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As a total contrast, the soloist moves to the marimba a pitched mallet instrument! This more introspective section builds up to its own climax. Then the scene darkens again as the timpani in the back begins an dramatic dialog with the soloist, now on wood blocks and temple blocks, highlighting the third major family of percussion instruments—the idiophones—after the mallets and drums.

After an ominous transition section, with full orchestra complete with menacing bass drums, the orchestra falls silent and the soloist moves to yet another instrument, the vibraphone, to play a cadenza filled with the magical sounds of the metallic bars.


When the orchestra re-enters, the reverie continues with a soulful saxophone solo, continued by the clarinets. The lyrical atmosphere is rudely disrupted by a new orchestral explosion that gives rise to another cadenza, partially improvised by the soloist on the large tam-tam. Then, in a more peaceful new section introduced by two solo violins, the melodic phrases of the English horn and saxophone are set against the lively rhythms of the soloist, who now plays on wood blocks and temple blocks.

This section, which features many prominent woodwind solos, has a distinctly Middle Eastern sound to it, and takes on the character of a lively dance. Another fiendishly virtuosic marimba passage is followed by the most joyful episode of the concerto, with a complex interplay between the soloist playing mostly on the tom-toms and the orchestra. The last sounds we hear are the orchestral percussionists shaking their South American rainsticks, in imitation of the sounds of nature heard in the vast national park that had inspired the piece and where one of its first performances took place.

Although its positive tone may imply otherwise, the Fifth Symphony gave Sibelius more trouble than any other work. The first version, which took three years to complete, displeased him.

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He made extensive revisions after the premiere in late A second version was performed in , but still the composer was not satisfied. He planned to have the work ready for a performance, but World War I and then civil war in Finland kept him from working on it.

He returned to the Fifth after hostilities ended. The work found its final form in It is a total contrast to the inner, nebulous Fourth Symphony.

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With the Fifth, Sibelius went back to the energetic world of the Second, but with noticeably greater sophistication. Sibelius was intrigued by the concept of a movement. To what extent is a movement an independent piece, and to what extent is it an integral part of a larger whole? His casting of the Seventh Symphony in one continuous movement is his final solution. You can definitely hear the difference. So maybe an Eb section would be cool to have somewhere down the road I think it would definitely be a first in the sampling world.

You're right about the Eb, and it would be great to have those subtle variations in samples. I've been a brass player my whole life playing in every sort of ensemble and never seen one of them in person. You chaps are fast repliers But no, I'm afraid I don't agree with you William. I know I don't have things back to front when dealing with brass instruments!

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C trumpets only sound brighter if you write in C! Having been a trumpet player in loads of different ensembles for the last 20 years I know that I want the often brash sound of a Bb trumpet ensemble.

The Q is whether or not the ensembles feature Bb or C instruments I've found that although its range extends high beyond the common tpt, its timbre is nowhere near as sharp. Well, I defer to an honest to goodness trumpet player. I'm a horn player whose ears got deafened by many trumpet players over the years, so I can't argue with you! I'm glad to hear though that there are orchestral players like us using samplers. Yeah it's definitely a good thing that more 'traditional' instrumentalists are getting into the whole technology side of music making. Mind you - it's only recently that technology has been able to get anywhere close to sounding as good as 'the real thing', orchestrally speaking.

VSL is testament to that!

Music Theory Tutorial 149 - B Flat, F, and E Flat instruments

Although I don't know what that means as to the trumpets that were used Although I'm a brass player low brass , my comments about the Eb trumpets are solely based on talks with an ex-LA trumpet player. He claimed that Ebs were used on a number of those scores to achieve a brighter cleaner sound because the parts were so often written high and staccato. Apparently, it's a little easier to play high cleanly on an Eb. The key of the piece may have been a factor as well, but he didn't mention it.

Most Williams pieces become very chromatic quickly regardless, however.

List of E-flat instruments

The other scores you mentioned Raider's, Superman definitely sound like they were performed on Bbs, I agree. Quote: Most Williams pieces become very chromatic quickly regardless, however. We plan to record also a solo Bb trumpet. Finally you will have alternatives for all major solo intruments: Two different flutes. Wow, that'll be amazing. Maybe somewhere down the road Eb trumpet, descant horn, and alto trombone could be added to the list just to make it insanely complete. I see Eb clarinet parts often too, though I think they sound obnoxiously reedy.

They could be part of Symphonic Cube version For a complete symphonic band representation you need the high eflat clarinet as well as the bassett horn. Also, remember Mahler using that excessively reedy effect in the 2nd symphony? Speaking of band instruments I wonder if the Baritone Horn, as opposed to the often interchanged Euphonium, will be sampled. I guess the Quantum Leap has them but haven't heard those. The contrabass sax is a frightening instrument. It's like a Bari Sax from Hell. I've been in the presence of a bass sax but only seen pictures of a contra bass and it is so large it basically makes the player seem attached to it rather than the other way around.

Will we ever see a Bb Trumpet Ensemble? I find the C Trumpets way too bright and virtually unuseable. Yet even with such supremely skilled performers carefully nuancing each phrase, their gut strings adding golden warmth to the timbre, the overriding impression of this programme is that it is worthy rather than illuminating. The two world premiere recordings feature a rather routine quartet by Boccherini and an equally dull contribution from Brunetti. Undoubtedly, these quartets are interesting to hear, if only to enhance our admiration for the inventiveness and skill of such major figures as Haydn and Mozart.

The musicians of the Quiroga Quartet perform the second movement of Brahms's Second String Quartet on a unique set of decorated Stradivarius instruments belonging to the Madrid Royal Palace. The musicians of the Quiroga Quartet from Spain have been named the first artists in residence of the Royal Palace of Madrid, allowing them access to the unique set of decorated Stradivari instruments on display as part of the Royal Collection exhibition. The Stradivaris of the Madrid Royal Palace are the only decorated instruments the maker is known to have made as a set, and includes his only known decorated cello.

The quartet of instruments — two violins, a viola and cello — was originally a quintet but during the Napoleonic wars Site powered by Webvision Cloud. Skip to main content Skip to navigation.