β‘ Quick Reference β The Four Woodwinds
| Instrument | Reed | Bore | Overblows at | Parts | Transposing? |
|---|---|---|---|---|---|
| π΅ Flute | None (embouchure hole) | Cylindrical | Octave | 3 (head, middle, foot) | No |
| π΅ Oboe | Double reed | Conical | Octave | 4 (reed, upper, lower, bell) | No |
| π΅ Clarinet | Single reed | Cylindrical (except bell) | Twelfth (8ve + 5th) | 5 (mouthpiece, barrel, upper, lower, bell) | Yes (Bb and A) |
| π΅ Bassoon | Double reed | Conical | Octave | 6 (reed, crook, wing, long, boot, bell) | No |
The Flute
Transverse Β· Woodwind
ReedNone β blows across embouchure hole
BoreCylindrical
OverblowsAt the octave
Parts (3)Head joint Β· Middle joint Β· Foot joint
Key Dev.Boehm system 1832 (new key layout); cylindrical bore 1847
MaterialNickel/silver; sometimes wood or gold
ToneMellow/breathy (low) Β· Bright/clear (middle) Β· Piercing (high)
TransposingNo β concert pitch
The Oboe
Double Reed Β· Woodwind
ReedDouble β two cane reeds vibrating together
BoreConical β widens toward bell
OverblowsAt the octave (uses octave keys)
Parts (4)Double reed Β· Upper joint Β· Lower joint Β· Bell
OriginFrench, mid-17th century
Keys45+ separate pieces of metal
ToneHollow/reedy (low) Β· Sweetly expressive (middle) Β· Piercing/intense (high)
TransposingNo β concert pitch
The Clarinet
Single Reed Β· Transposing
ReedSingle β mouthpiece with one reed
BoreCylindrical (except at bell)
OverblowsAt the twelfth (octave + fifth) β unique!
Parts (5)Mouthpiece Β· Barrel Β· Upper joint Β· Lower joint Β· Bell
InventorJ.C. Denner, Nuremberg, 1690
RegistersChalumeau (dark/rich) Β· Clarion (bright) Β· Altissimo (very bright)
TransposingYes β Bb (sounds tone lower) and A (sounds min 3rd lower)
Widest rangeOf all four woodwinds
The Bassoon
Double Reed Β· Lowest Woodwind
ReedDouble β attached to a crook
BoreConical β despite cylindrical appearance
OverblowsAt the octave
Parts (6)Double reed Β· Crook Β· Wing joint Β· Long joint Β· Boot joint Β· Bell joint
ShapeLong tube folded in half; held across body
Keys22β28 keys; whisper key stabilises low notes
ToneForceful/dark (low) Β· Vocal (middle) Β· Thin/intense (high)
ClefBass clef; tenor clef for higher notes
π Embouchure β Key Concept
Embouchure refers to the use of the lips, teeth, tongue and facial muscles in playing a woodwind instrument. Correct embouchure allows the player to produce sound with good tone and correct intonation.
π΅ Flute β Lower lip placed a short distance from embouchure hole; blows across the hole
π΅ Clarinet β Single lip embouchure: lower lip rolls over teeth, top teeth rest on mouthpiece
π΅ Oboe & Bassoon β Double lip embouchure: both lips cover teeth, lips directly contact the reeds
π΅ Flute β Lower lip placed a short distance from embouchure hole; blows across the hole
π΅ Clarinet β Single lip embouchure: lower lip rolls over teeth, top teeth rest on mouthpiece
π΅ Oboe & Bassoon β Double lip embouchure: both lips cover teeth, lips directly contact the reeds
π» In the Orchestra
Woodwinds appear at the top of the orchestral score, laid out from highest to lowest: Flute β Oboe β Clarinet β Bassoon.
Classical Period (c.1750β1820): Standard pairs of each instrument
Romantic Period (c.1800β1900): Three of each; piccolo, cor anglais, bass clarinet/Eb clarinet, contrabassoon added
Classical Period (c.1750β1820): Standard pairs of each instrument
Romantic Period (c.1800β1900): Three of each; piccolo, cor anglais, bass clarinet/Eb clarinet, contrabassoon added
π‘ Overblowing reminder: Flute, oboe and bassoon all overblow at the octave. The clarinet is unique β it overblows at the twelfth (an octave and a fifth), because of its cylindrical bore and single reed.
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Form
Minuet and Trio
βΎ
A Minuet was originally a courtly dance (c.1650β1750), in moderate tempo, triple time (ΒΎ or β
). Two Minuets are played consecutively, followed by a return to the first, resulting in compound ternary form.
Baroque Minuet & Trio Form
AA'
BB'
AA'
Minuet 1 (binary, both sections repeated) β Minuet 2/Trio (binary) β Minuet 1 (without repeats)
Classical Period Label
A
B
C
D
A
B
All sections individually repeated Β· Final A and B not repeated
Why "Trio"? From the 17th century, the second Minuet used only three instruments. Over time, "Trio" came to mean a lightening of texture and change of mood β not necessarily three instruments.
Key of the Trio: Usually same key as Minuet; sometimes tonic minor of a major key, or relative major/minor.
In larger works: Minuet and Trio was often the third movement in a four-movement work (symphony, sonata, string quartet).
Key of the Trio: Usually same key as Minuet; sometimes tonic minor of a major key, or relative major/minor.
In larger works: Minuet and Trio was often the third movement in a four-movement work (symphony, sonata, string quartet).
π‘ In the da capo: Repeats are customarily not observed when the Minuet returns after the Trio.
Form
Scherzo and Trio
βΎ
Scherzo = Italian for "joke." Haydn first used the term in his String Quartets Op. 33 (1781) to signal a more playful, humorous movement. Beethoven firmly established the Scherzo as the standard alternative to Minuet and Trio.
| Feature | Minuet & Trio | Scherzo & Trio |
|---|---|---|
| Tempo | Moderate | Fast or very fast |
| Character | Measured, courtly | Humorous, energetic |
| Rhythm | Regular | Syncopations, accents against metre |
| Dynamics | Controlled | Rapid changes of dynamic/texture |
| Scale | Shorter | Can equal other movements in length |
Later Scherzos:
β’ Chopin β wrote four Scherzos as independent stand-alone piano works; extended ternary form, presto tempo, extremes of contrast
β’ Brahms β sometimes a more serious, dramatic tone
β’ DvoΕΓ‘k Sym. 6 β uses the furiant (fiery Bohemian dance alternating Β²/β and Β³/β)
β’ Tchaikovsky Sym. 5 β uses the waltz in Β³/β time
β’ Richard Strauss β wrote Scherzos as independent orchestral works
β’ Chopin β wrote four Scherzos as independent stand-alone piano works; extended ternary form, presto tempo, extremes of contrast
β’ Brahms β sometimes a more serious, dramatic tone
β’ DvoΕΓ‘k Sym. 6 β uses the furiant (fiery Bohemian dance alternating Β²/β and Β³/β)
β’ Tchaikovsky Sym. 5 β uses the waltz in Β³/β time
β’ Richard Strauss β wrote Scherzos as independent orchestral works
History
Air with Variations (Theme & Variations)
βΎ
Composers took a pre-existing theme (8β32 bars) β a popular song, another composer's work, a simple motive, or a bass line β and wrote a series of variations on it, varying texture, harmony, melody, rhythm and metre.
Ways a composer may vary the Theme:
π΅ Smaller note values / ornamentation
π΅ Reversing / swapping hands
π΅ Chromaticism / added notes
π΅ Imitation / contrapuntal writing
π΅ Varying rhythm / metre
π΅ Changes of register
π΅ Textural changes
π΅ Tonic minor/major, modulation
π΅ Changes of tempo / character
π΅ Changes of articulation / dynamic
π΅ Change of instrumentation (orchestral)
Mozart's 12 Variations on 'Ah vous dirai-je, Maman' (K.265, 1781β2) is a key example. Each variation transforms the simple theme using different techniques.
Major examples: Bach's Goldberg Variations, Beethoven's Diabelli Variations, Brahms Variations on a theme by Haydn Op.56, Rachmaninov's Rhapsody on a theme of Paganini Op.43
Major examples: Bach's Goldberg Variations, Beethoven's Diabelli Variations, Brahms Variations on a theme by Haydn Op.56, Rachmaninov's Rhapsody on a theme of Paganini Op.43
π‘ Theme and Variations could be an entire movement of a symphony/sonata, or a stand-alone work for keyboard or orchestra.
Vocal
Aria and Recitative
βΎ
Aria = a solo song with instrumental accompaniment. Originated in Italy (16th c.); first prominent in Caccini's La nuove musiche (1602). Used in opera, oratorio, and cantata.
Types of Aria:
| Type | Structure | Notes |
|---|---|---|
| Da capo aria | A B A (ternary) | B section contrasts; return of A allows embellishment. Became limiting by late 18th c. |
| Cavatina | Two-part | Early 19th c.; lyrical first section |
| Cabaletta | Second of two parts | Fast, virtuosic; displays range/skill |
| Strophic | Same music per stanza | Simplest form |
| Through-composed | Different music each stanza | No repetition |
Recitative = "sung speech." Advances the plot through dialogue. Two main types:
| Type | Accompaniment | Rhythm | Character |
|---|---|---|---|
| Recitativo secco | Continuo only | Notated but freely delivered | Dialogue; advances plot quickly |
| Recitativo accompagnato (stromentato) | Full orchestra | Stricter | Dramatic, emotional moments; leads to aria |
Continuo β any instrument/s capable of playing the bass line and harmonies (keyboard, lute, cello, etc.)
Figured bass β system of numbers under the bass line indicating which chords to play. The keyboard player played bass in left hand, filled in harmonies from figures with right hand. Also called "figured bass" or "basso continuo."
Flow in opera: Recitativo secco β Recitativo accompagnato β Aria (a common dramatic sequence)
Figured bass β system of numbers under the bass line indicating which chords to play. The keyboard player played bass in left hand, filled in harmonies from figures with right hand. Also called "figured bass" or "basso continuo."
Flow in opera: Recitativo secco β Recitativo accompagnato β Aria (a common dramatic sequence)
π‘ Aria function: allows singer to reflect on action, portray emotion, display vocal beauty/agility. Recitative function: carries dialogue, advances the plot.
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