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E♭ — down a major second (used for horn on pitches with multiple sharps until Richard Strauss) D — down a minor third. C — down a perfect fourth. B♭ basso — down a perfect fifth. Some less common transpositions include: A♭ alto — up a minor third (used in Schubert's 4th symphony, 2nd movement) F♯ — up a minor second.
Hand-stopping is a technique by which a natural horn or a natural trumpet can be made to produce notes outside of its normal harmonic series. By inserting the hand, cupped, into the bell, the player can reduce the pitch of a note by a semitone or more. This, combined with the use of crooks changing the key of the instrument, allowed composers ...
The German horn is the most common type of orchestral horn, [22] and is ordinarily known simply as the "horn". The double horn in F/B♭ is the version most used by professional bands and orchestras. A musician who plays the German horn is called a horn player (or, less frequently, a hornist).
The French horn (since the 1930s known simply as the horn in professional music circles) is a brass instrument made of tubing wrapped into a coil with a flared bell. The double horn in F/B ♭ (technically a variety of German horn) is the horn most often used by players in professional orchestras and bands, although the descant and triple horn have become increasingly popular.
Concerto for 2 Horns in G major, GWV 332. Anton Joseph Hampel. Concerto in D for horn, 2 violins, viola and basso. Georg Friedrich Händel. Concerto a due cori No. 2 in F major, HWV 333. Concerto a due cori No. 3 in F, HWV 334. Aria in F major HWV 410, for 2 horns, 2 oboes and bassoon. Johann David Heinichen.
The tenor horn is a valved brass instrument (in E ♭) which has a predominantly conical bore like that of the euphonium and flugelhorn. It uses a deep funnel- or cup-shaped mouthpiece. The tenor horn's conical bore and deep mouthpiece produce a mellow, rounded tone that is often used as a middle voice, supporting the melodies of the trumpets ...
Mozart's approach to composition. A surviving letter of Mozart's to his father Leopold (31 July 1778) indicates that he considered composition an active process: You know that I plunge myself into music, so to speak—that I think about it all day long—that I like experimenting—studying—reflecting.
In music, call and response is a compositional technique, often a succession of two distinct phrases that works like a conversation in music. One musician offers a phrase, and a second player answers with a direct commentary or response. The phrases can be vocal, instrumental, or both. [ 1 ]