Double reed instruments

This group of instruments uses two reeds to produce a sound. The instruments in this group that
we will study are the Oboe, the Cor Anglais also known as the English horn, the Bassoon and the
Contrabassoon.
The Oboe
Oboe (Eng.) Hautbois (Fr.) Oboe (It.) Oboe (Ger.)
The Oboe is a non-transposing instrument. The range of the oboe is:

The registers of the oboe:

Coarse & honky Characteristic sound Thin/ pinched Impractical

There are various schools of thought about oboe playing; but they fall into two basic categories –
the French school and the German school. The American style of playing is closer to the French
style of playing and favors a dark, woody sound that varies in tone in different registers. The
German School prefers a brighter sound with almost no variation in tone. Concerning vibrato, the
French/American vibrato changes speed and pressure at the will of the oboist, and is considered
as an essential part of the American tone. Unlike the French/American school, the German
vibrato is turned on and off depending on the style of music and the temperament of the
performer. Here are some general observations about the oboe:
• The oboe produces a very complex waveform that cuts through the orchestra. That makes it a
great instrument to play melodies in its middle and high registers.
• 2 oboes are often written in 3rds or 6ths.
• Always keep in mind: a) how instruments sound in there various registers, b) what dynamic
levels are typical/possible in each register and c) what articulations are possible in each register.
• Oboes use much less air than other wind instruments; so, it can sustain notes much longer than
most other wind instruments.
• In its middle register, the oboe blends very well with clarinet. In its high register, it blends very
well with flute. Its high register sounds pinched and is hard to control at low volume.

Listening
Concerto for Oboe and Small Orchestra - Strauss
https://www.youtube.com/watch?v=gUCtstlCDj8
“Morning” from Grieg’s Peer Gynt Suite (Melody handoff between flute & oboe.)
https://www.youtube.com/watch?v=7aLF-1tJgJw
The English Horn
English Horn (Eng.) Cor Anglais (Fr.) Corno Inglese (It.) Englisch Horn (Ger.)
The English Horn extends the oboe family's range downward by a tritone. It is a transposing
instrument pitched in F. It sounds a perfect fifth lower than written.
The range of the English Horn is:
Written Sounding

The registers of the English Horn are:

Reedy Full & Robust Very thin

Music for the English horn is written in the treble clef. The lowest fourth of the instrument's
range (from written B3 to E4) is easier to control than the same register on the oboe. Above
written A5, the instrument's timbre thins – a lot. It is an effective solo instrument. It also blends
well allowing it to fill out harmonies in the woodwind section.
Listening
Dvořák - Symphony No. 9 in E minor, Op.95; B 178, 'From a New World'
https://www.youtube.com/watch?v=oLWpgWuUaU4

The Bassoon
Bassoon (Eng.) (Fr.) Basson (It.) Fagotto Fagott (Ger.)
The bassoon is a non-transposing instrument encompassing a wide playing range. Most music for
the bassoon is written in the bass clef. However, for passages consistently higher than G4, the
tenor clef is used.
The range of the bassoon:

The registers of the bassoon:

Dark and rich Neutral Intense Thin and pinched

The bassoon’s nasal tone quality makes it a perfect choice for comedic effects. It is very dark and
reedy and is often compared to the qualities of the male singing voice. (Prokofiev used it to
portray the “Grandfather” in his “Peter And The Wolf”.)
Its tone color can vary greatly. When it is played softly it has a delicate tone. When it is played
very loudly it becomes brassy. The lowest notes of the bassoon can sound harsh compared to its
other registers, while high notes are particularly sweet with a singing quality to them.
Very high notes are unreliable. These notes have very awkward fingerings and really should be
avoided. The notes in the lowest register (from Bb1 to Eb2) are very rich and full, but are
difficult to control at low volumes. The bassoon is an agile instrument, in its lowest register,
agility is lessened because those notes require the bassoonist to use the left thumb almost
exclusively. Trills on the notes Db, Eb and Gb should be avoided in all octaves. As well as trills
on A4 and below F2.
The notes in the upper register (above G4) have an increasingly strained quality. All passages in
the highest register are more difficult due to the complex fingering required and unsure due to its
large reed that does not vibrate as well through such a long tube.

Listening

Takashi Yoshimatsu - [吉松隆] - Bassoon Concerto - 'Unicorn Circuit' - Op. 36 - 1988

https://www.youtube.com/watch?v=lxCldIv4Fp4

Mozart - Bassoon Concerto

https://www.youtube.com/watch?v=aRjnhxGCiPQ

Bartok - Concerto for Orchestra

https://www.youtube.com/watch?v=9uwpuyc7nS4&list=RD9uwpuyc7nS4&start_radio=1

Stravinsky - Le Sacre du Printemps (opening)

https://www.youtube.com/watch?v=rP42C-4zL3w

The Contrabassoon
Contrabassoon (Eng.) (Fr.) Contre-basson (It.) Contrafagotto Kontrafagott (Ger.)
The contrabassoon lowers the sound of the woodwind section by one octave. It is a transposing
instrument sounding one octave lower than is written.
The range of the contrabassoon:

The registers of the contrabassoon:

Very heavy!! Neutral Rarely used

Due to the length of tubing needed to produce such low notes, the body is folded over on itself
several times. The contrabassoon, like the standard bassoon, is also a relatively agile instrument.
The timbre of the contrabassoon has an audible rumble, especially in the lower half of the
instrument's range. The modern contrabassoon is often equipped with an extension to written A1
(sounding A0), which can often be felt rather than heard.

Listening
Ravel - Concerto for the Left Hand - beginning
https://www.youtube.com/watch?v=flNyZuI1NrY

Single reed orchestral instruments

Clarinets
Clarinet (Eng.) (Fr.) Clarinette (It.) Clarineto Klarinette (Ger.)
The most commonly used clarinet is the soprano clarinet in Bb. However in classical music,
parts for clarinets pitched in A, Eb or C are not uncommon.
Before the clarinet's key systems were fully modernized, many notes had awkward fingerings
and/or poor tone quality. To solve this problem, clarinetists used a variety of clarinets pitched in
different keys to make it easier to play in various keys. The C clarinet was used for the keys of
G, C, and F major. The Bb clarinet was used for concert F, Bb, or Eb major. The A clarinet was
used in the keys of E, A, or D major.
As the key systems of clarinets improved, the C clarinet fell into disuse. But, the Bb and A
clarinets are still often used as a pair in orchestras. The Bb clarinet is better for "flat" keys, while
the A clarinet is more adept in "sharp" keys. The A clarinet also has a slightly darker tone quality
than the Bb clarinet. (Today, more music is written for the Bb clarinet than the A clarinet.) Some
clarinetists transpose music written for Bb clarinet to the A clarinet (or vice versa) if the
fingerings are easier on the other instrument. Note that the A clarinet is not used in the wind
ensemble or concert band; the Bb clarinet is standard.
The clarinet in Bb
The Bb clarinet is a transposing instrument. Notes are written a major 2nd higher than they sound.
The range of the clarinet in Bb:
Written Sounding

The registers of the clarinet in Bb

Rich/dark/round. Hard to play in tune Characteristic sound Loud/piercing

The break
There is an inherent problem with fingering when moving between the throat and the clarion
registers. To play the Bb in the middle of the staff requires two fingers. But, the adjacent B
natural requires all fingers. Therefore, one should avoid fast passages that cross this “break”. It is
practically impossible to play a trill between these notes.
Sub-tones
A soft, breathy tone, produced in the lowest range of the clarinet by carefully suppressing the
higher partials of a note by means of a small, slow, but steady stream of air, projected through a
tight embouchure. The player must blow firmly but gently so that the upper partials of the note
are not produced. The result is a softer, breathier tone than normal.
As this is an introductory course in orchestration, we will not discuss many of the “extended
techniques” used in contemporary music. However, this link is a great video primer to learn the
many tonguing techniques in common practice:
…on clarinet articulation
https://heatherroche.net/2014/04/04/on-clarinet-articulation/

Listening
Ravel Bolero subtones on the clarinet
https://www.youtube.com/watch?v=pNlXrdJFTAM
Debussy - Prélude à l'après-midi d'un faune
https://www.youtube.com/watch?v=vnz4T33Jl7I

The clarinet in A
The A clarinet is a transposing instrument. Its notes are written a minor 3rd higher than they
sound.
The range of the clarinet in A:
Written Sounding

The characteristic timbres in each register of the Bb clarinet are shared with the A clarinet.
Listening
All About the A Clarinet
https://www.youtube.com/watch?v=YYOxsmcsjtU

Mozart - Clarinet Concerto in A major K 622
https://www.youtube.com/watch?v=l3EJqvKhYzY

The clarinet in Eb
The range of the clarinet in Eb
The characteristic timbres in each register of the Eb clarinet correspond to those of other
clarinets.
The clarinet in Eb is smaller, higher-pitched than the Bb and A clarinets.
(There is a D clarinet, but nowadays, parts for the D clarinet are performed on the Eb clarinet.)
The Eb clarinet has a bright sound that is agile and assertive. The clarino register is where the Eb
clarinet’s true identity is revealed. The altissimo register is very bright and can cut through even
very thick orchestration. Because of the extreme amount of control required to keep the
instrument in tune and the strength needed to maintain the embouchure, it is a tiring instrument
to play. The practical upper limit is Ab6 or A6.
The Eb clarinet is a rare example of transposing instruments that sound higher than they are
written. The Eb clarinet sounds a minor third higher than written.
Good examples of this instrument are:
Stravinsky: Le Sacre du printemps, Berlioz: Symphonie Fantastique, Ravel: Boléro,
Strauss: Till Eulenspiegels lustige Streiche, Shostakovich: Symphony No. 6.
Listening
Demar – Rondo Caprice on the E flat Clarinet
https://www.youtube.com/watch?v=qx3IDHhdzjY

The Bass Clarinet in Bb

Bass Clarinet (Eng.) (Fr.) Clarinette Basse Clarineto Basso (It.) Baßklarinette (Ger.)
The bass clarinet is pitched one octave below the standard Bb clarinet. The bass clarinet
transposes up a Major 9th from the desired concert pitch. Its parts are written in the treble clef.
A part as written:

The part as it sounds:

The range of the bass clarinet:

The registers of the bass clarinet: (sounding)

The chalumeau register is dark and can be comical. The altissimo register is very centered and
focused but isn’t often used. The Bass Clarinet is nearly always used to play a bass line or
background material. Although, it is almost as agile as a Bb clarinet.
The Bass Clarinet is dark and mellow in the lower half of its range and blends well with both the
low brass. Its upper range lacks carrying power. In its lowest octave, it is an effective solo
instrument. Although some models of bass clarinet include an extension to low written C, this is
not considered standard equipment.
In the context of a wind ensemble, the clarinet section can be seen as homologous as an
orchestral string section. The bass clarinet often functions in the role of the cello section, and
indeed as many as eight bass clarinets can be found in larger groups, though most ensembles
include at most two.
Since students taking this course have already written at least six arrangements that use
saxophones, I will not spend any time discussing them here.

Woodwind Ensemble Writing

1. Study the examples of various WW ensemble setting of “America”.

2. Study the contrasting examples of light, medium, dark WW scoring.

3. Discuss interlocking WW technique.

 Brass Instruments
The Horn in F
French Horn (Eng.) Cor (Fr.) Corno (It.) Horn (Ger.)

The horn, also known as the French horn is a transposing instrument pitched in F. Its parts are
written in the treble clef.
Range of the French horn is:
Written Sounding

The registers of the French Horn are:

Unsolid/ hard to keep in tune. Characteristic sound Progressively more brilliant

The horn uses the smallest mouthpiece of all the brass instrument. This tends to add intensity to
the sound – especially on the high notes. The horn has a conical bore, and wide, flaring bell. This
gives the instrument a thick, dark and mellow tone quality. The tone quality of the horn makes it
a natural bridge between the woodwind section and the brass section. The horn has an enormous
range and is agile in all but the lowest register. It is therefore the only brass instrument that is
part of a standard woodwind quintet – flute, oboe, clarinet horn and bassoon. Its wide range
allows it to function as a solo instrument, and its transparent, full bodied tone allows it to fill in
harmony parts. It can also function as the bass voice.
Because of its thick tone, when multiple horns play chords, they take up a lot of sonic space and
are therefore great for thickening the “orchestral soup”.
A little history:
Early horns didn’t have valves. (These were called “natural horns”.) Natural horns could not
play notes outside of the harmonic series on which the horn was based. Horn players developed a
technique where they could play notes outside the overtone series by manipulating their hand
inside the bell of the instrument and changing their embouchure. But these notes had a muffled
tone. This limitation meant that certain horns could only play in certain keys. The first solution to
this problem was to add different lengths of tubing, thereby changing the key of the horn. So,
early horn players would bring their horn and a bag of tubes of varying lengths in order to be
ready to play in different keys. Valves were introduced to the horn in the early 19th century.
After including valves, the horn could play in all keys. Even though valves allow the instrument
to play chromatic notes, horn players still position their right hand in the bell in order to get the
traditional sound of the natural horn.

Typically, there are four horns in the horn section of a symphony orchestra. Horns give a fullness
and richness to the sound and blend well with every other section. But again, they are weighty.
Entrances and exits of section horns should be well reasoned and balanced. Once they’re in, it’s
obvious when they leave.
Repeated notes:
Sectional repeated notes sound like a pulsation rather than articulated. For example:
(Concert score) The Springpool score

Listening The Spring Pool score

In brass ensemble passages composers should be wary that the horns can be overpowered by the
trumpets and trombones. However, in thick woodwind writing, four horns are likely to
overpower the entire sonority.
Scoring practices
Traditionally, there were horn players who specialized in playing only the high notes. Those who
weren’t high-note specialists, played the rest of the notes. In modern times, this is no longer
really the case. All horn players are expected to play all the notes. But, that tradition is passed
down to us in the way we write parts for a horn section. Of the four horns, horns 1 and 3 play the
higher notes of a chord. Horns 2 and 4 play the lower notes. For example:

Mutes
Muted notes on a French horn sound nasal and pinched. But they can be a wonderful effect. The
term for this sound is: a “stopped horn”. The sound is produced by forcing the right hand deep
into the bell. If a passage is to be played “stopped”, one of the following indications is written
over the passage:
Stopped (Eng.) Bouché (Fr.) Chiuso (It.) Gestopft (Ger.)
There is a mute designed for the French horn called a “stop mute”. A horn played with this type
of mute sounds brighter, louder, more nasal and in better tune than that of a horn stopped with a
hand. Like all mutes, you must give the player time to insert and take out the mute. The notation
for stopped notes is like that of other instruments; i.e. a plus sign over the notes to be stopped.
Video
How to Play French Horn : Stopping & Muting on a French Horn
https://www.youtube.com/watch?v=ixrF2w-Phw4

Listening
Mozart's Horn Concerto No.4 on the Natural Horn
https://www.youtube.com/watch?v=po3K92bMwxI

Strauss – Till Eulenspiegel

https://www.youtube.com/watch?v=VoSRJxXf1vY

Ravel's Pavane pour une infante défunte, Horn Solo

https://www.youtube.com/watch?v=VcmS9_aEf_Y

J. Ibert: Tres piezas breves para quinteto de viento. I - Allegro.

https://www.youtube.com/watch?v=FbHl7-zyBAM
György Ligeti - Ten Pieces for Wind Quintet [w/ score]
https://www.youtube.com/watch?v=Gmh7gvriokQ&feature=youtu.be
György Ligeti - Six Bagatelles, CARION, 2014 (HD)
https://www.youtube.com/watch?v=txMWXvD8kL4
Schumann - Konzertstück for Four Horns and Orchestra Op. 86 (w/score)
https://www.youtube.com/watch?v=1dsQAac4rWA
Berlin Philharmonic Horns in Concert
https://www.youtube.com/watch?v=HamoOAaXcs8
Stravinsky - Mass for chorus and double wind quintet [With score]
https://www.youtube.com/watch?v=iRi_MDy_ks0
The Trumpet
Trumpet (Eng.) Trumpette (Fr.) Tromba (It.) Trompete (Ger.)
The trumpet is a cylindrical instrument, made of brass. Typically, it has three valves. The most
common type is the trumpet in B-flat although the trumpet in C is used in classical music. The
trumpet in C is a non-transposing instrument. The trumpet in Bb is a transposing instrument.
Notes are written a major 2nd higher than they sound.
The range of the Bb trumpet:
Written Sounding

The registers of the trumpet are:

Weak and soft Normal playing range Loud, forceful, brilliant

The notes in the low register can be dramatic and mysterious. They should be played without
much accompaniment. In its middle register, the trumpet sounds great, complete and
comfortable. It can play easy melodies and can be clearly heard even in tutti sections. The high
register is bright, strident and exciting.

A variety of mutes help change the tone and character of the sound of the trumpet.
The straight mute is used in both classical and jazz music. It filters out the out partials of the
sound permitting only the upper partials to pass. This creates a penetrating sound quality.
The Harmon mute is used primarily in jazz music. It has two component parts – the mute itself
which fits inside of the bell of the trumpet and a stem, which can be inserted in the mute itself.
The sound of the Harmon mute with the stem was very popular during the 1920’s and is still very
associated with the music of that era. The other way of using the Harmon mute is playing
without the stem. Soloists like Miles Davis popularized this sound and it is still used to enhance
one’s solo voice. Often, a section of trumpets will be asked to play with Harmon mutes. This
provides an intense, focused, slightly nasal quality to the sound.
The cup mute is used almost exclusively to effect the sound of a big band from the 1930’s. It
has a warm, round sound. Unlike the straight and harmon mutes, the cup mute actually cuts the
volume of the trumpet roughly in half.
The bucket mute creates a rich, mellow sound that is similar to a flugelhorn.
The plunger mute
In a section of trumpets, the plunger mute is used to create rapid changes in volume by placing
the plunger over the bell then moving it out of the way while playing a note. This creates a "doo-
wah" effect. Some soloists use a plunger mute while growling into the instrument. This has the
quality of the human voice. It requires a lot of practice to do convincingly.
Indicating the use of mutes
Unless otherwise indicated, the words con sord, written above a trumpet or trombone part mean
straight mute. Any other type of mute it must be indicated. For example: cup mute or Harmon
mute, or bucket mute etc. If a mute is required at the beginning of an arrangement, the desired
type of mute must be specified in both the score and parts. The words senza sordino are used to
tell the player to remove the mute. If the player must alternate between sections with a mute and
without a mute, the section without a mute is indicated with the word open. For example, if
section "B" of an arrangement should be played open (without a mute) after a mute was used in
the “A” section, but section "C" again requires a mute, remember to give the musician at least
two measures of silence at a medium tempo before section "C" to have enough time to install the
mute. For example:

Remember to warn the players in advance if the next section of music requires putting in or
removing a mute with the terms: to mute or senza sord.

In a passage that uses a plunger mute, open notes are indicated by placing small circles above the
notes. Muted notes are indicated by plus signs above the notes.

In the above example, the curved lines above some of the notes indicate that a "bend" should be
used in the note.

Other Effects
There is a wide variety of effects that brass players can employ to affect the sound.
Flutter tonging: The player’s tongue creates the sound of the “rolled rr" in Spanish. Flutter
tonging is indicated by the words “flutter tongue” over the passage and/or in conjunction with
"tremolo notation".
Flutter tongue

Growling: This effect is achieved by humming and playing one note at a time. Doing so creates
a growl.
Double tonguing: This technique is used to articulate notes in rapid succession. The player uses
the syllables: ta-ka ta-ka ta-ka.

Triple tonguing: Similar to the double tonguing it is used to articulate triplets. The syllables
used are: ta-ta-ka ta-ta-ka ta-ta-ka or ta-ka-ta ta-ka-ta.

The Flugelhorn
Flugelhorn (Eng.) Bugle (Fr.) Fliscorno (It.) Flügelhorn (Ger.)
The flugelhorn is a transposing instrument pitched in Bb. It is larger than the trumpet in B flat.
Written Sounding

The flugelhorn does not play as loudly as the trumpet. The tubes of a trumpet are cylindrical,
which gives the trumpet its bright sound. The flügelhorn’s tubes are conical. This gives it a rich,
full tone, particularly in its low register. The flugelhorn combines very well with flutes and other
woodwinds.
The Piccolo Trumpet
The piccolo trumpet is not a member of the modern symphony orchestra. It is a relatively
modern invention typically used to play baroque repertoire. In the baroque period, trumpets
didn’t have valves; so, chromatic melodies were only playable in the high range of the
instrument. The modern piccolo trumpet has 4 valves which extends its range and makes playing
the high notes a lot easier. It is a transposing instrument pitched in Bb. Its notes are written a
minor 7th above concert pitch. The range of the piccolo trumpet is D4 to G6. It is almost
exclusively used for its high resister.

Listening
J. S. Bach - Brandenburg Concerto Nº 2 F Major
https://www.youtube.com/watch?v=IIX_XVji9UA

The Beatles - Penny Lane

https://www.youtube.com/watch?v=S-rB0pHI9fU
The Tenor Trombone
Trombone (Eng.) Trombone (Fr.) Trombone (It.) Posaune (Ger.)
The practical range of the tenor trombone is:

Although the tenor trombone is pitched in Bb, it is a non-transposing instrument. Their parts are
almost always written in the bass clef. However in classical music, if a passage stays above G4
for more than a couple of bars, trombonists prefer to see the part written in the tenor clef.
(This minimizes the number of ledger lines they have to read.)

Instead of valves, the tenor trombone uses a slide to lengthen or shorten the tubing. The
instrument has four distinct registers: the pedal register, the trigger register, the normal register
and the extended register.

Notes in the pedal register sound ominous, centered and metallic. These are somewhat difficult
to produce and have a limited dynamic range.
Notes in the trigger register are only available on trombones that are equipped with an additional
trigger mechanism. Therefore, it is best not to write in this range unless you are sure that the
trombone is equipped with a trigger.
Notes in the lower part of the normal register sound dark and heavy; some say threatening when
they are played with force and mysterious when they are played softly. The upper part of the
normal register sounds strong, concentrated and bright. The extended register is best used by
soloists.
It should be taken into account that many notes in the low register of the instrument require that
the slide be extended. Therefore, avoid writing fast passages and trills in the low register.
For example: Since Bb2 is in first position, (slide all the way in) and B2 is in 7th position (slide
fully extended) a trill between Bb2 and B2 is impossible.
Trombones also use mutes to alter their sound: straight, cup, bucket and plunger are the most
common.
In a classical setting, trombones are used effectively in the following ways…
Melodies in the tenor range. The trombone is lyrical and is well suited to a wide variety of
melody and theme possibilities.
Counter-melodies. Trombones can provide very effective counterpoint to melodies and a
brilliant color when used as counterpoint below or even above other instruments. Sousa made
great use of the trombone in providing bombastic independent lines at the final refrain of his
marches.
Stabs and hits. Trombones are very effective at producing sharp staccato attacks, having an
excellent timbre and range perfectly suited to adding some flare to punctuated accents. Paired
with percussion instruments, such hits can create spectacular effects.
Harmonic filling. The tenor trombones can be used to fill the register between the horns and
tuba or bass trombone. They are often used in open positions, such as tenth or open fifth (power)
chords because when doubled they can easily overpower the horn section when coupled with the
trumpets by flanking either side.
Close voicing. Trombones are very effective at producing clear close intervals even into the
middle lower range without getting too muddy.
Open voicing. The trombone is one of the few instruments that sound very good in both open
and closed voicing. Since trombones will always be in tune, there is more potential for an open
and resonant sound when using open voicing.

The Bass Trombone
Bass Trombone (Eng.) Trombone basse (Fr.) Trombone basso (It.) Bassposaune (Ger.)
The range of the bass trombone is:
Only with an E attachment Practical range

Because of its wide range, good intonation and its “blendable” tone quality, the bass trombone is
a very versatile instrument. In a section of 3 or 4 trombones, it can be the bass voice or it can act
as a third or fourth tenor trombone leaving the bass voice to the tuba.

Video
Learn about the Bass Trombone with Denson Paul Pollard
https://www.youtube.com/watch?v=Pfsl2Ed3954

The Baritone Horn and Euphonium

The range of the Baritone Horn and Euphonium are the same as the Trombone.

Whether the euphonium and the baritone horn transpose or not depends on the clef in which their
parts are written. If the parts is written in the treble clef, then it transposes up a Major 9th – like a
bass clarinet or a tenor sax. If the parts is written in the bass clef, then their parts are read in
concert pitch.
The euphonium is a baritone/tenor range brass instrument with a conical bore and is part of the
tuba family. It is a permanent member of wind ensembles and bands where it often plays the
melody part of the flutes an octave lower.
It is used infrequently in an orchestral setting where is considered and referred to as a tenor tuba.
Conversely, the baritone horn is more akin to a trombone - only with valves.
The differences between the baritone and euphonium are subtle. The baritone with its cylindrical
bore, has a much brighter tone. The euphonium has a wider, conical bore and a deeper and darker
tone more similar to a tuba. A baritone often has three valves and a euphonium four and the bell
of the baritone faces forwards while the euphonium's is upright.
The addition of extra valves is to facilitate intonation.
Listening
Pantomime - Phillip Sparke
https://www.youtube.com/watch?v=RDMaaPf7khw&feature=related

The Tuba
The tuba is a non-transposing instrument. It has a smooth round full tone that is fairly consistent
in all registers of its very wide range.
The range of the tuba is:

The registers of the tuba are:

Notes in the lower part of its range can be “blatty”. The middle register is rich, smooth, and
sweet sounding. The timbre tends to thin out noticeably thin out above C4.

Listening

Ralph Vaughan Williams ‒ Concerto for Bass Tuba

https://www.youtube.com/watch?v=vK5KaYXJsrg

Tradition uses for brass: Fanfares

Procession No. 4 - Giovanni Battista Gordigiani

https://www.youtube.com/watch?v=LzMBMRUNmRY

Jan Dismas Zelenka

https://www.youtube.com/watch?v=kM3Joaf2gPg

Copeland - Fanfare for the Common Man - U.S. Marine Band

https://www.youtube.com/watch?v=0KxMc_tyQBo
 Brass Quintets

Quintet by Michael Kamen

https://www.youtube.com/watch?v=2kW7Hio11GM

Simple Gifts for Brass Quintet

https://www.youtube.com/watch?v=wltpp5uMTFQ

2nd assignment:

Arrange one of the following pieces for Brass Quintet

Es ist ein Ros' entsprungen - Praetorius

https://www.youtube.com/watch?v=Ru0JYOBre7Y

Listening

Wind ensemble
Stravinsky - Octet for Wind Instruments
https://www.youtube.com/watch?v=YyqLnP0hOnI

Orchestral Winds
Ravel - Bolero sub-tones on the clarinet
https://www.youtube.com/watch?v=pNlXrdJFTAM

Bartok - Concerto for Orchestra

https://www.youtube.com/watch?v=9uwpuyc7nS4&list=RD9uwpuyc7nS4&start_radio=1

Stravinsky: Pulcinella Suite,

https://www.youtube.com/watch?v=n2HAly1muaI

Stravinsky, 'Divertimento: Le baiser de la fée' (The beginning)

https://www.youtube.com/watch?v=lNer_sqmEkA

Examen Parcial 1