Mvt. I, exposition Excerpts Mozart, W. A. Le nozze di Figaro, Overture, mm. 1–58 Mozart, W. A. Le nozze di Figaro, Overture, mm. 139–171 Tchaikovsky, P. Casse-Noisette, Act I, No. 1, mm. 84–117 (Bassoon 1) Tchaikovsky, P. Casse-Noisette, Act II, No. 12b, mm. 33–End [skip long rests] (Bassoon 1) Wagner, R. Tannhäuser (Paris version), Overture, mm. 1–37 (Bassoon 2) Optional Contrabassoon Excerpt Strauss, R. Salome (full orchestration), six after 151 to four after 154 March 6th, 2019: Horn, Trombone, Bass Trombone, Tuba, & Percussion Section Horn Solo Repertoire Mozart, W. A. Concerto No. 2, Mvt. I, exposition or Mozart, W. A. Concerto No. 4, Mvt. I, exposition Excerpts Beethoven, L. Fidelio, Overture, mm. 5–16 (Horn 2 in E) Beethoven, L. Fidelio, Overture, mm. 45–55 (Horn 2 in E) Beethoven, L. Piano Concerto No. 5, mm. 14–107 (Horn 2 in E♭) Tchaikovsky, P.