The bass clarinet is a single-reed woodwind instrument. The range is one octave below that of the b-flat soprano clarinet. Ever since its invention in the late 18th century, the bass clarinet has evolved into the instrument that is used in orchestras and bands. The bass clarinet is made of grenadilla wood or African blackwood and is approximately 4 1/2 feet long. Other People Are Reading Information on the Bass Clarinet Facts About the Bass Clarinet History of the Clarinet The clarinet itself originated in India, Greece and Persia.
He was playing piano concertos at the age of eight. Chopin became a successful composer, teacher and performer in Vienna and Paris. His piano music includes Polish folk music and dances such as the mazurka and polonaise, and reflects his love of his homeland. Chopin composed Prelude Number 15 whilst isolated in a monastery in Vallderosa in Spain because he had tuberculosis, an extremely infectious disease at the time. He died about a year later in Paris at the age of 39.
Although the full suite includes trumpets, oboe, and tympani as well as the strings and a bass line usually played on harpsichord and cello, this movement is reduced to the string orchestra only. The movement begins with a long, rhythmic opening that transitions smoothly to phrases in which the violin and the viola “communicate” with the melody. The piece also includes ornamentation and exaggerated dynamics common to Baroque style music. As the music is played, listen closely for the suspensions common throughout the movement. They provide the harmonic tension
It almost sounded as if the main saxophone player was begging for Tanya’s love back. The song, “Dat Dere”, had a very fast tempo. It also had very loud dynamics. You could have really heard the percussion in this piece as well. The piece, “Tenor Madness”, sounded like the Blues.
Roy Eldridge was a trumpet player, considered a link between swing and modern jazz. He varied his texture, size and vibrato on the trumpet in his tone while sometimes being clear and warn and other times begin brittle and edgy. Coleman Hawkins was in turn a saxophone player; he had a deep, husky tone. While he was not interested in developing new tone, he became popular by his chord progressions. The instruments used in swing were brass (trumpets and trombones), saxophone, and rhythm section containing piano, guitar, bass, and drums.
While each group showed differences in musical style, they all displayed great skill and magnificence in their compositions. My favorite piece in the concert was “God Bless the Child” by Billie Holiday and Arthur Herzog, Jr. This piece was performed by the Strickland Quintet and consisted of a tenor saxophone, piano, guitar, drums, and bass. Unlike the previous fast paced pieces performed by this quintet, this piece started off with a slow, adagio, tempo. From the beginning, the performance caught the listener’s ear, as the saxophone played lead, followed by a soft hormonal background from the other instruments.
French Horn Jacob L Franks The French Horn, or Orchestral Horn, was first introduced in about 1650 in France and is a larger version of the smaller crecent-shaped horns that had been re-deisigned with circular coiled tubing. The early French hunting horn, which entered the orchestra in the early 1700’s, was rather one dimensional. It produced a total of 12 tones of the natural harmonic series. In 1753, a German musician called Hampel invented the means of applying movable slides (crooks) of various length that changed the key of the horn. In 1760, it was discovered rather then invented that placing a hand over the bell of the French Horn lowered the tone called stopping.
The theme starts in forte with the entire orchestra, in the key of C minor. The winds play a pedal, while the first violin play a descending arpeggio, and the other strings play a rhythmic motif. The first violins then change to a frantic repetition of 16th notes, with the rest of the stings complete an F major chord. This theme ends on measure 27. The third theme begins in the C major key on measure 28, with the all voices except the 2nd violin and horn, the former of which is playing a “bouncing” scales motif, which will continue throughout the theme.
When solo sections occur, they are followed with choral ripieno standard to the period. Mozart uses cantabile, imitative, homophonic, and fugual choral textures that could be easily categorized as Handelian. The Requiem also contains examples of the new style of music that Mozart and his contemporaries creating. He combines huge stile antico contrapuntal statements with
Bernstein first uses the tritone motif in the prologue to characterise the Jets and to create a tense atmosphere. An example of this is used in the saxophone melody where the augmented 4th interval is first introduced. This Wagnerian light motif helps to unify the score making it cohesive. Bernstein’s angular interval creates dissonance and establishes the role of the Jets as it is a recurring motif throughout the work. Bernstein slightly alters the motif throughout the work to show different relationships and emotions, for example in ‘Something’s Coming’.