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Take a 25 question quiz to test and certify your knowledge of the tutorial-video course
Orchestration 102 - The Wind Section.
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The best part of an oboe range is in its:
The dynamic arc of the winds is:
capable of the incredible overall control of the strings at very low volume.
able to match the intensity of the brass in projection and sheer power.
halfway between the strings and the brass.
The following instruments use vibrato as their standard approach:
flutes, oboes, and bassoons most of the time.
flutes and oboes.
oboes. clarinets, and bassoons.
flutes, oboes. clarinets, and bassoons.
The clarinet can actually:
play higher than the piccolo.
play higher than the flute.
play lower than the bassoon.
play higher than the oboe.
The most difficult trills and tremolos are those that involve:
extension keys and changes of register.
Fork fingering is accomplished by:
closing tone-holes below an open hole to drop the pitch by a half-step.
cracking a tone-hole to raise the pitch by a half-step.
cracking a tone-hole to lower the pitch by a half-step.
closing tone-holes below an open hole to raise the pitch by a half-step.
Tonguing the syllables “duh” and “the” result in:
The immediate predecessor to the oboe is called:
“à 2” means:
“with two players on separate voices.”
“with two players on a single voice.”
“with the second player on.”
is the lowest standard member of the oboe family.
has a range of three-and-a-half octaves.
can play a low B-flat when the A extension is inserted.
has many commonly-used auxiliaries, such as the tenoroon and sarrusophone.
has the same exact written range as the standard flute.
is pitched two octaves above the alto flute.
is owned by most professional flute players.
is a second-level auxiliary.
The oboe has:
easy-to-play extreme high notes.
a family whose instrumental ranges cover two octaves in difference.
the same exact strengths of register as the English horn.
one of the narrowest ideally functional ranges of the entire wind section.
How many scores should an orchestral composer read?
Hundreds over the course of a lifetime.
Just the ones in these courses.
Thousands over the course of a lifetime.
A few to get started, then no more are needed.
Which effect does NOT require alternate fingerings?
Some wind instruments require transposition because:
their players can’t read in C.
their players may play all models in a family with the same fingering applying to the same staff positions.
their instruments’ registers are essentially homogeneous.
overblows the 4th partial in the clarino register.
is a typical example of “open pipe” construction.
is an instrument whose fundamental tones vibrate as a half consonance.
behaves like a closed pipe because of its conical bore.
If an instrument is tuned to B-flat:
when it reads a B-flat, it will play a B-flat.
when it reads a C, it will play a D.
when it reads a C, it will play a B-flat.
when it reads a B-flat, it will play a C.
is usually unnecessary.
may require removing the reed in double-reed instruments.
is needed in order to really play softly.
requires a specially constructed mute.
The standard clarinet voicing position resembles the vowel sound:
“er” or the German “oe.”
The standard seating for winds, clockwise from the nearer left of the conductor:
flutes, oboes, bassoons, clarinets.
oboes, clarinets, bassoons, flutes.
clarinets, flutes, bassoons, oboes.
flutes, clarinets, bassoons, oboes.
How much more is there to learn after this course?
A little more.
Quite a bit.
Which of the following statement is true?
The bass clarinet has the exact same lower written range as the B-flat standard clarinet.
The bass clarinet can now reach all the way down to written low B-flat.
The bass clarinet can stabilise the horns and anchor the wind section.
The bass clarinet is a widely-used second-level auxiliary.
The basic building-block of the orchestra is the:
A cylindrical bore is combined with a parabolic curve in the design of the:
oboe and bassoon.
What is Thomas Goss’s definition of orchestration?
Arranging for the orchestra.
Bringing together different elements into one cohesive structure.
Composing a score with different instruments in it.
The Wind Section
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