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8

In a real orchestra? It varies. Maybe 10 first violins, 10 second violins, 10 violas, 8 cellos, 6 double basses. Maybe 14, 14, 12, 12, 10. Mozart and Haydn had smaller orchestras so you may see 3, 3, 3, 2, 1, although they sound OK with a larger or smaller group. Not as many bass instruments are needed to balance the treble instruments. For late ...


5

It's a baroque trumpet, basically a historical version of a trumpet without valves. Probably they hold it like that because that was the way it was held at that time (think of musicians on a tower, announcing the arrival of the king or stuff like that...)


4

I suppose with a cornet you'll have the ability to add something extra in for texture, so something like finding the main melody line in the song, whether it be with guitar or vocals have the trumpet follow this line to emphasise the line and it could offer a massive difference to the sound and feel of the song depending, you should try looking at reel big ...


3

Definitely don't throw in the towel. Everyone is different. Some amazing musicians have no grasp of theory at all, but over time they learn what sounds work and what sounds don't. For most of the music I play, theory is unnecessary - but it helps once you have some physical capability. So I could, for example, play basic rock chords in a 4/4 rhythm and it ...


3

In the Classical era, dividing into two voices was fairly common (especially in violas but also 1st or 2nd violins and sometimes 'cellos). That would potentially give you 4 violin voices. If you include double stopping, you have more voices. (Because of triple-stopping, it's not uncommon to need nine or more string parts when doing computer realizations of ...


3

"In band music, the Db piccolo, rather than the larger orchestral C piccolo, was the mainstay until the early 20th Century, when the Db parts were gradually transposed for the C piccolo because of its stronger tone." Source: http://kjt.glis.net/tealflutestudio/PiccoloEbTenor.html Wikipedia might help a little on the Eb horn, but I don't have ...


3

It seems that available instrumentists (more than instruments) were key as well as a figure of the composer as an individualistic and total master of the music he writes. The development of cellists' virtuosity (such as Joseph Franz Weigl, friend of Haydn, Josef Fiala, Josef Reicha (friend of Mozart) and later the Duport brothers and Romberg) has been ...


2

It's just a change in style, like the way blues and rock bands changed from having guitars only in the background to having guitars up front. The basso continuo was a standardized sort of accompaniment, typically given a bass line and chord symbols only and filing in the chords ad libitum. J.S. Bach was already beginning to exert more control, writing ...


2

Here is my feeble attempt at combining the individual instruments Register tone quality into one chart. Note: Samuel Adler's Orchestration book did not have any of this for the Strings but that is not what I was looking for so I am satisfied. Also, I had a hard time getting everything in the image, so some instruments are placed rather randomly...


2

Normally questions concerning material solicitation are shut down, but I think in this case, since it applies to orchestration, which is musical practice related to composition pedagogy, it is pertinent to this forum. First, there are two great texts concerning orchestration: Alfred Blatter's "Orchestration" and Samuel Adler's "The Study of Orchestration." ...


1

Lots of people have natural aptitude to something - be it swimming, painting, playing football... Those lucky enough to have it in music will be able to just play.Maybe not brilliantly at the start, but progress is usually good, Getting to know the instrument is paramount.Theory not so. More later. With a complete beginner, I get them used to the ...


1

There are some good examples. Have a look at Less Than Jake's song, Gainesville Rock City: You need to arrange the songs so it works, but rock music can definitely cope with ...



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