The largest group in a symphony orchestra. Information about the standard compositions of symphony orchestras. Brass instruments of a symphony orchestra. Video lesson

Orchestra – a large group of musical instruments performing works specially designed for this composition.

Depending on the composition, orchestras have different expressive, timbre and dynamic capabilities and have different names:

symphony orchestra (large and small),
chamber, orchestra folk instruments,
wind,
pop,
jazz.

In a modern symphony orchestra, instruments are divided into the following groups:

I. Bowed strings: violins, violas, cellos, double basses.
II. Woodwinds: flutes, oboes, clarinets, bassoons.
III. Brass: horns, trumpets, trombones, tubas.
IV. Drums:

A) noise: castanets, rattles, maracas, whip, tom-tom, drums (large and small). Their parts are written on the same musical line – “thread”.
b) with a certain pitch: timpani, cymbals, triangle, bell, xylophone, vibraphone, celesta.

V. Keyboards: piano, organ, harpsichord, clavichord.
VI. Additional group: harp.

The full sound of an orchestra is called “ tutti " - ("All").

Conductor - (from French - “to manage, lead”) manages a group of musicians - performers, he owns the artistic interpretation of the work.

On the console in front of the conductor lies - score (full musical notation of all parts of orchestral instruments).

Parts of instruments in each group are recorded one after another, starting with the highest sounding instruments and ending with the lowest.

Arrangement orchestral music for a piano performer is called clavier .

Characteristics of symphony orchestra groups

I. String-bowed

These are instruments that are similar in appearance and sound color (timbre). In addition, their sound is produced with a bow. Hence the name. The most virtuosic and expressive instrument of this group is violin . It sounds like a singer's voice. It has a gentle, singing timbre. The violin is usually assigned the main melody of the piece. The orchestra has I and II violins. They play different parts.
Alto looks like a violin, but is not much larger in size and has a more muffled, matte sound/
Cello can be called a “big violin”. This instrument is not carried on the shoulder like a violin or viola, but rests on a stand that touches the floor. The sound of the cello is low, but at the same time soft, velvety, noble.
The largest instrument of this group is double bass . They play on it while sitting because it is taller than a person. This instrument is rarely used as a solo instrument. Its sound is the lowest, buzzing in this group.
The string and bow group in the orchestra is the leading group in the orchestra. It has enormous timbre and technical capabilities.

II. Woodwinds

Wood is used to make wooden instruments. They are called wind instruments because they produce sound by blowing air into the instrument.
Flute (from Italian it means “wind, blow”). The sound of the flute is transparent, ringing, cold.
It has a melodious, rich, warm, but somewhat nasal sound. oboe.
Has a varied timbre clarinet. This quality allows him to perform dramatic, lyrical, scherzo paintings
Performs the bass line bassoon - an instrument with a thick, slightly hoarse timbre.
The lowest bassoon has a name contrabassoon .
A group of woodwind instruments is widely used for sketching pictures of nature and lyrical episodes.

III. Brass

Copper metals (copper, brass, etc.) are used to make brass instruments.
The entire group of brass instruments sounds powerfully and solemnly, brilliantly and brightly in the orchestra.
Has a sonorous “voice” pipe . The loud sound of the trumpet can be heard even when the entire orchestra is playing. Often the trumpet has a lead part.
French horn (“forest horn”) may sound in pastoral music.
At the moment of highest tension in a musical work, especially of a dramatic nature, along with trumpets, trombones.
The lowest brass instrument in the orchestra is tuba. It is often played in combination with other instruments.

Task percussion instruments – enhance the sonority of the orchestra, make it more colorful, show the expressiveness and variety of rhythm.

This is a large, motley and diverse group that is united by a common method of producing sound - impact. That is, by their nature they are not melodic. Their main purpose is to emphasize the rhythm, enhance the overall sonority of the orchestra and complement and decorate it with various effects. The only permanent members of the orchestra are the timpani. Since the 19th century strike group began to quickly replenish. Big and snare drums, cymbals and triangles, and then tambourine, tom-tom, bells and bells, xylophone and celesta, vibraphone. But these instruments were used only sporadically.

A characteristic feature of a number of instruments is the presence of white and black keys, which are collectively called a keyboard or, in an organ, a manual.
Basic keyboard instruments: organ (relatives - portable , positive ), clavichord (related - spinet in Italy and virginal in England), harpsichord, piano (varieties - piano And piano ).
Based on the sound source, keyboard instruments are divided into two groups. The first group includes instruments with strings, the second includes organ-type instruments. Instead of strings, they have pipes of various shapes.
Piano is an instrument in which both loud (forte) and quiet (piano) sounds were produced with the help of hammers. Hence the name of the instrument.
Timbre harpsichord - silvery, sound - quiet, of equal strength.
Organ – the largest musical instrument. They play it, like a piano, by pressing the keys. In ancient times, the entire front part of the organ was decorated with fine artistic carvings. Behind him are thousands of pipes of various shapes, each with its own special timbre. Consequently, the organ produces both the highest and lowest sounds that the human ear can perceive.

VI. A frequent participant in the symphony orchestra is plucked string tool – harp , which is a gilded frame with stretched strings. The harp has a delicate, transparent timbre. Its sound creates a magical flavor.

Timbre characteristics of instruments

Types of orchestras

Orchestra of Russian Folk Instruments

The composition of such an orchestra includes the main groups:

Plucked strings:
- domras, balalaikas, gusli
Brass:
- flute, pity, Vladimir horns
Pneumatic reed:
- button accordions, harmonicas
- tambourines and drums
Additional tools:
- flute, oboe and their varieties

Orchestra of Belarusian Folk Instruments

Approximate composition:

Stringed instruments:
- gusli, violin, bassetla
Wind instruments:
- Pipe, pity, pipe, pipe, horn
- tambourines and cymbals
Accordion – (or multi-timbre, ready-chosen button accordion) is a reed, pneumatic (“air”) keyboard instrument. It got its name from the name Drene - Russian legendary singer- the storyteller Bayan. This instrument has buttons on both sides, on which the performer plays the melody on the right side, and accompaniment on the left.
In modern concert performance, button accordions are most widespread.
The left keyboard has special timbre register switches that make it possible to change the timbre of the instrument and change the color of the sound.
There are also electronic button accordions, which have unlimited sound power and a very large number of timbre colors. Balalaika - a relative of the lute, mandolin, guitar. Musical symbol of the Russian people. This is string plucked instrument . It has a wooden triangular body and a long neck on which the strings are pulled. Sound is produced by striking index finger
on all strings at once or by plucking. There are several types of balalaikas: piccolo, prima, second, alto, bass and double bass. Harmonic
(accordion, accordion) is a wind musical instrument that has become widespread in many countries. It is equipped with bellows and a push-button keyboard. Feature
instrument: the ability to change the pitch of the sound by changing the tension of the movement of the bellows. Another type of harmonic is accordion
. On one side of the accordion there are keys, like those of a piano, on which a melody is played, on the other there are several rows of buttons for accompaniment. When you press several of them, an entire chord sounds.
Hence the name accordion. Domra
- a bit like a balalaika, only its body is oval, pear-shaped, and the strings are tuned to fourths. Cymbals
- a stringed percussion instrument, is a low trapezoid-shaped box or wooden frame over which strings are stretched. The instrument is played using sticks or hammers. The gentle sound of the cymbals is reminiscent in timbre of the sound of the gusli. Guitar

- one of the few musical instruments on which the sound is prepared and produced with the fingers.

Gusli
- an ancient Russian plucked string instrument. Brass band A brass band is a group of musicians playing various wind and percussion instruments.
In terms of their composition, the instruments of modern
brass band

are divided into small brass orchestra, small mixed, medium mixed and large mixed.

The core of the small brass orchestra consists of: cornets, altos, tenors, baritones, basses. With the addition of woodwinds (flutes, oboes, clarinets, saxophones, bassoons), as well as trumpets, horns, trombones and percussion instruments to this group, small mixed, medium, large mixed compositions are formed.– woodwinds – horns and strings (violin, viola, cellos).

Jazz orchestra (jazz band)

This orchestra consists of trumpets, clarinets, trombones and a “rhythm section” (banjo, guitar, double bass, drums and piano).

Materials used in the work:

1. Z. Osovitskaya, A. Kazarinova In the world of music. First year of study. M., “Music”, 1996.
2. M. Shonikova Musical literature. Rostov-on-Don, 2003.
3. Y. Ostrovskaya, L. Frolova Musical literature in definitions and musical examples. St. Petersburg, 2004.
4. M.F. Musical Kingdom. Minsk, 2002.

Issue 3

Musical instruments of a symphony orchestra

It is best, of course, to listen to music in concert hall. Because no modern equipment can convey the full richness of the sound of musical instruments in an orchestra. For example, in the symphony. The word “orchestra” itself came to us from Ancient Greece. This was the name of the area in front of the stage in the ancient theater. An ancient Greek choir was located on this site. On stage, the actors acted out a comedy or tragedy, and the choir created musical accompaniment. Today, by the word “orchestra” we mean a group of musicians who play various musical instruments. And the word “symphonic” indicates that this orchestra is the largest and richest in its capabilities. Because it includes strings, wind instruments, and percussion instruments. Such an orchestra can include from 60 to 120 musicians. And even more. The orchestra consists of 4 main groups of musical instruments: bowed strings, woodwinds, brass and percussion. Bowed strings include: violins, violas, cellos, double basses. Woodwinds include: flutes, oboes, clarinets, bassoons. Copper wind instruments These are horns, trumpets, trombones, tubas. Percussion instruments include timpani, snare drums, xylophones, bass drums, cymbals, triangles, castanets and many others.

The role of the conductor

Can an orchestra play without a conductor? To answer this question, you need to know about the role of the conductor in the orchestra. It is necessary, first of all, to ensure that all musicians play at the same tempo. Previously role the conductor was a person who beat out the rhythm with a special baton. Then he became the first violinist. He stood in front of the orchestra, playing the violin, and with movements of his head and the body of the bow, he showed the musicians the tempo and rhythm of the piece. Over time, more and more musical instruments appeared in the orchestra, so a person was needed to act as a conductor. The conductor stands on a raised platform so that all the musicians can see his gestures. In his right hand he holds a stick, with which he shows the rhythm and tempo of the music. Left hand conveys the character and subtle nuances of performance. The role of the conductor is very important. What qualities should a person in this profession have? First of all he must be professional musician with appropriate education. In conducting, a musician uses his body, not just his hands, to convey his thoughts and feelings to other musicians. Although the conductor performs main role in the orchestra, yet in history there was an independent orchestra. Or rather an ensemble. It was called "Persimfance". Its members included very famous musicians at that time. They played there so harmoniously that they could easily do without a conductor.

, cellos, double basses. Collected together, in the hands of experienced musicians, subordinate to the will of the conductor, they form a musical instrument capable of expressing and conveying in sounds any musical content, any image, any thought. The many combinations of orchestral instruments provide an almost inexhaustible range of diverse sounds - from thunderous, deafening to barely audible, from sharply cutting the ear to caressingly soft. And multi-story chords of any complexity, and patterned and sinuous interweavings of heterogeneous melodic ornaments, and gossamer-thin fabric, small sound “splinters”, when, in the figurative expression of S. S. Prokofiev, “it’s as if they are wiping the dust from the orchestra,” and powerful unisons of many instruments playing the same sounds at the same time - all this is subject to the orchestra. Any of orchestral groups- string, wind, percussion, plucked, keyboard - is able to separate from others and conduct its own musical narrative in the silence of others; but all of them, in whole, in part or as individual representatives, merging with another group or part of it, form a complex timbre alloy. For over two centuries now, the most cherished thoughts of composers, the most striking milestones in the history of the art of sounds, are associated with music conceived, written, and sometimes arranged for a symphony orchestra.

Layout of musical instruments of a symphony orchestra.

Everyone who loves music knows and remembers the names of J. Haydn, W. A. Mozart, F. Schubert, R. Schumann, J. Brahms, G. Berlioz, F. Liszt, S. Frank, J. Bizet, J. Verdi, P. I. Tchaikovsky, N. A. Rimsky-Korsakov, A. P. Borodin. M. P. Mussorgsky, S. V. Rachmaninov, A. K. Glazunov, I. F. Stravinsky, S. S. Prokofiev, N. Ya. Myaskovsky, D. D. Shostakovich, A. I. Khachaturian, K. Debussy, M. Ravel, B. Bartok and other masters, whose symphonies, suites, overtures, symphonic poems, paintings, fantasies, instrumental concerts accompanied by an orchestra; finally, cantatas, oratorios, operas and ballets are written for a symphony orchestra or involve its participation. The ability to write for him represents the highest and most complex area of art. musical composition, requiring deep specialized knowledge, extensive experience, practice, and most importantly - special musical abilities, giftedness, talent.

The history of the emergence and development of a symphony orchestra - the history of the gradual restructuring of old and invention of new instruments, the increase in its composition, the history of improving the ways of using combinations of instruments, i.e. the history of that area music science, which is called orchestration or instrumentation, and, finally, the history of symphonic, operatic, oratorio music. All these four components, the four sides of the concept of “symphony orchestra,” are closely related to each other. Their influence on each other was and remains diverse.

The word “orchestra” in Ancient Greece meant a semicircular area in front of the theater stage where the choir was located - an indispensable participant in dramatic performances in the era of Aeschylus, Sophocles, Euripides, Aristophanes. Around 1702, this word was first used to designate a small space intended for an ensemble of instrumentalists accompanying an opera. This is the name given to instrumental groups in chamber music. In the middle of the 18th century. They introduced a difference that was decisive for the history of the orchestra - a large orchestra was contrasted with small chamber music - an ensemble. Until this time, no clear line was drawn between chamber music and orchestral music.

The concept of “symphony orchestra” appeared in the era of classicism, when K. V. Gluck, L. Boccherini, Haydn, and Mozart lived and worked. It arose after composers began to accurately write down in the notes the names of each instrument playing this or that voice, this or that line of notes. Back at the beginning of the 17th century. in C. Monteverdi’s “Orpheus,” before each number, only the instruments that could perform it were listed. The question of who should play which line remained open. Therefore, in any of the 40 opera houses in his native Venice, one performance of Orpheus could be different from another. J. B. Lully, composer, violinist, conductor, was probably the first to write for a specific set of instruments, for the so-called “24 Violins of the King” - a string ensemble formed at the court of Louis XIV and led by Lully himself. His upper voice of the string group was also supported by oboes, and the lower voice by bassoons. Oboes and bassoons without strings, contrasting with full staff, participated in the middle sections of his compositions.

Throughout the 17th century. and the first half of the 18th century. The initial basis of the orchestra is formed - the string group. Representatives of the wind family are gradually added - flutes, oboes and bassoons, and then horns. The clarinet entered the orchestra much later due to its extreme imperfection at that time. M.I. Glinka in his “Notes on Instrumentation” calls the sound of the clarinet “goosey”. Nevertheless, a wind group consisting of flutes, oboes, clarinets and horns (two of each) appears in Mozart’s “Prague Symphony”, and before that in his French contemporary, F. Gossec. In Haydn's London Symphonies and early symphonies L. Beethoven two trumpets appear, as well as timpani. In the 19th century the brass section in the orchestra becomes even stronger. For the first time in the history of orchestral music, the finale of Beethoven’s 5th Symphony features a piccolo flute, a contrabassoon, and three trombones, previously used only in operas. R. Wagner adds another tuba and brings the number of pipes to four. Wagner is primarily an opera composer, but at the same time he is rightfully considered an outstanding symphonist and reformer of the symphony orchestra.

The desire of composers of the 19th–20th centuries. The enrichment of the sound palette led to the introduction into the orchestra of a number of instruments with special technical and timbre capabilities.

TO end of the 19th century V. the composition of the orchestra is brought to impressive and sometimes gigantic proportions. Thus, it is no coincidence that G. Mahler’s 8th symphony is called “a symphony of a thousand participants.” Numerous types of wind instruments appear in the symphonies and operas of R. Strauss: alto and bass flutes, baritone oboe (haeckelphone), small clarinet, double bass clarinet, alto and bass trumpets, etc.

In the 20th century The orchestra is replenished mainly with percussion instruments. Before this, the usual members of the orchestra were 2–3 timpani, cymbals, large and small drums, a triangle, less often a tambourine and tom-tom, bells, and a xylophone. Now composers use a set of orchestral bells that produces a chromatic scale, the celesta. They introduce into the orchestra such instruments as a flexatone, bells, Spanish castanets, a loudly clicking wooden box, a rattle, a cracker (its blow is like a shot), a siren, a wind and thunder machine, even the singing of a nightingale recorded on a special record (it is used V symphonic poem Italian composer O. Respighi “Pineas of Rome”).

In the second half of the 20th century. From jazz to the symphony orchestra, drums such as vibraphone, tomtoms, bongos, a combined drum set with a Charleston (hi-hat), and maracas come to the symphony orchestra.

As for the string and wind groups, their formation by 1920 was basically completed. The orchestra sometimes includes individual representatives of a group of saxophones (in the works of Wiese, Ravel, Prokofiev), a brass band (cornets in Tchaikovsky and Stravinsky), harpsichord, domras and balalaikas, guitar, mandolin, etc. Composers are increasingly creating works for partial compositions of a symphony orchestra: for strings alone, for strings and brass, for a wind group without strings and percussion, for strings with percussion.

Composers of the 20th century write a lot of music for chamber orchestra. It consists of 15–20 strings, one woodwind, one or two horns, a percussion group with one performer, a harp (maybe a piano or harpsichord instead). Along with these, works for an ensemble of soloists appear, where there is one representative from each variety (or from some of them). These include chamber symphonies and plays by A. Schoenberg, A. Webern, Stravinsky’s suite “The History of a Soldier,” works by Soviet composers - our contemporaries M. S. Weinberg, R. K. Gabichvadze, E. V. Denisov and others. Increasingly, authors are turning to unusual compounds, or, as they say, emergency ones. They need unusual, rare sounds, since the role of timbre in modern music has increased more than ever.

And yet, in order to always have the opportunity to perform music, old, new, and the latest, the composition of the symphony orchestra remains stable. A modern symphony orchestra is divided into a large symphony orchestra (about 100 musicians), a medium one (70–75), and a small one (50–60). On the basis of a large symphony orchestra, for each work it is possible to select the composition necessary for its performance: one for the “Eight Russians” folk songs"A.K. Lyadov or "String Serenade" by Tchaikovsky, the other - for the grandiose canvases of Berlioz, Scriabin, Shostakovich, for "Petrushka" by Stravinsky or the fiery "Bolero" by Ravel.

How are the musicians positioned on the stage? In the XVIII–XIX centuries. the first violins sat to the left of the conductor, and the second to the right, violas sat behind the first violins, and cellos behind the second. Behind the string group they sat in rows: in front was a woodwind group, and behind that was a brass group. Double basses were located in the background on the right or left. The rest of the space was devoted to harps, celesta, piano and percussion. In our country, musicians are seated according to the scheme introduced in 1945 by the American conductor L. Stokowski. According to this scheme, instead of second violins, cellos are placed in the foreground to the right of the conductor; their former place is now occupied by second violins.

A symphony orchestra is led by a conductor. He unites the musicians of the orchestra and directs all their efforts to the implementation of their performance plans during rehearsals and at the concert. Conducting is based on a specially developed hand movement system. The conductor usually holds a baton in his right hand. The most important role is played by his face, gaze, facial expressions. The conductor must be a highly educated person. He needs knowledge of music different eras and styles, orchestral instruments and their capabilities, a keen ear, the ability to deeply penetrate the composer’s intention. The performer's talent must be combined with organizational and pedagogical abilities.

Percussion instruments in symphonic scores

The beginning of the use of percussion instruments in a symphony orchestra (especially in pieces of a dance nature) dates back to the period of formation of the symphony orchestra itself.

Confirmed and received further development they are mainly in the 19th century, more precisely - from the second half of the 19th century century. Until this time in symphonic music(with the exception of dance plays) they were used in isolated cases.

Thus, Haydn’s “Military Symphony” and Beethoven’s Symphony No. 9 contain a triangle, cymbals and a bass drum. An exception is Berlioz, who used in his writings various types drums, tambourine, triangle, cymbals and tam-tam. Percussion instruments are also widely used in the works of Glinka, who introduced castanets into the orchestra, in addition to the instruments already mentioned.

The strike group received even greater development in the second half of the 19th century. The xylophone began to be used among the drums, and the celesta appeared. Much credit for this belongs to the composers of the Russian school. Their direct heirs are Soviet composers, who use a wide variety of percussion instruments in their works with great success.

General characteristics of percussion and ringing instruments

“Noise, ringing, crashing in forte” and “picturesque, colorful rhythm in piano” - this is the most characteristic role of percussion in the orchestra (Rimsky-Korsakov). Drums, when combined with instruments of other groups, rhythmize and make the sonority of the latter more clear. In turn, the instruments of other groups seem to clarify the pitch of the drums.

Among the percussion instruments there are instruments with vibrators made of metal, wood and membranes (leather). Percussion instruments vary in their structure, as instruments with a certain pitch or without a certain pitch; characterized from the timbre and dynamic side, in connection with the material from which they are made and the methods of sound production: instruments with drum sonority, ringing (metal) and clicking (wooden); from the tessitura side - as instruments of low, medium or high sound; from the point of view of their most characteristic rhythm and mobility (as instruments of a simple, large or small, intricate rhythm); from the side of notating them in the score; from the role they perform in the orchestra.

PERCUSSION INSTRUMENTS WITHOUT A DEFINITE PITCH

Triangle (Triangolo)

This tool is a metal rod bent in the shape of an open triangle. The size of each side is about 20 cm. During the game, the triangle is suspended. Sounds are produced by striking the sides of a triangle with a metal rod.

The triangle does not have a certain height, however, it is perceived as a high-sounding instrument that can assimilate with the intonation sound of the orchestra. Both simple and intricate rhythms can be performed on it. But the latter are desirable in patterns of limited duration, since the continuous execution of successive small rhythmic figures tends to merge into a continuous ringing. The timbre of the triangle in piano has a bright but gently ringing color; in forte - with a dazzlingly bright, sonorous, brilliant sonority, quite great strength. Dynamic shades also include crescendo and diminuendo. The triangle connects well with both bowed and woodwind and brass instruments. It combines with bowed instruments mainly in piano, with brass instruments - mainly in forte, although exceptions to this are, of course, possible.

The triangle in the score is notated on one line (string) without setting the clef (however, there is also a notation on a five-line staff, mainly with a note to the treble clef). The notation must indicate the rhythmic and dynamic side of the triangle part. Tremolo is written either as trill or tremolo.

In scores there is usually only one triangle part. Most often it is used in dance works to give them liveliness, gaiety and sparkling sonority. The triangle is often used in compositions of other genres in order to add shine, sparkle, color, and grace to the sonority.

Castanets

The castanets used in the orchestra are not large sizes(about 8-10 cm) wooden cups (2 or 4), loosely attached to the ends of the handle (two on one end and two on the other) in such a way that when shaken they hit each other, producing a dry, ringing, clicking sound ( sometimes they hit the cups with their fingers). Castanets give the impression of an instrument sounding above the average orchestral register.

Being closely related in origin to the Spanish and Neapolitan folk dances, castanets in the orchestra are used mainly in rhythms close to these dances, that is, in rhythms that are lively, small, intricate, and characteristic.

Castanets are used both in piano and in the rather sonorous forte; They can both amplify and attenuate sound. They blend well with woodwinds, with staccato strokes of bowed instruments, with small percussion instruments (triangle, tambourine, snare drum) and are heard quite well even in the tutti of the orchestra. Castanets, like a triangle, are notated on the same ruler; tremolo is indicated either as a trill or as crossed notes.

Tambourine and tambourine

The tambourine and tambourine (webbed with metal trinkets) are instruments that are very similar to each other, and therefore quite often replace each other in the orchestra.

Both of them are a narrow hoop with a diameter of 25-35 cm, metal trinkets are embedded in the wall, and leather is stretched on top (on one side), like a drum. The difference between them is that the tambourine has three wires stretched crosswise inside the hoop, studded with bells.

When playing, the tambourine and tambourine are usually held in the left hand; There are several ways of sound attraction. Most often, strikes with the palm and fingers are used on the skin and on the hoop. When performing complex rhythmic patterns, the instrument is suspended on a belt worn over the head, and then the blows are made alternately with both hands, or it is placed on a chair, using snare drum sticks to play in this case. Long tremolo is usually performed by continuous shaking (shaking) of the instrument, creating something like the rustling of tinkling trinkets; short tremolo - the technique of sliding the thumb (right hand) along the skin of the instrument.

The sonority of the tambourine and tambourine can be attributed to the middle register of the orchestra.

The mobility of these tools (as can be concluded from the evacuation techniques used) is quite significant. In any case, it is possible to perform rhythmic patterns on them, both simple (large) and small, intricate rhythm.

The timbre of the tambourine and tambourine is specific, composed of drum sonority (hits on the skin) and ringing sound (metal trinkets); it leaves a characteristic dance-festive impression. Their dynamic range is quite significant, including both piano and forte. These instruments blend equally well with bowed and wind instruments.

The tambourine and tambourine, like all instruments without a specific height, are notated on the same ruler (string). Tremolo is indicated by crossed notes or a trill. In notation, notes with stems viiz indicate strikes with the palm of the hand on the skin, while notes with stems up indicate strikes with the fingers on the hoop of the instrument. The tambourine and tambourine in the orchestra are mainly used in dance music.

Snare drum (Tambure militare)

The snare drum is a cylinder 12-15 cm high and with a diameter of 35 to 40 cm (or even more). The skin is stretched from the bottom and top of the cylinder; In addition, vein or metal strings are stretched on the lower side, giving the sonority of the snare drum a characteristic crackling sound.

Sounds are produced on this instrument by striking the skin with special wooden chopsticks with small thickenings (heads) at one end. Nowadays, there are scores that also use a fan-shaped metal (wire) whisk (verghe). When using it, the sonority is created as rustling and rustling. As a rule, shots are made with the right and left hands, with grace shots and shot shots being typical. As an exception, sometimes a simultaneous strike with two sticks or one without grace is used. As a special effect, to create a muted sonority, they resort to hitting a drum with loose strings or covered with cloth. This is designated by the term coperto or con sordino.

The snare drum is an instrument slightly higher than the middle orchestral register.

In terms of mobility, the snare drum ranks first among drums. It can be used to perform small and intricate rhythms at the fastest tempos. Its sonority is unusually characteristic and distinct: starting from a barely audible rustle (in pp), it can reach a crackling, rumbling noise, heard through the most powerful fortissimo of the entire orchestra, and the nuances can be changed in an instant.

The sonority of the snare drum blends best with the winds - trumpets and woodwinds, but it is also very good in orchestral tutti and in single solo.

The snare drum part is notated on one line (like parts of other instruments without a specific pitch). Very typical for her a large number of grace notes, small rhythmic figures, various dynamic shades. Fractions are indicated by crossed out notes (tremolo) and trills.

The orchestra has (very rare exceptions) one snare drum. It is used primarily in march-like music. The participation of the snare drum gives the orchestra's sonority greater clarity and dynamism. Interesting examples of its use in terms of software and graphics.

Cymbals (Piatii)

The plates are a pair of identical bronze disks (30-60 cm in diameter on average), in which the central part has a convexity (like plates) with a diameter of about 10 cm. In the center of the convexity there is a hole through which straps are threaded to hold the plates during games.

The usual method of sound production consists of striking one cymbal against another, followed by moving them apart for the duration indicated in the notes. The blows are usually made with a slightly sliding oblique movement, but depending on the dynamic tone and the speed of their sequence one after another, there can be a significant variety in the nature of the blows, up to the friction of one plate against another. To stop the sound, the player presses the edges of the plates to his chest, instantly muffling the sound. In addition to the above-mentioned method of sound production, they also use strikes on a suspended plate with sticks (from timpani, snare drums and even a triangle). With this method, both single and rapidly alternating blows are possible, turning into an erroneous tremolo, allowing a significant increase, and to some extent, a weakening of the sound strength.

The sonority of the cymbals belongs to the middle register of the orchestra. It is possible to perform rhythmic patterns of varying mobility on them, but by nature and nature they are more characterized by the sounds of a simple, large rhythm; the sounds of a small, intricate rhythm on the cymbals merge and lose their clarity. But tremolo creates, as it were, one continuous wave of metallic “hissing”.

The sonority of the cymbals is extremely bright: ringing in forte and rustling, sparkling in piano. The dynamic range is enormous - from a light, slightly sparkling metallic rustle to a dazzlingly bright, sharply ringing noise covering the entire orchestra.

With their metallic sound, cymbals blend best with brass, but they also work well with other instruments, especially when the latter play in their light and bright registers. However, in piano the cymbals combine well with the gloomy low registers of the instruments. Of the percussion instruments, they are most often used in conjunction with a large drum, especially in places that require a lot of force, noise and ringing.

Cymbals, like other instruments without a specific pitch, are notated on the same string, sometimes together with a bass drum. Of the recording features, it should be noted symbols, available at the feet. Thus, placing a sign above a note indicates that the sound should be extracted by striking the cymbal with a mallet from a bass drum or timpani; the term colla bacchetta di timpani - for producing sound with sticks only from timpani; the term colla bacchetta di tamburo - snare drum sticks; verghe - that sounds should be produced with a metal brush. Strikes with an iron stick are indicated by the sign - or +2 above the notes or the term colla bacchetta di triangolo, a return to the usual method of sound production - by the term ordinario (ord. for short). Tremolo is indicated by both crossed notes and a trill. The duration of the sound is sometimes indicated by leagues.

In an orchestra, cymbals are used primarily for dynamic purposes to emphasize the climax, as well as to add brightness and brilliance to the sonority. However, often their role is reduced to colorful rhythm or to program-visual (special) effects.

Bass drum (Gran Cassa)

There are two types of big drum. One (more common) is a relatively low (30-40 cm in height), but quite wide (diameter 65-70 cm) cylinder, on which skin is stretched on both sides. The other consists of a narrow (about 20 cm) but significant size (about 70 cm in diameter) hoop with skin stretched on one side. The hoop is attached on a stand to a special frame in such a way that, rotating along its axis, it can take an inclined position, which makes it more convenient to produce sounds. The latter are obtained by striking the stretched skin with a special mallet with a thickened head at the end.

The sonority of the bass drum belongs to the low register region. Its rhythmic mobility is significantly less than that of the snare drum. The big drum is used mainly in simple large rhythm, but tremolo is often found and small durations are not excluded.

The sound of the big drum is low, dull, reminiscent of underground explosions. Its dynamic range is enormous and extends from a dull, seemingly distant rumble in pianissimo to the force of cannon shots in fortissimo.

The sonority of the bass drum in forte blends best with the tutti of the orchestra; in piano - with low sounds double basses and timpani."

According to the old tradition, the sonority of the bass drum is associated with the cymbals. Very interesting example An original and captivating sonority, achieved by combining a bass drum with cymbals and a triangle in piano with the participation of low sounds of bassoons and contrabassoon, is found in the finale of Beethoven's Symphony No. 9.

The bass drum is notated on one line (thread). Tremolo is designated for the most part crossed out notes, but also occurs in the form of a trill. The bass drum is used in the orchestra mainly in terms of dynamic, as well as program-visual (with specific effects), but there are cases of using it to support the bass voice.

Tam-tam (Tam-tam)

Tam-tam is one of the largest percussion metal instruments. It is a large bronze or copper disk (up to 110 cm in diameter), suspended on a special frame-rack.

The sound on the tam-tam is made by hitting a mallet, usually from a large drum. Sometimes hard timpani sticks and even metal triangle sticks are used. A unique feature is the oblique, a sliding blow with a soft mallet on a tam-tam, in which the sound does not appear immediately, but a little later, and with a tendency to increase.

The sonority of the tam-tam is long, vibrating, and belongs to the low register of the orchestra. Although the tam-tam can produce sounds of various durations, it is used almost exclusively in a large rhythm (in which it is especially characteristic). The performance of the crescendo tremolo on it makes quite an impression. In pianissimo, the sound of tam-tam resembles the ringing of a large bell, while in fortissimo it is like a terrible roar that accompanies a crash, a catastrophe. In the orchestra, the piano tam-tam blends very well with the pizzicato of the double basses, the low sounds of the harp and brass instruments; in forte - with a dramatic tutti of the orchestra.

Notated there and there on one line-thread. Used in orchestras most often in terms of specific effects, as well as in climaxes.

PERCUSSIONS WITH A CERTAIN PITCH AND KEYBOARD INSTRUMENTS

Timpani

According to their design, kettledrums are hemispherical cauldrons of various sizes (from 60 to 80 cm in diameter), with a carefully trimmed leather membrane stretched across their upper edge. It is connected to a mechanism by which it is more or less tensioned on the boiler. Depending on the size of the boilers and the degree of membrane tension, the timpani sound higher or lower. The larger the cauldron and the weaker the skin is stretched (naturally, within a certain limit, the extreme tuning limits for each individual timpani is approximately a sixth), the lower the instrument sounds, and vice versa - the smaller the cauldron and the tighter the skin is stretched, the higher the instrument sounds.

In practice, there are three types of mechanisms for changing the degree of skin tension: screw (located along the rim of the boiler), lever (with a lever mounted on the side of the boiler) and pedal (with a foot pedal attached to one of the legs of the timpani).

Of these, the newest and most advanced is the pedal mechanism, which allows the timpani to be tuned (during pauses in the part) at the same time with greater gradualness and with greater speed. Restructuring is designated by the term muta.

The timpani are played with special sticks, at the end of which there are spherical heads covered with soft felt. In rare cases, they use ordinary sticks from a small drum. Timpani sticks are usually available in three sizes:

a) with larger heads to extract full-sounding juicy beats;

b) with medium-sized heads for sonority of more moderate strength and more mobile figures;

c) with small heads to obtain light, moving sonorities.

In addition, sticks with hard felt tips are used to perform rhythmic figures that require special clarity. Some timpanists use them in all cases.

Timpani are a very flexible and responsive instrument. They can perform the most intricate rhythms (including tremolo) with a variety of dynamic shades and at different speeds. The dynamic range of timpani is enormous. They can play a barely audible pianissimo with the sound amplified to a thunderous fortissimo (sounds tuned very low or very high are weaker). In an orchestra, timpani combine perfectly with all other instruments. With the pizzicato of cellos and double basses they merge into almost a single homogeneous sonority.

As a rule, the orchestra uses timpani of three sizes: large, medium and small. Each of them has its own setting range:

big- from mi-fa of the large octave to approximately B large or to small;

average- from A large octave to D small;

small- from do to fa-sol small octave.

Thus, their overall range extends from mi-fa of the large octave to fa-sol of the small octave. Timpani are notated on a five-line staff in the bass clef, with two performers - on two staves, with three - on three staves, etc. The staves are usually placed in the score immediately (counting from above) after the parts of the brass instruments. In front of the staff, where timpani are indicated, their number is indicated by a number, and the tuning is indicated by letters or notes.

However, there are also scores in which these notations are absent. It is not customary to place accidental signs on the key - they are written along with the notes.

Of the notation features, tremolo notation should be noted. With prolonged, uniform tremulation over several measures, the notes marked tr are tied together.

Sometimes leagues are used in scores for other tremolo notations. If there are no leagues, then the strong timing of each new bar can be emphasized by the timpanist.

When two timpani are struck simultaneously, both sounds are produced.

The double note, above which the trill is placed, is performed as a piano tremolo.

Sometimes the recording specifies which hand the sounds should be made with. In the timpani part it is indicated that notes with stems up are played right hand, with the stems down - with the left hand.

Timpani “muted” (muffled by a piece of soft mater) are designated by the term coperto or con sordino, the removal of matter is indicated by the term aperto or senza sordino.

Until approximately the second half of the 19th century, the orchestra used two timpani (the exception was Berlioz, who used a large number of timpani), tuned to tonic and dominant. Nowadays, with one performer, almost like a pragvilo, there are three or four timpani in the orchestra, tuned, according to need, to a variety of sounds.

The importance of timpani is not limited to dynamic and rhythmic roles; they are also widely used in dubbing the bass voice, in programmatic and visual, and sometimes melodic terms.

Bells (Campanelli)

Bells, also called metallophones, consist of a set of metal plates of various sizes arranged in a chromatic order corresponding to a piano keyboard. The sound on them is produced by striking the records with hand hammers.

In addition to this type, there are bells with a keyboard mechanism. Outwardly, they look like a small toy piano (only without legs). In terms of sonority, bells with hand hammers are much better than keyboards. The sound volume of bells according to the letter is from C of the first octave to C of the third; in actual sound it is an octave higher than what is written. There are bells with a sound volume that is slightly larger both up and down.

This instrument belongs to the very high-sounding region. The timbre of bells with hand hammers is bright, ringing, silvery, and its sound is quite long. The timbre of keyboard bells is sharper and drier, and the duration of the sound is shorter. The technical flexibility of both bells and bells is significant, but keyboards have a number of advantages arising from purely piano technology. However, both instruments are not used in a virtuosic technical sense, since the rapid succession of their sounds creates a continuous ringing that is tiring for the ear.

Bells pair well with instruments of all groups and especially well with harp, flute, and pizzicato violins.

Bells are notated on a five-line stave in the treble clef. In orchestration, bells are used mainly in decorative and colorful, as well as in programmatic and visual terms.

Xylophone

A xylophone, in contrast to bells (metallophone), is a set of wooden plates, although arranged chromatically, but in a peculiar (zigzag) order, with double plates on the sounds F and C.

The peculiarity of this arrangement is that the row (up) arrangement of the middle plates creates a sequence of the G major scale (the easiest and most convenient on a xylophone.) Lately Xylophones with records arranged in an order corresponding to the piano keyboard began to appear, as well as xylophones with resonators, which significantly improved the sonority of the instrument.

Sounds are produced on a xylophone by striking records with light wooden sticks, similar in shape to elongated spoons or hockey sticks. The sound volume of the xylophone is from the first octave to the fourth:

The sonority of a xylophone without resonators has a peculiar, empty, dry, sharp timbre, leaving the impression of a ringing, rather strong and sharp clicking on wood, quickly fading.

The technical flexibility of the xylophone is very high. Scales, arpeggios, tremolo, glissando, various passages in rapid movement using double notes can be performed on the xylophone.

The sonority of the xylophone is successfully combined with woodwind instruments, pizzicato and collegno bowed instruments. But the excessively long sound of the xylophone soon becomes intrusive.

The xylophone (like bells) is notated on a five-line stave in the treble clef. In an orchestra, the xylophone is used in terms of decorative and colorful accents, giving the sonority great rhythmic clarity, as well as imagery.

Celesta

A celesta is a keyboard (like a small piano) metallophone, in which instead of strings there are metal plates of various sizes arranged in chromatic order. When playing, hammers connected through levers to the keys strike metal plates. A special feature of the celesta design is that the plates in it are equipped with resonators (special boxes), which significantly soften and improve its sound, and dampers with a pedal mechanism (like a piano), which allows you to stop or lengthen the sound, as is done when playing the piano.

The sound volume of the celesta in writing is from C to the small octave to C to the fourth; the sound is an octave higher than what is written.

The sonority of the celesta - a charmingly gentle and poetic timbre of soft bells - is devoid of power. Technical mobility is very high and approaches that of a piano.

In terms of timbre, the celesta blends best with the harp, but combines well (in piano) with instruments of other groups.

The celesta (like the piano) is notated on two staves and is used in the orchestra mainly in places of great tenderness, softness, subtlety and magical fairy-tale quality.