All other items can be found in zip file on index page
Create an mp3 of your final result for class. Email me
the mp3. If you have server space, please put the mp3 on your server
and email me the hyperlink. I must have all mp3s by Oct. 31 or the
assignment will be considered late. This orchestration class is big and
the lab is going to get very busy now. DO NOT put this off until the
last minute.
In addition you will need to do the
following. ...........
06b homework: Test Yourself II all questions 1-20. Note the
following: Adler calls middle C= C4. I and many others call
middle C = C3 please consider them the same. #16 Since we
do not deal with transposing and do all of our work in "concert" in
Orchestration I, make sure you give the actual concert (sounding)
pitches for these. For now, use 8va and 8ma for those instruments
that transpose up or down an octave.
Individual Woodwinds
Throughout our study of
the individual woodwinds, Adler will speak of each instruments
registral characteristics.These
characteristics are very important and define the nature of the
instrument in any given register.Just as
we called the middle strings of the string instruments as weaker than
the outer strings, so too will certain registers in the winds be
considered weak or, conversely shrill.These
considerations are intended simply as a caution, not a deterrent to
composers and orchestrators.It is very
important to know the "Registral Characteristics" presented with each
instrument (ie pg. 181) and you may be asked to state those
characteristics for each instrument in the future.
Flute
The
flute is a transverse (or side-blown) woodwind instrument that is
closed at the blown end. The instrument is played by blowing a stream
of air over the embouchure hole. The pitch is changed by opening or
closing keys that cover circular tone holes (there are typically 16
tone holes). Opening and closing the holes produces higher and lower
pitches. The direction and intensity of the air stream also affects the
pitch, timbre, and dynamics.
Jethro Tull: Ian Anderson Flute Solo
Claude Debussy "Syrinx" for solo flute Emmanuel Pahud
A really terrific introduction to the flute:
Introduction to the Flute: Particularly 0.00-7:30
Sound Production:
Sound Production
Debussy's Prélude à l'après-midi d'un faune played on bass, alto and C flute
Construction:
1.Foot, body & head
The
flute (or C flute) does not transpose. It has three joints: Foot, Body
and Head joint with an alternate low B foot that allows an extra
1/2 step lower.
Middle register
C4 – B4 mellow, light, bright and rich. These characteristics are often
used for solo work. In quiet passages the flute’s middle register
sounds particularly graceful.
Upper register
C5 – D6 The higher notes possess great brilliance and can sound penetrating and shrill.
1. Range = (B2)C3-C6(G6) The C flute does not transpose.
2. The Flute requires a lot
of breath so very long sustained passages can be difficult especially
in the extreme registers.
3. As the flute gets higher
in pitch, it tends to carry better.
4. The lowest 4th
from C to F are very soft but lush and wonderful.However
difficult for non-pros (Adler CD 2-34)
5. From G3-C5 is very pure
& sweet.(Adler CD 2-35)
Since
the flute family produces the middle register by overblowing the same
fingering as the lowest register, the first effective harmonic is the 3nd
partial(2nd harmonic above the fundamental) at 8va+5th.On
the flute this is G4 That is, the flute player overblows
the same fingering of the first octave to get the second octave .
In essence they are playing the 2nd partial as their normal playing so
the first note that is produced differently as a harmonic is the G
above the staff as the 3rd partial of the fundamental C. Notice
in the video how the player does not move her fingers when she produces
the harmonics.
To extend the
range of the flute an octave higher, we use the piccolo.Just as the contrabass sounded an octave
lower than the note it reads, the piccolo sounds and octave higher than
the note it reads.For our purposes now,
the Piccolo works with the same versatility and agility as the flute.The techniques we saw above for the Flute may
also be applied to the Piccolo.
Too often the
Piccolo is relegated to only its high registers as a substitute for the
flute or as the marching band high wind instrument.However, in its lowest registered the
instrument is quite beautiful and can be haunting, hollow, soft and
mellow.In that register it is quite
effective in creating a "country pipe" sound that the flute can not.I encourage all to explore the entire range of
this instrument.
Two things
worth noting
1.The
range of the flute only extends down to the low D
(written D3 sounding D4)
2.One
word of caution.The very
highest register is extremely shrill and cuts like a knife.Use with caution!
To extend the
range of the flute lower, we use the Alto and Bass Flutes.Just as the contrabass sounded an octave
lower than the note it reads, the Bass Flute sounds and octave lowerthan the note it reads and thus has the same
range as the C flute, just an octave lower.Due
to its mighty size, the instrument cant play as quickly as the C flute
or Alto.The Alto flute occupies a range
betweenthe C Flute and the Bass Flute.It is a transposing instrument (sounds a 4th
lower than it reads)In Concert its
sounding range is from G2-G5 (written C3-C6)
For our
purposes
now, the Alto works with the same versatility and agility as the flute
although it requires more breath.Similarly
the Bass flute requires even more breath than the alto.Whereas the Alto flute is quite common,
it can be very difficult to find a someone who plays the bass flute
well.You should always check the
availability of the instrument if you are to use it in a live
situation.
Score
layout issues:
1.Typically
the piccolo and alto flute are played by the 3rd flute.Oddly, they normally appear separate and above
the C flutes.
Oboe
& English Horn
Overview of Oboe
Penderecki Capriccio per Oboe e Orchestra
Poulenc: Ce Doux Petit Visage English Horn & Piano
G. Powning Jazz Trio
The oboe and
English Horn are somewhat limited in theirtechnical
prowess compared to that of the flute and clarinet buthave an incredibly beautiful melodic
ability.
Construction
1. The oboe is a double reed
instrument. That is there are two pieces of cane that sit on top
of one and inserted into the mouth piece. The reed is very
delicate and a critical determinant to the sound of the
instrument. As such, most pro players will "fix" their own
reeds. That is they will customize their reeds to their
particular instrument and technique.
Body
Reed
Embouchure
Instability
Range
Characteristics:
(Adler CD 2-49-51 = Oboe)
(Adler CD 2-59-61 = Eng. Horn)
1. Very small range (Oboe =
Bb2-A5)(Eng Horn = Bnat- G5)
(Eng Horn sounds P5 lower than it reads and
sounds concert E2-C5)
2. In its lowest
range the oboe honks a bit and can sound somewhat gritty, thick and at times heavy. As such
its cant be very very soft in this register.
3. In its middle register the oboe can be sweet, warm and reedy.
3. In its upper
registers it gets thinner and in its
highest register it actually sounds pinched and can be very difficult to control.
4. Although its never
very very loud, its timbre can cut
quite well.
Temolo:
Tremolo is not one of the playing techniques typical of the oboe but
tremolos of a third are largely available but can be difficult.
A
number of tremolos cannot be used because the fingering is too
complicated (Bb3/Db4, Bb3/Eb4, Bb3/Ab4; B3/D#4, B/E4, B/F4; E4/D5;
G4/D5, Bb4/G5, Bb4/Ab5, Bb4/A5). Tremolos above Ab5 are very difficult
to play.
Not
mentioned in Adler, they are feasible. Usually homemade and stuck in
the bell.Use the marking "Con Sordino"
and "Senza Sordino" https://youtu.be/5wfeVx67dys
On the oboe, the harmonics are an alternative way of producing the upper
notes . They produce a slightly different, and usually quieter,
sound than the standard fingering at this point and are often used by
oboists in order to produce a muted pitch. They are not as
distinct in their color as harmonics in a flute.
