Woodwind Section

Piccolo Flute Oboe Clarinet Bass Clarinet Bassoon French Horn English Horn

The term woodwind is applied to those musical instruments whose sound is produced by blowing air into a tube, which was traditionally made of wood. The column of air in the tube vibrates, and produces sound. A long tube has a long column of vibrating air and produces a relatively low pitch. By shortening the vibrating column of air, the pitch becomes higher. There are generally two different ways to produce a sound with woodwinds. The first way is to blow across a hole, just like producing sounds by blowing across the top of an empty bottle, or across the small hole of a key. This method for producing sounds is used by players of the Flute family. The second method is achieved by blowing through a cane of reed, just like the sounds produced by blowing through a blade of grass, a leaf, or a thin sheet of paper held between the thumbs of the two hands (which are held tightly together). The Clarinet family uses one reed while the Oboe and Bassoon family uses two reeds. All the woodwind instruments are based on a series of holes bored along the length of a tube. The length of the tube is sometimes so long, that the holes cannot be reached by the player's fingers. Thus, a system was developed in which the arrangement of keys and levers made it possible to reach every hole in a very convenient way. The four most important woodwind instruments are the Flute, the Oboe, the Clarinet and the Bassoon. These are usually paralleled to the four voices of the choir: soprano, alto, tenor, and bass, respectively. However, each one of these instruments has an entire family of its own (with about four members each), which also parallel the voices of the choir. The Flute family, for instance, consists of four instruments, which vary by their length. However, in most symphonic orchestras only two of these are used: the Piccolo and the concert Flute. There is an alto and a bass Flute. In the same manner, there are pairs of instruments such as the Oboe and the English Horn, the Clarinet and the Bass Clarinet, the Bassoon and the Contrabassoon, and all are members of the symphonic orchestra. On a score, the woodwind instruments are arranged on the top of the page, from the highest to the lowest, in the following order: Piccolo, Flute, Oboe, French Horn, Clarinet, Bass Clarinet, Bassoon, and Contrabassoon.

Piccolo

The Piccolo is nearly half the size of its larger sister, the flute. Its length is nearly 30 cm. long, while the concert flute is 66 cm. long. It is built of two joints instead of the flute's three. The name of the piccolo is derived from the Italian "Flauto Piccolo", which means "small flute". Because of its short length, the piccolo is characterized by its piercing, shrill, hard and bright tone. It produces the highest notes of all the symphony orchestra instruments. Its penetrating tone easily dominates an entire symphonic orchestra; the player must use the highest tones of the piccolo with the greatest care. Because of its very high notes and the need to avoid leger lines when playing high notes, the music for the piccolo is written an octave lower than it really sounds. Thus, if the flute and the piccolo have to play from the same notes, the flute will sound as written and the piccolo will sound an octave higher than written. The piccolo is, without doubt, one of the lightest musical instruments. It is capable of playing harsh notes, as in Beethoven's Sixth Symphony, as well as the most delicate and lyric melodies, as in the second movement of Vivaldi's Piccolo Concerto in C major.

Flute

The Flute Family : The Flute family consists of four different instruments, which look almost the same except for their length. They include (from the smallest) the Piccolo, the Concert Flute, the Alto Flute, and the Bass Flute. (The Bass Flute is folded on both its sides so that the practical length of the instrument is reduced). Here, we shall deal only with the Concert Flute and the Piccolo which are regular members of the symphonic orchestra. The Concert Flute : The Flute is, without doubt, one of the most ancient musical instruments; it played a very important role in religious rituals of various religions. On the reliefs of Amaravati, in India, is carved a Flute player with a Flute. It is believed that when the Great Krishna himself played the Flute, "The spirits were enchanted, the rivers paused and stopped flowing, the birds halted their flight, flew down and listened to his music with great jealousy, and all the inanimate things on earth and under the sun grew brighter". The Flute seems to have appeared in Europe during the Middle Ages, from Asia and through the Byzantinian Kingdom. We later find it coupled with the cylindrical small drum in military ensembles, known to this day as "Fife and Drums". Nearly up to the start of the 17th century, the Flute was made of one piece; it could not be tuned by changing its length. For this reason, the instrument was produced in various lengths in order to produce different pitches or scales. The form of its original bore was conical. A short time later, Flutes comprised at least two pieces, which were very tightly fitted together, thus allowing the player to tune his instrument by adjusting the length of the whole tube. The Concert Flute of today is made of three joints. It was the flutist Theobald Boehm (1794-1847) who greatly perfected the Flute. He changed the form of the bore from conical to cylindrical and added a parabolic head, thus creating two very important changes: making the pitch much more accurate; and equalizing the timbres of the various registers of the instrument. Boehm also developed the system which bears his name, and upon which his fame rests to this day. In his system, the holes on the tube were to be created as large as possible. The positions of the holes depended solely on acoustical correctness and were not based on the player's comfort. Taking the player's comfort into account, he created an appropriate arrangement of keys and levers to cover all the holes, even those that were too far for the fingers of the player. Though originally made of wood, Flutes had to be constructed of metal. They were very thin, and many elements were bored into them; a wooden flute would have broken. Still, they are members of the woodwind family. Today, there are silver and gold flutes. The Flute is held almost parallel to the floor, and on the player's right. The player blows across the sharp edge of a mouth-hole on the left side of the instrument. The different notes are obtained by opening and closing the holes using the keys and levers, thus lengthening or shortening the vibrating column of air in the tube. The longer the column, the higher the pitch and vice versa. It is important to note that the different Octaves are obtained with nearly the same fingering. Only the manner of blowing and tonguing are changed, thus making the control of pitch quite difficult. Throughout its different ranges (registers), the Flute is extremely agile. This makes it possible for the player to play very fast scales or passages, as well as stirring and exciting leaps or skips. The Flute's higher register is characterized by brilliant sounds, while the lower range of notes is enveloped by a warm and velvet-like atmosphere.

Oboe

The Oboe Family : The Oboe family consists of instruments played with a double-reed. Although almost all members of this family are considered as constituting families of their own, the double-reed instruments include the Oboe, the English Horn, the Oboe d'Amore, the Bassoon, and the Double Bassoon. The reed is usually a very thin piece of cane, approximately 6.5 cm. long. Sound is created in the same manner as children blow through a folded blade of grass, or leaf, held between the thumbs of both hands (which are held tightly together). In the double-reed instruments, two narrow pieces of cane are tightly bound together by winding thread, and fitted to a cork which is inserted at the top of the instrument's tube. The player blows through the two reeds. As the reeds beat together, the air is set in a vibrating motion, which in turn produces the desired tone. The tone is controlled, amplified and modified by means of the tube's form, its keys, and its levers. All professional players of double-reed instruments spend much time preparing their reeds. They select a good piece of cane, soak it in water, fold it in two, cut it to the desired length, and scrape its ends with delicate tools to the required thinness. The reed must be very thin in order to vibrate freely, but it can easily break if it is too thin. A too thick reed will make staccato playing quite difficult, and a stiff reed produces a harsh tone. 1. The original piece of cane is split vertically into three parts. 2. One of the pieces is bent over. 3. The tip is cut off, and the other end is mounted on a metal staple, after tightly binding it with a thread. 4. Now, the separate blades are scraped until they become quite thin. 5. The staple is now covered with cork in order to achieve a firm fit on the top of the oboe. Prior to playing, the player has to moisten the reeds; indeed, players can be seen doing just that when preparing their instruments in order to join the orchestra. It is interesting to note that since the performer prepares his reeds, the double reed instrument becomes a very personal one. In fact, the sound of each instrument can clearly reflect the individual taste of each player, as well as different styles of playing in various countries. The Oboe The Oboe is the shortest double-reed instrument. Therefore, it produces the highest notes. It is usually made of wood and has a conical tube, which ends in a flared bell with a metal ring at its end. Its holes are much smaller than those of the flute. The Oboe is made of three joints, held tightly together: the top joint, a lower or central joint, and the bell. The double-reeded mouthpiece is fixed at the upper end of the instrument. The length of the Oboe is 65 cm. long, one cm. less than that of the flute. The sound of the Oboe has been described in a rich variety of names, such as, nasal, biting, piercing, penetrating, raspy, and pungent. Still, there is a special sweetness accompanying its sound. Rhythmic and fast passages can be played with great agility on the Oboe. Its tone colors and expressive capabilities have made it one of the most favorite solo instruments of the entire orchestra. The majority of the solo passages for the Oboe are usually written in the middle range of its possible sounds. Some of the most beautiful and enchanting passages for the Oboe can be found in the second movement of Bizet's Symphony in C major, in many of Rossini's Overtures, in Schumann's Second Symphony, and in many more. It is quite difficult to change the pitch of the Oboe. For this reason, it is the Oboe which traditionally sounds the A tone before the beginning of each concert, and all the other instruments tune to it.

Clarinet

The Clarinet Family : It is generally accepted that the Clarinet was invented at about the beginning of the 18th century, by J.C. Donner (1655-1707) in Nuremberg, Germany. This makes it younger than the oboe by at least 50 years. Thus, it was a relatively late addition to the classical symphonic orchestra. The Clarinets are single-reed instruments. The reed (which is made of cane) is bound to the open side of the ebonte mouthpiece by means of a metal ring, which is tightened by the use of thumbscrews. As the player blows into the instrument, the reed vibrates against the mouthpiece causing the air column in the pipe to vibrate (see the illustration). The Clarinet family is quite large, and includes more than ten different instruments, which differ mostly by their lengths. Of these, there are four clarinets which can be considered as regular members of the symphonic orchestra. These are the very small E flat Clarinet, the B flat and A Clarinets, and the Bass Clarinet (mostly in B flat). Clarinets in B flat and in A : These two Clarinets are the most often used in the symphonic orchestra; today, the B flat Clarinet is the most preferred. This means that the Clarinets are transposing instruments. The B flat Clarinet sounds a whole tone lower than written, while the A Clarinet sounds a minor third lower than written. The type of Clarinet a composer selects depends on which of the Clarinets will require fewer sharps or flats in the desired key. In the woodwind family, the Clarinet is considered the tenor of the section. The most important characteristics of the Clarinet are as follows: 1) it has the largest range among the woodwind instruments; 2) it is capable of producing the richest and most diverse tone colors in its different ranges; and 3) most importantly, it has the greatest control of dynamics, from the softest possible tone to the loudest one. It is also very agile, and capable of producing the most virtuosic passages when in good hands. The low register of the Clarinet produces dramatic and somewhat menacing tones. The highest range is characterized by shrill and piercing tones when played loudly, and a slightly warmer tones when played softly. Its middle register produces bright, brilliant and penetrating sounds. Of all the symphonic woodwind instruments, it is the Clarinet which led the most vigorous career as a folk instrument, especially in the Balkan countries. The Czechs, for instance, believe that the Clarinet is their national instrument. But, it is much more virtuosic in Bulgarian or Roumanian music. The Clarinet also plays a very important role in jazz music.

Bass Clarinet

The Bass Clarinet has a much longer tube than that of the regular Clarinet; the top and bottom of the instrument had to be bent so as to make it possible for the player to cope with its length. The upper end of the Bass Clarinet is curved backward and towards the player, and the lower part ends in an upturned large bell. The most popular Bass Clarinet is the one in B flat. It is interesting to note that the Bass Clarinet sounds an octave lower the regular Clarinet, and functions as a very effective bass for the entire woodwind section. As it is in B flat and sounds an octave lower than the Clarinet, the Bass Clarinet sounds a ninth lower than written. The lowest notes of the Bass Clarinet can be played very softly and produce rich and full tones. The Bass Clarinet is much more powerful than the regular Clarinet; its tones are less reedy.

Bassoon

The Bassoon is the bass of the Oboe family, as well as of the entire woodwind section. It also doubles the bass parts of the string section, sometimes in unison and sometimes in octave. The length of its tube is approximately 2.5 meters; it is doubled back on itself, thus becoming 137 cm. long. The Bassoon is comprises 5 different parts: the bell joint; the bass (or long) joint, which takes the form of an ascending pipe; the Butt (or double-joint), which forms a U; the wing (or tenor) joint which forms the descending section of the pipe; and the narrow curved metal tube to which the reeds are attached, and which is called crook or bocal. The gracefully curved mouthpiece is placed on the upper end of the short tube. The wing and the butt are usually lined with rubber to avoid moisture. The Bassoon is a double reed instrument, its reeds larger than those of the English Horn. It has often been called the "clown of the orchestra" because of the comical effects it can create. In fact, one of the most important comic roles in the "Commedia del Arte" is called Signor Fagotto, based on the instrument's fame. But, the Bassoon can produce solemn and very gentle melodies as well. The bore of the Bassoon's tube is conical, from approximately 3 mm. at the small end of the crook, to nearly 4 cm. at the bell. The player can alter the pitch of the instrument (according to what his taste and the music he has to play dictate) by changing the position of the reed. Due to its very wide range, the Bassoon has many keys: from 17 to 22, according to the different instruments. The Bassoon is not a transposing instrument, thus it sounds as it is written. As it is quite heavy, a ring has been placed at the top of the butt, to which a neck-cord is attached, thus freeing the player's hands. The Bassoon is characterized by its somewhat dry and hollow tone, but it is capable of producing a rich variety of expressions. Its middle register can produce smooth and delicate tones, while its higher register produces tense and penetrating tones. Its lowest tones are sonorous and vibrant, and enveloped by some roughness. One of the most important qualities of the Bassoon is its ability to blend with other instruments, especially with the other woodwinds and with the horns. But, the Bassoon is equally valuable as a soloist. It has a wide dynamic range, and is particularly effective in playing staccato and legato passages. Sometimes, it is muted by placing a handkerchief in its bell. One of the most well-known passages for the Bassoon was written by the French composer Paul Dukas, in his "Sorcerer's Apprentice".

French Horn

The Horn is one of the oldest musical instruments, made originally of animal horns and later of metal. Although in English the Horn is usually called a French Horn, it was mostly developed by Germans. Since a Horn produced very powerful sounds, it was quite natural to use it for battle signals, and especially for hunting festivities. The instrument adopted a coiled circular form; this made it easy for the player to handle it, and allowed him to carry it over his head or shoulder while riding or marching. The diameter of the tube's bore begins quite narrowly (approximately 6.5 mm.), gradually expands to almost 8 cm., and ends in a very large flared bell, with a diameter of almost 30 cm. The first Horns did not have any valves and were called Natural Horns. They had a variety of different U-shaped crooks (tuning slides) with which the player could lengthen or shorten the whole tube of the instrument. All the crooks, together with the whole tube, could attain nearly 5 meters. The real problem arose when the Horn was introduced into the orchestra. The Natural Horn could only play the notes of its harmonic series; in this matter, the crooks could not be of any help, since each change of crooks made it possible for the player to produce only a new set of harmonics (based on the new length of the tube). Composers had to write notes which were performable, and which gave the players enough time to change crooks when the key was changed. Help came from an unexpected direction. Players trying to soften the rough sound of the Horns, would insert their hand into the bell. In this manner, they not only checked the sound, but also muted it, and ensured perfect intonation. Then came the greatest discovery in the history of the Horn. By inserting the hand far enough into the bell, the pitch could be lowered. But, when the hand was pushed in as far as possible, the tone was suddenly raised a semitone. These experiments were carried out by Joseph Hampal, the horn player, during the second half of the 18th century. Then, in approximately 1815, came the invention of the valve system. This system did away with the crooks, and made it possible to change the length of the tubes without having to cease playing. Although Valve Horns are currently used in symphonic orchestras, horn players still like to play the Natural Horn when possible. It was the famous French teacher and Horn virtuoso who declared that the Natural Horn is, of all wind instruments, " the most beautiful in respect of timbre and intrinsic quality of tone, while the feelings aroused by its charm are generally admitted to be irresistible". The Horn is a member of the brass section, but it is also associated with the woodwind section. That is why it is written above the Trumpet in scores, although it has a lower range. Its sounds can be mellow, quiet, and mysterious, as well as powerful and majestic. The notes played when the player's hand is firmly placed in the bell, are called Stopped Notes. The sign used to designate playing Stopped Notes is a " + " placed on the notes to be stopped. When the player is to play normally again, an " o " (for Open Notes) is placed on the notes. When no signs appear on the notes, the player is to play Open Notes. A muted Horn gives a far-away, distant sound. When the player forces his hand into the bell and blows very loud, a very brassy sound is produced (called "cuivre", which is French for brassy). Of all the types of Horns, only two were adopted by players: one in F, and one in B flat. Today, a Double Horn is used by most of the horn players, including the two kinds of Horns with added tube and a fourth valve. The Horns are transposing instruments and use different clefs in order to avoid leger lines.

English Horn

The English Horn is neither English nor a horn. One of the theories for the origin of its name is that the ancient instruments were curved and called "Cor angle", which is French for "bent" or "angled" horn. The English Horn can be recognized by its resemblance to the Oboe. In fact, it can be considered an alto Oboe, since it is pitched a fifth below it, thus extending the Oboe's range downward. The English Horn differs from the Oboe in its length (it is 89 cm. long), its larger double-reeds, its larger tube, and its bulb or pear-shaped bell (with which it ends). This special bell largely accounts for the instrument's soft and melancholic timbre. As the English Horn is too long for the player; in order to facilitate the handling of the instrument, a bent metal crook is extended from the top end of the instrument to hold the reed tube. This mouthpiece is bent slightly towards the player's mouth. Due to its weight, the English Horn has to be supported by a cord or belt, which is placed around the player's neck. The English Horn is treated as a transposing instrument, in "F". This means that when the player has to play a written C, he uses the same fingering for C as in the Oboe. However, the sound produced is F, which is a fifth below the written C. Since the English Horn's mechanism is similar in almost all its details to that of the Oboe, the playing technique is identical. Thus, one of the oboists usually plays the English Horn when needed. Since it is equal in its agility to the Oboe, the English Horn can participate in any virtuosic activity in the orchestra, including soloist. The sound of the English Horn as sharp and penetrating as that of the Oboe. It is particularly beautiful when it plays sustained, smooth melodies. One of the first composers to discover its enchanting voice was Rossini, who used it in his opera Guillaume Tell (1829). It was later used by many of the romantic composers of the nineteenth century. The Oboe d'Amore resembles, in all its aspects, the English Horn, except that it is smaller in size (70 cm.). It has the same name in Italian and German as in English, but in French it is called Hautbois d'Amour. It is also a transposing instrument, pitched in A, therefore sounding a minor third lower than written.