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In the United Kingdom, the United States, and Canada, a form of glockenspiel is called a bell lyre, bell lyra, or lyra-glockenspiel. [11] The bell lyre is a form of glockenspiel commonly used in marching bands. [12] One variation is played vertically and has an extendable spike that is held on a strap.
Maurice Ravel preferred the keyboard version of the instrument because it can play a true ff dynamic for brilliance and iridescence in orchestral climaxes. [3] In the late 20th century, the firm of Bergerault began manufacturing a three-octave (F 2 –E 4 ) mallet instrument with a damping mechanism operated by a foot pedal, which is capable of ...
Keyboard instruments are not usually a standard members of a 2010-era orchestra or concert band, but they are included occasionally. In orchestras from the 1600s to the mid-1750s, a keyboard instrument such as the pipe organ or harpsichord was normally played with an orchestra, with the performer improvising chords from a figured bass part.
The celesta (/ s ɪ ˈ l ɛ s t ə /) or celeste (/ s ɪ ˈ l ɛ s t /), also called a bell-piano, is a struck idiophone operated by a keyboard. It looks similar to an upright piano (four- or five- octave ), albeit with smaller keys and a much smaller cabinet, or a large wooden music box (three-octave).
Like the glockenspiel, the xylophone is a transposing instrument: its parts are written one octave below the sounding notes. [5] Concert xylophones have tube resonators below the bars to enhance the tone and sustain. Frames are made of wood or cheap steel tubing: more expensive xylophones feature height adjustment and more stability in the stand.
Some instruments are constructed in a variety of sizes, with the larger versions having a lower range than the smaller ones. Common examples are clarinets (the high E ♭ clarinet, soprano instruments in C, B ♭ and A, the alto in E ♭, and the bass in B ♭), flutes (the piccolo, transposing at the octave, the standard concert-pitch flute, and the alto flute in G), saxophones (in several ...
Tchaikovsky had voiced his dislike for the sound of piano and orchestra while writing his Second Piano Concerto [5] with his isolating the soloist from the orchestra as much as possible. Tchaikovsky scholar David Brown notes that the middle section of the quasi Rondo of the Fantasia, written for piano solo, "was the logical goal toward which ...
Voice, Violin and Piano, for female voice, violin, and piano (1976) Instruments 3, for flute (doubling piccolo and alto flute), oboe (doubling English horn), and percussion (1977) Spring of Chosroes, for violin and piano (1977) Neither (Opera in One Act), for soprano and orchestra (1977) Piano (1977) Flute and Orchestra (1978)