this section. Bar 155 sees the beginning of an Arab style melody in the oboe. This theme has a very narrow range and is, at first, built on two notes a semitone apart. This tune gradually expands and extends throughout the orchestra, still with the narrow range. At 175 the clarinets have this tune in octaves and at 192 the flutes and oboes have the tune using the three notes of the triad, but unusually with the oboe higher than the second flute. In the Elegia, bar 10 shows a chromatic
commonly used double reed instruments are the oboe, the English horn, the bassoon, and the contra bassoon. All of the double reed instruments belong to the woodwind family. Between the four instruments the range of double reeds are a low B flat in bass clef 3 octaves bellow middle C to a high G in treble clef 3 octaves above middle C. The oboe is a double reed woodwind instrument. It has a range of a B flat to a high G 3 octaves above middle C. The oboe is built in the key of c. The French musicians
My final winter concert has come and gone quicker than I could have possibly imagined. It was certainly one I will never forget because it was my very first time performing in every band and choir group. It was a very stressful night but having it perfectly planned and having help from many of my fellow performers definitely made me feel a lot more at ease. This concert definitely had it’s ups and downs and there are somethings that I wish went a lot better. However in the end, I did enjoyed performing
of wood; silver is commonly used in the United States. 2. Oboe: The oboe is a soprano-range, double-reed woodwind instrument of length 62 cm. Its wooden tube is distinguished by a conical bore expanding at the end into a flaring bell. The modern oboe's range extends from the B-flat below middle C (B3-flat) to the A nearly three octaves higher (A6). Sounding a fifth below the oboe is the English horn and the bass member of this family is the bassoon. A melodic instrument
The first piece presented in this concert was Robert Strauss’ Metamorphosen, Study for 23 Solo Strings a piece was composed during the last months of World War II, from August 1944 to March 1945, dedicated it to Paul Sacher. It was first performed in January 1946 with ten violins, five violas, five cellos, and three double basses, this was immolated in the performance by the Atlanta Symphony orchestra on April 13th that I attended. It is widely believed that Strauss wrote the work as a statement
The reeds in the oboe are tied together and therefore vibrate against one another rather than against the mouthpiece as with a clarinet. The English horn (or cor anglais) is an alternative to the oboe and has a deep, soulful, and mellow sound. Oboe is considered to be one of the harder woodwind instruments to master. Bassoon Like the oboe, a bassoon also has a double reed with a conical tube. The tube is about four times longer than the tube of the oboe and its double reed is also bigger
celebrate with Puss in Boots and Red Riding Hood. Introduction, the lilac fairy The piece opens with an allegro, minor melody with cymbal crashes and timpani rolls. There is a short pause then a major trill. Harp glissandos then accompany a legato oboe melody, which is repeated with a pizzicato string bass. The melody is then repeated by the whole orchestra. There is a crescendo with the tim... ... middle of paper ... ...htly syncopated, again with ornamental notes by the flute. There is a crescendo
and dreams. The violin melody ends at 22:06 , while the new entrance of clarinet and supplemental bassoon pick up to progress the story, transitioning to the next theme as an interlude. Now, at 22:20 , the melody returns, this time with the cello and oboe. As the story progresses, effects like plucking and different harmonic color are added. The flute transitions as an interlude at 23:20, and the second violin brings the warm melody back, as the first violins copy the same motive as the clarinet and
women's of tremble voices and orchestra. This recital was more dramatic due to the addition of the precussion that added a yelling sound in the end of the last section Canticle of Mary which portrayed Mary's free spirit. Also they played a solovin oboe Manificant by Williams. Following the second intermission the musicians performed the Puccini which was divided into six sections. Solveig Holmquist was the conductor, Thomas C. Laine was the tenor and James Demler voice was the baritone. The chorus
known as Coll`e while stating I, IV, V, I. The oboe plays the melodic material throughout this section, with the flute playing a legato accompaniment line. Also characteristic of section A is the use of 4's to carry the melodic line (horns, oboe, flute, and clarinet). The transition from section A to section B, and the transition from Major to Minor, is made by the clarinet. In section B the melodic line is at first carried by the flute with the oboe and/or clarinet, then the strings take over until
crescendo with the whole orchestra. Bass instrumen... ... middle of paper ... ...re the flute returns accompanied by a string sequence. The tonality alternates between major and minor continually. The strings play an arpeggio melody, in major, as the oboe plays a descending chromatic scale with a diminuendo and perfect cadence Dance: The large percussion section, with timpani and snare rolls opens this section, along with the woodwind. The flute plays an atonal allegretto melody, accompanied by a
Last Sunday I had the opportunity for the first time, to listen to the Mormon Tabernacle Choir live. I was able to attend “Music and the Spoken Word” which is the longest continuous network broadcast in the world. The Mormon Tabernacle Choir performed with roughly 360 members and were conducted by Mack Wilberg. They were accompanied by a phenomenal organist, Richard Elliott. The organ he performed on has 5 keyboards, 11623 pipes and 32 footpedals. The choir opened with “I Sing the Greatness of Our
The Harpsichord and the Organ could not smoothly modulate to the two dynamic contrast, soft or loud. Stringed instruments like violin had a strings made out of the catgut, which created a raspy sound and Oboe had more harsh sound. Many Baroque composers like Bach focused their composition on “expression marks.” Expression mark is a phrase that is written on the musical score that tells the performers to have more expression. However, the performer’s capacity
me that I was state champion for oboe of Oregon. I literally couldn't believe it. I got out of my chair and hugged my mom and dad and went up to the front of the room. I got a medal and put it around my neck. I was overjoyed and couldn't believe I got first, knowing I was the only sophomore out of twelve seniors. Afterwards I took plenty of pictures and shook many hands from college scouts and other adults I had never seen. They asked how long I have played oboe and who do I take lessons with. I
passage with dotted rhythms, creating a `terraced dynamics' effect. Part B begins with a major clarinet melody accompanied by pizzicato strings. A minor flute sequence follows, and is followed by a repetition of the oboe melody. A string sequence is then played, imitated by the oboe. There is a crescendo, then the rhythmic orchestral melody returns, alternated with a short flute passage. There are suspensions, descending scales and a crescendo, followed by a strong rhythmic passage with the timpani
three of which are flute concertos, and also numerous orchestrated pieces, as well as opera hits. However, there is a great deal of speculation about Mozart’s attitudes towards writing flute oriented pieces, and whether or not he “rearranged” an oboe concerto in order to compose a piece suitable for his client’s needs, making us wonder if it is right to call his second Flute Concerto in D Major K.314, one of Mozart’s original works composed to display great skill and technique on the flute. In
for soprano, The Human Voice (1959). The concert I attended, entitled Poulenc:Piano and Wind, contained three pieces of music composed by Francis Poulenc: Sonata for the Clarinet and Bassoon (1922), Trio for the Piano, Oboe, and Bassoon (1926), and Sextet for the Piano, Flute, Oboe, Clarinet, Bassoon, and Horn (1932-39). All three pieces, although different in their content and composition, contained a similar element common to most of Poulenc’s secular music. The main focus of each composition was
The opening prelude is a pastoral melody in B minor, opening up the work with a seductive, expressive oboe cantilena in the upper voice. Due to the size, acoustics and organ in the Wesley chapel, my interpretation of the piece will vary from the original, premiered on the Cavaille-Coll organ. Due to the nasal yet soft tone of the oboe on this organ, to make the melody more nostalgic and flowing, I have coupled the solo Hautbois with the Flute; on the swell manual. Similarly
the octatonic scale made up of alternating tones and semitones, it is also an augmented fourth, tritone. In this section, the time signature changes very frequently. The clarinet and oboe parts at 118 play a whole tone scale, with the interval of a tritone between the parts. The theme at 155 in the oboe is based on an Arab melody, with a narrow range, with a drone in the bass. There are often parallel moving chords, such as in the violins at bar 192, and the trumpets and harps at 462
duet for the flute and the oboe by Julia Grace Brown. The piece contained two movements, but I could not tell when one stopped and the second began because there was no pause. While they played the flute was quicker, playing in short, fast, high pitched notes. On the other hand, the oboe was steadier and carried the notes slightly longer, and it lead the flute through the song. Sometimes the two instruments played simultaneously, and sometimes the flute would mimic the oboe and follow it through the