Symphony orchestra instruments
"Guests of the Orchestra"
AT symphony orchestra there are instruments that sound in some works, but in others they may not be, so they are sometimes called " orchestra guests ". These include piano, harpsichord, organ and others. Let's take a closer look at some of them.
Percussion instruments of a symphony orchestra
Percussion instruments are the oldest musical instruments. Initially, they arose, of course, in folk music. And only many years later, professional musical instruments appeared, which are part of one of the four groups of the symphony orchestra. You can play a melody on some percussion instruments (let's call them melodic). These include bells, xylophone, celesta and others.
The second group includes noise instruments (snare drum, bass drum, castanets, tambourine and others).
This group is not dominant in a symphony orchestra, but not infrequently the sound of these instruments is an important means of musical expression.
If in the orchestras of the 18th century mainly timpani, a large and a snare drum were used, then in the music of the 19th and especially the 20th centuries the composition of the percussion group expanded significantly, and they began to play a more significant role in the works.
Listen to a video lesson on this topic to get to know the representatives of this group better.
Brass instruments of the symphony orchestra. Video lesson.
Group brass instruments of the symphony orchestra small in composition. But it immediately attracts attention with a festive, solemn sound of metal. The art of blowing a horn or a conch was already known in ancient times. Subsequently, people learned to make tools similar to a horn and intended for military and hunting purposes.
These instruments are named after the metal they are made from. Most often it is a special alloy, consisting of 60% copper, 10% nickel, 30% zinc, or silver. But in the old days, some of them were made from horn, shell or bone.
There was a time when these instruments were made of precious metals, and musicians believed that precious metals give the timbre of the instrument a special shade: silver makes the sound fuller, gold - soft, platinum - deep. But these differences, if they exist, are noticeable mainly only to the musicians themselves. Later, they decided to conduct an unusual experiment. They took a piece of rubber hose, the wall thickness and other dimensions of which corresponded to the clarinet tube, made holes in it and built a clarinet mouthpiece into it. The improvised clarinet sounded quite similar to the real one.
If the sound of woodwinds often reminds us of a shepherd's flute, then brass instruments are associated in our minds with military signals and marches. And this is not accidental, since brass instruments are used in military brass bands. From there they came to the symphony orchestra.
Many people think that the trumpet sounds because it is blown. If you try to do this, then most likely you will only get a hiss. In brass instruments, like woodwinds, there is no reed, passing through which the air begins to oscillate, making a sound. For brass, the musician's own lips are used as a vibrator. He folds them roughly the way bassoon or oboe reeds are folded, and the recess in the mouthpiece helps to do this. Such a certain position of the lips when playing is called the embouchure, and the instruments are called embouchure.
The trumpet is not blown so that the air from the lungs of the musician passes through it. Yes, this is sometimes impossible: the volume of our lungs is approximately four liters of air, and if we compare them with the volume of a bass helicon, it becomes clear that a person cannot fill it with air with one exhalation. When playing wind instruments, the musician's breathing only helps to excite the vibrations of the air that is already in the pipe.
Let's take a look at brass instruments.
FRENCH HORN. German Waldhorn - forest horn. This is the literal translation of the name of this instrument. The ancestor of the horn was hunting horns, which were blown when it was necessary to give a signal during a hunt or any solemn event, to announce the gathering of troops. In order to make the sound louder and stronger, so that it could be heard at a great distance, the horn began to be lengthened. But playing such a long tube was inconvenient. Therefore, the tube of the instrument began to be “twisted”. First there was one turn, then two, then three. The modern French horn is a narrow tube, about three meters long, rolled into a circle with a cone-shaped extension at the end, turning into a wide bell.
The location of the horn when playing is unusual - with the bell down, to the musician's right hand, which rests with the palm of the hand against the wall of the bell, slightly covering it. This position was introduced by the Dresden horn player Anton Gampel around 1750, so that it would be easier to control the sound of the horn by inserting the hand into the bell. This technique is widely used by modern horn players. The timbre of the horn is influenced by the shape of the mouthpiece, the cup, as in other brass instruments.
The horn plays a very important role in the orchestra. Her voice is soft and noble. It can convey both a sad and solemn mood, it can sound caustic and derisive. It is primarily an orchestral instrument, but there is also solo literature for it. In the performance of the horn, you can hear a melodious, soulful melody, which, for example, sounds at the beginning of the second part of P.I. Tchaikovsky. In the Manfred symphony, Tchaikovsky commissioned four ffff horns to play the main musical theme, which paints a musical portrait of the hero. And in the "Waltz of the Flowers" from the ballet "The Nutcracker" the horn quartet sounds soft and melodious. The concerto for horn and orchestra by R. M. Gliere is very popular.
PIPE - one of the most ancient brass instruments. Even in the "Old Testament" mention is made of the use of pipes in religious ceremonies. The annals of the siege of Kyiv by the Pechenegs in 968 speak of the important role of pipes in the fighting of the Russian army. The trumpet has been used as a signaling instrument by many peoples since ancient times. She warned of danger, supported the courage of warriors in battle, opened solemn ceremonies, and called for attention.
In ancient times, a warrior stood on guard on the tower of the fortress wall of the city of Krakow in Poland. Vigilantly he looked into the distance: whether the enemy would appear. In his hands he held a copper pipe to give a signal in case of danger. And then one day he saw in the distance an approaching enemy army. The watchman began to play, and an alarm sounded over Krakow. A cloud of arrows flew at the sentinel. One of them pierced the trumpeter's chest. Gathering all his strength, he finished playing the signal. Only at the last sound the trumpet fell out of his hands.
For many centuries, the memory of the hero who saved his city at the cost of his life has been carefully preserved among the people. And now the callsigns of Krakow are the ancient war signal of the trumpet, breaking off at the last sound.
At the beginning of the XVII century. The trumpet entered the opera orchestra. At first, she played a modest role: only occasionally played short signals, participated in the accompaniment chords. At that time, only simple melodies built on the sounds of a triad could be played on it. But over time, the instrument was improved, its range increased, it became possible to play complex and expressive parts on the trumpet. Her bright sound began to attract the attention of composers. And the trumpet sounded in solemn, heroic, and sometimes in lyrical episodes. In the XVIII century. she already occupied a prominent place in the symphony and brass bands.
The next highest brass instrument is TROMBONE. Its name comes from the Italian word tromba (trumpet), supplemented by the magnifying suffix one. In the literal sense, this name can be translated as "trumpets". And indeed it is. In the XV century. the pipe was greatly lengthened, for which they made a retractable tube-scene. This is how the trombone was born.
The trombone has the same ancestors as the trumpet, but in a sense, the trombone turned out to be happier - it was a chromatic instrument from birth, so it almost did not change. The trumpet of the trombone, narrowing and curving, passes into a narrow cylindrical tube, on which a sliding mechanism is put on. It consists of two fixed tubes along which a U-shaped slide tube slides. By moving the slide with his right hand, the trombonist can smoothly change the pitch, performing glissando, and also extract any sounds with equal ease.
The trombone takes pride of place in the group of brass instruments. He has a very strong voice, easily covering the sound of the entire orchestra. And when several trombones play together, it gives solemnity and brilliance to the music. The trombone succeeds very well in heroic, tragic melodies. But most often, three trombones and a tuba, united in one group, play chords in the orchestra, acting as an accompaniment.
TUBA- the lowest sounding instrument of the brass group. Its range is from mi counteroctave to F of the first octave, its timbre is severe, massive. Unlike other instruments of this group, the tuba is relatively young. She was born in Germany in 1835 because a brass band needed a good steady bass. It consists of pipes of different sizes, a bell, a mouthpiece and valves.
As a rule, the role of the tuba in the orchestra is limited to doubling an octave below the part of the third trombone. It serves as the foundation of the brass group, like the double bass of the strings. It is the tuba that “cements” all the music. It is generally accepted that this instrument is clumsy and motionless. Indeed, it is very difficult to play it. A large air flow is required, so the performer sometimes has to breathe on every sound. But the tuba can also be played quickly. True, her sound is very thick, strong, juicy, and fast music with such a sound will be heavy. The tuba very well conveys the image of an elephant in Saint-Saens' play "The Elephant" from the suite "Carnival of the Animals".
Of course, tuba solo episodes are very rare in orchestral works. One of them is the play "Cattle" from the suite "Pictures at an Exhibition" by M. Mussorgsky, orchestrated by M. Ravel.
We repeat once again that the group of brass instruments includes:
trumpet, horn, trombone and tuba.
String instruments of a symphony orchestra. Video lesson.
Stringed instruments in the symphony orchestra are the largest group. They are called string instruments because they are most often played with a bow, in contrast to stringed folk instruments, on which the sound is extracted with a pinch. There are folk instrument orchestras in every country, but I think you understand that the folk instrument orchestras of different countries will consist of different instruments, because. Folk instruments are different for different nations.
For example, a very common Ukrainian folk instrument is bandura, therefore in Ukraine there is bandura orchestras, in Belarus, for example, cymbals are a common folk instrument, so they will definitely be part of a folk orchestra.
But there is an orchestra, which, no matter what country we come to, will be the same - this Symphony Orchestra.
And they play a major role bowed string instruments which we are going to meet today.
Violins are one of the most important instruments of this group.
The violin has a rather long prehistory, which we will not delve into, we only note that the viol was the predecessor of the viol, which, in turn, was formed from the merger of several instruments. The viola, unlike the violin, was most often held not on the shoulder, but on the knee. Look at a 15th century painting of a viol playing
The shape of the violin was finally established by the 16th century. And at the turn of the 16th and 17th centuries, masters appeared who learned how to make violins, the sound of which they still cannot repeat, despite the fact that science and technology have stepped far ahead.
Not a single musical instrument has attracted such close attention as the violin. It was studied by mathematicians, physicists, chemists, acousticians and many other scientists who wanted to unravel the secret of the magnificent sound of violins made by the Italian masters Stradivari, Amati, Guarneri.
There were many legends that explained the wonderful sound of violins in their own way. Some of them said that in order to make a good violin, you need to choose a tree in the forest on which birds land, and only from such a tree can a good violin be made.
There were allegations that these violins were covered with a special varnish, the secret of which nobody knew. It was also said that it was necessary to observe strict mathematical proportions of the parts of the violin.
But when studying, for example, Stradivari violins, all these statements were refuted by scientists. It turned out that Stradivari did not harvest wood, but bought boards for violins from artisans.
He even shared his lacquer recipe with foreigners who sometimes came to see him.
Studying the ratios of the parts of various violins, they could not find any “magic” regularity, thanks to which these violins would sound good. Obviously the secret was quite different.
Stradivari made his first violin at the age of 11, and the last shortly before his death, and he died at 93, and every day throughout his life he worked from dawn to dusk. And, of course, a great talent multiplied by a huge work led to such results. Let's now get acquainted in more detail with the first of the four representatives of the string group.
Violin. She is often referred to as the "queen of the band".
If you look closely at its shape, you can find in it a resemblance to the human figure.
It has two f-shaped holes on its body. These are eps.
The violin has 4 strings tuned to the notes: mi, la, re, sol. The range of the violin is from the salt of a small octave to the salt of the 4th octave. If you look at the violinist playing, it may seem that he is holding the violin with his left hand. But it's not. A special device is attached to the body of the violin, the violinist puts the violin on his left shoulder and presses it with his chin.
The violin is most often played with a bow. If you pluck a violin string, the sound will quickly die out, but when you lead the strings with a bow, the sound lasts for a long time, does not die out. The bow is a cane with horsehair stretched. So that the hair of the bow is not smooth, does not slide along the strings, but makes them vibrate, they are rubbed before playing, most often with rosin.
The violin often performs as a solo instrument.
There have been many outstanding famous violinists in history, one of whom was Nicolo Paganini.
He was accused of witchcraft, because they could not believe that a simple person could play the violin like that.
They say that…
One day a blind music teacher and a friend came to Paganini's concert. Listening to Paganini play, he asked a friend: "How many people are playing on stage?" Having learned that one musician was playing, he grabbed his friend by the hand and dragged him to the exit, saying that a simple person cannot play like that, this is the devil.
Paganini was not only an outstanding violinist, but also a composer.
The violin can be the soloist in the orchestra. For example, in Rimsky-Korsakov's symphonic suite Scheherazade, the violin very well conveys the image of the narrator Scheherazade.
In a symphony orchestra there can be 30 or more violins, in the 3rd part of the symphonic suite "Scheherazade" you can hear how beautiful and rich the string group of instruments will sound.
If you start playing the violins not with a bow, but with a pinch (this way of playing is called pizzicato), then you can convey the sound of folk instruments (balalaika, domra). When composers want to convey a folk flavor, portray the playing of folk instruments, they use this playing technique.
Thus, the first representative of the string group in a symphony orchestra is violin
The next instrument of the string group is alto.
Outwardly, it is very similar to a violin, only a little larger. He is also held on his shoulder, pressing his chin, and played, like the violin, with a bow.
If you look at the performer from afar, it is difficult to distinguish him from the violin.
If the lowest sound of the violin is the salt of a small octave, then the lowest sound of the viola is up to a small octave, i.e. five steps down. The viola plays an important role in the orchestra, but is rarely assigned solo parts. Viola players are not often found either, although the situation has changed recently. If earlier viola performers played mainly works written for the violin, now more and more often composers began to create works for the viola. One of the outstanding violists of our time is Yuri Bashmet, who is not only a soloist, but also a conductor, creator of the Moscow Soloists chamber orchestra.
If the viola differs slightly in appearance and way of playing from the violin, then this cannot be said about the next instrument that we will meet with you.
Cello differs from the violin not only in its significantly larger size, but also in the way it is played.
If you look at a photograph of one cello, then without realizing its size, it is very difficult to get an idea about this instrument. In its appearance, it is very similar to a violin, only much larger in size. The cellist plays sitting on a chair, and the cello stands in front of him on the floor on a special retractable "leg", on a metal rod that rests on the floor.
If the violin can be compared with a high female voice, then the cello is a low male voice - melodious, velvety, rich. It also has 4 strings and is almost always played with a bow. The cello, unlike the viola, is much more often a solo instrument; it conveys sadness, grief, and deep feelings especially well.
An outstanding cellist and conductor of the 20th century was Mstislav Rostropovich, whom you see in the photo, who will perform a fragment of Joseph Haydn's Cello Concerto in the video lesson.
And the last representative of the string group is the double bass. It is the largest and lowest sounding instrument. He plays a very important role in the orchestra, being, as it were, the foundation of the orchestra. If you look closely at its shape, you will notice that it differs from all previous stringed instruments with more sloping "shoulders", thereby more resembling a viol. The double bass is often used in jazz and pop orchestras, but it is played there with a pluck, i.e. in a way called pizzicato. As a solo instrument, the double bass does not often perform, although some double bassists have achieved very high skill on this instrument.
In the video lesson, there will be a play by Camille Saint-Saens from the suite "Carnival of the Animals", which is called "The Elephant". The low register of the double bass very well conveys the image of this large animal here.
Let's now repeat once again what instruments are part of the string instruments of a symphony orchestra.
This is a violin, viola, cello and double bass
"Lighting a fire in the heart,
The drums are arguing again.
And the camp plays with the wave,
And love burns in the eyes.
Leila
Percussion instruments have always been an important part of any musical culture. Therefore, the number of musical and instrumental groups in which percussion instruments are needed can hardly be accurately determined. One of these musical groups is a modern symphony orchestra, which is impossible to imagine without a group of percussion instruments that convey such means of musical expression as rhythm, tempo and dynamics. The group of percussion instruments in a symphony orchestra has changed over time, thanks to the development and changes in music from different eras and directions. In a modern symphony orchestra, a lot of attention is paid to the percussion group; it can be varied in terms of the composition of instruments, depending on the nature of the pieces being performed. Drums convey to the listener a certain message and thought of the composer. For completeness of perception, it is very important to maintain the balance of the sonorities of the percussion group with the various groups of the symphony orchestra. Percussion instruments differ in shape and size, and the material from which they are made, and, finally, the nature of the sound from other groups of the symphony orchestra, so it is necessary to understand their peculiarity when interacting with other groups of the orchestra, the influence of their sound on the work and their influence on the perception of music by the listener .
The relevance of this research problem has existed since the creation of the symphony orchestra by J. Haydn to the present day. The essence of this problem at the present stage lies in the need to indicate the importance of the role of the percussion group of the symphony orchestra.
Based on the relevance of the problem, we formulatedresearch topic: "Percussion instruments of the symphony orchestra".
Based on the research topic, we formulated purpose of this essay - to show the role of a group of percussion instruments in a symphony orchestra.
Research objectives:
- To study the history of the development of percussion instruments and analyze the development of percussion in the orchestra;
- Present in the abstract a group of percussion instruments of a symphony orchestra;
- Compare the level of percussion taking into account their development;
- To systematize information on this problem, to summarize information on the topic.
Research methods:
- Selection, study and analysis of literature;
- Systematization of the studied material;
- Summarizing the received information.
Chapter I. Symphony Orchestra Percussion Instruments
1.1. The concept of the orchestra, origin and composition
Orchestra (from the Greek orchestra) - a large team of instrumental musicians. Unlike chamber ensembles, in the orchestra some of its musicians form groups playing in unison, that is, they play the same parts.
The very idea of simultaneously playing music by a group of instrumental performers goes back to ancient times: even in ancient Egypt, small groups of musicians played together at various holidays and funerals.
The word "orchestra" ("orchestra") comes from the name of the round platform in front of the stage in the ancient Greek theater, which housed the ancient Greek choir, a participant in any tragedy or comedy. During the Renaissance and further in the 17th century, the orchestra was transformed into an orchestra pit and, accordingly, gave the name to the group of musicians located in it.
There are many different types of orchestra: military brass and woodwind orchestras, folk instrument orchestras, string orchestras. The largest in composition and the richest in terms of its capabilities is the symphony orchestra.
Symphonic called an orchestra, composed of several heterogeneous groups of instruments - a family of strings, wind and percussion. The principle of such unification took shape in Europe in the 18th century. Initially, the symphony orchestra included groups of bowed instruments, woodwinds and brass instruments, which were joined by a few percussion instruments. Subsequently, the composition of each of these groups expanded and became more diverse. Currently, among a number of varieties of symphony orchestras, it is customary to distinguish between a small and a large symphony orchestra.Small Symphony Orchestra- this is an orchestra of predominantly classical composition (playing music of the late 18th - early 19th century, or modern stylizations). It consists of 2 flutes (rarely a small flute), 2 oboes, 2 clarinets, 2 bassoons, 2 (rarely 4) horns, sometimes 2 trumpets and timpani, a string group of no more than 20 instruments (5 first and 4 second violins, 4 violas, 3 cellos, 2 double basses).Grand Symphony Orchestraincludes obligatory trombones in the copper group and can have any composition. Often wooden instruments (flutes, oboes, clarinets and bassoons) reach up to 5 instruments of each family (sometimes more clarinets) and include varieties (pick and alto flutes, cupid oboe and English oboe, small, alto and bass clarinets, contrabassoon). The copper group can include up to 8 horns (including special Wagner tubas), 5 trumpets (including small, alto, bass), 3-5 trombones (tenor and tenorbass) and a tuba. Saxophones are often used (in a jazz orchestra, all 4 types). The string group reaches 60 or more instruments. Percussion instruments are numerous (although timpani, bells, small and large drums, triangle, cymbals and Indian tam-tom form their backbone), harp, piano, harpsichord are often used.
Symphony Orchestraformed over centuries. Its development for a long time took place in the depths of opera and church ensembles. Such groups in the XV-XVII centuries. were small and varied. They included lutes, viols, flutes with oboes, trombones, harps, and drums. Gradually, stringed bowed instruments won the dominant position. The viols were replaced by violins with their richer and more melodious sound. By the beginning of the XVIII century. they already reigned supreme in the orchestra. A separate group and wind instruments (flutes, oboes, bassoons) have united. From the church orchestra they switched to the symphony trumpets and timpani. The harpsichord was an indispensable member of instrumental ensembles.
Such a composition was typical for J. S. Bach, G. Handel, A. Vivaldi.
From the middle of the XVIII century. the genres of symphony and instrumental concerto begin to develop. The departure from the polyphonic style led the composers to strive for timbre diversity, the relief singling out of orchestral voices.
The functions of the new tools are changing. The harpsichord, with its weak sound, is gradually losing its leading role. Soon, composers completely abandoned it, relying mainly on the string and wind group. By the end of the 18th century eka the so-called classical composition of the orchestra was formed: about 30 strings, 2 flutes, 2 oboes, 2 bassoons, 2 pipes, 2-3 horns and timpani. The clarinet soon joined the brass. J. Haydn, W. Mozart wrote for such a composition. Such is the orchestra in the early compositions of L. Beethoven. In the 19th century
The development of the orchestra went mainly in two directions. On the one hand, increasing in composition, it was enriched with instruments of many types (the merit of romantic composers, primarily Berlioz, Liszt, Wagner, is great for this), on the other hand, the internal capabilities of the orchestra developed: sound colors became cleaner, texture clearer, expressive resources are more economical (such is the orchestra of Glinka, Tchaikovsky, Rimsky-Korsakov). Significantly enriched the orchestral palette and many composers of the late XIX - 1st half of the XX century. (R. Strauss, Mahler, Debussy, Ravel, Stravinsky, Bartok, Shostakovich and others).
Contemporary symphony orchestraconsists of 4 main groups. The foundation of the orchestra is a string group (violins, violas, cellos, double basses). In most cases, strings are the main carriers of the melodic beginning in the orchestra. The number of musicians playing strings is approximately 2/3 of the entire band. The group of woodwind instruments includes flutes, oboes, clarinets, bassoons. Each of them usually has an independent party. Yielding to bowed ones in timbre saturation, dynamic properties and a variety of playing techniques, wind instruments have great power, compact sound, bright colorful hues. The third group of orchestra instruments is brass (horn, trumpet, trombone, trumpet). They bring new bright colors to the orchestra, enriching its dynamic capabilities, giving power and brilliance to the sound, and also serve as a bass and rhythmic support.
Percussion instruments are becoming increasingly important in the symphony orchestra. Their main function is rhythmic. In addition, they create a special sound and noise background, complement and decorate the orchestral palette with color effects. Bysound characterdrums are divided into 2 types: some have a certain pitch (timpani, bells, xylophone, bells, etc.), others lack an exact pitch (triangle, tambourine, snare and bass drum, cymbals). Of the instruments that are not included in the main groups, the role of the harp is the most significant. Occasionally, composers include the celesta, piano, saxophone, organ and other instruments in the orchestra.
Orchestral writing by Haydn
The modern large symphony orchestra is based on the orchestral composition developed by Haydn and the composers of the Mannheim School.
Before Haydn, the instruments in the orchestra had a weak uneven sound. Lutes, theorbs, harpsichord were used, at which the bandmaster sat, filling in the missing harmonies, linking individual instruments into one whole.
Like all composers of the 18th century, Haydn wrote his symphonies to the composition of the orchestra, "which at the moment was at his fingertips." The first symphonies written for Count Morcin were performed by 12-16 musicians.
In July 1762, Prince Miklos Esterhazy approved an orchestra of 14 people (7 string players and 7 wind players). Later, the composition of the orchestra grew to 25 or more musicians (16 strings, flutes, oboe, bassoons, trumpets, horns and timpani).
In our time, the Orchestra "Academy of Early Music" under the baton of the famous English conductor Christopher Hogwood performed Haydn's symphonies on the instruments of that era. In the hall of the Esterhaz castle, where these symphonies were performed during the composer's lifetime, the musicians played them in the same composition, with a strange, at first glance, ratio of stringed, wooden and brass instruments. What was the composition of the Esterhazy orchestra during Haydn's time? It included: 4 first violins, 4 second violins, cello, double bass, viola, 2 oboes, 2 horns and timpani.
Then K. Hogwood tried to play symphonies in a different, modern ratio of strings, namely: 6 first violins, 4 second ones, 3 violas, 2 cellos, double bass.
It turned out that the Haydnian ratio of instruments in this hall was the most successful! It became obvious that Haydn was a great connoisseur of the orchestra.
Salomon's London Orchestra consisted of 40 musicians. For such a composition, Haydn wrote his 12 London Symphonies. True, the composer used clarinets only in symphonies 101, 103 and 104. It probably happened under the influence of Mozart. The introduction of clarinets to the orchestra expanded the woodwind group to a full pairing. Thus, the formation of a small or "classical" symphony orchestra was completed.
Interestingly, the clarinet, invented at the end of the seventeenth century, did not become a permanent "member" of the orchestra until 100 years later. Haydn tried to introduce the clarinet into Prince Esterhazy's orchestra in the eighteenth century, but as the instrument was still imperfect, clarinets were replaced by trumpets.
Many people think that playing the drum is easy. I want to give you an example: when Ravel's Bolero is performed, the snare drum is pushed forward and placed next to the conductor's stand, because in this work Ravel entrusted the drum with a very responsible role. A musician playing the snare drum must maintain the unified rhythm of the Spanish dance without slowing it down or speeding it up. The expression gradually grows, more and more new instruments are added, the drummer is drawn to play a little faster. But this will distort the composer's intention, and the listeners will get a different impression. You see what kind of skill is required from a musician playing such a simple instrument in our understanding. D. Shostakovich even introduced three snare drums into the first part of his Seventh Symphony: they sound ominously in the episode of the fascist invasion. The drum also once had sinister functions: under its measured fraction, revolutionaries were led to execution, soldiers were driven through the ranks. And now, to the sounds of drums and trumpets, they are marching to the parade. African drums were once a means of communication, like the telegraph. The sound of the drum carries far, it is noticed and used. Signal drummers lived within earshot of each other. As soon as one of them began to transmit the message encoded in the drumbeat, the other received and transmitted to the next. Thus, good or sad news spread over great distances. Over time, the telegraph and telephone made this type of communication unnecessary, but even now in some African countries there are people who know the language of the drum.
1.2. Percussion group in an orchestra
The fourth association of the modern symphony orchestra is percussion instruments. They bear no resemblance to the human voice and do not speak to his inner sense in a language he understands. Their measured and more or less defined sounds, their tinkling and crackling, have rather a "rhythmic" meaning.
Their melodic duties are extremely limited, and their whole being is deeply rooted in the nature of dance in the broadest sense of this concept. It is as such that some of the percussion instruments were used in ancient times and were widely used not only by the peoples of the Mediterranean and Asian East, but also acted, apparently, among all the so-called "primitive peoples" in general. Some tinkling and ringing percussion instruments were used in Ancient Greece and Ancient Rome as instruments accompanying dances and dances, but not a single percussion instrument from the drum family was allowed by them into the field of military music. These tools had a particularly wide application in the life of the ancient Jews and Arabs, where they performed not only civil duties, but also military ones.
On the contrary, among the peoples of modern Europe, various types of percussion instruments have been adopted in military music, where they are of great importance. However, the melodic poverty of percussion instruments did not prevent them, nevertheless, from penetrating into the opera, ballet and symphony orchestras, where they occupy far from the last place. However, there was a time in the artistic music of European peoples when access to these instruments was almost closed to the orchestra and, with the exception of the timpani, they made their way into symphonic music through the orchestra of opera and ballet, or, as they would say now, through the orchestra of "dramatic music ".
In the history of the "cultural life" of mankind, percussion instruments arose before all other musical instruments in general. Nevertheless, this did not prevent percussion instruments from being pushed into the background of the orchestra at the time of its inception and the first steps of its development. And this is all the more surprising since it is still impossible to deny the enormous “aesthetic” significance of percussion instruments in art music. The history of percussion instruments is not very exciting. All those "tools for the production of measured noise", which were used by all primitive peoples to accompany their warlike and religious dances, at the beginning did not go beyond simple planks and wretched drums. And only much later, many tribes of Central Africa and some peoples of the Far East acquired such instruments that served as worthy models for creating more modern European percussion instruments that are already accepted everywhere.
With regard to musical qualities, all percussion instruments are very simply and naturally divided into two kinds or kinds. Some emit a sound of a certain pitch and therefore quite naturally enter into the harmonic and melodic basis of the work, while others, capable of producing a more or less pleasant or characteristic noise, perform purely rhythmic and decorating duties in the broadest sense of the word. In addition, various materials are involved in the device of percussion instruments and, in accordance with this feature, they can be divided into instruments “with skin” or “webbed”, and “self-sounding”, in the device of which various types and grades of metal, wood are involved. and lately - glass. Kurt Sachs, assigning them a definition that is not very successful and extremely ugly to the ear - idiophones, obviously loses sight of what it is. the concept in the meaning of "peculiar-sounding" can be, in essence, on equal grounds: applied to any musical instrument or their kind.
In an orchestral score, the commonwealth of percussion instruments is usually placed in the very middle of it, between brass and bowed ones. With the participation of the harp, piano, celesta and all other stringed-plucked or keyboard instruments, the percussion always retain their place and are then located immediately after the brass ones, giving way after themselves to all the “decorating” or “accidental” voices of the orchestra. The absurd way of writing percussion instruments below the bowed quintet must be strongly condemned as very inconvenient, unjustified and extremely ugly. It originally arose in ancient scores, then acquired a more isolated position in the bowels of a brass band and, having an insignificant justification, now, however, violated and completely overcome, was perceived by some composers who wished to attract attention to themselves with at least something and in whatever way. no matter what.
But the worst thing is that this strange innovation turned out to be all the more durable and dangerous because some publishing houses went towards such composers and printed their scores according to the “new model”. Fortunately, there were not so many such "publishing pearls" and they, like works that were predominantly weak in their artistic merits, were drowned in an abundance of truly excellent examples of the diverse creative heritage of all peoples. The only place where the indicated method of presenting percussion instruments now reigns - at the very bottom of the score - is a variety ensemble. But there, in general, it is customary to arrange all the instruments differently, guided only by the altitude sign of the participating instruments. In those distant times, when only one timpani still acted in the orchestra, it was customary to place them above all other instruments, obviously believing such a presentation to be more convenient. But in those years, the score was generally composed somewhat unusually, which now there is no need to recall. We must agree that the modern method of presentation-score is sufficiently simple and convenient, and therefore there is no point in engaging in all sorts of fabrications, which have just been mentioned in detail.
As already mentioned, all percussion instruments are divided into instruments with a certain pitch and instruments without a certain pitch. At present, such a distinction is sometimes disputed, although all the proposals made in this direction come down rather to confusing and deliberately emphasizing the essence of this extremely clear and simple proposition, in which there is not even a direct need to mention the self-evident concept of pitch every time. In the orchestra, instruments “with a certain sound” mean, first of all, a five-line stave or staff, and instruments “with an indefinite sound” - a conditional method of musical notation - “hook” or “thread”, that is, one single line on which note heads represent only the required rhythmic pattern. Such a transformation, done very opportunely, was intended to gain a place, and, with a significant number of percussion instruments, to simplify their presentation. However, not so long ago, for all percussion instruments “without a definite sound”, ordinary staves with the keys of Sol and Fa were adopted, and with a conditional placement of note heads between spaces. The inconvenience of such a recording was not long in affecting as soon as the number of percussive-noise instruments increased to "astronomical limits", and the composers themselves, who used this method of presentation, were lost in the insufficiently developed order of their outline.
But what brought to life the combination of keys and threads is very difficult to say. Most likely, the matter began with a typo, which then attracted some composers who began to set the treble clef on a string, Intended for relatively high percussion instruments, and the Fa key for relatively low ones. Is it necessary to speak here of the absurdity and complete inconsistency of such a presentation? As far as we know, for the first time the keys on the thread were found in the scores of Anton Rubinstein, printed in Germany, and representing undoubted misprints, and much later revived in the scores of the Flemish composer Arthur Meulemans (1884-?), who made it a rule to supply the middle thread with the key Sol, and the most low - key Fa. Such a presentation looks especially wild in those cases when, between two threads not marked with keys, one appears with the key Fa. In this sense, the Belgian composer Francis de Bourguignon (1890-?) turned out to be more consistent, supplying the key to each thread participating in the score.
French publishing houses adopted a special “key” for percussion instruments in the form of two vertical bold bars resembling the Latin letter “H” and crossing out the thread at the chord itself. There is nothing to object to such an event, as long as it ultimately leads to some external completeness of the orchestral score in general.
However, it would be quite fair to recognize all these eccentricities as equal to zero in the face of the "unsettledness" that still exists - to this day in the presentation of percussion instruments. Rimsky-Korsakov also suggested that all self-sounding instruments, or, as he calls them, “percussion and ringing without a definite sound,” can be considered as high ones - a triangle, castanets, bells, medium ones - a tambourine, rods, a snare drum, cymbals, and as low-bass drum and tam-tam, "meaning by this their ability to be combined with the corresponding areas of the orchestral scale in instruments with sounds of a certain pitch." Leaving aside some details, due to which “rods” should be excluded from the list of percussion instruments, as an “accessory of percussion instruments”, but not a percussion instrument in its proper meaning, Rimsky-Korsakov’s observation remains to this day in full force. Based on this assumption, and supplementing it with all the latest percussion instruments, it would be most reasonable to arrange all percussion instruments in the order of their pitch and write "high" above "medium" and "medium" above "low". However, there is no unanimity among composers and the presentation of percussion instruments is carried out more than arbitrarily.
This situation can be explained to a lesser extent only by the accidental participation of percussion instruments, and to a greater extent by a complete disregard for the composers themselves and the bad habits or erroneous assumptions they have adopted. The only justification for such an “instrumental hodgepodge” can be the desire to present the entire composition of the percussion instruments operating in this case, in the order of parties, when strictly defined instruments are assigned to each performer. Finding fault with words, such an exposition makes more sense in the parts of the drummers themselves, and in the score it is useful only when it is sustained with "pedantic precision".
Returning to the issue of presentation of percussion instruments, the desire of many composers, including quite prominent ones, to place cymbals and a bass drum immediately after the timpani, and the triangle, bells and xylophone - below these latter, must be recognized as unconditionally unsuccessful. There are, of course, no sufficient grounds for such a solution to the problem, and all this can be attributed to an unjustified desire to be “original”. The most simple and natural, and in the light of the exorbitant number of percussion instruments operating in a modern orchestra, the most reasonable can be considered the placement of all percussion instruments using a staff, higher than those using a thread.
In each individual association it would, of course, be desirable to adhere to the views of Rimsky-Korsakov and place the votes in accordance with their relative pitch. For these reasons, after the timpani, which retain their primacy according to the "original tradition", one could place bells, vibraphone and tubaphone above the xylophone and marimba. In instruments without a specific sound, such a distribution will be somewhat more difficult due to the large number of participants, but in this case, nothing will prevent the composer from adhering to the well-known rules, about which much has already been said above.
One must think that the determination of the relative pitch of a self-sounding instrument, in the main, does not cause rumors, and if this is so, then it does not cause any; difficulties for its implementation. Only bells are usually placed below all percussion instruments, since their party is most often content with the conventional outline of notes and their rhythmic duration, and not with a full “ring”, as is usually done in the corresponding recordings. Part of the "Italian" or "Japanese" bells, which look like long metal pipes, requires the usual five-line staff, placed below all other instruments "with a certain sound." Consequently, the bells here also serve as a frame for the staves, united by one common feature of "definiteness" and "uncertainty", sound. Otherwise, there are no peculiarities in the recording of percussion instruments, and if for some reason they appear, they will be mentioned in the proper place.
In a modern symphony orchestra, percussion instruments serve only two purposes - rhythmic, to maintain clarity and sharpness of movement, and decorating in the broadest sense, when the author, through the use of percussion instruments, contributes to the creation of enchanting sound pictures or “moods”, full of excitement, ardor or impetuosity. From what has been said, of course, it is clear that percussion instruments have to be used with great care, taste and moderation. The varied sonority of percussion instruments can quickly tire the attention of listeners, and therefore the author must always remember what his percussion instruments are doing. Only the timpani enjoy certain advantages, but even these can be nullified by excessive excesses.
The classics paid a lot of attention to percussion instruments, but they never raised them to the level of the only members of the orchestra. If something like this happened, then the performance of the drums was most often limited to only a few beats of a bar or was content with an extremely insignificant duration of the entire construction. Of the Russian musicians, Rimsky-Korsakov used one of the percussion instruments as an introduction to very rich and expressive music in the Spanish Capriccio, but most often solo percussion instruments are found in “dramatic music” or in ballet, when the author wants to create a particularly sharp, extraordinary or “ an incredible feeling." This is exactly what Sergei Prokofiev did in the musical performance Egyptian Nights. Here, the sonority of percussion instruments accompanies the scene of commotion in the house of Cleopatra's father, to which the author prefixes the title "Alarm". Did not refuse the services of percussion instruments and Victor Oransky (1899-1953). He had the opportunity to use this amazing sonority in the ballet Three Fat Men, where he entrusted one percussion accompaniment to the sharp rhythmic canvas of the "eccentric dance". Finally, quite recently, the services of some percussion instruments used in an intricate sequence of "dynamic
The French, laughing at such an “artistic revelation”, rather venomously ask if the new French word bruisme originated from here, as a derivative of brui, “noise”. There is no equivalent concept in the Russian language, but the Orchestrators themselves have already taken care of a new name for such music, which they quite evilly dubbed the definition of “percussive threshing machine”. In one of his early symphonic works, Alexander Cherepnin devoted a whole part to such an "ensemble". There was already a chance to talk a little about this work about the connection with the use of the bow quintet as percussion instruments, and therefore there is no urgent need to return to it a second time. Shostakovich also paid tribute to the unfortunate "shock" delusion in those days when his creative worldview was not yet sufficiently stable and mature.
The “onomatopoeic” side of the matter stands completely aside, when the author, with the smallest number of percussion instruments actually used, has a desire or, more precisely, an artistic need to create only a “feeling of percussion” of all music intended mainly for string and woodwind instruments. One such example, extremely witty, funny and excellent-sounding "in an orchestra", if the composition of the instruments participating in it can be defined precisely by this concept, is found in Oransky's ballet Three Fat Men and is called "Patrol".
But the most outrageous example of musical formalism remains the work written by Edgard Varèse (1885-?). It is designed for thirteen performers, is intended for two combinations of percussion instruments and is called by the author lonisation, which means "Saturation". This "work" involves only sharp-sounding percussion instruments with piano. However, this latter is also used as a “percussion instrument” and the performer acts on it according to the latest “American method” of Henry Cauel (1897-?), who, as you know, suggested playing with only one elbow, outstretched across the entire width of the keyboard. According to the reviews of the then press - and this happened in the thirties of the current century - Parisian listeners, driven by this work to a state of wild frenzy, urgently demanded its repetition, which was immediately carried out. Without saying a bad word, the history of the modern orchestra does not yet know the second such out of the line "case".
Bibliography
1. "Musical Encyclopedia", Yu.V. Keldysh, volume 2, publishing houses "Soviet Encyclopedia" and "Soviet Composer", 1974
2. "Musical Encyclopedia", Yu.V. Keldysh, volume 5, publishing houses "Soviet Encyclopedia" and "Soviet Composer", 1981
3. "Conversations about the orchestra", Dm. Rogal-Levitsky, State Musical Publishing House, Moscow, 1961
4. “Cello, double bass and other musical instruments”, H. Tserashi, Music Publishing House, 1979
5. "Percussion instruments in modern orchestras", A.N. Panayotov, 1973
6. A group of percussion instruments in an orchestra
7. Percussion instruments: names and types
Welcome to a brief overview of the musical instruments of the symphony orchestra.
If you are just starting to get acquainted with classical music, then perhaps you still do not know what musical instruments the members of the symphony orchestra play. This article will help you. Descriptions, images and sound samples of the main musical instruments of the orchestra will introduce you to the huge variety of sounds produced by the orchestra.
Foreword
The musical symphonic fairy tale "Peter and the Wolf" was written in 1936 for the new Moscow Central Children's Theater (now the Russian Academic Youth Theatre). This is a story about the pioneer Petya, who shows courage and ingenuity, saves his friends and captures a wolf. From the moment of its creation to the present day, the piece has enjoyed unflagging worldwide popularity among both the younger generation and experienced lovers of classical music. This piece will help us to identify different instruments, as each character in it is represented by a certain instrument and a separate motif: for example, Petya - string instruments (mainly violins), Bird - flute in high register, Duck - oboe, Grandfather - bassoon, Cat - clarinet, Wolf - horn. After familiarizing yourself with the presented instruments, listen to this piece again and try to remember how each instrument sounds.
Sergei Prokofiev: "Peter and the Wolf"
Bow string instruments.
All bowed stringed instruments consist of vibrating strings stretched over a resonating wooden body (deck). To extract the sound, a horsehair bow is used, clamping the strings in different positions on the fretboard, sounds of different heights are obtained. The bowed string instrument family is the largest of the , grouped into a huge section with musicians playing the same line of music.
A 4-string bowed instrument, the highest sounding in its family and the most important in the orchestra. The violin has such a combination of beauty and expressiveness of sound as, perhaps, no other instrument. But violinists often have a reputation for being nervous and scandalous.
Felix Mendelssohn Violin Concerto
Alt - in appearance, a copy of the violin, only slightly larger, which is why it sounds in a lower register and is a little more difficult to play than the violin. Traditionally, the viola plays a supporting role in the orchestra. Violists are often the target of jokes and anecdotes in the musical environment. There were three sons in the family - two are smart, and the third is a violist ... P.S. Some consider the viola to be an improved version of the violin.
Robert Schumann "Fairy Tales for viola and piano"
Cello- a large violin, which is played while sitting, holding the instrument between the knees and resting it with a spire on the floor. The cello has a rich low sound, wide expressive abilities and a detailed technique of performance. The performing qualities of the cello won the hearts of a huge number of fans.
Dmitri Shostakovich Sonata for cello and piano
double bass- the lowest in sound and the largest in size (up to 2 meters) among the family of bowed stringed instruments. Double bassists must stand or sit on a high chair to reach the top of the instrument. The double bass has a thick, hoarse and somewhat muffled timbre and is the bass foundation of the entire orchestra.
Dmitri Shostakovich Sonata for cello and piano (see cello)
Woodwind instruments.
A large family of various instruments, not necessarily made of wood. Sound is generated by the vibration of air passing through the instrument. Pressing the keys shortens/lengthens the air column and changes the pitch. Each instrument usually has its own solo line, although it can be performed by several musicians.
The main instruments of the woodwind family.
- modern flutes are very rarely made of wood, more often of metal (including precious metals), sometimes of plastic and glass. The flute is held horizontally. The flute is one of the highest sounding instruments in the orchestra. The most virtuosic and technically agile instrument in the wind family, thanks to these virtues, she is often entrusted with an orchestral solo.
Wolfgang Amadeus Mozart Flute Concerto No. 1
Oboe- a melodic instrument with a lower range than a flute. The shape is slightly conical, the oboe has a melodious, but somewhat nasal timbre, and even sharp in the upper register. It is mainly used as an orchestral solo instrument. Since oboists must twist their faces while playing, they are sometimes perceived as abnormal people.
Vincenzo Bellini Concerto for oboe and orchestra
Clarinet- There are several sizes, depending on the required sound height. The clarinet uses only one reed (reed), rather than the double reed of a flute or bassoon. The clarinet has a wide range, warm, soft timbre and provides the performer with a wide range of expressive possibilities.
Test yourself: Karl stole corals from Clara, and Clara stole the clarinet from Karl.
Carl Maria von Weber Clarinet Concerto No. 1
The lowest sounding of the woodwinds, it is used both for the bass line and as an alternative melody instrument. An orchestra usually has three or four bassoons. Due to its size, the bassoon is harder to play than other instruments of this family.
Wolfgang Amadeus Mozart Bassoon Concerto
Brass wind instruments.
The loudest group of instruments in a symphony orchestra, the principle of extracting sounds is the same as that of woodwind instruments - "press and blow". Each instrument plays its own solo line - there is a lot of material. At different epochs of its history, the symphony orchestra changed groups of instruments in its composition, some decline in interest in wind instruments occurred in the era of romanticism, in the 20th century new performing possibilities of brass instruments were opened up and their repertoire expanded significantly.
Horn (horn)- originally derived from the hunting horn, the French horn can be soft and expressive or harsh and creaky. Typically, an orchestra uses from 2 to 8 horns, depending on the piece.
Nikolai Rimsky-Korsakov Scheherazade
An instrument with a high clear sound, very suitable for fanfare. Like the clarinet, the trumpet comes in a variety of sizes, each with its own timbre. Distinguished by great technical mobility, the trumpet brilliantly performs its role in the orchestra, it is possible to play a wide, bright timbre and a long length of melodic phrases on it.
Joseph Haydn Trumpet Concerto
Plays more of a bass line than a melodic one. It differs from other brass instruments by the presence of a special movable U-shaped tube - backstage, moving which back and forth the musician changes the sound of the instrument.
Nikolai Rimsky-Korsakov Trombone Concerto
Percussion musical instruments.
The oldest and most numerous among the groups of musical instruments. Often the drums are affectionately called the "kitchen" of the orchestra, and the performers are called the "jack of all trades". The musicians deal with percussion instruments quite "hard": they beat them with sticks, hit each other, shake them - and all this in order to set the rhythm of the orchestra, as well as to give color and originality to the music. Sometimes a car horn or a device that imitates wind noise (eolyphon) is added to the drums. Consider only two percussion instruments:
- a hemispherical metal body covered with a leather membrane, the timpani can sound very loud or, on the contrary, soft, like a distant peal of thunder, sticks with heads made of different materials are used to extract different sounds: wood, felt, leather. The orchestra usually has two to five timpani, it is very interesting to watch the timpani play.
Johann Sabastian Bach Toccata and Fugue
Cymbals (paired)- convex round metal discs of different sizes and with an indefinite pitch. As noted, a symphony can last ninety minutes, and you only have to hit the cymbals once, imagine what responsibility for the exact result.
Wind orchestra instruments. wind instruments
The basis of the brass band is brass wide-scale wind instruments with a conical channel: cornets, flugelhorns, euphoniums, altos, tenors, baritones, tubas. Another group consists of copper narrow-scale instruments with a cylindrical channel: trumpets, trombones, French horns. The group of woodwind instruments includes labial - flutes and lingual (reed) - clarinets, saxophones, oboes, bassoons. The group of basic percussion instruments includes timpani, bass drum, cymbals, snare drum, triangle, tambourine, tam-tam. Jazz and Latin American drums are also used: rhythm cymbals, congos and bongos, tom-toms, claves, tartaruga, agogo, maracas, castanets, pandeira, etc.
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Orchestra
Brass band - an orchestra, which includes wind (wooden and brass or only copper) and percussion musical instruments, one of the mass performing groups. As a stable performing association, it was formed in a number of European countries in the 17th century. It appeared in Russia in the late 17th and early 18th centuries. (military brass bands under the regiments of the Russian army).
Instrumental composition D. o. gradually improved. A modern brass band has 3 main varieties, which are mixed-type orchestras: small (20), medium (30) and large (42-56 or more performers). In structure of big D. about. includes: flutes, oboes (including alto), clarinets (including snare, alto and bass clarinets), saxophones (sopranos, altos, tenors, baritones), bassoons (including contrabassoon), horns, trumpets, trombones, cornets, altos, tenors , baritones, basses (brass tubas and bowed double bass) and percussion instruments with and without a specific pitch. When performing concert works in the composition of the D. o. the harp, celesta, pianoforte, and other instruments are occasionally introduced.
Modern D. about. conduct a variety of concert and promotional activities. Their repertoire includes almost all outstanding works of domestic and world musical classics. Among Soviet conductors, D. o. - S. A. Chernetsky, V. M. Blazhevich, F. I. Nikolaevsky, V. I. Agapkin.
Great Soviet Encyclopedia
The structure of the brass band
Major groups, their role and opportunities
The basis of the brass band is a group of instruments that exists under the general name "saxhorns". They are named after A. Sachs, who invented them in the 40s of the XIX century. The saxhorns were an improved type of instruments called bugles (byugelhorns). At present, in the USSR, this group is usually referred to as the main copper group. It includes: a) high tessitura instruments - saxhorn-sopranino, saxhorn-soprano (cornets); b) instruments of the middle register - altos, tenors, baritones; c) low register instruments - saxhorn-bass and saxhorn-double bass.
The other two groups of the orchestra are woodwind and percussion instruments. The group of saxhorns actually forms a small brass composition of a brass band. With the addition of woodwinds to this group, as well as horns, trumpets, trombones and percussion, they form a small mixed and a large mixed composition.
In general, a group of saxhorns with a conical tube and a wide scale characteristic of these instruments have a fairly large, strong sound and rich technical capabilities. This is especially true for cornets, instruments of great technical mobility and bright, expressive sound. First of all, they are entrusted with the main melodic material of the work.
Instruments of the middle register - altos, tenors, baritones - perform two important tasks in a brass band. Firstly, they fill the harmonic "middle", that is, they perform the main voices of harmony, in a wide variety of types of presentation (in the form of sustained sounds, figuration, repeated notes, etc.). Secondly, they interact with other groups of the orchestra, primarily with the cornet (one of the usual combinations is the performance of the theme by the cornets and tenors in an octave), as well as with the basses, who are often “helped” by the baritone.
Directly adjacent to this group are copper instruments typical of a symphony orchestra - horns, trumpets, trombones (according to the terminology adopted in the USSR for a brass band - the so-called "characteristic brass").
An important addition to the main brass composition of a brass band is a group of woodwind instruments. These are flutes, clarinets with their main varieties, and in large numbers also oboes, bassoons, saxophones. The introduction of wooden instruments (flutes, clarinets) into the orchestra makes it possible to significantly expand its range: for example, a melody (as well as harmony) played by cornets, trumpets and tenors can be doubled one or two octaves up. In addition, the significance of woodwinds lies in the fact that, as M. I. Glinka wrote, they “serve primarily for the color of the orchestra”, that is, they contribute to the colorfulness and brightness of its sound (Glinka, however, had in mind a symphony orchestra, but clearly that his definition is also applicable to the wind orchestra).
Finally, it is necessary to emphasize the special importance of the percussion group in the brass band. With a very peculiar specificity of a brass band and, above all, a high density, massiveness of sound, as well as frequent cases of playing in the open air, on a hike, with a significant predominance of marching and dance music in the repertoire, the organizing role of the rhythm of percussion is especially important. Therefore, a brass band, in comparison with a symphony, is characterized by a somewhat forced, emphasized sound of a percussion group (when we hear the sounds of a brass band coming from a distance, we first of all perceive the rhythmic beats of the bass drum, and then we begin to hear all the other voices).
Small mixed brass band
The decisive difference between a small brass and a small mixed orchestra is the height factor: thanks to the participation of flutes and clarinets with their varieties, the orchestra gains access to the "zone" of the high register. Consequently, the overall volume of the sound changes, which is of great importance, since the fullness of the sound of the orchestra depends not so much on the absolute strength, but on the register latitude, the volume of the arrangement. In addition, there are opportunities to compare the sound of a brass orchestra with a contrasting wooden group. Hence a certain reduction in the boundaries of the “activity” of the brass group itself, which to a certain extent loses the universality that is natural in a small brass orchestra.
Due to the presence of the wooden group, as well as the characteristic brass (horns, trumpets), it becomes possible to introduce new timbres arising from mixing colors both in the wooden and copper groups, and in the wooden group itself.
Thanks to the great technical capabilities, the wooden "copper" is unloaded from technical forcing, the overall sound of the orchestra becomes lighter, and the "viscosity" typical for the technique of copper instruments is not felt.
All this taken together makes it possible to expand the boundaries of the repertoire: a wider range of works of various genres is available to a small mixed orchestra.
Thus, a small mixed brass band is a more perfect performing group, and this, in turn, imposes broader responsibilities on both the musicians themselves (technique, ensemble coherence) and the leader (conducting technique, selection of repertoire).
Large mixed brass band
The highest form of a brass band is a large mixed brass band, which can perform works of considerable complexity.
This composition is characterized primarily by the introduction of trombones, three or four (to contrast the trombones with the "soft" group of saxhorns), three trumpet parts, four horn parts. In addition, a large orchestra has a much more complete group of woodwinds, which consists of three flutes (two large and piccolo), two oboes (with the second oboe replaced by an English horn or with its independent part), a large group of clarinets with their varieties, two bassoons (sometimes with contrabassoon) and saxophones.
In a large orchestra, helicons, as a rule, are replaced by tubas (their structure, playing principles, fingering are the same as for helicons).
The percussion group is added by timpani, usually three: large, medium and small.
It is clear that a large orchestra, in comparison with a small one, has much greater colorful and dynamic possibilities. It is typical for him to use more diverse playing techniques - the widespread use of the technical capabilities of wooden ones, the use of "closed" sounds (mutes) in the copper group, a wide variety of timbre and harmonic combinations of instruments.
In a large orchestra, it is especially advisable to contrast trumpets and cornets, as well as the widespread use of divisi techniques for clarinets and cornets, and the separation of each group can be brought up to 4-5 voices.
Naturally, a large mixed orchestra significantly exceeds small ensembles in terms of the number of musicians (if a small brass orchestra is 10-12 people, a small mixed orchestra is 25-30 people, then a large mixed orchestra includes 40-50 musicians or more).
Brass band. Brief essay. I. Gubarev. Moscow: Soviet composer, 1963
Orchestra(from the Greek orchestra) - a large team of instrumental musicians. Unlike chamber ensembles, in the orchestra some of its musicians form groups playing in unison, that is, they play the same parts.
The very idea of simultaneously playing music by a group of instrumental performers goes back to ancient times: even in ancient Egypt, small groups of musicians played together at various holidays and funerals.
The word "orchestra" ("orchestra") comes from the name of the round platform in front of the stage in the ancient Greek theater, which housed the ancient Greek choir, a participant in any tragedy or comedy. During the Renaissance and beyond XVII century, the orchestra was transformed into an orchestra pit and, accordingly, gave the name to the group of musicians located in it.
There are many different types of orchestra: military brass and woodwind orchestras, folk instrument orchestras, string orchestras. The largest in composition and the richest in terms of its capabilities is the symphony orchestra.
Symphoniccalled an orchestra, composed of several heterogeneous groups of instruments - a family of strings, wind and percussion. The principle of such an association has developed in Europe in XVIII century. Initially, the symphony orchestra included groups of bowed instruments, woodwinds and brass instruments, which were joined by a few percussion musical instruments. Subsequently, the composition of each of these groups expanded and diversified. Currently, among a number of varieties of symphony orchestras, it is customary to distinguish between a small and a large symphony orchestra. The Small Symphony Orchestra is an orchestra of predominantly classical composition (playing music of the late 18th - early 19th century, or modern pastiche). It consists of 2 flutes (rarely a small flute), 2 oboes, 2 clarinets, 2 bassoons, 2 (rarely 4) horns, sometimes 2 trumpets and timpani, a string group of no more than 20 instruments (5 first and 4 second violins, 4 violas, 3 cellos, 2 double basses). The large symphony orchestra (BSO) includes obligatory trombones in the copper group and can have any composition. Often wooden instruments (flutes, oboes, clarinets and bassoons) reach up to 5 instruments of each family (sometimes more clarinets) and include varieties (pick and alto flutes, cupid oboe and English oboe, small, alto and bass clarinets, contrabassoon). The copper group can include up to 8 horns (including special Wagner tubas), 5 trumpets (including small, alto, bass), 3-5 trombones (tenor and tenorbass) and a tuba. Saxophones are often used (in a jazz orchestra, all 4 types). The string group reaches 60 or more instruments. Percussion instruments are numerous (although timpani, bells, small and large drums, triangle, cymbals and Indian tam-tom form their backbone), harp, piano, harpsichord are often used.
To illustrate the sound of the orchestra, I will use the recording of the final concert of the YouTube Symphony Orchestra. The concert took place in 2011 in the Australian city of Sydney. It was watched live on television by millions of people around the world. The YouTube Symphony is dedicated to fostering a love of music and showcasing the vast creative diversity of humanity.
The concert program included well-known and little-known works by well-known and little-known composers.
Here is his program:
Hector Berlioz - Roman Carnival - Overture, Op. 9 (featuring Android Jones - digital artist)
Meet Maria Chiossi
Percy Grainger - Arrival on a Platform Humlet from in a Nutshell - Suite
Johan Sebastian Bach
Meet Paulo Calligopoulos - Electric Guitar and violin
Alberto Ginastera - Danza del trigo (Wheat Dance) and Danza final (Malambo) from the ballet Estancia (conducted by Ilyich Rivas)
Wolfgang Amadeus Mozart - "Caro" bell "idol mio" - Canon in three voices, K562 (featuring the Sydney Children's Choir and soprano Renee Fleming via video)
Meet Xiomara Mass - Oboe
Benjamin Britten - The Young Person's Guide to the Orchestra, Op. 34
William Barton - Kalkadunga (featuring William Barton - Didgeridoo)
Timothy Constable
Meet Roman Riedel - Trombone
Richard Strauss - Fanfare for the Vienna Philharmonic (featuring Sarah Willis, Horn, Berlin Philharmoniker and conducted by Edwin Outwater)
*PREMIERE* Mason Bates - Mothership (specially composed for the YouTube Symphony Orchestra 2011)
Meet Su Chang
Felix Mendelssohn - Violin Concerto in E minor, Op. 64 (Finale) (featuring Stefan Jackiw and conducted by Ilyich Rivas)
Meet Ozgur Baskin - Violin
Colin Jacobsen and Siamak Aghaei - Ascending Bird - Suite for string orchestra (featuring Colin Jacobsen, violin, and Richard Tognetti, violin, and Kseniya Simonova - sand artist)
Meet Stepan Grytsay - Violin
Igor Stravinsky - The Firebird (Infernal Dance - Berceuse - Finale)
*ENCORE* Franz Schubert - Rosamunde (featuring Eugene Izotov - oboe, and Andrew Mariner - clarinet)
History of the symphony orchestra
The symphony orchestra has been formed over the centuries. Its development for a long time took place in the depths of opera and church ensembles. Such teams in XV - XVII centuries were small and varied. They included lutes, viols, flutes with oboes, trombones, harps, and drums. Gradually, stringed bowed instruments won the dominant position. The viols were replaced by violins with their richer and more melodious sound. Back to top XVIII in. they already reigned supreme in the orchestra. A separate group and wind instruments (flutes, oboes, bassoons) have united. From the church orchestra they switched to the symphony trumpets and timpani. The harpsichord was an indispensable member of instrumental ensembles.
Such a composition was typical for J. S. Bach, G. Handel, A. Vivaldi.
From the middle XVIII in. the genres of symphony and instrumental concerto begin to develop. The departure from the polyphonic style led the composers to strive for timbre diversity, the relief singling out of orchestral voices.
The functions of the new tools are changing. The harpsichord, with its weak sound, is gradually losing its leading role. Soon, composers completely abandoned it, relying mainly on the string and wind group. By the end XVIII in. the so-called classical composition of the orchestra was formed: about 30 strings, 2 flutes, 2 oboes, 2 bassoons, 2 pipes, 2-3 horns and timpani. The clarinet soon joined the brass. J. Haydn, W. Mozart wrote for such a composition. Such is the orchestra in the early compositions of L. Beethoven. AT XIX in.
The development of the orchestra went mainly in two directions. On the one hand, increasing in composition, it was enriched with instruments of many types (the merit of romantic composers, primarily Berlioz, Liszt, Wagner, is great for this), on the other hand, the internal capabilities of the orchestra developed: sound colors became cleaner, texture clearer, expressive resources are more economical (such is the orchestra of Glinka, Tchaikovsky, Rimsky-Korsakov). Significantly enriched the orchestral palette and many composers of the late XIX - 1st half of XX in. (R. Strauss, Mahler, Debussy, Ravel, Stravinsky, Bartok, Shostakovich and others).
Composition of the symphony orchestra
A modern symphony orchestra consists of 4 main groups. The foundation of the orchestra is a string group (violins, violas, cellos, double basses). In most cases, strings are the main carriers of the melodic beginning in the orchestra. The number of musicians playing strings is approximately 2/3 of the entire band. The group of woodwind instruments includes flutes, oboes, clarinets, bassoons. Each of them usually has an independent party. Yielding to bowed ones in timbre saturation, dynamic properties and a variety of playing techniques, wind instruments have great power, compact sound, bright colorful hues. The third group of orchestra instruments is brass (horn, trumpet, trombone, trumpet). They bring new bright colors to the orchestra, enriching its dynamic capabilities, giving power and brilliance to the sound, and also serve as a bass and rhythmic support.
Percussion instruments are becoming increasingly important in the symphony orchestra. Their main function is rhythmic. In addition, they create a special sound and noise background, complement and decorate the orchestral palette with color effects. According to the nature of the sound, drums are divided into 2 types: some have a certain pitch (timpani, bells, xylophone, bells, etc.), others lack an exact pitch (triangle, tambourine, small and large drum, cymbals). Of the instruments that are not included in the main groups, the role of the harp is the most significant. Occasionally, composers include the celesta, piano, saxophone, organ and other instruments in the orchestra.
More information about the instruments of a symphony orchestra - string group, woodwinds, brass and percussion can be found at website.
I can not ignore another useful site, "Children about Music", which I discovered during the preparation of the post. No need to be intimidated by the fact that this is a site for children. There are some pretty serious things in it, only told in a simpler, more understandable language. Here link on him. By the way, it also contains a story about a symphony orchestra.