Music For Two Volume 2 - Flute, Oboe Or Violin And Cello Or Bassoon Books.pdf
Mina Spartin
The four kinds of wind instruments: flutes, oboes, clarinets andbassoons may be generally considered to be of equal power. The samecannot be said of instruments which fulfil a special purpose: piccolo,bass flute, Eng. horn, small clarinet, bass clarinet and doublebassoon. Each of these instruments has four registers: low, middle,high and extremely high, each of which is characterised by certaindifferences of quality and power. It is difficult to define the exactlimits of each register; adjacent registers almost blend together andthe passage from one to another is scarcely noticeable. But when theinstrument jumps from one register to another the difference in powerand quality of tone is very striking.
Flutes and clarinets are the most flexible wood-wind instruments (theflutes in particular), but for expressive power and subtlety innuances the clarinet supersedes them; this instrument can reducevolume of tone to a mere breath. The nasal instruments, oboe andbassoon, are less mobile and supple; this is accounted for by theirdouble reed, but, having to effect all sorts of scales and rapidpassages in common with the flutes and clarinets, oboes and bassoonsmay be considered melodic instruments in the real sense of the word,only of a more cantabile and peaceful character. In very quickpassages they often double the flutes, clarinets or strings.
Music For Two Volume 2 - Flute, Oboe Or Violin And Cello Or Bassoon Books.pdf
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Whether it be long or short, a simple theme or a melodic phrase,melody should always stand out in relief from the accompaniment. Thismay be done by artificial or natural means; artificially, when thequestion of tone quality does not come into consideration, and themelody is detached by means of strongly accentuated dynamic shades;naturally, by selection and contrast of timbres, strengthening ofresonance by doubling, tripling, etc., or crossing of parts(violoncellos above the violas and violins, clarinets or oboes abovethe flutes, bassoons above the clarinets etc.).
The process of combining two or more qualities of tone in unison,while endowing the music with greater resonance, sweetness and power,possesses the disadvantage of restricting the variety of colour andexpression. Individual timbres lose their characteristics whenassociated with others. Hence such combinations should be handled withextreme care. Phrases or melodies demanding diversity of expressionalone should be entrusted to solo instruments of simple timbres. Thesame applies to the coupling of two instruments of the same kind, suchas 2 flutes, 2 oboes, 2 clarinets, 2 bassoons. The quality of tonewill lose nothing of its individuality, and will gain in power, butits capacity for expression will be diminished accordingly. An-49-instrument enjoys greater independence and freedom when used as a solothan when it is doubled. The use of doubling and mixed timbres isnaturally more frequent in loud passages than in soft ones, also whereexpression and colour is broad rather than individual or intimate incharacter.
All combinations of strings and wood-wind are good; a wind instrumentprogressing in unison with a stringed instrument increases theresonance of the latter and amplifies its tone, while the quality ofthe strings softens that of the wood-wind. In such combinations thestrings will predominate provided that the two instruments are ofequal power, e.g. when violins are coupled with an oboe, a bassoonwith the 'cellos. If several wind instruments play in unison with onegroup of strings, the latter will be overpowered. As a rule allcombinations refine the characteristics of each instrument takenseparately, the wood-wind losing more than the strings.
In many cases the wood-wind and brass groups can form a tutti bythemselves for periods of varying length. Sometimes this is effectedby the wood-wind alone, but more frequently with the support of horns.At other times the horns are found alone without the wood-wind, and,lastly, a tutti may be comprised of instruments of each group invarying numbers. The addition of kettle-drums and the rest of thepercussion is quite common and constitutes what the Germans call"Janitscharenmusik", or Turkish infantry music. Violoncellos anddouble basses playing more or less important pizz. notes are oftenadded to wood-wind instruments (tutti), likewise the remainder ofthe strings and the harps; this process renders the sustained notes inthe wood-wind more distinct. Tutti passages in wood-wind and hornsdo not produce any great amount of power in forte passages, but, onthe other hand tutti in the brass groups alone may attain anextraordinary volume of tone. In the following examples the formationof pedal notes by strings or wood-wind in no way alters the generalcharacter of the Tutti:
Melodic doubling of voices by orchestral instruments (in unison oroctaves) is of frequent occurrence, but incessant duplication for anextended period of time should be avoided; it is only permissible inisolated phrases. The most natural duplication in-123- unison of womens'voices is performed by violins, violas, clarinets and oboes; that ofmens' voices by violas, 'cellos, bassoons and horns. Doubling inoctaves is usually done in the upper register. Trombones and trumpetsoverpower the voice and cannot be used for this purpose. Uninterruptedor too frequent duplication should be avoided, not only because theoperation deprives the singer of full freedom of expression, but alsobecause it replaces by a mixed timbre the rare characteristicqualities of the human voice. Doubling, when limited to a few specialphrases supports the voice and endows it with beauty and colour. It isonly suitable in tempo; to apply it, in unison or octaves to apassage ad. lib. is both ineffective and dangerous.
At least two of Yun's compositions were directly inspired by the Taoist symbolism represented in these frescoes. In Images (1968), for flute, oboe, violin and cello, Yun assigns each instrument an element, a cardinal point, a color, and one of the four animal gods guarding the coffin: white tiger, blue dragon, black tortoise, and red phoenix. For example the cello represents Metal, West, White, and White Tiger.