What is an orchestra in brief? Meaning of the word orchestra
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Historical sketch
The very idea of simultaneous music playing by a group of instrumental performers goes back to ancient times: back in Ancient Egypt small groups of musicians played together at various holidays and funerals. An early example of orchestration is the score of Monteverdi's Orpheus, written for forty instruments: that is how many musicians served at the court of the Duke of Mantan. During the 17th century, ensembles consisted, as a rule, of related instruments, and only in exceptional cases was the combination of dissimilar instruments practiced. By the beginning of the 18th century, an orchestra based on string instruments had developed: first and second violins, violas, cellos and double basses. This composition of strings made it possible to use full-voiced four-voice harmony with octave doubling of the bass. The leader of the orchestra simultaneously performed the part of the general bass on the harpsichord (in secular music playing) or on the organ (in church music). Later, the orchestra included oboes, flutes and bassoons, and often the same performers played the flutes and oboes, and these instruments could not sound at the same time. In the second half of the 18th century, clarinets, trumpets and percussion instruments (drums or timpani) joined the orchestra.
The word "orchestra" ("orchestra") comes from the name of the round platform in front of the stage in ancient Greek theater, where the ancient Greek choir was located, a participant in any tragedy or comedy. During the Renaissance and further in the 17th century, the orchestra was transformed into an orchestra pit and, accordingly, gave its name to the group of musicians housed in it.
Symphony Orchestra
A symphonic orchestra is an orchestra made up of several different groups of instruments - a family of strings, winds and percussion. The principle of such unification developed in Europe in the 18th century. Originally in Symphony Orchestra included groups of bowed instruments, woodwind and brass instruments, which were joined by a few percussion musical instruments. Subsequently, the composition of each of these groups expanded and diversified. Currently, among a number of varieties of symphony orchestras, it is customary to distinguish small And big Symphony Orchestra. A small symphony orchestra is an orchestra of predominantly classical composition (playing music of the late 18th - early 19th centuries or modern stylizations). It consists of 2 flutes (rarely a small flute), 2 oboes, 2 clarinets, 2 bassoons, 2 (rarely 4) horns, sometimes 2 trumpets and timpani, a string group of no more than 20 instruments (5 first and 4 second violins, 4 violas, 3 cellos, 2 double basses). The Big Symphony Orchestra (BSO) includes trombones and tubas in the brass group and can have any composition. The number of woodwind instruments (flutes, oboes, clarinets and bassoons) can reach up to 5 instruments of each family (sometimes there are more clarinets) and include their varieties (small and alto flutes, oboe d'amore and English horn, small, alto and bass clarinets, contrabassoon). The brass group can include up to 8 horns (including Wagner (horn) tubas), 5 trumpets (including snare, alto, bass), 3-5 trombones (tenor and bass) and tuba. Sometimes saxophones are used (all 4 types, see jazz orchestra). The string group reaches 60 or more instruments. Huge variety possible percussion instruments(the basis of the percussion group is timpani, snare and bass drums, cymbals, triangle, tom-tom and bells). Harp, piano, harpsichord, and organ are often used.
The large symphony orchestra has about a hundred musicians.
Brass band
A brass band is an orchestra consisting exclusively of wind and percussion instruments. The basis of the brass band is made up of brass instruments, the leading role in the brass band among brass instruments is played by wide-bore brass wind instruments flugelhorn groups - soprano-flugelhorns, cornets, altohorns, tenorhorns, baritone euphoniums, bass and double bass tubas (note: in a symphony orchestra only one double bass tuba is used). Parts of narrow-bore brass instruments trumpets, horns, and trombones are superimposed on their basis. Woodwind instruments are also used in brass bands: flutes, clarinets, saxophones, and in larger ensembles - oboes and bassoons. In large brass bands, wooden instruments are repeatedly doubled (like strings in a symphony orchestra), varieties are used (especially small flutes and clarinets, English oboe, viola and bass clarinet, sometimes double bass clarinet and contrabassoon, alto flute and amour oboe are used quite rarely). The wooden group is divided into two subgroups, similar to the two subgroups of brass: clarinet-saxophone (bright-sounding single-reed instruments - there are slightly more of them in number) and a group of flutes, oboes and bassoons (weaker in sound than clarinets, double-reed and whistle instruments) . The group of horns, trumpets and trombones is often divided into ensembles; trumpets (small trumpets, rarely alto and bass) and trombones (bass) are used. In such orchestras there is a large group of percussion, the basis of which is the same timpani and the “Janissary group”: small, cylindrical and large drums, cymbals, a triangle, as well as a tambourine, castanets and tom-toms. Possible keyboard instruments are piano, harpsichord, synthesizer (or organ) and harps. A large brass band can play not only marches and waltzes, but also overtures, concertos, opera arias and even symphonies. The gigantic combined brass bands in parades are actually based on doubling all the instruments and their composition is very poor. These are just multiply enlarged small brass bands without oboes, bassoons and with a small number of saxophones. The brass band is distinguished by its powerful, bright sonority and therefore is often used not in closed spaces, but in the open air (for example, accompanying a procession). It is typical for a brass band to perform military music, as well as popular dances of European origin (so-called garden music) - waltzes, polkas, mazurkas. IN Lately brass bands of garden music change their composition by merging with orchestras of other genres. So, when performing Creole dances - tango, foxtrot, blues jive, rumba, salsa, elements of jazz are used: instead of a Janissary drum group, a jazz drum set (1 performer) and a number of Afro-Creole instruments (see jazz orchestra). In such cases, keyboard instruments (piano, organ) and harp are increasingly used.
String orchestra
A string orchestra is essentially a group of bowed string instruments in a symphony orchestra. The string orchestra consists of two groups of violins ( first violins and second violins), as well as violas, cellos and double basses. This type of orchestra has been known since the 16th-17th centuries.
Folk Instruments Orchestra
In various countries, orchestras made up of folk instruments have become widespread, performing both transcriptions of works written for other ensembles and original compositions. As an example, we can name an orchestra of Russian folk instruments, which includes instruments of the domra and balalaika family, as well as gusli, accordion, zhaleika, rattles, whistles and other instruments. The idea to create such an orchestra was proposed in late XIX century balalaika player Vasily Andreev. In some cases, such an orchestra additionally includes instruments that are actually not folk instruments: flutes, oboes, various bells and many percussion instruments.
Variety orchestra
A pop orchestra is a group of musicians performing pop and jazz music. The variety orchestra consists of strings, winds (including saxophones, usually not represented in the wind groups of symphony orchestras), keyboards, drums and electric musical instruments.
Variety Symphony Orchestra - large instrumental composition capable of integrating performing principles various types musical art. The variety part is represented in such compositions by a rhythm group (drum set, percussion, piano, synthesizer, guitar, bass guitar) and a full big band (groups of trumpets, trombones and saxophones); symphonic - a large group of string instruments, a group of woodwinds, timpani, harp and others.
The predecessor of the pop symphony orchestra was symphonic jazz, which arose in the USA in the 20s. and created the concert style of popular-entertainment and dance-jazz music. In line with symphonic jazz, the domestic orchestras of L. Ya. Teplitsky (“Concert Jazz Band”, 1927) and the State Jazz Orchestra under the direction of V. Knushevitsky (1937) performed. The term “Variety Symphony Orchestra” appeared in 1954. This became the name of the Variety Orchestra of the All-Union Radio and Television under the direction of Y. Silantyev, created in 1945. In 1983, after the death of Silantyev, it was led by A. A. Petukhov, then M. M. Kazhlaev. The variety and symphony orchestras also included the orchestras of the Moscow Hermitage Theater, the Moscow and Leningrad Variety Theatres, the Blue Screen Orchestra (director B. Karamyshev), the Leningrad Concert Orchestra (director A. Badchen), the State Variety Orchestra of the Latvian SSR under the direction of Raymond Pauls, State Pop Symphony Orchestra of Ukraine, Presidential Orchestra of Ukraine, etc.
Most often, pop symphony orchestras are used during song gala performances, television competitions, and less often for the performance of instrumental music. Studio work (recording music for radio and cinema, on sound media, creating phonograms) prevails over concert work. Pop symphony orchestras have become a kind of laboratory for domestic, light and jazz music.
Jazz orchestra
A jazz orchestra is one of the most interesting and unique phenomena modern music. Having emerged later than all other orchestras, it began to influence other forms of music - chamber, symphonic, and brass band music. Jazz uses many of the instruments of a symphony orchestra, but has a quality that is radically different from all other forms of orchestral music.
The main quality that distinguishes jazz from European music is the greater role of rhythm (much greater than in a military march or waltz). In this regard, in any jazz orchestra there is a special group of instruments - the rhythm section. A jazz orchestra has one more feature - the predominant role of jazz improvisation leads to noticeable variability in its composition. However, there are several types of jazz orchestras (about 7-8): chamber combo (although this is the area of the ensemble, it must be indicated, since it is the essence of the rhythm section), Dixieland chamber ensemble, small jazz orchestra - small big band , large jazz orchestra without strings - big band, large jazz orchestra with strings (not symphonic type) - extended big band, symphonic jazz orchestra.
The rhythm section of all types of jazz orchestras usually includes drums, plucked strings, and keyboards. This is a jazz drum kit (1 player) consisting of several rhythm cymbals, several accent cymbals, several tom-toms (either Chinese or African), pedal cymbals, a snare drum and special type a large drum of African origin - “Ethiopian (Kenyan) barrel” (its sound is much softer than a Turkish bass drum). In many styles of southern jazz and Latin American music (rumba, salsa, tango, samba, cha-cha-cha, etc.) additional drums are used: a set of congo-bongo drums, maracas (chocalos, cabasas), bells, wooden boxes, Senegalese bells (agogo), clave, etc. Other instruments of the rhythm section that already hold the melodic-harmonic pulse: piano, guitar or banjo (a special type of North African guitar), acoustic bass guitar or double bass (played only by plucking). In large orchestras, sometimes there are several guitars, a guitar along with a banjo, both types of bass. The rarely used tuba is the rhythm section's wind bass instrument. In large orchestras (big bands of all 3 types and symphonic jazz) they often use vibraphone, marimba, flexatone, ukulele, blues guitar (both of the latter are slightly electrified, along with bass), but these instruments are no longer part of the rhythm section.
Other groups of a jazz orchestra depend on its type. The combo usually has 1-2 soloists (saxophone, trumpet or bow soloist: violin or viola). Examples: ModernJazzQuartet, JazzMessenjers.
A small big band may have 3 trumpets, 1-2 trombones, 3-4 saxophones (soprano = tenor, alto, baritone, everyone also plays clarinets), 3-4 violins, sometimes a cello. Examples: Ellington's first orchestra 1929-1935 (USA), Bratislava Hot Serenaders (Slovakia).
In a large big band there are usually 4 trumpets (1-2 play high soprano parts at the level of small ones with special mouthpieces), 3-4 trombones (4 trombone tenor-double bass or tenor bass, sometimes 3), 5 saxophones (2 altos, 2 tenors = soprano, baritone).
An extended big band can have up to 5 trumpets (with individual trumpets), up to 5 trombones, additional saxophones and clarinets (5-7 general saxophones and clarinets), bowed strings (no more than 4-6 violins, 2 violas, 3 cellos) , sometimes horn, flute, small flute (only in the USSR). Similar experiments in jazz were carried out in the USA by Duke Ellington, Artie Shaw, Glenn Miller, Stanley Kenton, Count Basie, in Cuba - Paquito d'Rivera, Arturo Sandoval, in the USSR - Eddie Rosner, Leonid Utyosov.
A symphonic jazz orchestra includes a large string group (40-60 performers), and bowed double basses are possible (in a big band there can only be bowed cellos, the double bass is a member of the rhythm section). But the main thing is the use of flutes, rare for jazz (in all types from small to bass), oboes (all 3-4 types), horns and bassoons (and contrabassoon), which are not at all typical for jazz. Clarinets are complemented by bass, viola, and small clarinet. Such an orchestra can perform symphonies and concerts specially written for it, and participate in operas (George Gershwin). Its peculiarity is a pronounced rhythmic pulse, which is not found in a regular symphony orchestra. What should be distinguished from a symphonic jazz orchestra is its complete aesthetic opposite - a pop orchestra, based not on jazz, but on beat music.
Special types of jazz orchestras are the brass jazz band (a brass band with a jazz rhythm section, including a guitar group and with a reduced role of flugelhorns), a church jazz band ( exists now only in countries Latin America , includes an organ, choir, church bells, the entire rhythm section, drums without bells and agogos, saxophones, clarinets, trumpets, trombones, bowed strings), a jazz-rock ensemble (the Miles Davis group, from the Soviet and Russian "Arsenal" and etc.).
Military band
Military band- a special full-time military unit designed to perform military music, that is, musical works during drill training of troops, during military rituals, ceremonies, as well as for concert activities.There are uniform military bands, consisting of brass and percussion instruments, and mixed ones, which also include a group of woodwind instruments. The leadership of a military orchestra is carried out by a military conductor. The use of musical instruments (wind and percussion) in war was already known to the ancient peoples. The use of instruments in the Russian troops is already indicated in the chronicles of the 14th century: “and the many voices of the military trumpets began to blow, and the jew's harps teput (sound), and the warriors roared without wolf."
Some princes had 140 trumpets and a tambourine with thirty banners or regiments. Old Russian military instruments include timpani, which were used under Tsar Alexei Mikhailovich in the Reitar cavalry regiments, and nakrys, currently known as tambourines. In the old days, tambourines were small copper bowls covered with leather on top, which were struck with sticks. They were tied in front of the rider at the saddle. Sometimes the tambourines reached extraordinary sizes; they were carried by several horses, eight people hit them [ source not specified 31 days] . These same tambourines were known to our ancestors as timpani.
In the XIV century. Alarm bells, that is, drums, are already known. In the old days, surna, or antimony, was also used.
In the West, the establishment of more or less organized military bands dates back to the 17th century. Under Louis XIV, the orchestra consisted of pipes, oboes, bassoons, trumpets, timpani, and drums. All these instruments were divided into three groups, rarely combined
In the 18th century, the clarinet was introduced into the military orchestra, and military music acquired a melodic meaning. Until the beginning of the 19th century, military bands in both France and Germany included, in addition to the above-mentioned instruments, horns, serpents, trombones and Turkish music, that is, bass drum, cymbals, triangle. The invention of pistons for brass instruments (1816) had a great influence on the development of the military orchestra: trumpets, cornets, bugelhorns, ophicleides with pistons, tubas, and saxophones appeared. It is also worth mentioning the orchestra, consisting only of brass instruments (fanfare). Such an orchestra is used in cavalry regiments. New organization military bands moved from the West to Russia.
History of military music
Peter I cared about improving military music; were discharged from Germany knowledgeable people to train soldiers who played from 11 to 12 noon on the Admiralty Tower. During the reign of Anna Ioannovna and later, at operatic court performances, the orchestra was reinforced by the best musicians from the guards regiments.
Military music should also include choirs of regimental songbooks.
When writing this article, material from Encyclopedic Dictionary Brockhaus and Efron (1890-1907)
School orchestra
A group of musicians consisting of school students, led, as a rule, by a primary teacher music education. For musicians it is often the starting point of their future musical career.
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Excerpt characterizing the Orchestra
An old man, as experienced in court affairs as in military affairs, that Kutuzov, who in August of the same year was chosen commander-in-chief against the will of the sovereign, the one who removed the heir and the Grand Duke from the army, the one who, with his power, in opposition the will of the sovereign, ordered the abandonment of Moscow, this Kutuzov now immediately realized that his time was over, that his role had been played and that he no longer had this imaginary power. And he understood this not just from court relationships. On the one hand, he saw that military affairs, the one in which he played his role, was over, and he felt that his calling had been fulfilled. On the other hand, at the same time he began to feel physical fatigue in your old body and the need for physical rest.On November 29, Kutuzov entered Vilna - his good Vilna, as he said. Kutuzov was governor of Vilna twice during his service. In the rich, surviving Vilna, in addition to the comforts of life that he had been deprived of for so long, Kutuzov found old friends and memories. And he, suddenly turning away from all military and state concerns, plunged into a smooth, familiar life as much as he was given peace by the passions seething around him, as if everything that was happening now and was about to happen in the historical world did not concern him at all.
Chichagov, one of the most passionate cutters and overturners, Chichagov, who first wanted to make a diversion to Greece, and then to Warsaw, but did not want to go where he was ordered, Chichagov, known for his courage in speaking to the sovereign, Chichagov, who considered Kutuzov benefited himself, because when he was sent in the 11th year to conclude peace with Turkey in addition to Kutuzov, he, making sure that peace had already been concluded, admitted to the sovereign that the merit of concluding peace belonged to Kutuzov; This Chichagov was the first to meet Kutuzov in Vilna at the castle where Kutuzov was supposed to stay. Chichagov in a naval uniform, with a dirk, holding his cap under his arm, gave Kutuzov his drill report and the keys to the city. That contemptuously respectful attitude of the youth towards the old man who had lost his mind was expressed to the highest degree in the entire address of Chichagov, who already knew the charges brought against Kutuzov.
While talking with Chichagov, Kutuzov, among other things, told him that the carriages with dishes captured from him in Borisov were intact and would be returned to him.
- C"est pour me dire que je n"ai pas sur quoi manger... Je puis au contraire vous fournir de tout dans le cas meme ou vous voudriez donner des diners, [You want to tell me that I have nothing to eat. On the contrary, I can serve you all, even if you wanted to give dinners.] - Chichagov said, flushing, with every word he wanted to prove that he was right and therefore assumed that Kutuzov was preoccupied with this very thing. Kutuzov smiled his thin, penetrating smile and, shrugging his shoulders, answered: “Ce n"est que pour vous dire ce que je vous dis. [I want to say only what I say.]
In Vilna, Kutuzov, contrary to the will of the sovereign, stopped most of the troops. Kutuzov, as his close associates said, had become unusually depressed and physically weakened during his stay in Vilna. He was reluctant to deal with the affairs of the army, leaving everything to his generals and, while waiting for the sovereign, indulged in an absent-minded life.
Having left St. Petersburg with his retinue - Count Tolstoy, Prince Volkonsky, Arakcheev and others, on December 7, the sovereign arrived in Vilna on December 11 and drove straight up to the castle in a road sleigh. At the castle, despite the severe frost, stood about a hundred generals and staff officers in full dress uniform and an honor guard from the Semenovsky regiment.
The courier, who galloped up to the castle in a sweaty troika, ahead of the sovereign, shouted: “He’s coming!” Konovnitsyn rushed into the hallway to report to Kutuzov, who was waiting in a small Swiss room.
A minute later, the thick, large figure of an old man, in full dress uniform, with all the regalia covering his chest, and his belly pulled up by a scarf, pumping, came out onto the porch. Kutuzov put his hat on the front, picked up his gloves and sideways, stepping with difficulty down the steps, stepped down and took in his hand the report prepared for submission to the sovereign.
Running, whispering, the troika still desperately flying by, and all eyes turned to the jumping sleigh, in which the figures of the sovereign and Volkonsky were already visible.
All this, out of a fifty-year habit, had a physically disturbing effect on the old general; He hurriedly felt himself with concern, straightened his hat, and at that moment the sovereign, emerging from the sleigh, raised his eyes to him, cheered up and stretched out, submitted a report and began to speak in his measured, ingratiating voice.
The Emperor glanced quickly at Kutuzov from head to toe, frowned for a moment, but immediately, overcoming himself, walked up and, spreading his arms, hugged the old general. Again, according to the old, familiar impression and in relation to his sincere thoughts, this hug, as usual, had an effect on Kutuzov: he sobbed.
The Emperor greeted the officers and the Semenovsky guard and, shaking the old man’s hand again, went with him to the castle.
Left alone with the field marshal, the sovereign expressed his displeasure to him for the slowness of the pursuit, for the mistakes in Krasnoye and on the Berezina, and conveyed his thoughts about the future campaign abroad. Kutuzov made no objections or comments. The same submissive and meaningless expression with which, seven years ago, he listened to the orders of the sovereign on the Field of Austerlitz, was now established on his face.
When Kutuzov left the office and walked down the hall with his heavy, diving gait, head down, someone’s voice stopped him.
“Your Grace,” someone said.
Kutuzov raised his head and looked for a long time into the eyes of Count Tolstoy, who stood in front of him with some small thing on a silver platter. Kutuzov did not seem to understand what they wanted from him.
Suddenly he seemed to remember: a barely noticeable smile flashed on his plump face, and he, bending low, respectfully, took the object lying on the platter. This was George 1st degree.
The next day the field marshal had dinner and a ball, which the sovereign honored with his presence. Kutuzov was awarded George 1st degree; the sovereign showed him the highest honors; but the sovereign’s displeasure against the field marshal was known to everyone. Decency was observed, and the sovereign showed the first example of this; but everyone knew that the old man was guilty and no good. When, at the ball, Kutuzov, according to Catherine’s old habit, upon the Emperor’s entrance into the ballroom, ordered the taken banners to be laid down at his feet, the Emperor frowned unpleasantly and uttered words in which some heard: “old comedian.”
The sovereign's displeasure against Kutuzov intensified in Vilna, especially because Kutuzov obviously did not want or could not understand the significance of the upcoming campaign.
When the next morning the sovereign said to the officers gathered at his place: “You saved more than just Russia; you saved Europe,” everyone already understood that the war was not over.
Only Kutuzov did not want to understand this and openly expressed his opinion that a new war could not improve the situation and increase the glory of Russia, but could only worsen its position and reduce the highest degree of glory on which, in his opinion, Russia now stood. He tried to prove to the sovereign the impossibility of recruiting new troops; spoke about the difficult situation of the population, the possibility of failure, etc.
In such a mood, the field marshal, naturally, seemed to be only a hindrance and a brake on the upcoming war.
To avoid clashes with the old man, a way out was found by itself, which consisted in, as at Austerlitz and as at the beginning of the campaign under Barclay, to remove from under the commander-in-chief, without disturbing him, without announcing to him that the ground of power on which he stood , and transfer it to the sovereign himself.
For this purpose, the headquarters was gradually reorganized, and all the significant strength of Kutuzov’s headquarters was destroyed and transferred to the sovereign. Tol, Konovnitsyn, Ermolov - received other appointments. Everyone said loudly that the field marshal had become very weak and was upset about his health.
He had to be in poor health in order to transfer his place to the one who took his place. And indeed, his health was poor.
Just as naturally, and simply, and gradually, Kutuzov came from Turkey to the treasury chamber of St. Petersburg to collect the militia and then into the army, precisely when he was needed, just as naturally, gradually and simply now, when Kutuzov’s role was played, to take his place a new, needed figure appeared.
The war of 1812, in addition to its national significance dear to the Russian heart, should have had another – European one.
The movement of peoples from West to East had to be followed by the movement of peoples from East to West, and for this new war a new figure was needed, having different properties and views than Kutuzov, driven by different motives.
Alexander the First was as necessary for the movement of peoples from east to west and for the restoration of the borders of peoples as Kutuzov was necessary for the salvation and glory of Russia.
Kutuzov did not understand what Europe, balance, Napoleon meant. He couldn't understand it. The representative of the Russian people, after the enemy was destroyed, Russia was liberated and placed at the highest level of its glory, the Russian person, as a Russian, had nothing more to do. Representative people's war there was nothing left but death. And he died.
Pierre, as most often happens, felt the full weight of the physical deprivations and stresses experienced in captivity only when these stresses and deprivations ended. After his release from captivity, he came to Orel and on the third day of his arrival, while he was going to Kyiv, he fell ill and lay sick in Orel for three months; As the doctors said, he suffered from bilious fever. Despite the fact that the doctors treated him, bled him and gave him medicine to drink, he still recovered.
Everything that happened to Pierre from the time of his liberation until his illness left almost no impression on him. He remembered only grey, gloomy, sometimes rainy, sometimes snowy weather, internal physical melancholy, pain in his legs, in his side; remembered the general impression of misfortune and suffering of people; he remembered the curiosity that disturbed him from the officers and generals who questioned him, his efforts to find a carriage and horses, and, most importantly, he remembered his inability to think and feel at that time. On the day of his release, he saw the corpse of Petya Rostov. On the same day, he learned that Prince Andrei had been alive for more than a month after the Battle of Borodino and had only recently died in Yaroslavl, in the Rostov house. And on the same day, Denisov, who reported this news to Pierre, between conversations mentioned Helen’s death, suggesting that Pierre had known this for a long time. All this seemed strange to Pierre at the time. He felt that he could not understand the meaning of all this news. He was only in a hurry then, as quickly as possible, to leave these places where people were killing each other, to some quiet refuge and there to come to his senses, rest and think about all the strange and new things that he had learned during this time. But as soon as he arrived in Orel, he fell ill. Waking up from his illness, Pierre saw around him his two people who had arrived from Moscow - Terenty and Vaska, and the eldest princess, who, living in Yelets, on Pierre's estate, and having learned about his release and illness, came to him to walk behind him.
During his recovery, Pierre only gradually unaccustomed himself to the impressions of the last months that had become familiar to him and got used to the fact that no one would drive him anywhere tomorrow, that no one would take his warm bed away, and that he would probably have lunch, tea, and dinner. But in his dreams, for a long time he saw himself in the same conditions of captivity. Pierre also gradually understood the news that he learned after his release from captivity: the death of Prince Andrei, the death of his wife, the destruction of the French.
A joyful feeling of freedom - that complete, inalienable, inherent freedom of man, the consciousness of which he first experienced at his first rest stop, when leaving Moscow, filled Pierre's soul during his recovery. He was surprised that this internal freedom, independent of external circumstances, now seemed to be abundantly, luxuriously furnished with external freedom. He was alone in a strange city, without acquaintances. Nobody demanded anything from him; they didn’t send him anywhere. He had everything he wanted; The thought of his wife that had always tormented him before was no longer there, since she no longer existed.
- Oh, how good! How nice! - he said to himself when they brought him a cleanly set table with fragrant broth, or when he lay down on a soft, clean bed at night, or when he remembered that his wife and the French were no more. - Oh, how good, how nice! - And out of old habit, he asked himself: well, then what? What will i do? And immediately he answered himself: nothing. I will live. Oh, how nice!
The very thing that tormented him before, what he was constantly looking for, the purpose of life, now did not exist for him. It was no coincidence that this sought-after goal of life did not exist for him at the present moment, but he felt that it did not and could not exist. And it was this lack of purpose that gave him that complete, joyful consciousness of freedom, which at that time constituted his happiness.
He could not have a goal, because he now had faith - not faith in some rules, or words, or thoughts, but faith in a living, always felt God. Previously, he sought it for the purposes that he set for himself. This search for a goal was only a search for God; and suddenly he learned in his captivity, not in words, not by reasoning, but by direct feeling, what his nanny had told him long ago: that God is here, here, everywhere. In captivity, he learned that God in Karataev is greater, infinite and incomprehensible than in the Architect of the universe recognized by the Freemasons. He experienced the feeling of a man who had found what he was looking for under his feet, while he strained his eyesight, looking far away from himself. All his life he had been looking somewhere, over the heads of the people around him, but he should have not strained his eyes, but only looked in front of him.
He had not been able to see before the great, incomprehensible and infinite in anything. He just felt that it must be somewhere and looked for it. In everything close and understandable, he saw something limited, petty, everyday, meaningless. He armed himself with a mental telescope and looked into the distance, to where this small, everyday thing, hiding in the fog of the distance, seemed great and endless to him only because it was not clearly visible. This is how he imagined European life, politics, Freemasonry, philosophy, philanthropy. But even then, in those moments that he considered his weakness, his mind penetrated into this distance, and there he saw the same petty, everyday, meaningless things. Now he had learned to see the great, the eternal and the infinite in everything, and therefore naturally, in order to see it, to enjoy its contemplation, he threw down the pipe into which he had been looking until now through the heads of people, and joyfully contemplated the ever-changing, ever-great world around him. , incomprehensible and endless life. And the closer he looked, the more calm and happy he was. Previously, the terrible question that destroyed all his mental structures was: why? did not exist for him now. Now to this question - why? a simple answer was always ready in his soul: because there is a God, that God, without whose will a hair will not fall from a man’s head.
Pierre has hardly changed in his external techniques. He looked exactly the same as he had been before. Just as before, he was distracted and seemed preoccupied not with what was in front of his eyes, but with something special of his own. The difference between his previous and present state was that before, when he forgot what was in front of him, what was said to him, he, wrinkling his forehead in pain, seemed to be trying and could not see something far away from him . Now he also forgot what was said to him and what was in front of him; but now, with a barely noticeable, seemingly mocking, smile, he peered at what was in front of him, listened to what was being said to him, although obviously he saw and heard something completely different. Before, although he seemed to be a kind person, he was unhappy; and therefore people involuntarily moved away from him. Now a smile of the joy of life constantly played around his mouth, and his eyes shone with concern for people - the question: are they as happy as he is? And people were pleased in his presence.
Before, he talked a lot, got excited when he spoke, and listened little; Now he rarely got carried away in conversation and knew how to listen so that people willingly told him their most intimate secrets.
The princess, who had never loved Pierre and had a particularly hostile feeling towards him since, after the death of the old count, she felt obliged to Pierre, to her chagrin and surprise, after a short stay in Orel, where she came with the intention of proving to Pierre that, Despite his ingratitude, she considers it her duty to follow him; the princess soon felt that she loved him. Pierre did nothing to ingratiate himself with the princess. He just looked at her with curiosity. Previously, the princess felt that in his gaze at her there was indifference and mockery, and she, as before other people, shrank before him and showed only her fighting side of life; now, on the contrary, she felt that he seemed to be digging into the most intimate aspects of her life; and she, at first with distrust, and then with gratitude, showed him the hidden good sides of her character.
The most cunning person could not have more skillfully insinuated himself into the princess’s confidence, evoking her memories of the best time of her youth and showing sympathy for them. Meanwhile, Pierre’s whole cunning consisted only in the fact that he sought his own pleasure, evoking human feelings in the embittered, dry and proud princess.
- Yes, he is very, very a kind person“When she is under the influence not of bad people, but of people like me,” the princess told herself.
The change that took place in Pierre was noticed in their own way by his servants, Terenty and Vaska. They found that he had slept a lot. Terenty often, having undressed the master, with boots and dress in his hand, wishing him good night, hesitated to leave, waiting to see if the master would enter into conversation. And for the most part Pierre stopped Terenty, noticing that he wanted to talk.
- Well, tell me... how did you get food for yourself? - he asked. And Terenty began a story about the Moscow ruin, about the late count, and stood for a long time with his dress, telling, and sometimes listening to, Pierre’s stories, and, with a pleasant consciousness of the master’s closeness to him and friendliness towards him, he went into the hallway.
The doctor who treated Pierre and visited him every day, despite the fact that, according to the duties of doctors, he considered it his duty to look like a man whose every minute is precious for suffering humanity, sat for hours with Pierre, telling his favorite stories and observations on the morals of patients in general and especially ladies.
Music is, first of all, sounds. They can be loud and quiet, fast and slow, rhythmic and not very...
But each of them, each sounding note, in some certain way affects the consciousness of the person listening to the music, his state of mind. And if this is orchestral music, then it certainly cannot leave anyone indifferent!
Orchestra. Types of orchestras
An orchestra is a group of musicians who play music on musical instruments that are designed specifically for these instruments.
And depending on what this composition is, the orchestra has different musical capabilities: in timbre, dynamics, expressiveness.
What types of orchestras are there? The main ones are:
- symphonic;
- instrumental;
- folk instrument orchestra;
- wind;
- jazz;
- pop.
There is also a military orchestra (performing military songs), a school orchestra (comprising schoolchildren), and so on.
Symphony Orchestra
This type of orchestra contains strings, wind and percussion instruments.
There is a small symphony orchestra and a large one.
Maly is the one who plays the music of composers of the late 18th - early 19th centuries. There may also be modern variations in his repertoire. A large symphony orchestra differs from a small one by adding more instruments to its composition.
The small one must include:
- violins;
- alto;
- cellos;
- double basses;
- bassoons;
- horns;
- pipes;
- timpani;
- flutes;
- clarinet;
- oboe.
The large one includes the following tools:
- flutes;
- oboes;
- clarinets;
- contrabassoons.
By the way, it can contain up to 5 instruments from each family. And also in the large orchestra there are:
- horns;
- trumpets (bass, snare, alto);
- trombones (tenor, tenorbass);
- tuba
And, of course, percussion instruments:
- timpani;
- bells;
- snare and bass drum;
- triangle;
- plate;
- Indian tom-tom;
- harp;
- piano;
- harpsichord.
The peculiarity of a small orchestra is that there are about 20 string instruments in it, while in a large orchestra there are about 60.
The conductor leads the symphony orchestra. He artistically interprets a work performed by an orchestra using a score - a complete musical notation of all parts of each instrument of the orchestra.
Instrumental orchestra
This type of orchestra differs in its form in that it does not have a clear number of musical instruments of certain groups. And he can also perform any music (unlike a symphony orchestra, which performs exclusively classical music).
There are no specific types of instrumental orchestras, but conditionally they can include a pop orchestra, as well as an orchestra performing classics in modern arrangements.
According to historical information, instrumental music began to actively develop in Russia only under Peter the Great. She, of course, had Western influence, but she was no longer under such a ban as in earlier times. And before it got to the point where they banned not only playing, but also burning musical instruments. The Church believed that they had neither soul nor heart, and therefore they could not glorify God. And therefore instrumental music developed mainly among the common people.
They play in an instrumental orchestra the flute, lyre, cithara, pipe, trumpet, oboe, tambourine, trombone, pipe, nozzle and other musical instruments.
The most popular instrumental orchestra of the 20th century is the Paul Mauriat orchestra.
He was its conductor, leader, arranger. His orchestra played a lot of popular music of the 20th century, as well as his own compositions.
Folk Orchestra
In such an orchestra, the main instruments are folk ones.
For example, the most typical for a Russian folk orchestra are: domras, balalaikas, gusli, button accordions, harmonicas, zhaleikas, pipes, Vladimir horns, tambourines. Also additional musical instruments for such an orchestra are the flute and oboe.
The folk orchestra first appeared at the end of the 19th century, organized by V.V. Andreev. This orchestra toured a lot and gained wide popularity in Russia and abroad. And at the beginning of the 20th century folk orchestras began to appear everywhere: in clubs, at palaces of culture, and so on.
Brass band
This type of orchestra assumes that it includes various wind and percussion instruments. It comes in small, medium and large.
Jazz orchestra
This type of orchestra was also called a jazz band.
It includes the following musical instruments: saxophone, piano, banjo, guitar, drums, trumpets, trombones, double bass, clarinets.
In general, jazz is a direction in music that was formed under the influence of African rhythms and folklore, as well as European harmony.
Jazz first appeared in the southern United States at the beginning of the 20th century. And soon it spread to all countries of the world. At home it's Musical direction developed and was supplemented by new characteristic features that appeared in one or another region.
At one time in America, the terms “jazz” and “popular music” had the same meaning.
Jazz orchestras began to actively form already in the 1920s. And they remained so until the 40s.
In these music bands Participants, as a rule, acted while still in adolescence, performing their specific part - memorized or from notes.
The 1930s are considered the pinnacle of glory for jazz orchestras. The leaders of the most famous jazz orchestras at that time were: Artie Shaw, Glenn Miller, and others. Their musical works were heard everywhere at that time: on the radio, in dance clubs and so on.
Currently, jazz orchestras and melodies written in the jazz style are also very popular.
And although the species musical orchestras There are more, the article discusses the main ones.
Orchestra – a large group of musical instruments performing works specially designed for this composition.
Depending on the composition, orchestras have different expressive, timbre and dynamic capabilities and have different names:
- symphony orchestra (large and small),
- chamber, folk orchestra,
- wind,
- pop,
- jazz.
In a modern symphony orchestra, instruments are divided into the following groups:
I. Bowed strings: violins, violas, cellos, double basses.
II. Woodwinds: flutes, oboes, clarinets, bassoons.
III. Brass: horns, trumpets, trombones, tubas.
IV. Drums:
A) noise: castanets, rattles, maracas, whip, tom-tom, drums (large and small). Their parts are written on the same musical line – “thread”.
b) with a certain pitch: timpani, cymbals, triangle, bell, xylophone, vibraphone, celesta.
V. Keyboards: piano, organ, harpsichord, clavichord.
VI. Additional group: harp.
The full sound of an orchestra is called “ tutti " - ("All").
Conductor - (from French - “to manage, lead”) manages a group of musicians - performers, he owns the artistic interpretation of the work.
On the console in front of the conductor lies - score (full musical notation of all parts of orchestral instruments).
Parts of instruments in each group are recorded one after another, starting with the highest sounding instruments and ending with the lowest.
Arrangement of orchestral music for a piano performer is called clavier .
Characteristics of symphony orchestra groups
I. String-bowed
These are instruments that are similar in appearance and sound color (timbre). In addition, their sound is produced with a bow. Hence the name. The most virtuosic and expressive instrument of this group is violin
. It sounds like a singer's voice. It has a gentle, singing timbre. The violin is usually assigned the main melody of the piece. The orchestra has I and II violins. They play different parts.
Alto
looks like a violin, but is not much larger in size and has a more muffled, matte sound/
Cello
can be called a “big violin”. This instrument is not carried on the shoulder like a violin or viola, but rests on a stand that touches the floor. The sound of the cello is low, but at the same time soft, velvety, noble.
The largest instrument of this group is double bass
. They play on it while sitting because it is taller than a person. This instrument is rarely used as a solo instrument. Its sound is the lowest, buzzing in this group.
The string and bow group in the orchestra is the leading group in the orchestra. It has enormous timbre and technical capabilities.
II. Woodwinds
Wood is used to make wooden instruments. They are called wind instruments because they produce sound by blowing air into the instrument.
Flute
(from Italian it means “wind, blow”). The sound of the flute is transparent, ringing, cold.
It has a melodious, rich, warm, but somewhat nasal sound. oboe.
Has a varied timbre clarinet.
This quality allows him to perform dramatic, lyrical, scherzo paintings
Performs the bass line bassoon
- an instrument with a thick, slightly hoarse timbre.
The lowest bassoon has a name contrabassoon
.
A group of woodwind instruments is widely used for sketching pictures of nature and lyrical episodes.
III. Brass
Copper metals (copper, brass, etc.) are used to make brass instruments.
The entire group of brass instruments sounds powerfully and solemnly, brilliantly and brightly in the orchestra.
Has a sonorous “voice” pipe
. The loud sound of the trumpet can be heard even when the entire orchestra is playing. Often the trumpet has a lead part.
French horn
(“forest horn”)
may sound in pastoral music.
At the moment of highest tension in a musical work, especially of a dramatic nature, along with trumpets, trombones.
The lowest brass instrument in the orchestra is tuba.
It is often played in combination with other instruments.
Percussion Problem– enhance the sonority of the orchestra, make it more colorful, show the expressiveness and variety of rhythm.
This is a large, motley and diverse group that is united by a common method of producing sound - impact. That is, by their nature they are not melodic. Their main purpose is to emphasize the rhythm, enhance the overall sonority of the orchestra and complement and decorate it with various effects. The only permanent members of the orchestra are the timpani. Beginning in the 19th century, the strike force began to expand rapidly. Big and snare drums, cymbals and triangles, and then tambourine, tom-tom, bells and bells, xylophone and celesta, vibraphone. But these instruments were used only sporadically.
A characteristic feature of a number of instruments is the presence of white and black keys, which are collectively called a keyboard or, in an organ, a manual.
Basic keyboard instruments: organ
(relatives - portable
, positive
),
clavichord
(related - spinet
in Italy and virginal
in England), harpsichord, piano
(varieties - piano
And piano
).
Based on the sound source, keyboard instruments are divided into two groups. The first group includes instruments with strings, the second includes organ-type instruments. Instead of strings, they have pipes of various shapes.
Piano
is an instrument in which both loud (forte) and quiet (piano) sounds were produced with the help of hammers. Hence the name of the instrument.
Timbre harpsichord
- silvery, sound - quiet, of equal strength.
Organ –
the largest musical instrument. They play it, like a piano, by pressing the keys. In ancient times, the entire front part of the organ was decorated with fine artistic carvings. Behind him are thousands of pipes of various shapes, each with its own special timbre. Consequently, the organ produces both the highest and lowest sounds that the human ear can perceive.
VI. A frequent participant in the symphony orchestra is plucked string tool – harp , which is a gilded frame with stretched strings. The harp has a delicate, transparent timbre. Its sound creates a magical flavor.
Timbre characteristics of instruments
Types of orchestras
Orchestra of Russian Folk Instruments
The composition of such an orchestra includes the main groups:
- Plucked strings:
- domras, balalaikas, gusli
- Brass:
- flute, pity, Vladimir horns
- Pneumatic reed:
- button accordions, harmonicas
- tambourines and drums
- Additional tools:
- flute, oboe and their varieties
Orchestra of Belarusian Folk Instruments
Approximate composition:
- Stringed instruments:
- gusli, violin, bassetla
- Wind instruments:
- Pipe, pity, pipe, pipe, horn
- tambourines and cymbals
- Accordion
– (or multi-timbre, ready-chosen button accordion) is a reed, pneumatic (“air”) keyboard instrument. It got its name from the name of Drene, the Russian legendary singer and storyteller Bayan. This instrument has buttons on both sides, on which the performer plays the melody on the right side, and accompaniment on the left.
In modern concert performance, button accordions are most widespread. The left keyboard has special timbre register switches that make it possible to change the timbre of the instrument and change the color of the sound.
There are also electronic button accordions, which have unlimited sound power and a very large number of timbre colors. - Balalaika - a relative of the lute, mandolin, guitar. Musical symbol of the Russian people. This is a plucked string instrument. It has a wooden triangular body and a long neck on which strings are pulled. The sound is produced by striking all the strings at once with the index finger or by plucking. There are several types of balalaikas: piccolo, prima, second, alto, bass and double bass.
- Harmonic
(accordion, accordion) is a wind musical instrument that has become widespread in many countries.
It is equipped with bellows and a push-button keyboard. Feature instrument: the ability to change the pitch of the sound by changing the tension of the movement of the bellows.
Another type of harmonic is accordion . On one side of the accordion there are keys, like those of a piano, on which a melody is played, on the other there are several rows of buttons for accompaniment. When you press several of them, an entire chord sounds. Hence the name accordion. - Domra - a bit like a balalaika, only its body is oval, pear-shaped, and the strings are tuned to fourths.
- Cymbals - a stringed percussion instrument, is a low trapezoid-shaped box or wooden frame over which strings are stretched. The instrument is played with sticks or hammers. The gentle sound of the cymbals in timbre resembles the sound of the gusli.
- Guitar - one of the few musical instruments on which the sound is prepared and produced with the fingers.
- Gusli - an ancient Russian plucked string instrument.
Brass band
A brass band is a group of musicians playing various wind and percussion instruments.
According to their composition, the instruments of a modern brass band are divided into small brass orchestra, small mixed, medium mixed and large mixed.
The core of the small brass orchestra consists of: cornets, altos, tenors, baritones, basses.
With the addition of woodwinds (flutes, oboes, clarinets, saxophones, bassoons), as well as trumpets, horns, trombones and percussion instruments to this group, small mixed, medium, large mixed compositions are formed.
Variety orchestra
This orchestra includes traditional groups of instruments of a symphony orchestra - woodwinds - horns and strings (violin, viola, cellos).
Jazz orchestra (jazz band)
This orchestra consists of trumpets, clarinets, trombones and a “rhythm section” (banjo, guitar, double bass, drums and piano).
Materials used in the work:
1. Z. Osovitskaya, A. Kazarinova In the world of music. First year of study. M., “Music”, 1996.
2. M. Shonikova Musical literature. Rostov-on-Don, 2003.
3. Y. Ostrovskaya, L. Frolova Musical literature in definitions and musical examples. St. Petersburg, 2004.
4. M.F. Musical Kingdom. Minsk, 2002.
Fedorov Veronica and Vasyagina Alexandra
Presentations were made as part of the project "In the World of Musical Instruments"
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Varieties of orchestras Performed by 7th grade student B Fedorov Veronica
Symphonic orchestra A symphony orchestra is an orchestra made up of several different groups of instruments - the family of violins, winds and percussion. The principle of such unification developed in Europe in the 18th century. Initially, the symphony orchestra included groups of bowed instruments, woodwind and brass instruments, which were joined by a few percussion musical instruments. Subsequently, the composition of each of these groups expanded and diversified. Currently, among a number of varieties of symphony orchestras, it is customary to distinguish between a small and a large symphony orchestra.
A small symphony orchestra is an orchestra of predominantly classical composition (playing music of the late 18th - early 19th centuries, or modern stylizations). It consists of 2 flutes (rarely a small flute), 2 oboes, 2 clarinets, 2 bassoons, 2 (rarely 4) horns, sometimes 2 trumpets and timpani, a string group of no more than 20 instruments (5 first and 4 second violins, 4 violas, 3 cellos, 2 double basses).
A large symphony orchestra includes obligatory trombones in the brass group and can have any composition. Often wooden instruments (flutes, oboes, clarinets and bassoons) reach up to 5 instruments of each family (sometimes there are more clarinets) and include varieties (small and alto flutes, Cupid oboe and English oboe, small, alto and bass clarinets, contrabassoon). The brass group can include up to 8 horns (including special Wagner tubas), 5 trumpets (including snare, alto, bass), 3-5 trombones (tenor and tenorbass) and tuba.
Brass band A brass band is an orchestra consisting exclusively of wind and percussion instruments. The basis of the brass band is made up of brass instruments, the leading role in the brass band among the brass instruments is played by the wide-bore brass instruments of the flugelhorn group - soprano-flugelhorns, cornets, altohorns, tenorhorns, baritone-euphoniums, bass and double bass tubas (in the symphony orchestra only one double bass tuba).
Parts of narrow-bore brass instruments trumpets, horns, and trombones are superimposed on their basis. Woodwind instruments are also used in brass bands: flutes, clarinets, saxophones, and in larger ensembles - oboes and bassoons. In large brass bands, wooden instruments are repeatedly doubled (like strings in a symphony orchestra), varieties are used (especially small flutes and clarinets, English oboe, viola and bass clarinet, sometimes double bass clarinet and contrabassoon, alto flute and amour oboe are used quite rarely).
The wooden group is divided into two subgroups, similar to the two subgroups of brass: clarinet-saxophone (bright-sounding single-reed instruments - there are slightly more of them in number) and a group of flutes, oboes and bassoons (weaker in sound than clarinets, double-reed and whistle instruments) . The group of horns, trumpets and trombones is often divided into ensembles; trumpets (small trumpets, rarely alto and bass) and trombones (bass) are used. In such orchestras there is a large group of percussion, the basis of which is the same timpani and the “Janissary group”: small, cylindrical and large drums, cymbals, a triangle, as well as a tambourine, castanets and tam-tam.
String orchestra A string orchestra is essentially a group of bowed string instruments in a symphony orchestra. The string orchestra consists of two groups of violins (first violins and second violins), as well as violas, cellos and double basses. This type of orchestra has been known since the 16th-17th centuries.
In various countries, orchestras made up of folk instruments have become widespread, performing both transcriptions of works written for other ensembles and original compositions. As an example, we can name an orchestra of Russian folk instruments, which includes instruments of the domra and balalaika family, as well as gusli, button accordions, zhaleikas and other instruments. The idea to create such an orchestra was proposed at the end of the 19th century by the balalaika player Vasily Andreev. In some cases, such an orchestra additionally includes instruments that are actually not folk instruments: flutes, oboes, and various percussion instruments.
Pop orchestra A pop orchestra is a group of musicians performing pop and jazz music. The variety orchestra consists of strings, winds (including saxophones), keyboards, percussion and electric musical instruments.
A pop symphony orchestra is a large instrumental composition capable of combining the performing principles of various types of musical art. The variety part is represented in such compositions by a rhythm group (drum set, percussion, piano, synthesizer, guitar, bass guitar) and a full big band (groups of trumpets, trombones and saxophones); symphonic - a large group of string instruments, a group of woodwinds, timpani, harp and others.
The predecessor of the pop symphony orchestra was symphonic jazz, which arose in the USA in the 20s. and created the concert style of popular-entertainment and dance-jazz music. In line with symphonic jazz, the domestic orchestras of L. Teplitsky (“Concert Jazz Band”, 1927) and the State Jazz Orchestra under the direction of V. Krushevitsky (1937) performed. The term Variety Symphony Orchestra appeared in 1954.
Jazz orchestra The jazz orchestra is one of the most interesting and unique phenomena of modern music. Having emerged later than all other orchestras, it began to influence other forms of music - chamber, symphonic, and brass band music. Jazz uses many of the instruments of a symphony orchestra, but has a quality that is radically different from all other forms of orchestral music.
The main quality that distinguishes jazz from European music is the greater role of rhythm (much greater than in a military march or waltz). In this regard, in any jazz orchestra there is a special group of instruments - the rhythm section. A jazz orchestra has one more feature - jazz improvisation leads to the vagueness of its composition. However, there are several types of jazz orchestras (approximately 7-8): chamber combo (although this is the area of the ensemble, it must be indicated, since it is the essence of the rhythm section), Dixieland chamber ensemble, and red jazz orchestra - small big band , large jazz orchestra without strings - big band, large jazz orchestra with strings (not symphonic type) - extended big band, symphonic jazz orchestra.
The rhythm section of all types of jazz orchestras usually includes drums, plucked strings, and keyboards. This is a jazz drum set (1 player) consisting of several rhythm cymbals, several accent cymbals, several tom-toms (either Chinese or African), pedal cymbals, a snare drum and a special type of bass drum of African origin - the "Ethiopian (Kenyan) kick drum " (its sound is much softer than the Turkish bass drum).
Military orchestra A military orchestra is a special full-time military unit designed to perform military music, that is, musical works during drill training of troops, during military rituals, ceremonies, as well as for concert activities. There are uniform military bands, consisting of brass and percussion instruments, and mixed ones, which also include a group of woodwind instruments. The leadership of a military orchestra is carried out by a military conductor.
In the West, the establishment of more or less organized military bands dates back to the 17th century. Under Louis XIV, the orchestra consisted of pipes, oboes, bassoons, trumpets, timpani, and drums. All these instruments were divided into three groups, rarely combined together: pipes and drums, trumpets and timpani, oboes and bassoons. In the 18th century, the clarinet was introduced into the military orchestra, and military music acquired a melodic meaning. Until the beginning of the 19th century. Military bands in both France and Germany included, in addition to the above-mentioned instruments, horns, serpents, trombones and Turkish music, that is, bass drum, cymbals, triangle. The invention of pistons (a type of valve, or the so-called standing valve, a button that activates a mechanism that opens spare tubes, or crowns attached to a brass instrument) for brass instruments (1816) had a great influence on the development of the military band: trumpets, cornets appeared , bugelhorns, ophicleides with pistons, tubas, saxophones. It is also worth mentioning the orchestra, consisting only of brass instruments (fanfare). Such an orchestra is used in cavalry regiments. The new organization of military bands moved from the West to Russia.
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"Varieties of Orchestra". Completed by 7A class student Alexandra Vasyagina.
Orchestra. Orchestra (from the Greek ορχήστρα) is a large group of instrumental musicians. Unlike chamber ensembles, in an orchestra some of its musicians form groups that play in unison.
Symphony Orchestra. A symphony orchestra is a large group of musicians dedicated to performing academic music primarily of the Western European tradition. A symphony orchestra consists of instruments whose history is inextricably linked with the history of music. Western Europe. Music that is written with a symphony orchestra in mind (also called "symphonic") usually takes into account the style that has developed within the European musical culture. The basis of a symphony orchestra is made up of four groups of instruments: bowed strings, woodwinds and brass, and percussion. In some cases, other instruments are also included in the orchestra.
Symphony Orchestra.
Brass band. A brass band is an orchestra consisting of wind and percussion instruments. The core of the brass band consists of wide-bore and conventional brass instruments - cornets, flugelhorns, euphoniums, altos, tenors, baritones, basses, trumpets, horns, trombones. Woodwind instruments are also used in brass bands: flutes, clarinets, saxophones, and in larger ensembles - oboes and bassoons. IN early XIX century, under the influence of “Janissary music”, some percussion musical instruments appeared in brass bands, primarily a large drum and cymbals, giving the orchestra a rhythmic basis.
Brass band
String orchestra. A string orchestra is essentially a group of bowed string instruments in a symphony orchestra. The string orchestra consists of two groups of violins (first violins and second violins), as well as violas, cellos and double basses and guitars. This type of orchestra has been known since the 16th-17th centuries.
String orchestra.
Orchestra of folk instruments. In various countries, orchestras made up of folk instruments have become widespread, performing both transcriptions of works written for other ensembles and original compositions. As an example, we can name an orchestra of Russian folk instruments, which includes instruments of the domra and balalaika family, as well as gusli, button accordions, psaltery, rattles, whistles and other instruments. The idea to create such an orchestra was proposed at the end of the 19th century by the balalaika player Vasily Andreev. In some cases, such an orchestra additionally includes instruments that are actually not folk instruments: flutes, oboes, various bells and many percussion instruments.
Orchestra of folk instruments.
Pop orchestra. A pop orchestra is a group of musicians performing pop and jazz music. A pop orchestra consists of strings, winds (including saxophones, which are usually not represented in the wind groups of symphony orchestras), keyboards, percussion and electric musical instruments.
Pop orchestra.
Jazz orchestra. A jazz orchestra is one of the most interesting and unique phenomena of modern music. Having emerged later than all other orchestras, it began to influence other forms of music - chamber, symphonic, and brass band music. Jazz uses many of the instruments of a symphony orchestra, but has a quality that is radically different from all other forms of orchestral music.
Jazz orchestra.
Military band. Military band, brass band, which is a regular unit of a military unit.
Military band.
School orchestra. A group of musicians consisting of school students, led, as a rule, by a teacher of primary music education. For musicians it is often the starting point of their future musical career.
School orchestra.
An orchestra is a group of musicians playing various instruments. But it should not be confused with an ensemble. This article will tell you what types of orchestras there are. And their compositions of musical instruments will also be sanctified.
Types of orchestras
An orchestra differs from an ensemble in that in the first case, identical instruments are combined into groups that play in unison, that is, one common melody. And in the second case, each musician is a soloist - he plays his own part. "Orchestra" is a Greek word and is translated as "dance floor." It was located between the stage and the audience. The choir was located on this platform. Then it became similar to modern orchestra pits. And over time, musicians began to settle there. And the name “orchestra” went to groups of instrumental performers.
Types of orchestras:
- Symphonic.
- String.
- Wind.
- Jazz.
- Pop.
- Orchestra of folk instruments.
- Military.
- School.
Composition of tools different types orchestra is strictly defined. Symphonic consists of a group of strings, percussion and winds. String and brass bands consist of instruments corresponding to their names. Jazz bands can have different compositions. The pop orchestra consists of winds, strings, percussion, keyboards and
Types of choirs
A choir is a large ensemble consisting of singers. There must be at least 12 artists. In most cases, choirs perform accompanied by orchestras. The types of orchestras and choirs differ. There are several classifications. First of all, choirs are divided into types according to their composition of voices. These can be: women's, men's, mixed, children's, and boys' choirs. Based on the manner of performance, they distinguish between folk and academic.
Choirs are also classified according to the number of performers:
- 12-20 people - vocal and choral ensemble.
- 20-50 artists - chamber choir.
- 40-70 singers - average.
- 70-120 participants - a large choir.
- Up to 1000 artists - consolidated (from several groups).
According to their status, choirs are divided into: educational, professional, amateur, church.
Symphony Orchestra
Not all types of orchestras include this group: violins, cellos, violas, double basses. One of the orchestras, which includes a string-bow family, is a symphony. It will consist of several different groups of musical instruments. Today there are two types of symphony orchestras: small and large. The first of them has a classic composition: 2 flutes, the same number of bassoons, clarinets, oboes, trumpets and horns, no more than 20 strings, and occasionally timpani.
It can be of any composition. It can include 60 or more string instruments, tubas, up to 5 trombones of different timbres and 5 trumpets, up to 8 horns, up to 5 flutes, as well as oboes, clarinets and bassoons. It can also include such varieties from the wind group as oboe d'amour, piccolo flute, contrabassoon, English horn, saxophones of all types. It can include a huge number of percussion instruments. Often a large symphony orchestra includes organ, piano, harpsichord and harp.
Brass band
Almost all types of orchestras include a family. This group includes two varieties: copper and wooden. Some types of orchestras consist only of wind and percussion instruments, such as brass and military. In the first variety, the main role belongs to cornets, bugles of various types, tubas, and baritone euphoniums. Secondary instruments: trombones, trumpets, horns, flutes, saxophones, clarinets, oboes, bassoons. If the brass band is large, then, as a rule, all the instruments in it increase in number. Very rarely harps and keyboards may be added.
The repertoire of brass bands includes:
- Marches.
- European ballroom dancing.
- Opera arias.
- Symphonies.
- Concerts.
Brass bands most often perform in open street areas or accompany the procession, as they sound very powerful and bright.
Folk Instruments Orchestra
Their repertoire includes mainly compositions folk character. What is their instrumental composition? Each nation has its own. For example, the Russian orchestra includes: balalaikas, gusli, domras, zhaleikas, whistles, button accordions, rattles, and so on.
Military band
The types of orchestras consisting of wind and percussion instruments have already been listed above. There is another variety that includes these two groups. These are military bands. They are used to voice ceremonies, as well as to participate in concerts. There are two types of military bands. Some also consist of brass instruments. They are called homogeneous. The second type is mixed military bands; they, among other things, include a group of woodwinds.