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Topic: Lesson 7 Discussion - Unison & Octaves in the Wood-wind

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  1. #1
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    Lesson 7 Discussion - Unison & Octaves in the Wood-wind

    This thread is to discuss Lesson 7 dealing with Unisons and Octaves in the Wood-wind Instruments.

    Feel free to ask questions or elaborate on the material presented in this lesson.

    Gary Garritan

  2. #2

    Re: Lesson 7 Discussion - Unison & Octaves in the Wood-wind

    Just listened to the first example in lesson 7. Seems like some staff lines are missing making it a little difficult for students to follow what's going on.

    Maybe it's my computer.......

    Jack
    Jack Cannon--MacBook Pro (2015, 13") GPO4/5, JABB3, Auth. STEINWAY, YAMAHA CFX, Gofriller CELLO, Stradivari VIOLIN, COMB2, WORLD, HARPS, PIPE ORGANS, FINALE 2014.5, Mac Pro 2.66 GHz CPU, 8 GB RAM, DP 9.5, MOTU Traveler, MOTU Micro Express, MacBook Pro (2012, 13") 2.2 Ghz CPU, 8 GB RAM.

  3. #3
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    Re: Lesson 7 Discussion - Unison & Octaves in the Wood-wind

    I resized score 52 and made it larger since the smaller size seems to have caused staff lines to disappear. See if this is better.

    Gary Garritan

  4. #4

    Re: Lesson 7 Discussion - Unison & Octaves in the Wood-wind

    That did it, Gary. Thanks........

    Jack
    Jack Cannon--MacBook Pro (2015, 13") GPO4/5, JABB3, Auth. STEINWAY, YAMAHA CFX, Gofriller CELLO, Stradivari VIOLIN, COMB2, WORLD, HARPS, PIPE ORGANS, FINALE 2014.5, Mac Pro 2.66 GHz CPU, 8 GB RAM, DP 9.5, MOTU Traveler, MOTU Micro Express, MacBook Pro (2012, 13") 2.2 Ghz CPU, 8 GB RAM.

  5. #5

    Re: Lesson 7 Discussion - Unison & Octaves in the Wood-wind

    I have a question about writing for woodwinds: should I avoid writing melodic lines across the breaks between different registers? I'm used to doing this when writing for sax (or at least expecting much complaint when I don't!), but haven't done much writing for orchestral winds. Any advice would be much appreciated.

    Thanks,
    Ben

  6. #6

    Smile Re: Lesson 7 Discussion - Unison & Octaves in the Wood-wind

    Quote Originally Posted by benhillyard
    I have a question about writing for woodwinds: should I avoid writing melodic lines across the breaks between different registers? I'm used to doing this when writing for sax (or at least expecting much complaint when I don't!), but haven't done much writing for orchestral winds. Any advice would be much appreciated.

    Thanks,
    Ben
    For amatours you should maybe keep it in mind, but for pro players breaks aren't much of a problem except in very fast passages. Trills on breaks are not good idea. At least not without life insurance!
    Sincerely,
    Falcon1


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  7. #7

    Re: Lesson 7 Discussion - Unison & Octaves in the Wood-wind

    Quote Originally Posted by benhillyard
    I have a question about writing for woodwinds: should I avoid writing melodic lines across the breaks between different registers? I'm used to doing this when writing for sax (or at least expecting much complaint when I don't!), but haven't done much writing for orchestral winds. Any advice would be much appreciated.

    Thanks,
    Ben
    You get complaints from saxophones about register breaks? Hmmm ... If anyone has a right to complain about register breaks, I'd say it's clarinets more than saxophones, especially if you're going through it step-wise (A/A-sharp to B or B-flat to C, in transposed pitch), because in that case, you're going from throat keys (you have to roll your left index finger upward to get to them) with no keys down to all fingers down with the register key. When I switched from clarinet to saxophone myself, I marvelled at how easy it was to go from one register to another.

    But really, learning how to navigate register breaks is a part of being proficient on a woodwind instrument. In any sort of professional or semi-professional setting, there shouldn't be any problem with this. Just don't abuse it by jumping back and forth repeatedly between registers in fast tempos or anything extreme like that. Also remember that large, slurred leaps between registers are generally easier going upward than going downward.

    Oh, and about trills, there are usually alternate fingerings that make any trill possible on a woodwind instrument. The only problem is that these fingerings can sometimes be a little out of tune. Point is, if you really, really need a saxophone to trill form an in-staff C to the D above (again, transposed pitch), it can be done.

  8. #8

    Re: Lesson 7 Discussion - Unison & Octaves in the Wood-wind

    Thanks for your help, Falcon1 and Aeterna. I'll go and write something fiendish for wind ensemble...

    Ben

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