Bassoon Essays

This paper is a reflection on the Redlands Symphony Concert that occurred on Saturday, February 11th, under the direction of Maestro Ransom Wilson. The rehearsal schedule was somewhat normal, or what I understand to be “normal” in the professional field, with about two and half hour sessions on Wednesday, Thursday, and Friday. However, the Thursday time was reserved for just the strings, giving wind players only two rehearsals before the concert. The amount of time allocated for specific pieces also

Music helps people communicate how they feel when they just can't find the words to say it. It gives people a way to express who they are inside through many different forms. Music can be found throughout history. In this report I am going to discuss different musical periods in history with two artists or composers works representing that period. Renaissance Period The Renaissance Period was a time of cultural rebirth that occurred in Europe. It was a humanistic revival of the classical influence

The performer was a music professor who was doing a bassoon concert. She was accompanied by three other musicians playing the piano, flute, and oboe. Except for the final composition, she only performed with one other instrument at a time. The performance was broken down into 4 songs, each rather long in length. There was a brief intermission in between the first two songs and the remaining two. Most of the songs were long and had the bassoon as the main part and whatever other instrument was playing

bell. (Lange and Thomson, 1979) In 1678 the French composer Jean-Baptiste Lully included bassoons in his opera Psyche which introduced them into the orchestral scene, however baroque bassoon and Dulcian were not seen in great numbers in orchestras until the 1700. (Kendrick,

The bassoon in the beginning for example (Figure 7) begins at the bottom of its range on a low B. Much like its double reed counterpoints, the bassoon has a difficult time making these notes speak quietly. In this passage however, it is not an issue, for the ff marking allows the bassoon to take charge and project. The line then rises alongside a decrescendo, making it particularity effective,

On November 25, 2017, the Oak Ridge Symphony Orchestra performed a concert by the title of: Here's a Riddle You Haven’t Heard at First United Methodist Church in Oak Ridge. The conductor was Dan Allcott. The soloists were Garrett McQueen on the bassoon and Karen Kartal on violin. The First United Methodist Church in Oak Ridge is a very nice acoustic space for the band. The Symphony first performed “I Crisantemi” by Giacomo Puccini. This piece was written in 1890, during the Romantic Era of

to the Central Illinois Youth Symphony. I auditioned for it and their Flute Choir on, Oboe, Flute, and Bassoon (picking up and learning only a week before auditions). When the results came in I found out that I had made all three parts doubling Oboe and Bassoon in the Central Illinois Concert Orchestra (2013-2014). The season was very successful but soon came to an end. I soon sold my Bassoon and purchased an English horn. I soon switched Oboe teachers, I went from Kylie Hankosky (2013-2014) to

baroque period had a limit of instruments as stated, “Baroque orchestras had from 10 to 30 players, primarily strings” (Retromusics 2016), this can be evident in Water Music. The piece consists of the following instruments – trumpet, French horn, oboe, bassoon, violin, viola and double bass as shown on the score. These instruments were commonly used during the baroque period (appendix 1). The strings during the baroque period, were the most important part of the ensemble, this is noticeable in the piece

Woodwinds Woodwind instruments produce sound when air is blown inside of them. Air can be blown across the edge of the instrument (flute), between a reed (clarinet), or between two reeds (bassoon). A few of the instruments in this group are the flute, piccolo, clarinet, recorder, bassoon, and

written by Johames Brahm. The First Symphony was completed in September 1876. It premiered on November 4, 1876, in Karlsruhe, under the baton of Felix Dessoff. The instrumentation of the symphony relates two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, two timpani and strings. The introduction of this work is exceptionally long making it an original idea. This introduction contains material which is used in different parts of the final

featuring works from Prokofiev, Mozart and Beethoven. These pieces were conducted by Carlo Rizzi and featured Elizabeth Koch Tiscione on the oboe. The orchestra consisted of violins, violas, cello, and bass for strings, and flute, oboe, clarinet, bassoon, French horn, and trumpet for the winds. The first selection was four movement work “Symphony No. 1 in D Major, Opus 25, ‘Classical’” composed by Sergei Prokofiev. This first movement, Allegro, had a moderate tempo and featured the melody mostly

Some woodwinds have a single reed, whereas others, such as the bassoon, have two reeds which vibrate against each other. Like the brass family, a woodwind is a pipe that has a bell at the end, however, it does not always curve and widen. Also not unlike the brass, certain woodwinds have mouthpieces such as the single

of the three that were preformed that stuck out to me the most were Tsontakis and Haydn. These two contrasted with each other in the sense that the first was only played with string instruments and the second also had string as well as the oboe, bassoon, violin, cello, flute and a drum. They both had two different feelings to them which made me appreciate certain parts in each piece even more. Tsontakis piece had four pieces that were very different but at the same time still were related to each

Jacobson, the It Could Be Anything music ensemble featured the newer works of recent composers that embody the feeling of new music culture. The ensemble included various musicians and instruments, such as a violin, cello, flute, oboe, clarinet, bassoon, saxophone, trumpet, trombone, piano, and various percussion instruments. The Four songs featured in this performance were “New Year’s Harmattan” (2004), Robin Cox’s “Choros No. 7” (1924), Heitor Villa’s “Lobos” (1887-1959), and ending the performance

Bob Jones University. There was a total of nine well-performed pieces from the students that sounded very pleasant and harmonious to the ear. The woodwind ensemble consisted of various types of wind instruments such as the flute, oboe, clarinet, bassoon, English horn, bass clarinet, bass flute, alto flute, and piccolo. The transition from one piece to another was smooth with good variations of tempos, meters, style, and movements. The first opening piece of the evening was Trio No. 2 in F Major

movement four a Unison chorale, Bach used 4-part choir together with orchestra represented by violin, bassoon, piccolo, horn, organ and double reeds, creating its vivid timbre while not losing sacred sense. The heart of the orchestra, violin, leads a different melody from SATB, introducing main fluctuations of the music and displaying an overall emotional style. Other instruments, for example, the bassoon performs correspondingly with the choir in the similar melody and speed, setting lower extent of

Classical period of music that existed from 1750 to 1820 according to experts. Opera’s instrumentation, according to description, includes woodwind, brass, percussion and stringed instruments. First group consist of flutes, oboes, clarinets and bassoons (two pieces of each type). Brass instruments are presented by horns, trumpets and trombones. First and second violins, cellos, double basses and violas are in the “Stringed” group. Percussion instruments are represented by timpani, but I did not

(Kamien, 2014: 297). Alterations with the violas in the beginning of the witches’ dance, followed by low tubas and bassoons in forte playing the Dies irae in long even notes. Higher horns and trumpets starts the beginning of the Dies Irae, but this time played faster (Kamien, 2014: 298). The woodwinds starts the section off with the Dies irae as a fast staccato

defining force that catapults the music of the Baroque into the Classical era. In the following pieces by J. S. Bach and Wolfgang Amadeus Mozart, these differences are evident. In the Brandenburg Concerto No. 1, Bach writes for two horns, three oboes, bassoon, violino piccolo, strings, and harpsichord. This is a very typical instrumentation for the Baroque era, as “stringed instruments became the bulwark of the orchestra, with wind and percussion parts often scored ad libitum” (Orchestration). The continuo

movement. The meter here is duple, and it remains constant throughout the movement, which is a feature of classical music. The instruments used in this movement include: strings (violins, violas, cellos) and woodwinds (flutes, oboes, clarinets, and bassoons). The first part in the sonata form is the exposition (A), which presents the main material to be used in the movement. The piece opens with a viola accompaniment that supports the violin. The fast-pace, high-pitch opening gives a feeling of anxiety