Each of the accompanying works opened with a timpani solo.
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Cascades of water dripped on the timpani drums stored there.
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The work begins with a modest timpani roll typically played piano.
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He also played timpani in the Jacksonville Symphony Orchestra and the Jacksonville Symphonette.
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Shimmering, twinkling fragments and half-heard rustles trail off from timpani beats and rolls.
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Netflix has a four-second double timpani strike followed by a wash of strings.
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For much of the work's duration, the timpani keep up a low, ominous rumble.
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Just working with colors of strings and timpani and French horn and things like that.
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There are no flashy opening graphics, just a stately timpani over the text of a Senate resolution.
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I rented a timpani, all of this percussion, and we had a sax player and these horns.
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Lully's sacred music has a distinctly flamboyant, operatic character: the Te Deum is buttressed by trumpets and timpani.
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As always, Don S. Liuzzi gave a virtual tutorial on timpani, in a part that is almost concerto-like.
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The jubilant opening to his Christmas Oratorio, with its excited trumpets and timpani, rang in the exchange of presents.
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While working there, she met her future first husband, Robert Tweedy, who played timpani for the Minneapolis Symphony Orchestra.
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Jason Haaheim, one of the principal timpanists, had some thoughts about the positioning of the timpani during the "Elektra" rehearsal.
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He prepared selections for marimba, snare drum, xylophone, glockenspiel and timpani — any of which could have been chosen for the audition.
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The somber slow introduction began with a forceful chord, played with gnarly sound and rattling timpani, and maintained that grim cast.
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In Mozart's time, percussion instruments had little role in the standard orchestra, with the exception of the timpani, or kettle drums.
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Baker — who also plays timpani — said he was the one who suggested the majestic "5/4 bolero" that opens this enduring hit.
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This octet — for four violins, two oboes, one piano and timpani — makes for "a kind of demonic musical energy," Mr. Sachs said.
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The toilet is the timpani in the funeral march of change, giving us a rhythm as we all march toward the grave.
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And embedded in a texture of spendthrift immensity — stacked with extra tubas, contrabassoons, bass clarinets and 24 timpani — individual voices sound frightfully naked.
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In the lawsuit, Rowe claims that she is paid less than the principal oboe, viola, trumpet, timpani and horns, which are all held by men.
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It sets out its path with the grand violins and quiet timpani of "Automatism," moving through "Closer to Closure"'s careful clarinets and quietly sinister melodies.
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"Hatshepsut" starts off like a marching band taking the field at halftime, before a jagged synthesizer begins gnawing away at the confident strut of cymbals and timpani.
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Everything is in its place, tightly clipped and fussily manicured, with strong accents and prominent timpani: The unkempt, the rude and the radical have been pruned away.
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Early works like her Concerto for Piano, Orchestra and Timpani (1946) drew on idioms from both socialist realist and modernist styles, with influences including Stravinsky and Bartok.
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He played drums and timpani and was a band director at East Tennessee State University in Johnson City, but switched to computer work to support his family.
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The bracelet is shows a row of eight orchestral musicians with the conductor at the center, as each musician plays instruments from timpani, cello, grand piano and harp.
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As for me, I'd grown up in Timpani Hills, where none of these men would have had any reason to visit unless they'd come to do some roofing.
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Metaphorically speaking, E.C.T. is akin to halting the orchestra's performance and sending the musicians , from oboe to timpani, home to get some rest and come back tomorrow refreshed.
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The program ended with Mr. Langrée's leading a spirited performance of Mozart's "Paris" Symphony, a work that includes no unusual percussion other than the tried-and-true timpani.
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He took traditional instruments and pushed them towards abstraction, detuning guitars and rattling timpani; his influence can be felt in the music of David Bowie, Nick Cave and Pulp.
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Two decades in, he has mastered the slow-build slow jam, adding keys and guitar, even timpani and chimes, until his gentle music achieves a heavenly sort of harmonic equilibrium.
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Church of the Heavenly Rest (Episcopal) This church's Easter service features a brass quintet, timpani and an organ performing works by Will McFarlane, Charles Stanford, Richard Smallwood and William Harris.
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It's an interior, enveloping, enigmatic experience — and the same should be true of this concert, with Mr. Taborn on piano, Mr. Maneri on viola and Mr. Smith on drums, vibraphone and timpani.
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The opening chorus can't quite seem to settle on a key or mood, and in the march of the second movement, the pulse is shared between the stern timpani and gentle harp.
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"The rather earnest soloist in a concerto had to insert a timpani stick into the sounding board at the end of a huge Bösendorfer while keeping his other hand on the keys," Benjamin later wrote.
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Mr. Rhoten explained how it's a musical centerpiece for the ensemble, both literally (the timpani typically sits in the back center of the group) and figuratively (timing-wise, it connects all of the other instruments).
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G.R. One rhythm persists all the way through "VVVVV" by the Paris-based D.J.-producer Bambounou; a three-beat pattern defined by a deep, reverberating tom-tom (or timpani?) with a quieter syncopation layered in.
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He expanded the standard drum kit with double bass drums and a wide array of cymbals, wood blocks, bells and timpani, and he eventually added electronic percussion to his arsenal when it suited the music.
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I was so struck in the first movement of the Ninth by the coexistence of milky winds, spiraling strings, roaring brasses and the slightest shudder of timpani; so many colors and textures, in perfect balance.
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What follows is a low-key tour de force performance by the actor Maura Tierney, who plays Helen as taut as a timpani drum, with every new input reverberating across her face and in her speech.
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At one point, with one percussionist bowing an autoharp and the other gently massaging a timpani, a sound projectionist was meant to refract the various spectra from one loudspeaker to the next, creating a quadraphonic effect.
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If you didn't know what you were looking at, you would probably ask yourself why the brass, woodwind, and timpani sections of the London Symphony Orchestra had been moved to the lair of a Bond villain.
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As it played against the sound of the machines, it seemed to grow more prominent, like a flute solo emerging in fits from within a symphony to float above the roar of the cellos and trombones and timpani drums.
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Ms. Oliveros never shied away from hints of old-fashioned lyricism, and there are classically operatic elements here, from that waltzing to a rolling-timpani storm to lyrical solos that wouldn't be out of place in a Britten score.
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Two timpani-style drums flank the kendang on either side; all instruments are equipped with small padded drumsticks or mallets (the word "gamelan" comes from the Javanese word "gamel," which suggests a mallet or striking — it is a percussive discipline).
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In the story "The Straw Husband," a woman is married to a man made of straw who, after becoming upset with her, begins to spew miniature orchestral instruments — timpani, clarinets, snare drums — from his body, until he's left deflated and unconscious.
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Hearing this music live is also a whole different experience from recordings: Nothing beats the thrill of feeling the ground vibrate under your feet during a timpani roll, or absorbing the shock wave of a brass section at full tilt.
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"The biggest difference is hearing the brass at full blast, hearing the timpani just booming and really feeling it in your body," said Pedro Da Silva, 40, an attendee at Wednesday's performance who was dressed as a Jedi with a blue lightsaber.
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There are welcome shades of Enya in the strings and timpani, Del Rey's voice sounds as though its made out of treacle and honey and just a little bit of blood, and by the end, it's hard to resist the fatal romance of it all.
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Twelve feet of water poured into the center's basement after the storm hit last month, inundating wig and costume shops and damaging everything from the opera company's stock of knee-high boots to a set of timpani drums (which it still hopes to salvage).
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The concerto not only unleashes spectacular sounds—screaming organ-and-brass chords at the outset; ritual hammer blows on the timpani, bass drum, and tam-tam—but also possesses an intricate structure, in the form of thirty variations on a passacaglia theme of dour folkish character.
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Sam Spence, a prolific composer for NFL Films who marshaled sawing strings, rattling drums, pounding timpani, resonant horns, twittering woodwinds and blaring trumpets to create a signature soundtrack for the quasi martial enterprise known as pro football, died on Saturday, the day before the Super Bowl, in Lewisville, Tex.
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Ms. Malkki, making her return to the Philharmonic after a belated debut in 2015, certainly drew out the atmospheric sonorities in the subdued music the opens the piece, with the softly rumbling timpani, flecks of harp, heaving low strings and woodwind lines that seem to peek through the mist.
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I certainly knew the tune ("The Lone Ranger" TV series began running in 1949), but I didn't know it could sound like this —the skittering string figures played with amazing speed and clean articulation, the entire piece brought off with precision and power, the muscular timpani strokes outlining phrases and asserting a blood-raising pressure under the crescendos.
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Rather than instructing the kettledrums to play through the passage with continuous rolling thunder, as other conductors do (including Furtwängler and Herbert von Karajan), he had the timpani peak at each of the three crescendos in the passage—releasing, all three times, an almost frightening charge of energy, as if the atom were being split again and again.
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The downward-sighing theme is back in the winds, but it floats above a multilayered texture in which rhythms and accents are landing every which way: scurrying triplets in the strings, horns sounding on the fourth beat of the bar, piercing grace notes in the piccolo, and a curious oompah section comprised of timpani, cymbals, and bass drum.
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Part-way through one number came an ominous rumble of timpani and a creeping darkness from the double basses as a baritone full-throatedly announced: "I have become…comfortably numb…" One of the more remarkable new operas of recent times will open in Montreal on March 11th: "Another Brick in the Wall", based on Pink Floyd's double-album "The Wall".
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Mr. Vanska never forgot the unsteadiness Sibelius puts at the heart of these scores, sometimes rhythmic (a melody seeming to drag behind at the start of the Third Symphony, resisting an onward pull) and sometimes textural (as in the first movement of the First Symphony, when a timpani rumble, threatening a quiet clarinet melody, makes the transition to a soft string tremble).
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During the Romantic Period, the timpani concerto was largely ignored. The timpani concerto was revived in the 20th century and the timpani concerto repertoire increased significantly.
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A timpani concerto is piece of music written for timpani with orchestral accompaniment. It is usually in three parts or movements. The first timpani concertos were written in the Baroque and Classical periods of music. Important concertos from these eras include Johann Fischer's Symphony for Eight Timpani and Georg Druschetzky's Concerto for Six Timpani.
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A few solo concertos have been written for timpani, and are for timpani and orchestral accompaniment. The 18th-century composer Johann Fischer wrote a symphony for eight timpani and orchestra, which requires the solo timpanist to play eight drums simultaneously. Rough contemporaries Georg Druschetzky and Johann Melchior Molter also wrote pieces for timpani and orchestra. Throughout the 19th century and much of the 20th, there were few new timpani concertos.
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Timpani sound Timpani (; ) or kettledrums (also informally called timps) are musical instruments in the percussion family. A type of drum categorised as a hemispherical drum, they consist of a membrane called a head stretched over a large bowl traditionally made of copper. Most modern timpani are pedal timpani and can be tuned quickly and accurately to specific pitches by skilled players through the use of a movable foot-pedal. They are played by striking the head with a specialized drum stick called a timpani stick or timpani mallet.
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For general playing, a timpanist will beat the head approximately in from the edge. Beating at this spot produces the round, resonant sound commonly associated with timpani. A timpani roll (most commonly signaled in a score by ) is executed by striking the timpani at varying velocities; the speed of the strokes are determined by the pitch of the drum, with higher pitched timpani requiring a quicker roll than timpani tuned to a lower pitch. While performing the timpani roll, mallets are usually held a few inches apart to create more sustain.
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Modern timpani are generally made with copper due to its efficient regulation of internal and external temperatures relative to aluminum and fiberglass. Walter Light pedal and chain timpani set up in three different combinations. Timpani come in a variety of sizes from about in diameter down to piccoli timpani of or less. A 33-inch drum can produce C2 (the C below the bass clef), and specialty piccoli timpani can play up into the treble clef.
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Some corps, like the Blue Devils, started using balanced action timpani played by only one player to open up new positions for other members. However, not all corps could afford a new set of concert timpani and simply grounded their marching timpani.
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A modern representation of horse mounted Cavalry Timpani A Fresco from Our Lady's chapel in Altenmarkt depicting the pairing of the timpani and trumpet The horse-mounted timpani of the Ottoman Empire was sure to be one of the sources of inspiration for the European adoption of timpani into their cavalry. Having timpani in the cavalry was rare and the drums were only awarded to the most elite of groups. The drums were paired with trumpeters and announced the arrival of the armies.Henry W. Taylor.
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Resonance is reduced by damping or muting the drums, and in some cases composers will specify that timpani be played con sordino (with mute) or coperti (covered), both of which indicate that mutes—typically small pieces of felt or leather—should be placed on the head. Composers will sometimes specify that the timpani should struck with implements other than timpani sticks. It is common in timpani etudes and solos for timpanists to play with their hands or fingers. Philip Glass's "Concerto Fantasy" utilizes this technique during a timpani cadenza.
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The use of three timpani quickly became the standard configuration. With the invention of the "Dresden" foot pedal system, composers writing for the timpani had nearly limitless compositional possibilities.
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Nearly all of Graupner's manuscripts are housed in the ULB (Technical University Library) in Darmstadt, Germany. Graupner wrote for exotic combinations of instruments, including the oboe d'amore, flute d'amore, and viola d'amore. Over half of his sinfonias require brass and timpani, with about 25 sinfonias requiring 3 to 4 timpani, one (sinfonia in G Major GWV 611) 5 timpani, and another, sinfonia in F Major (GWV 566), was composed for 6 timpani.
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Richard Strauss utilized the invention of the Dresden foot pedal in his music to write more melodically for the timpani. The impact of the Dresden timpani on composers could be seen in Giuseppe Verdi's opera Otello (1887). The timpani part in Act 1 would not be possible to play without the use of at least three pedal timpani.Giuseppe Verdi.
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While one man was cranking/tuning, another was playing. To help with intonation issues, some timpani came equipped with tuning gauges. During concert pieces, timpani were often grounded momentarily, using a tripod leg system. Eventually, in 1981, like the mallet instruments, timpani were allowed to be grounded paving the way to the modern-day front ensemble.
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As time went on and word got around as to how well the new foot-pedal timpani worked, more and more orchestras purchased Pittrich's "Dresden" style timpani, and it was not long until almost all timpanists were playing on foot-tuned drums.Bowles, Timpani. pp. 70-73 The rapid increase in popularity of these new drums sparked the start of a new era in composing for the timpani. Gone were the old ways of timpanists only playing the tonic and dominant.
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In the second movement of the piece, he again writes for the timpani to be tuned to octave F's, but also writes numerous loud solo passages throughout the movement for the timpani to play.
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The symphonies are written for a string orchestra. String Symphony No. 11 also contains percussion (timpani, triangle, cymbals) in the second movement. In addition to No. 8 Mendelssohn wrote an arrangement with woodwinds, brasess, and timpani. The work is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani in D and A, and strings.
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The flute, oboes, trumpets, and timpani are tacet during the second movement.
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Mozart and Haydn wrote many works for the timpani and even started putting it in their symphonies. Ludwig van Beethoven revolutionized timpani music in the early 19th century. He not only wrote for drums tuned to intervals other than a fourth or fifth, but he gave a prominence to the instrument as an independent voice beyond programmatic use. For example, his Violin Concerto (1806) opens with four solo timpani strokes, and the scherzo of his Ninth Symphony (1824) sets the timpani (tuned an octave apart) against the orchestra in a sort of call and response.
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A 17th-century timpani Although the timpani was still considered primarily an outdoor instrument, it started being used during indoor concerts to provide rhythmic support for trumpet fanfares. Most of the time, players would not have written music to follow because parts were handed down from generation to generation and were learned by rote. By the 17th century, the timpani moved indoors for good and composers began to demand more from timpanists than ever before. The timpani was first introduced to the court orchestras and opera ensembles as well as in larger church works.
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Changing the pitch of a timpani by turning each tension rod individually is a laborious process. In the late 19th century, mechanical systems to change the tension of the entire head at once were developed. Any timpani equipped with such a system may be considered machine timpani, although this term commonly refers to drums that use a handle connected to a spider-type tuning mechanism.
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Sections A, C, E, and G function as a refrain. Four percussion instruments signal the beginning of these sections, which are composed of lively un-metered lines played by woodwinds. Each subsequent refrain adds instrumentation. Thus, Section C utilizes woodwinds and 3 timpani; Section E utilizes woodwinds, 3 timpani, and 3 brass instruments; and Section G utilizes woodwinds, 3 timpani, 3 brass instruments, and piano.
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P.A. Browne. "The Orchestral Treatment of the Timpani." Music & Letters. October 1923, pp.
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That album featured ex-Jethro Tull drummer Clive Bunker, on drums and timpani.
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This variety of timpani had been used in the Middle East since the 12th century. These drums evolved together with trumpets to be the primary instruments of the cavalry. This practice continues to this day in sections of the British Army, and timpani continued to be paired with trumpets when they entered the classical orchestra. The medieval European timpani were typically put together by hand in the southern region of France.
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Like the marching mallet percussion, timpani were marched when drum corps required everything to be marched. The marching timpani were made of fiberglass, and were played by a four- or five- man line (similar to a modern-day bass drum line). The timpani were cranked by a handle sticking up on the side of the drum. Sometimes intricate, complex music was made using the possibilities of 4 or 5 players.
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The opera is scored for two oboes, two bassoons, two horns, timpani, strings, continuo.
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Until the late 19th century, timpani were hand- tuned; that is, there was a sequence of screws with T-shaped handles, called taps, which altered the tension in the head when turned by players. Thus, tuning was a relatively slow operation, and composers had to allow a reasonable amount of time for players to change notes if they were called to tune in the middle of a work. The first 'machine' timpani, with a single tuning handle, was developed in 1812. The first pedal timpani originated in Dresden in the 1870s and are called Dresden timpani for this reason.
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Scored for two oboes, two bassoons, two horns, two trumpets, timpani,Michael Downey, "Review" Musical Times 114 1559 (1973): 39. "Perger includes timpani in the instrumentation, but Jenö Vécsey, who edited the score (Editio Musica), states that 'there are no kettle drums in the original'." and strings. The bassoons are almost always in unison with the cellos. The Jenő Vecsey edition of 1960 does not show a timpani part, but this is easily enough reconstructed from the trumpet part by tuning the timpani to A and D a fourth apart and using the same rhythms and pitch classes as the trumpets.
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Simpson scored his Seventh Symphony for a chamber-sized orchestra of two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings. However, because of the forcible wind and timpani writing, a greater weight of strings is needed.
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The instrumentation is: 2 flutes (both with piccolo), 2 oboes, 2 clarinets in A, bass clarinet in B, 2 bassoons, 4 horns in F, 2 trumpets in A, 3 trombones, 4 timpani (2 players each with 2 timpani), 2 harps and strings.
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They are also often incorrectly termed timpanis. A musician who plays timpani is a timpanist.
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In the 15th century, timpani were used with trumpets as ceremonial instruments in the cavalry.
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These instruments are referred to as Viennese timpani (Wiener Pauken) or Schnellar timpani.Vibration patterns and sound analysis of the Viennese Timpani. Bertsch, Matthias. (2001), Proceedings of ISMA 2001 Adams Musical Instruments developed a pedal-operated version of this tuning mechanism in the early 21st century.
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Les Danaïdes was orchestrated for first violins, second violins, violas, cellos, double-basses, timpani and harpsichord.
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Haydn was one of the first composers to write a pitch change as well as a written out solo for the timpani in a symphonic movement. Until the late 18th century, written music for the timpani consisted of very simple rhythms with the drums usually only being played at major cadence points in the music. It was rare if the timpani were not playing along with the trumpets, and composers would often use the drums to add dramatic effect to trumpet notes and brass chords. However, this compositional pattern began to change as Austrian composer Joseph Haydn started utilizing the timpani in new ways.
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Composers began to write increasingly involved parts for the timpani and sought ways to challenge the timpanist, both technically and melodically. Richard Strauss's compositions included timpani parts with very difficult rhythmic passages and challenging tuning changes that could only be played using a set of pedal timpani. For example, in the final waltz in Act 3 of his opera, Der Rosenkavalier, Strauss wrote for the timpani the way he wrote for the bass, with a long, walking melodic line. He accomplished this by requiring the timpanist to make many quick and challenging changes in the drums pitch that imitated the walking bassline that occurs throughout the entire waltz.
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Since timpani have a long sustain, muffling or damping is an inherent part of playing. Often, timpanists will muffle notes so they only sound for the length indicated by the composer. However, early timpani did not resonate nearly as long as modern timpani, so composers often wrote a note when the timpanist was to hit the drum without concern for sustain. Today, timpanists must use their ear and the score to determine the length the note should sound.
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Arabian nakers, the direct ancestors of most timpani, were brought to 13th-century Continental Europe by Crusaders and Saracens. These drums, which were small (with a diameter of about ) and mounted to the player's belt, were used primarily for military ceremonies. This form of timpani remained in use until the 16th century. In 1457, a Hungarian legation sent by King Ladislaus V carried larger timpani mounted on horseback to the court of King Charles VII in France.
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Beethoven played a crucial role in advancing timpani writing by not only extending the written range of the timpani, but also including more extended techniques like double stops. Like Haydn, Ludwig van Beethoven began one of his famous works, his Violin Concerto, with a timpani solo. Unlike in the Drum Roll symphony, Beethoven's solo actually forms the opening theme; the same notes when they reappear in the recapitulation section (m. 365) are played by the full orchestra.
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A Kus (Persian کوس kūs) is an ancient Persian musical instrument, a large kettledrum similar to timpani.
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Scored for 2 flutes, 2 oboes, 2 bassoons, 3 horns, 2 trumpets, timpani, strings, and solo clarinet.
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The work is scored for two oboes, two bassoons, two horns, two trumpets, timpani, strings and tenor.
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Instrumentation for the symphony is: flute, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.
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It is scored for 2 clarinets, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani and strings.
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The work is scored for trumpet solo, flute, 2 oboes, 2 clarinets, 2 horns, timpani and strings.
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The concerto is scored for solo piano, two flutes, two oboes, two clarinets in B (clarinet I playing in A in movement 2), two bassoons, two horns, two trumpets, timpani in E and B, and strings. In the second movement, 2nd flute, 2nd clarinet, trumpets, and timpani are tacet.
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Timpani evolved from military drums to become a staple of the classical orchestra by the last third of the 18th century. Today, they are used in many types of ensembles, including concert bands, marching bands, orchestras, and even in some rock bands. Timpani is an Italian plural, the singular of which is timpano. However, in English the term timpano is only widely in use by practitioners: several are more typically referred to collectively as kettledrums, timpani, temple drums, timp-toms, or timps.
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On chain timpani, a chain links the tension rods so a master handle can be used to turn them all at once. On chain timpani, the tension rods are connected by a roller chain much like the one found on a bicycle, though some manufacturers have used other materials, including steel cable. In these systems, all the tension screws can then be tightened or loosened by one handle. Though far less common than pedal timpani, chain and cable drums still have practical uses.
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Timpani and snare drums are the main percussion instruments; both appear to be samples (Emulator I/Emulator II).
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Bach P 195 at Berlin State Library website. of the work there are an additional trumpet and timpani..
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The opera is scored for one (or two) flutes, two oboes, two bassoons, two horns, timpani, strings, continuo.
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Percussion players are eligible to audition for both the band and orchestra. They are to audition on three instruments which they will play prepared pieces and sightreading on: timpani, snare, and mallets. The top performers on timpani, snare, and mallets are the ones who make All Virginia. Auditioners go to six rooms during the audition in the following order where they play rudiments and scales (if applicable): Timpani prepared piece; Timpani sightreading; Snare prepared piece; Snare sightreading; Mallets prepared piece; Mallets sightreading If an auditioner makes All Virginia in more than one percussion category, she or he is placed in the group and category that she or he preferred to be in.
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The work is in standard four-movement form and is scored for flute, two oboes, bassoon, two horns, two trumpets, timpani and strings. The first draft had neither trumpet and timpani parts; Haydn added those later.Antony Hodgson, The Music of Joseph Haydn: The Symphonies. London: The Tantivy Press (1976): 99.
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Rainer Seegers (born 6 August 1952 in Dessau), is a German percussionist, timpanist of the Berlin Philharmonic, tutor of the European Union Youth Orchestra and guest professor at the Hochschule für Musik "Hanns Eisler". Seegers is also a timpani soloist who has championed the unusual repertoire for timpani and orchestra.
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The piece starts with a theme introduced on timpani and answered by the orchestra. The piano then enters in a state of high excitement. A second, more lyrical Brahmsian theme emerges, followed by waltz-like measures not unlike the waltzes from Der Rosenkavalier. The work ends quietly, again on the timpani.
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In 1936, Dick Messner introduced an idea in New York called "Tymphonic Music" — an ensemble of 10 Timpani, a harp and an augmented violin section in a band of 18 musicians. It was believed that the experiment was the first time that Timpani had been used wholesale for modern music.
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Artaserse is scored for 2 trumpets, 2 horns, 2 oboes, first and second violins, violas, timpani and basso continuo.
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His compositions for percussion, voice, choral, piano, violin, and handbells are listed in "An Annotated Bibliography of Percussion Works by Stanley Leonard." He also composed method books, including Pedal Technique for the Timpani. This book's unique method helps the timpanist develop a total concept of timpani performance by producing kinesthetic confidence, achieved by educating foot and leg movements in conjunction with the stroke of the stick, while also focusing on the pitch being tuned. At Carnegie-Mellon University (1958-1978), he taught percussion, timpani and percussion ensemble.
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London Symphonies Nos. 99–104, p. 110 Haydn's use of writing specific solos for the timpani can also be seen in the very opening measure of his Symphony No. 103. This entire symphony begins with a timpani solo, and because of this, it has received the nickname of the "Drum Roll" symphony.
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The work is scored for strings, 2 trumpets in B, 4 horns in F, 3 trombones, tuba, timpani and organ.
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"Canto", added in 1966, is played with snare drum sticks, and uses pedal timpani to imply a continuous melodic line.
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The work is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.
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By 1915, Carl Nielsen was demanding glissandos on timpani in his Fourth Symphony—impossible on the old hand-tuned drums. However, it took Béla Bartók to more fully realize the flexibility the new mechanism had to offer. Many of his timpani parts require such a range of notes that it would be unthinkable to attempt them without pedal drums. In the 17th and 18th centuries, timpani were almost always tuned with the dominant note of the piece on the low drum and the tonic on the high drum—a perfect fourth apart.
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1 the timpani B is written in the staff; nos. 29 to 30 non-transposing parts have a key signature of four sharps but, again, the timpani part has no key signature, and so on. but not alwaysFor an example where this is not done, i.e. where the timpani part carries the same signature as all the other parts, see the orchestral score of Prokofiev's Piano Concerto No. 1 in D major, where, incidentally, transposing instrument parts are also written at concert pitch with the same key signature as all the other parts.
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The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, triangle and strings. Schumann especially expanded the use of timpani in the symphony, using the unusual tuning of B, G, and F in the first movement, and D, A, and F in the third, at the suggestion of Schumann's cousin-in-law, Ernst Pfundt. It was the first major orchestral work of its style to require three timpani. Schumann made some revisions until the definitive full-score of the symphony was published in 1853.
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Bartók's manuscript only specifies: flute, oboe, 2 clarinets, bassoon, horns, 2 trumpets, timpani, strings. Tibor Serly's edition is orchestrated for: piccolo, 2 flutes, 2 oboes, 2 clarinets in B, 2 bassoons, 3 horns in F, 3 trumpets in B, 2 trombones, tuba, timpani, percussion and strings. Peter Bartók and Paul Neubauer's edition is orchestrated for: piccolo, 2 flutes, 2 oboes (2nd doubling cor anglais), 2 clarinets in B, 2 bassoons (2nd doubling contrabassoon), 4 horns in F, 3 trumpets in B, tenor trombone, bass trombone, tuba, timpani, percussion (2), strings.
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This suite is scored for pairs of flutes, oboes, clarinets, bassoons and trumpets, four horns, timpani, cymbals, glockenspiel, harp and strings.
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Scored for solo cello, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani and strings.
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Edmund A. Bowles. "The Double, Double, Double Beat of the Thundering Drum: The Timpani in Early Music." Early Music. 19, no.
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2 flutes, 2 oboes, 2 clarinets in B and A, 2 bassoons, 4 horns in F, 3 timpani, harp and strings.
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Struck drums - instruments which have a struck membrane. This includes most types of drum, such as the timpani and snare drum.
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When the timpani are struck directly in the center, they have a sound that is almost completely devoid of tone and resonance. George Gershwin uses this effect in An American in Paris. Struck close to the edge, timpani produce a very thin, hollow sound. This effect is used by composers such as Bartók, Bernstein, and Kodály.
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These new and challenging compositional demands influenced the design of the timpani, how timpanists play the instrument, and also helped to raise the standard of playing to a whole new level. The combination of composers' and players' interest in the timpani during the 18th and 19th centuries helped to make the instrument what it is today.
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8. ) a4 r2 } The symphony is scored for two flutes, two oboes, two horns, two trumpets, timpani and strings. The trumpets and timpani are silent for the second movement. The symphony consists of the following movements: #Allegro moderato, #Andante, #Presto, The Alte Mozart-Ausgabe (published 1879–1882) gives the numbering sequence 1–41 for the 41 numbered symphonies.
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Rutter scored the Requiem for mixed choir and orchestra. It features solos for cello, soprano and oboe. He prepared two versions, one for a chamber ensemble and one for orchestra. The ensemble consists of flute, oboe, timpani, glockenspiel, harp, cello and organ, while the orchestra has 2 flutes, oboe, 2 clarinets, bassoon, 2 horns, timpani, glockenspiel, harp and strings.
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The symphony is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, timpani, and strings.
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The work is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani and strings.
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The work is scored for solo cello, two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.
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The score is written for Flute, Clarinet in A, two Horns in F, Timpani (unusually just a single one in D) and strings.
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The work is scored for a chamber orchestra: two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, and strings.
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The work is scored for two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, and strings.
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The symphony is scored for double woodwind (second flute being interchangeable with piccolo), 4 horns, 3 trumpets, 3 trombones, tuba, timpani and strings.
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Theodore Dudley "Red" Saunders (March 2, 1912 - March 5, 1981) was an American jazz drummer and bandleader. He also played vibraphone and timpani.
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Before he would finally use Grainer's theme, McGoohan required Grainer to rescore it in a faster tempo and place emphasis on the timpani.
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Although the word timpani has been widely adopted in the English language, some English speakers choose to use the word kettledrums. The German word for timpani is Pauken; the Swedish word is pukor in plural (from the word puka), the French and Spanish is timbales, not to be confused with the latin percussion instrument, which would actually supersede the timpani in the traditional Cuban ensemble known as Charanga. The Ashanti pair of talking drums are known as atumpan. The tympanum is mentioned, along with a faux name origin, in the Etymologiae of St. Isidore of Seville: > 'Isidore of Seville, Etymologiae 3.22.
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A modern example of the "Dresden" foot pedal The last great development in timpani construction during the 19th century came in 1881 when Carl Pittrich, the Kapelldiener (German: Chapel Servant) in the Royal Saxon Orchestra, developed a foot pedal mechanism that could be attached to a timpani and made quick tuning changes much easier.Bowles, Timpani, pp. 53–56 This system was first developed to be an addition to the Pfundt/Hoffmann drums and was manufactured by Ernst Queisser. Later, Paul Focke manufactured the complete drum and pedal system in Dresden, Germany, thus giving it name of the "Dresden Model".
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Haydn had learned the instrument, and performed on it in public, while he was a child attending boarding school in Hainburg, Austria. He remained interested in the timpani and new effects for them throughout his career.Reference, with extended discussion of timpani in Haydn: Blades (1992:259-261) In Haydn's Symphony No. 94, one of the earliest examples of the timpanist being required to change the pitch of a single drum within a symphonic movement is found. In measures 131–134 of the original autographed score, Haydn writes for a change in the timpani part from G and D to A and D.Joseph Haydn.
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In typical overture form, the piece slows down as Dante makes his way down into the very depths of hell. Each of the movements in this symphony have a vocal effect, and in "Inferno", this takes the form of howls of pain, balanced rhythmically with whip cracks. The piece has a coda, and finishes with an extremely difficult timpani solo accompanied by violent and sporadic hits of the gong, although many performances omit this solo and instead have the timpani rolling into silence on a B-flat due to the difficulty. The oboe, piccolo, and timpani feature prominently in this movement.
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The work is composed in three movements (typical of a Classical period concerto), they are marked as followed: In addition to the solo trumpet, the concerto is scored for an orchestra consisting of 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 (presumably natural) trumpets (which generally play in support of the horns or timpani rather than the solo trumpet), timpani, and strings.
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Symphonies Nos. 5, 6, and 7 in Full Score, Mineola, NY: Dover Publications, Inc, 1989, p. 209 He continued to expand the range of the timpani when writing his 8th symphony. In the final Allegro vivace movement, Beethoven writes for the timpani to play octave F's, something that had not been required of a timpanist in a symphonic movement until this time.
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Harnesses for the timpani were originally just slings. Corps usually used 2 snare slings and hook them around the player, and onto his timpani. Some corps rigged wooden blocks between the drum and the player, to help balance issues, as the drums were carried high on the body. Some corps used harnesses for a few years, while some continued using slings.
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The orchestra consists of: 3 flutes (piccolo), 3 oboes (English horn), 3 clarinets (bass clarinet), 3 bassoons (contrabassoon); 5 horns, 3 trumpets, 3 trombones, tuba; timpani, percussion (triangle, drum, military drum, cymbals, tam-tam, xylophone, bass drum, glockenspiel, celesta), 2 harps; organ; strings. Stage music: 3 trumpets, 2 trombones; bells; timpani; strings (violin, viola, cello).Kindermann, p. 400; Roberge, p.
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The brass quintet version of Loose Id is scored for two trumpets, French horn, trombone, bass trombone, and percussion (timpani and ride cymbal). The orchestral expansion of the piece is scored for piccolo, two flutes, two oboes, two clarinets, bass clarinet, two bassoons, contrabassoon, four French horns, three trumpets, three trombones (two tenor trombones and bass trombone), tuba, timpani, three percussionists, and strings.
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The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, a contrabassoon, four horns, two trumpets, three trombones, timpani, and strings.
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The work is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, and strings.
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After a self-funded, solo timpani recital at Carnegie Recital Hall in 1980, he accepted an invitation to join the New York Chamber Symphony.
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The work is scored for flute (with piccolo), oboe (with English horn), two clarinets, two bassoons, two horns, timpani/triangle/bass drum, and strings.
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"Adagio", composed in 1966, is written for pedal timpani, and explores the many effects possible by changing the pitch of the drum while playing.
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In recapitulation the second theme is reworked for the cellos and contrabasses over a timpani pedal point. The work ends with a lively coda.
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The concerto is scored for piano, pairs of flutes, oboes, clarinets in B, bassoons, horns in F, trumpets in B, and timpani and strings.
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The Introduction and Allegro appassionato is scored for solo piano, pairs of flutes, oboes, clarinets in B, bassoons, horns, trumpets and timpani, and strings.
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The concerto is scored for solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani and strings.
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In addition to the solo group the Sinfonia Concertante is scored for flute, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani and strings.
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The work is scored for solo violin and a chamber orchestra consisting of flute (doubling piccolo), oboe, two clarinets, bassoon, trumpet, timpani, and strings.
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58 In order to allow for the timpanist to change the pitch of the drum, Haydn left plenty of measures rest in between the last G and the first A, and then did the same for when the drum is to be tuned back down to the G again. Another example of Haydn's progressive writing for the timpani can be found by looking at his Symphony No. 100, also known as the "Military" Symphony. Previous to this symphony, it was a rarity for the timpani to play a solo passage in a symphonic work. In the "Military" symphony, Haydn separates the timpani from the trumpet and horn and actually writes out a solo passage for the timpanist. In measure 159 of the second movement, the entire orchestra drops out and only the timpani plays with two measures of sixteenth notes.
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The work is scored for solo piano, three flutes (third doubling piccolo), two oboes, two clarinets, two bassoons, four horns, timpani, snare drum and strings.
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Virtuoso solo piece for timpani. #Quoq (1978), flutist John Fonville. Named after "Finnegans Wake". #Sierra (1984), baritone Philip Larson, SONOR Ensemble conducted by Thomas Nee.
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Pert played drums, congas, tam-tam, timbales, flexatone, vibraslap, marimba, vibraphone, timpani, tabla, gong, bell tree, tambourine, bells, kalimba, shaker, jawbone, assorted percussion and keyboards.
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The concerto is scored for solo bassoon and an orchestra consisting of two flutes, two oboes, two horns, two bassoons, two trumpets, timpani, and strings.
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The symphony is scored for double woodwind (second flute being interchangeable with piccolo), cor anglais, 4 horns, 3 trumpets, 3 trombones, tuba, timpani and strings.
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Later in his career, he began playing saxophone, marimba, and timpani as well.Val Wilmer, "John Boudreaux". The New Grove Dictionary of Jazz. 2nd edition, ed.
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The work is scored for solo violin, 2 flutes/piccolo, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani and strings.
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20 1963 – Violin and orchestra concertino, op. 21 1965 – Violin and orchestra concert, no.2, op. 25 1975 – Harp, strings orchestra and timpani concert, op.
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The symphony is scored for flute, two oboes, two bassoons, two horns in C, two trumpets in C, timpani in C and G, and strings.
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The symphony requires an instrumentation of one pair each of flutes, oboes, clarinets and bassoons, with four horns, three trumpets, three trombones, timpani and strings.
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Timpani now had softer heads, but the trumpets still rasped, and doubled horns roared and pooped their exuberant contributions while double-basses grunted primevally below.
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Otello in Full Score. Mineola, NY: Dover Publications, Inc, 1986. p. 24 Verdi required the timpanist to quickly change the pitch of the drums while also sustaining a roll, demonstrating the composer's understanding of how the pedal timpani worked. It would not be possible for the timpanist to play a sustained note and simultaneously change the pitch of another drum without using a set of pedal timpani.
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Eight Pieces for Four Timpani is a collection of short pieces by Elliott Carter for solo timpani – four drums played by one musician. Six of the pieces were composed in 1949. Two new pieces were added in 1966, and the rest were revised in collaboration with percussionist Jan Williams. Carter wrote the pieces as studies in tempo modulation and the use of four-note chords.
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Timpani is a French classical music record label established in 1990 by Stéphane Topakian.Diapason harmonie 1992 - Nros 384 - 388 "Stéphane Topakian, le créateur du label français Timpani, artisan è l'intégrale de la musique de chambre d'Honegger connait bien son sujet." The label issued over 200 discs over 20 years, mainly of unknown 20th Century French classical music. The label and catalogue are now distributed by Naïve Records.
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Entries for Paila criolla; Timbal criolla; Típica (orquesta); Charanga. Since the term timbales is used to refer to both timpani and pailas criollas, it is ambiguous when referring to bands playing the danzón in the 1900-1930 period. In French, timbales () is also the word for timpani, thus the French refer to Cuban timbales as timbales latines. In Brazil, the term timbal refers to an unrelated drum.
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Joachim was not presenting two established works, but one established one and a new, difficult one by a composer who had a reputation for being difficult.Steinberg, 122. The two works also share some striking similarities. For instance, Brahms has the violin enter with the timpani after the orchestral introduction: this is a clear homage to Beethoven, whose violin concerto also makes unusual use of the timpani.
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In a review of "CelebrationsAn Overture for Timpani and Orchestra," the Pittsburgh Post-Gazette said, "Leonard played it superbly, imparting a singing line to this most unvocal instrument." In 2010, he was inducted into the Percussive Arts Society Hall of Fame, where they summed up his musical contribution: "Leonard has left an indelible musical footprint for musicians, especially percussionists." He is currently resident timpanist, composer and handbell director at Vanderbilt Presbyterian Church, Naples, Florida, and continues to compose and teach master classes. He has composed more than one hundred twenty pieces for percussion instruments, including timpani, timpani and organ, snare drum, and percussion ensemble.
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The minuet proper has a ländler character. The minuet's trio is highly original and juxtaposes timpani-punctated fanfare outbursts with quieter passages scored only for strings.
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Struck drums are instruments which have a struck membrane. This includes most types of drums, such as the timpani, or kettle drum, and the snare drum.
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The concerto is scored for a solo clarinet and an orchestra consisting of 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani and strings.
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It is scored for solo piano and an orchestra consisting of a flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.
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The symphony is written for 3 flutes (third doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings.
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"Mass Without Words: Eugene Bozza's Messe solennelle de Sainte Cecile for Brass, Organ, Timpani and Harp." PhD diss., California State University, Long Beach, 2011. # # Dovel, Jason.
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The work is scored for solo oboe and an orchestra comprising two flutes, cor anglais, two clarinets, bassoon, contrabassoon, two horns, two trumpets, timpani, and strings.
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An Andalusian from Paris to New Orleans, liner notes of CD-release 1C1039 on Timpani Records.Liner notes to the Narciso Yepes recording. Ohana died in Paris.
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The concerto is scored for piano solo; piccolo; two flutes; two oboes; two clarinets; two bassoons; four horns; two trumpets; three trombones; tuba; timpani and strings.
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Ebenezer Prout has commented on various facets of Handel's instrumentation in the work and Edmund Bowles has written on Handel's use of timpani in the work.
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The work is scored for an orchestra comprising piccolo, flute, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, and strings.
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Marschner scored the opera for two piccolos and two flutes (not doubling), two oboes, two clarinets, two bassoons, four horns, three trombones, timpani, tamtam, and strings.
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Edmund A. Bowles. "Nineteenth-Century innovations in the Use and Construction of the Timpani" Percussionist. Vol 19 n2, Official Publication of The Percussive Arts Society. 1982 pp.
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The symphony is scored for two sopranos, tenor, chorus, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, organ and strings.
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Eventually, other timpanists asked Light to build drums for them. In 1950, he formed the American Drum Manufacturing Company, which still builds custom timpani to this day.
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The work is scored for an orchestra comprising two flutes (doubling piccolo), two oboes, two clarinets, two bassoons, two horns, two trumpets, trombone, timpani, percussion, and strings.
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The symphony is scored for three flutes, three oboes, four clarinets, three bassoons, four horns, three trumpets, three trombones, one tuba, timpani, percussion, piano, harp, and strings.
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"Berlioz Takes a Trip": Commentary on Berlioz's Symphonie fantastique The sound of distant thunder at the end of the movement is a striking passage for four timpani.
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The concerto is scored for solo piano, piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, tam tam, and strings.
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His works of Lili Boulanger were published by Timpani Records and won him Editor’s Choice and Choc de repertoire awards in France, England and the United States.
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The symphony is scored for 3 flutes (3rd doubling piccolo), 2 oboes, 3 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion and strings.
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The work is scored for solo organ and a small orchestra comprising bass clarinet, contrabassoon, four horns, two trumpets, three trombones, tuba, timpani, three percussionists, and strings.
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A drawing depicting Medieval Nakers The timpani is considerably older than other melodic percussion instruments, such as the marimba and xylophone. Music historians trace the instrument's history to ancient times when the drums were used in religious ceremonies. During the 13th century, timpani began to be used in pairs and were called Nakers, or Nakirs. These drums were small, usually between , and were used primarily by the military.
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This relationship between the trumpet and timpani continued for many centuries. As empires in Europe gave way to royal courts, the timpani and trumpet pairing continued to be used, but they were now used as more of an image-builder for the nobility. It was common for emperors, dukes, lords and others of high rank to travel with a timpanist and trumpeter to emphasize the importance of their social rank.Finger, pp.
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He would trade off solos with these videos, then come out front and play the timpani along with a fast Christmas-style recording. Just before the band would come back, he would play the Bernstein melody on tubular bells and timpani. Tucker tried to make sure his solos appealed to all of the audience. Tucker understood that a great performance consisted of great playing technique and presentation in equal doses.
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The Mounted Band of the Ecuadorian National Police uses brass, woodwinds and percussion (sans the timpani). The Ecuadorian Army's Eloy Alfaro Military Academy uses the same format as French bands but without the bugles, as they are part of the Corps of Drums. The fanfare band of the Presidential Mounted Ceremonial Squadron, also of the Army, is composed only of timpani, fanfare trumpets, a snare drum and sousaphones (when mounted).
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A cadenza, for both timpani, opens the final movement. Occasionally it is set aside as a separate section of the concerto, but on most recordings, it is featured as part of the third movement. During the cadenza, both timpani engage in exchanges, whose character range from almost inaudible to deafeningly loud. At one point Glass instructs the timpanists to abandon their mallets and play with their bare hands, creating higher pitch.
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The work is in three movements: It is scored, in addition to the solo violin, for flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings. The first movement starts with four beats on the timpani and has a duration of about 25 minutes. The second and third movements last about 10 minutes each. There is no break between the second and third movements.
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The first movement weaves together three rhythms and themes: Charleston, pentatonic runs and sultry. The timpani begins the movement with wham-bok beats, then the orchestra introduces a pentatonic melody accompanied by the Charleston in the horns and percussion. Thirty seconds in, the timpani and orchestra alternate wham-bok beats with the pentatonic melody. After the strings lull, the piano introduces the main sultry theme used throughout the piece.
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The concerto is scored for solo flute, two flutes, two oboes, two clarinets, two bassoons, two horns, trumpet, timpani and strings. A typical performance lasts about 20 minutes.
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It is scored for three flutes, three oboes, four clarinets, three bassoons, four horns, two trumpets, three trombones, one tuba, timpani, percussion, a celesta, a harp and strings.
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Flute, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, 2 percussion (clash cymbals, snare drum & tenor drum) and strings.Boosey & Hawkes Ltd.
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The work is scored for a solo violinist and an orchestra consisting of two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.
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The work is scored for a small orchestra comprising two flutes (doubling piccolo), two clarinets (doubling bass clarinets), two bassoons, two trumpets, bass trombone, timpani, percussion, and strings.
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The symphony is scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, triangle, and strings.
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The work is scored for two flutes, two oboes, two clarinets in A, two bassoons, two horns in D and G, two trumpets in D, timpani and strings.
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The work is scored for solo piano, 2 flutes, 2 oboes, 2 clarinets (B♭), 2 bassoons, 4 horns (F), 2 trumpets (F), 3 trombones, timpani and strings.
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The music is scored for an orchestra comprising two flutes (2nd doubling piccolo), two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani (doubling percussion), and strings.
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The work is scored for an orchestra comprising two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion, and strings.
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The work is scored for a solo cello and an orchestra comprising two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, percussion, and strings.
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The work is scored for solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, timpani, bass drum, snare drum and strings.
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Until the early 19th century the dominant (the note of the large drum) was written as G and the tonic (the note of the small drum) was written as C no matter what the actual key of the work was, and whether it was major or minor, with the actual pitches indicated at the top of the score (for example, Timpani in D–A for a work in D major or D minor). This notation style however was not universal: Bach, Mozart, and Schubert (in his early works) used it, but their respective contemporaries Handel, Haydn, and Beethoven wrote for the timpani at concert pitch. In the 2010s, even though they are written at concert pitch, timpani parts continue to be most oftenSee, as an early 20th- century example, the orchestral score of Debussy's Pelléas et Mélisande: through no. 6 non-transposing parts have a key signature of one flat but the timpani part has no key signature, in bar 7 of no.
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Marie Victoire is scored for the following instruments: piccolo, 2 flutes , 2 oboes, English horn, 2 clarinets, bass clarinet, bassoons, horns, trumpets, trombones, tam-tam, timpani, harp, bell, strings.
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The concerto is scored for solo violin and an orchestra consisting of 2 flutes, 2 oboes 2 clarinets (in A), 2 bassoons, 4 horns, 2 trumpets, timpani, and strings.
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The work is scored for two flutes (one doubling piccolo), two oboes (one doubling English horn), two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, and strings.
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The symphony is scored for 2 flutes, 2 oboes, 2 clarinets in C, 2 bassoons, contrabassoon, 4 horns in C, 2 trumpets in C, 3 trombones, timpani and strings.
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The work is scored for an orchestra comprising two flutes, two piccolos, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion, and strings.
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According to Allmusic, Gadd has been credited with playing surdo, kalimba, timpani, tambourine, congas, Grand Cassa, bongos, timbales, snare drum, cymbals and palmas in addition to a drum kit.
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The work is scored for solo flute and an orchestra consisting of two additional flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, percussion, and strings.
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This was, in total, the largest orchestra Bruckner ever used (since the Ninth Symphony, which uses an otherwise identical orchestra, does not require harps and percussion other than timpani).
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The work is scored for solo violin and an orchestra comprising two flutes, two oboes, two clarinets, two bassoons, three horns, two trumpets, trombone, tuba, timpani, percussion, and strings.
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The work is scored for an orchestra comprising three flutes, three oboes, three clarinets, three bassoons, four horns, three trumpets, three trombones, tuba, timpani, three percussionists, harp, and strings.
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Other techniques utilize the bow of a contrabass, to be drawn slowly across the outside rim of the cymbal. This technique will give a very shrill, eerie sound, particularly useful in film music. Another lesser-known technique is to place a suspended cymbal upside down on a timpani head. The timpanist is instructed to roll ad lib on the suspended cymbal while moving the timpani pedal up and down as a glissando.
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Benjamin Britten asks for the timpanist to use drumsticks in his War Requiem to evoke the sound of a field drum. Robert W. Smith's Songs of Sailor and Sea calls for a "whale sound" on the timpani. This is achieved by moistening the thumb and rubbing it from the edge to the center of the head. Among other techniques used primarily in solo work, such as John Beck's Sonata for Timpani, is striking the bowls.
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Maracas and similar shaken idiophones can be muted by holding their chamber instead of their handle. Some percussion instruments, such as the triangle, timpani, and suspended cymbal, are intended to be muted or dampened by hand. A triangle can also be dampened by placing it inside a sack and striking it from outside. Muting a timpani can be done with a handkerchief, cloth, or piece of felt; the muting device can also be struck directly.
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The course of the work describes a process in which the clear sounds of the piano and the more shadowy notes of the timpani gradually come together, make contact and overlap, and then withdraw once again . This is accomplished in a succession of twenty-three phases. The central, twelfth phase is the only one in which all twelve pitches in the piano and all six stroke types in the timpani are present .
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This provided a more amplified volume from the instrument and allowed musicians to use less force when playing the instrument. Improvements in drum tuning were also established at this time. The "Dresden" model of tuning, involving steel technology and employing a foot petal with ratchet in order to attach the device to the timpani, was invented by Carl Pittrich. This technology allowed for timpani to be tuned much faster by the musician.
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The symphony is scored for two flutes, two oboes, two clarinets (in C), two bassoons, two horns (in C), two trumpets (in C), timpani (in C and G) and strings.
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The most familiar arrangement is unusual among pop records in that it uses almost no drums, save for timpani rolls during the introduction and towards the end of the track.
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The keys and time signatures are from Alfred Dürr, and use the symbol for common time. The continuo, played throughout, is not shown. The timpani always play with the trumpets.
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The personnel includes King Curtis on saxophone, Don Arnone, Art Ryerson and Everett Barksdale on guitar, Milt Hinton on bass, Irving Faberman on timpani and Dave "Panama" Francis on drums.
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"Moto perpetuo" (perpetual motion) is a quick moving piece with a constant pulse. It is played with thin rattan shafts with moleskin on the ends rather than conventional timpani sticks.
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Piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, four trumpets, three trombones, tuba, timpani, triangle, cymbals, bass drum, harp, strings. Onstage trumpets.Smetana on 3,000 records, p. 136.
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Incantations is scored for a solo percussionist and orchestra, comprising two flutes, two oboes, two clarinets, two bassoons, two French horns, three trumpets, two trombones, timpani, tubular bells, and strings.
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2 Flutes, 2 Oboes, 2 Clarinets, Bass Clarinet, 2 Bassoons; 2 French horns, 2 Trumpets, Timpani, Xylophone, Percussion: triangle, suspended cymbal, cymbals; First violins, Second violins, Violas, Violoncellos, Double Basses.
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The work is scored for solo guitar and an orchestra comprising two flutes, two oboes, two clarinets, two bassoons, two French horns, trumpet, trombone, timpani, two percussionists, harp, and strings.
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The work is scored for a large orchestra consisting of three flutes, three oboes, three clarinets, three bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion, piano, and strings.
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In both instances, "Burrow's Lament" is heard as an instrumental track with timpani drums (a take that was originally recorded for Disneyland, but never used), with dramatic orchestra and choir.
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The concerto is scored for solo piano, pairs of flutes, oboes, clarinets, and bassoons, 4 horns, 2 trumpets, tenor trombone, timpani and strings. A typical performance lasts about 40 minutes.
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The music is written for a large orchestra consisting of three flutes, three oboes, four clarinets, three bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, and strings.
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At the end, a timpani drum roll segues into the final movement. This movement is the heaviest, dancing in a triple metre. The woodwinds and the piano enter with counterpoint.
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The work is scored for a solo cello and an orchestra consisting of two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, harp, piano, and strings.
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Il corsaro is scored for piccolo, flute, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, cimbasso, triangle, cymbals, timpani, bass drum and cymbals, cannon, harp, strings.
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The work is scored for a solo flute and an orchestra comprising two additional flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, piano, harp, and strings.
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The work is scored for solo piano and an orchestra of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, triangle, harp and strings.
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The work is scored for an orchestra consisting of two flutes (1st doubling piccolo), two oboes, two clarinets, two bassoons, two horns, trumpet, bass trombone, timpani, percussion, piano, and strings.
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The work is scored for an orchestra comprising four flutes, three oboes, four clarinets, three bassoons, four horns, three trumpets, three trombones, tuba, timpani, four percussionists, harp, piano, and strings.
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The orchestra consists of 1 piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 2 trombones, timpani, and strings. There is also an offstage trumpet.
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The concert overture is scored for 2 flutes (both doubling piccolo), 2 oboes, 2 clarinets in B, 2 bassoons, 2 horns in F, 2 trumpets in B, timpani, and strings.
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The work is scored for solo violin and a standard orchestra of its period, consisting of two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.
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The Timpani. London: John Baker Publishers Ltd., 1964, pp. 22–24 Both the trumpeters and the timpanists were highly regarded and were often placed close to a commander when in battle.
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The symphony is scored for piccolo, 2 flutes, 2 oboes, 2 clarinets in B-flat, 2 bassoons, 4 horns in F, 2 trumpets in F, 3 trombones, timpani, triangle and strings.
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The symphony is scored for piccolo, 2 flutes, 2 oboes, 2 clarinets in B-flat, 2 bassoons, 4 horns in F, 2 trumpets in F, trombone, bass trombone, timpani and strings.
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The work is scored for a solo violin and an orchestra consisting of piccolo, flute, oboe, English horn, clarinet, bass clarinet, bassoon, contrabassoon, two horns, two trumpets, timpani, harp, and strings.
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Instrumentation is three flutes (third doubling piccolo), three oboes (third doubling cor anglais), three clarinets, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, three percussion, harp, and strings.
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The work is scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, triangle and strings. It takes about 22 minutes to play.
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Schlagtrio (Percussive Trio) is a chamber-music work for piano and two timpanists (each playing three timpani) composed by Karlheinz Stockhausen in 1952. It is Nr. ⅓ in his catalogue of works.
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The concerto is scored for solo violin, two flutes, two oboes, two clarinets in A and B-flat, two bassoons, four horns in F, two trumpets in D, timpani and strings.
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The work is scored for an orchestra consisting of two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, harp, celesta, timpani, three percussionists, and strings.
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The score calls for 2 flutes, 2 oboes, cor anglais, 2 soprano clarinets, bass clarinet, 2 bassoons, 4 horns, 2 cornets, 2 trumpets, 3 trombones, tuba, 3 timpani, harp and strings.
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The work is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four French horns, two trumpets, three trombones, tuba, timpani, bass drum, triangle, cymbals, two harps, and strings.
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3 doubling bass clarinet, no. 4 doubling clarinet in E), 3 bassoons (no. 3 doubling contrabassoon), 4 horns, 4 trumpets, 4 trombones, tuba, timpani, percussion (2 players), harp, piano, and strings.
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Joseph Haydn's Symphony No. 98 is credited as the first symphony he (or anyone else) wrote in that key in which he included trumpet and timpani parts. Actually, his brother Michael Haydn had written one such symphony earlier, No. 36, though Joseph Haydn still gets credit for writing the timpani part at actual pitch with an F major key signature (instead of transposing with a C major key signature), a procedure that made sense since he limited that instrument to the tonic and dominant pitches.H. C. Robbins Landon, Haydn Symphonies, London: British Broadcasting Corporation (1966): 57 Many editions of the work, however, use no key signature and specify the instrument as "Timpani in B–F". Five of Mozart's piano concertos are in B-flat major.
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335–336 Due to this move indoors, a much more formalized way of playing and approaching the timpani was developed. The old practice of learning parts by rote gave way to written music and composers began writing more regularly for the timpani. More notes were written than just two simultaneous pitches and as a result, timpanists were faced with the issue of how to actually play their parts on the equipment that they already had.P.A. Browne, pp.
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The instrumentation for set 1 is piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (glockenspiel, tubular bells, tam tam, side drum, bass drum, cymbals, wood block), harp and strings. The instrumentation for set 2 is piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (glockenspiel, side drum, bass drum, cymbals, tam tam, tambourine, tubular bells) celeste, harp and strings.
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Originally the only mallet instruments allowed to be marched were timpani in 1972, glockenspiels, and xylophones in 1974. In 1977, marimbas and vibraphones were allowed to be used, but they still had to be marched. Overtime, people began to realize the physical strain of carrying these large, awkward instruments, and they were allowed to be grounded in 1978. This allowed extended techniques and higher quality instruments (like pedal timpani and 4-octave marimbas) to be used.
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As with the Piano Concerto No. 2, this C major concerto reflects Beethoven's assimilation of the styles of Mozart and Haydn, while its abrupt harmonic shifts demonstrate Beethoven's musical personality. It adheres to the concerto variant of sonata form and is scored for solo piano and an orchestra consisting of flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. The flute, oboes, trumpets, and timpani are tacet during the second movement.
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The music is scored for two flutes (flute 2 doubling piccolo), two clarinets, two oboes, two bassoons, four horns, four trumpets, two trombones, bass trombone, tuba, timpani, percussion (two players), and strings.
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The work is scored for an orchestra comprising two flutes (second doubling piccolo), two oboes, two clarinets (first doubling E-flat clarinet), two bassoons, two horns, two trumpets, trombone, timpani, and strings.
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The symphony is scored for piccolo, two flutes, two oboes, cor anglais, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, two trombones, bass trombone, tuba, timpani, percussion (two players), and strings.
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The work is scored for 3 flutes (3rd doubling piccolo), 2 oboes, 2 clarinets in A, 2 bassoons, 4 horns in F, 2 trumpets in A, 3 trombones, tuba, timpani, and strings.
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The work is scored for two flutes, two oboes, two clarinets in B, two bassoons, two horns in E and/or C, two trumpets in C, timpani in C, G, and strings.
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The work is scored for an orchestra comprising two flutes, two oboes, two clarinets (2nd doubling bass clarinet), four French horns, three trumpets, four trombones, tuba, timpani, three percussionists, harp, and strings.
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The work is scored for solo violin and cello and an orchestra consisting of two flutes, oboe, English horn, two clarinets, two bassoons, two horns in F, two trumpets, timpani, and strings.
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The work is scored for solo cello, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 French horns, 2 trumpets, tuba, timpani, percussion (cymbals, castanets, bass drum, snare drum, tambourine), and strings.
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After a desolate opening of bassoon and low strings, the English horn enters with the troubador's song. Muted strings contribute to the dreamy texture, as does the relentless pulse of the timpani.
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The symphony is scored for a small orchestra comprising piccolo, flute, oboe, English horn, two clarinets, two bassoons, two French horns, two trumpets, trombone, percussionist on timpani and chimes, harp, and strings.
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The work is scored for a solo tuba and an orchestra consisting of two flutes, oboe, English horn, two clarinets, bassoon, contrabassoon, four horns, three trumpets, three trombones, timpani, percussion, and strings.
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The work is scored for an orchestra comprising two flutes, piccolo, three oboes, three clarinets, two bassoons, contrabassoon, four French horns, three trumpets, three trombones, tuba, piano, timpani, three percussionists, and strings.
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Ventanas is scored for an orchestra of piccolo, 2 flutes, 2 oboes, cor anglais, E clarinet, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion, and strings.
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Semispherical drums are a class of membranophone that is characterized by its body, similar to a section of a sphere whose cut conforms the head. This group includes the timpani and the naqareh.
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Andante grazioso # Variation 8. Molto sostenuto # Fugue. Allegretto grazioso It is scored for piccolo flute, two concert flutes, two oboes, two clarinets, two bassoons, four French horns, two trumpets, timpani, harp, string section.
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The work is scored for an orchestra consisting of two flutes (doubling piccolos), two oboes, two clarinets, two bassoons, two horns, two trumpets, trombone, timpani, percussion, harpsichord (doubling piano and celesta), and strings.
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It is scored for three flutes, two oboes, English horn, two clarinets (B♭), bass clarinet (B♭), two bassoons, four horns (F), two trumpets (C), three trombones; timpani, triangle, cymbals and strings.
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Palmer also uses timpani, tubular bells and tam-tam as usually used in the symphony orchestra. Other percussion he has used include temple blocks, triangle, church bell, vibraslap, electronic percussion synthesizers and ratchet.
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The work is scored for three flutes (doubling piccolo), three oboes (doubling cor anglais), two clarinets, two bassoons, contrabassoon, four French horns, three trumpets, three trombones, tuba, timpani, five percussionists, harp, and strings.
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The work is scored for an orchestra comprising threeflutes (doubling piccolo), two oboes, three clarinets, two bassoons, four horns, three trumpets, three trombones (doubling bass trombone), tuba, timpani, three percussionists, piano, and strings.
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The work is scored for a large orchestra consisting of two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, two trombones, bass trombone, tuba, timpani, two percussionists, and strings.
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Yeomans, 106. Bartók made a sketch of an orchestration for this piece in 1931, using for the opening section timpani and gran cassa ('drums') and (double)-bassoons and trombones ('pipes').Somfai 1998, 91.
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The piece is scored for an orchestra including 2 flutes, 2 oboes, 2 clarinets (in B and A), 2 bassoons, 4 horns (in F), 2 trumpets (in B), 3 trombones, timpani, and strings.
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The concerto is scored for solo violin and an orchestra consisting of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones (alto, tenor and bass), timpani, and strings.
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The work is scored for an orchestra comprising two flutes (2nd doubling piccolo), two oboes, two clarinets, two bassoons, four horns, two trumpets, two trombones, bass trombone, tuba, timpani, percussion, harp, and strings.
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The work is scored for an orchestra comprising two flutes, piccolo, two oboes, cor anglais, three clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, timpani, three percussionists, and strings.
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Ricotti is known to play congas, bongos, vibraphone, tambourine, shaker, tubular bells, marimba, glockenspiel, xylophone, snare drum, triangle, timpani, timbales, tabla, sleigh bells, drums, gong and assorted other percussion, including ethnic and Latin.
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Re Enzo is scored for the following instruments: 2 piccolos, oboes, clarinets, bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, triangle, bells, cymbals, bass drum, harp, strings. On stage: band, trumpets, harps, mandolins.
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The work is scored for solo viola and an orchestra consisting of two flutes (doubling piccolo), oboe, cor anglais, two clarinets, two bassoons, two horns, two trumpets, two trombones, tuba, timpani, and strings.
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For orchestral works in A major, the timpani are typically set to A and E a fifth apart, rather than a fourth apart as for most other keys. Hector Berlioz complained about the custom of his day in which timpani tuned to A and E a fifth apart were notated C and G a fourth apart, a custom which survived as late as the music of Franz Berwald.Norman Del Mar (1981). Anatomy of the Orchestra, University of California Press, p.
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This is commonly called a glissando, though this use of the term is not strictly correct. The most effective glissandos are those from low to high notes and those performed during rolls. One of the first composers to call for a timpani glissando was Carl Nielsen, who used two sets of timpani playing glissandos at the same time in his Symphony No. 4 ("The Inextinguishable"). Pedaling refers to changing the pitch with the pedal; it is an alternate term for tuning.
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A variation of this is to strike the head while two fingers of one hand lightly press and release spots near the center. The head will then vibrate at a harmonic much like the similar effect on a string instrument. Resonance can cause timpani not in use to vibrate, causing a quieter sound to be produced. Timpanists must normally avoid this effect, called sympathetic resonance, but composers have exploited it in solo pieces such as Elliott Carter's Eight Pieces for Four Timpani.
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The instrumentation is two flutes, two oboes, two clarinets in C, four horns (in C and F), two bassoons, two trumpets in C, two cornets in B-flat, three trombones, ophicleide, timpani and strings.
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The work is scored for solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, suspended cymbal (played with triangle beater), harp, and strings.
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Max Bruch, Kol Nidrei chazzanut.com, accessed 9 June 2019 The work is scored for solo cello, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, harp and strings.
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The piece is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, timpani, strings, and a four-part chorus.Johannes Brahms. Schicksalslied, Op. 54. Leipzig: Breitkopf & Härtel, 1926.
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The symphony is scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, cymbals, bass drum, snare drum, tam-tam, glockenspiel, vibraphone, harp and strings.
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The music is scored for solo oboe and an orchestra comprising piccolo, flute, an additional oboe, Oboe d'amore, English horn, two clarinets, bassoon, contrabassoon, four horns in F, two cornets, timpani, percussion, and strings.
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A brief chordal transition returns the listener to the recapitulated A theme, and ultimately cadences on a major triad with a prominent timpani solo echoing a final rhythmic variation of the B theme fugue.
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The Coriolan Overture is scored thus, 2 flutes, 2 oboes, 2 clarinets in Bb, 2 bassoons, 2 French horns in Eb and 2 trumpets in C. It has timpani and a full string section.
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The work is scored for solo piano and an orchestra comprising two flutes (doubling piccolo), two oboes, two clarinets (doubling bass clarinet), two bassoons, four horns, two trumpets, three trombones, tuba, timpani, and strings.
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The work is scored for an orchestra comprising piccolo, three flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, harp, timpani, percussion, celeste, and strings.
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2 flutes, 2 oboes, cor anglais (English horn), 2 (soprano) clarinets in B, 3 bassoons; 4 valve (French) horns in F; 2 timpani in B & D, harp; (strings): 1st & 2nd violins, violas, cellos, contrabasses.
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The work is scored for solo violin and an orchestra comprising two flutes, two oboes, cor anglais, two clarinets, bassoon, contrabassoon, two horns, two trumpets, two trombones, tuba, timpani, two percussionists, piano, and strings.
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The work is scored for two flutes, two oboes, two clarinets in B, two bassoons, four horns in F, two trumpets in F, three trombones (two tenor, one bass), timpani, solo piano, and strings.
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Prospero's Rooms is scored for an orchestra comprising two flutes, piccolo, two oboes, cor anglais, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, three percussionists, harp, and strings.
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The piece is written for an unusually large orchestra. The score involves two four-part choirs, three trumpets, timpani, three oboes, two violins, viola, and basso continuo. The movement is a chorus, or "coro doppio".
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The work is scored for a solo cello and a large orchestra consisting of three flutes, three oboes, three clarinets, three bassoons, four horns, three trumpets, three trombones, tuba, timpani, three percussionists, harp, and strings.
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The work is scored for an orchestra comprising two flutes (doubling piccolo), two oboes, two clarinets (doubling bass clarinet), two bassoons, four horns, three trumpets, two trombones, bass trombone, tuba, timpani, four percussionists, and strings.
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The work is scored for an orchestra comprising three flutes (doubling piccolo), three oboes, cor anglais, two clarinets, bass clarinet, four horns, three trumpets, three trombones, tuba, timpani, three percussionists, piano (doubling celesta), and strings.
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The symphony is scored for piccolo, flute, alto flute, oboe, cor anglais, Heckelphone, E clarinet, two clarinets, bass clarinet, three bassoons, eight horns, three trumpets, bass tuba, timpani, percussion (three players), two harps, and strings.
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The work is scored for an orchestra consisting of two flutes (both doubling piccolo), two oboes (2nd doubling English horn), two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, percussion, timpani, and strings.
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The music is scored for piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets in B, 2 bassoons, 4 horns, 3 trumpets in F, 3 trombones, tuba, timpani, cymbals, triangle, tam tam, harp and strings.
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The piece is scored for three flutes (3rd doubling piccolo), three oboes, two clarinets, bass clarinet, two bassoons, contrabassoon, four French horns, three trumpets, three trombones, tuba, harp, piano, celesta, timpani, three percussionists, and strings.
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The work is scored for solo piano and an orchestra comprising two flutes (2nd doubling piccolo), two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, harp, timpani, two percussionists, and strings.
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The work is scored for an orchestra comprising two flutes (2nd doubling piccolo), oboe, cor anglais, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, harp, piano, celesta, timpani, three percussionists, and strings.
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4–7) The bass ostinato again asserts itself early on, firmly linking the finale with the previous movements. The timpani carry the melody with celli and double basses in accompaniment. Example 17: Rhythmic pattern (mm.
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The work is scored for a large orchestra consisting of piccolo, two flutes, two oboes, Cor anglais, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, and strings.
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The Sinfonietta is scored for a small symphony orchestra consisting of 2 flutes, 2 oboes, 2 clarinets in Bb, 2 bassoons, 2 French horns (in F), 2 trumpets in C, harp, timpani (4), and strings.
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The score calls for piccolo, two flutes, two oboes, two English horns, soprano recorder, alto recorder, two clarinets, bass clarinet, bassoon, contrabassoon, four horns, two trumpets, three trombones, timpani, two percussion, harp, celesta and strings.
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The work is scored for piano solo and an orchestra of piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, timpani, percussion, harp and strings.
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33 and chorus no. 36, that combines strict fugal with richly scored orchestral music. The ceremonial character of the composition is emphasized by the use of trumpets and timpani in many parts of the work.
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The orchestration calls for flutes, oboes, clarinets (in A), bassoons, horns (in A), trumpets (in D), timpani (A and E), and strings. The work contains three main themes, two of which are traditional folk melodies.
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The work is composed for SATB chorus, orchestra, and solo piano. Due to its monumental conception, a very specific instrumental disposition is called for, with the following: 2.2.2.2, 4.2.3.1, timpani +2, piano, harp, and strings.
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The work is scored for solo violin and cello accompanied by an orchestra comprising two flutes, oboe, two clarinets, English horn, two bassoons, four French horns, two trumpets, three trombones, tuba, timpani, harp, and strings.
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The Queen of Spades is scored for two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, bass drum, snare drum, cymbals, piano, and strings.
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The work is scored for two flutes, two oboes, two clarinets in B, two bassoons, four horns (two in F, two in B), two trumpets in F, alto, tenor and bass trombones, timpani and strings.
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The score calls for 2 flutes, piccolo, 2 oboes, cor anglais, 2 clarinets in B flat, bass clarinet, 3 bassoons, 4 horns in F, 4 trumpets, 3 trombones, tuba, 3 timpani, 2 harps and strings.
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The work is scored for an orchestra comprising two flutes (2nd doubling piccolo), two oboes (2nd doubling English horn), two clarinets, bass clarinet, two bassoons, four horns, two trumpets, timpani, percussion, celesta, harp, and strings.
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In general, timpanists reserve this term for passages where they must change the pitch in the midst of playing. Early 20th-century composers such as Nielsen, Béla Bartók, Samuel Barber, and Richard Strauss took advantage of the freedom that pedal timpani afforded, often giving the timpani the bass line. Bartók's Concerto for Orchestra requires the timpanist to use the pedals to play all the pitches. One way of executing this passage is annotated here: The lowest and highest drum stay on F and E, respectively.
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"Wellington's Victory" is something of a musical novelty. The full orchestration calls for two flutes, a piccolo, two oboes, two clarinets, two bassoons, four horns, six trumpets, three trombones, timpani, a large percussion battery (including muskets and other artillery sound effects), and a usual string section of violins I and II, violas, cellos, and double basses. There are more trumpets than horns, and more brass and percussion. In the orchestral percussion section one player plays the timpani, the other three play the cymbals, bass drum and triangle.
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His piece The Explorer (later retitled To Boldly Go...) was commissioned and premiered as the opening for that summer's four-year Cultural Olympiad. During the 1990s, Oliverio was described as "Atlanta's hottest composer". Since January 2001, Oliverio has served as Executive Director of the Digital Worlds Institute at the University of Florida. A lifelong friend of the timpanist brothers Paul and Mark Yancich, Oliverio has composed a number of works for the performers, including his first and second timpani concertos and the 2011 double timpani concerto Dynasty.
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Stravinsky scored the Danses concertantes for a chamber orchestra consisting of flute, oboe, clarinet, bassoon, two horns, trumpet, trombone, timpani, and a string section specified as six violins, four violas, three cellos, and two double basses .
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Stravinsky scored the opera for a classical-sized orchestra of two flutes (one doubling piccolo), two oboes (one doubling cor anglais), two clarinets, two bassoons, two horns, two trumpets, timpani, bell, harpsichord (or piano) and strings.
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The work is scored for a large orchestra comprising two flutes, piccolo, two oboes, cor anglais, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, two percussionists, harp, and strings.
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The music is scored for piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, cymbals, triangle, bass drum, snare drum, tambourine, and strings.
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The opera is scored for a large variety of instruments, including three woodwinds, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, synthesizer and strings.Music Finland/Composers and Repertoire: Sallinen - Kullervo. accessed 1 February 2015.
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The work is scored for an orchestra comprising two flutes (2nd doubling piccolo), two oboes, two clarinets (2nd doubling bass clarinet), two bassoons, four French horns, two trumpets, three trombones, tuba, timpani, percussion, harp, and strings.
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The work is scored for a large orchestra comprising piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, trombone, bass trombone, tuba, timpani, four percussionists, and strings.
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The piece is scored for 2 flutes, 2 oboes, 2 clarinets (B and A), 2 bassoons, 4 horns (initially 2 in D, 2 in B bass), 2 trumpets (D), timpani (D and A), piano and strings.
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The work is scored for 2 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, snare drum, wood blocks, cymbals, tambourine, triangle, and strings.
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The work is scored for flute, 2 oboes, bassoon, 2 trumpets, 2 horns, timpani, violins I & II, viola, cello, bass and continuo. Celia's aria "Deh soccorri un infelice" includes a hand horn solo.Published by Bärenreiter- Verlag.
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The work is scored for three flutes (3rd doubling piccolo), two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four French horns, three trumpets, three trombones, tuba, timpani, three percussionists, harp, celesta, and strings.
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The work is scored for solo English horn and an orchestra comprising two flutes (2nd doubling piccolo), two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, four percussionists, harp, piano (doubling celesta), and strings.
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The New Grove Dictionary of Music and Musicians, 2nd edition. New York: Grove's Dictionaries. .Booklet accompanying Timpani Records CD 1C1054. In 1947 the orchestra was renamed the Banatul State Philharmonic, and eventually simply the Banatul Philharmonic.
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The work is scored for an orchestra comprising two flutes, piccolo, two oboes, cor anglais, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, three percussionists, harp, piano, and strings.
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The overture is scored for one piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, one bass tuba, three timpani, one bass drum, two cymbals, one triangle and one string section.
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The work is in standard four-movement form and scored for two flutes, two oboes, two bassoons, two horns, two trumpets, timpani and strings.Steinberg, Michael. "The Symphony: a listeners guide". p. 213–215. Oxford University Press, 1995.
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The work is scored for solo soprano and a small orchestra consisting of flute, oboe, clarinet (doubling bass clarinet and E-flat clarinet), bassoon (doubling contrabassoon), trumpet, horn, trombone, percussion, timpani, harp, piano (doubling celesta), and strings.
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Hall attended Iowa State University and double majored in aerospace engineering and percussion. At ISU, Hall cultivated his interest in music, studying marimba and vibes, timpani, hand percussion, and drumset under Professors John Harris and Michael Geary.
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The last movement, a perpetuum mobile, exploits the more brilliant and virtuosic character of the violin. The concerto is scored for two each of flutes, oboes, clarinets, bassoons, horns, and trumpets; timpani, snare drum, piano, and strings.
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The piece is scored for solo trumpet, 2 flutes (second doubles piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, 1 tuba, timpani, percussion ( bass drum, cymbals, snare drum, triangle), harp and strings.
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The work is scored for a large orchestra consisting of three flutes (third doubling bass flute), three oboes, three clarinets, three bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion (three players), two harps, and strings.
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The symphony is scored for piccolo, two flutes, two oboes, cor anglais, E clarinet, two clarinets, bass clarinet, three bassoons (third doubling contrabassoon), four horns, three trumpets, three trombones, tuba, timpani, percussion (three players), harp, and strings.
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The Symphony is scored for an orchestra of three flutes (third doubling piccolo), two oboes, cor anglais, two clarinets, three bassoons (third doubling contrabassoon), four horns, two trumpets, three trombones, tuba, timpani, percussion (three players), and strings.
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Roland Haerdtner 2009 Roland Haerdtner, orig. Härdtner (born March 27, 1964) is a German marimba player, a soloist for mallet instruments, percussion and timpani. Since 1993 he is principal timpanist and percussionist of the Badische Philharmonie Pforzheim.
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The symphony is scored for 3 flutes (3rd doubling piccolo), 3 oboes, 3 clarinets, 3 bassoons (3rd doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, triangle, snare drum, bass drum, cymbals, tam-tam, and strings.
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The work is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani and the usual strings.Steinberg, Michael. "The Symphony: a listeners guide". p. 518-523. Oxford University Press, 1995.
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The work is scored for SATB chorus and an orchestra comprising three flutes (third doubling piccolo), two oboes, two clarinets, four bassoons, four horns, five trumpets, three piccolo trumpets, three trombones, tuba, timpani, one percussionist, and strings.
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The work is scored for solo piano and a large orchestra comprising piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, and strings.
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Church plan. A few pieces of the old cathedral were incorporated into the modern building. The carved Timpani over the south door was included. Two carved stones now set in the apse were used one more time.
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The work is scored for a large orchestra consisting of three flutes (doubling piccolo), three clarinets (doubling E-flat clarinet), three horns, three trumpets, three trombones, timpani, six percussionists, two pianos (doubling celesta), mandolin, harp, and strings.
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Storace called for a Viennese classical orchestra including flutes, oboes, clarinets, bassoons, horns, trumpets, timpani and strings. The music includes many ensembles, as well as duets, arias and recitativo secco. Each act has an energetic ‘chain’ finale.
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The work is scored for an orchestra comprising two flutes, piccolo, two oboes, cor anglais, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, two trombones, bass trombone, tuba, timpani, three percussionists, harp, and strings.
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The work is scored for an orchestra comprising three flutes (3rd doubling piccolo), three oboes, two clarinets, bass clarinet, two bassoons, contrabassoon, four French horns, three trumpets, three trombones, tuba, timpani, four percussionists, harp, piano, and strings.
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The second movement, for woodwind in G major, is more an intermezzo than the expected adagio. That function is fulfilled by the third movement, which opens with a cantilena from unison violins, then builds to a climax before concluding with a single oboe playing over trills in the upper strings. The clashes of the first movement reappear in the final movement, in which two sets of timpani duel from either side of the orchestra. This passage calls on the two timpanists to change the pitch of the timpani while playing.
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Bruckner with the Order of Franz Joseph, 1886 Bruckner's symphonies are scored for a fairly standard orchestra of woodwinds in pairs, four horns, two or three trumpets, three trombones, tuba (from the second version of the Fourth), timpani and strings. The later symphonies increase this complement, but not by much. Notable is the use of Wagner tubas in his last three symphonies. Only the Eighth has harp, and percussion besides timpani (though legend has it the Seventh is supposed to have a cymbal crash at the exact moment Wagner died.
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Also, Michael Daugherty's "Raise The Roof" calls for this technique to be used for a certain passage. Leonard Bernstein calls for maracas on timpani in the "Jeremiah" Symphony and Symphonic Dances from West Side Story. Edward Elgar attempts to use the timpani to imitate the engine of an ocean liner in his "Enigma" Variations by requesting the timpanist play a soft roll with snare drum sticks. However, snare drum sticks tend to produce too loud a sound, and since this work's premiere, the passage has been performed by striking with coins.
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The Symphony for Organ and Orchestra is scored for piccolo, two flutes, two oboes, English horn, two clarinets in B, bass clarinet in B, two bassoons, contrabassoon, four horns, three trumpets in C, 3 trombones, tuba, timpani, percussion, two harps, celesta, strings, and organ. The First Symphony (the non-organ version) is scored for piccolo, two flutes, two oboes, English horn, two clarinets in B, bass clarinet in B, 2 bassoons, contrabassoon, alto saxophone in E, eight horns, five trumpets, three trombones, timpani, percussion, piano, two harps, and strings.
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Concerto for Timpani and Orchestra is a timpani concerto by Marcus Paus, written for the 250th anniversary of Bergen Philharmonic Orchestra. It was first performed by Bergen Philharmonic Orchestra conducted by Andrew Litton on 19 February 2015. The premiere was broadcast by NRK.A Paus' world premiere with Kartveit and Shostakovich's Fourth from Bergen, worldconcerthall.comPå konsert: Bergen Filharmoniske Orkester , NRK The concerto was extensively debated in the music journal Ballade in 2015 after it was attacked by atonal modernist composer Olav Anton Thommessen for not being atonal or modernist.
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Many of the session musicians on the album were students at Guildhall who had also played on the orchestra session for "Autumnal". One of them was Martin Westlake, who arrived at the boat to record the timpani parts but found the instrument was too large to fit through the door. The problem was solved after the owners of the neighbouring barge agreed to have the timpani recorded on their boat with extended microphone leads run through to the studio. John Hackett recorded his second flute session on the Argonaut.
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The full-orchestra version is scored for 3 flutes (2nd and 3rd doubling piccolo), 2 oboes (2nd doubling 2nd English horn), English horn, 2 clarinets, bass clarinet, 2 bassoons, 4 French horns, 3 trumpets, 3 trombones, tuba, timpani, cymbals, bass drum, tamtam, celesta, harp, organ, and strings (violins, violas, cellos, and double basses). The reduced-orchestra version is scored for 3 trumpets, timpani, harp, organ, and strings (violins, violas, cellos, and double basses). The organ part used in the reduced version is different from the organ part used in the version for choir and organ.
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The cantata is scored festively for three vocal soloists (soprano (S), tenor (T), and bass (B)), a four-part choir, and a Baroque instrumental ensemble of three corni da caccia (Co), timpani (Ti, listed with the winds), bassoon (Fg), two violins (Vl), viola (Va) and basso continuo. It is the only Bach cantata to combine three corni da caccia with timpani. The cantata is structured in seven movements. It begins with a chorus on a verse from the psalm, followed by the first stanza from the hymn, sung by the soprano.
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The piece is composed in four sections around Perry's theme of the "Chord of the Fifteenth", which alternates the use of major and minor thirds beginning on E3, above middle C. The A section (mm. 1–40) is rhythmic in nature, using only unpitched percussion, then leading to a transition (mm. 41–60) that adds three pitches (D-sharp, G-sharp, and F-sharp) through the timpani; the B section is melodic in nature, using duets between the timpani, harp, and celesta/piano (mm. 61–94). Harmony is the theme for the C section (mm.
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In 1774, Rust was made court music director and married Henriette Niedhardt, a former pupil, who was a singer, with whom he had eight children. His eldest son died in a drowning accident and his youngest son, Wilhelm Karl, became a well known music instructor. He met Goethe in 1776, who was "deeply impressed" by the composer. His Sonata per il Clavicordio all imitazione de Timpani del Salterio e del Liuto (1792) was considered interesting in part because of its imitation of the timpani by the tremolo effect.
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Elgar's violin concerto is scored for solo violin, two flutes, two oboes, two clarinets in A, two bassoons, contrabassoon (ad lib), four horns in F, two trumpets in A, three trombones, tuba (ad lib), 3 timpani and strings.
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Lawrence Benjamin Bunker (November 4, 1928 - March 8, 2005) was an American jazz drummer, vibraphonist, and percussionist. A member of the Bill Evans Trio in the mid-1960s, he also played timpani with the Los Angeles Philharmonic orchestra.
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Thunderstuck is scored for three flutes, three oboes, two clarinets, bass clarinet, two bassoons, contrabassoon, four French horns, three trumpets, three trombones, tuba, harp, timpani, percussion (three players), and strings (violins I & II, violas, violoncellos, and double basses).
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The work is scored for piccolo and 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, tambourine, harp and strings. There is also an adaptation of the Carmen Fantasy with piano accompaniment.
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In the third arrangement, Cleber modified the verses right before the chorus to employ the string section, whereas the chorus itself was accompanied by the timpani, cymbal, and brass section. Sukarno considered this arrangement perfect and approved it.
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The scoring includes 2 flutes (one doubling piccolo), 2 oboes (one doubling cor anglais), 2 clarinets in A, 2 bassoons; 2 horns in F (chromatiques), 2 trumpets in C; timpani, one percussion (cymbal, triangle, tambourine); celeste, harps; strings.
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The work is scored for solo violin and an orchestra consisting of two flutes (2nd doubling piccolo), two oboes, two clarinets, bass clarinet, two bassoons, four horns, two trumpets, three trombones, timpani, two percussionists, harp, celesta, and strings.
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The work is scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns (2 natural, 2 valved), 2 trumpets (valved), 2 cornets, 3 trombones, tuba, timpani, snare drum, triangle, tambourine, cymbals, bass drum and strings.
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Dohnányi scored the Suite for piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, 3 timpani, triangle, cymbals, snare drum, bass drum, castanets, 2 harps, and strings.
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La fiamma is scored for the following instruments: piccolo, 2 flutes , 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, double bassoon, 4 horns, 3 trumpets, 3 trombones, bass tuba, timpani, bass drum, tam-tam, harp, strings.
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The work is scored for solo clarinet and an orchestra comprising two flutes (doubling piccolo), two oboes, two clarinets, two bassoons, four horns, two trumpets, trombone, bass trombone, tuba, timpani, two percussionists, harp, piano (doubling celesta), and strings.
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The work is scored for a solo percussionist and an orchestra comprising two flutes (both doubling piccolo), two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, timpani, two antiphonal percussionists, piano (doubling celesta), and strings.
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The work is scored for an orchestra comprising piccolo, two flutes, three oboes, two clarinets, bass clarinet, three bassoons (3rd doubling contrabassoon), four French horns, three trumpets, three trombones, tuba, harp, electric bass, timpani, three percussionists, and strings.
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This related work was composed for the Ratswechsel, the inauguration of a new town council, and has a festive scoring with trumpets and timpani. The words are found in Picander's , Leipzig, 1732. The chorale is by Martin Luther.
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He was educated at Cargilfield Preparatory School, Edinburgh, Winchester College and where he played organ in chapel services, arranged House choirs and played timpani in the school orchestra.Brook, Donald. Conductors' Gallery. Rockcliff, Londond 1946, p140-142 ['Guy Warrack'].
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Many musical instruments use felt. It is often used as a damper. On drum cymbal stands, it protects the cymbal from cracking and ensures a clean sound. It is used to wrap bass drum strikers and timpani mallets.
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The work is scored for a large orchestra consisting of piccolo, three flutes, three oboes, cor anglais, three clarinets, bass clarinet, three bassoons, contrabassoon, four horns, four trumpets, three trombones, tuba, timpani, six percussionists, harp, piano, and strings.
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Similarly, the tabla is tuned by hammering a disc held in place around the drum by ropes stretching from the top to bottom head. Orchestral timpani can be quickly tuned to precise pitches by using a foot pedal.
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The orchestra calls for 3 flutes (3rd doubling piccolo), 3 oboes, piccolo clarinet, clarinet, bass clarinet, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, glockenspiel, xylophone, bass drum, cymbals, tamtam, snare drum, triangle, tambourine, and strings.
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Unlike Ravel's, Stokowski's quarter note triplets in the penultimate "Gate" statement are audible, played fanfare-like in the brass and timpani. The piece ends with giant chords for organ and orchestra and a huge smash on the gong.
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The work is scored for an orchestra consisting of, besides the solo bassoon, 2 flutes, 2 oboes, 2 clarinets in B♭, 2 bassoons (2nd ad lib) 3 horns in F, 3 trombones ad lib, timpani, and strings.
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The work is scored for a solo oboe and orchestra, comprising two flutes (doubling piccolo), oboe, two clarinets (doubling E-flat clarinet), two bassoons, two horns, trumpet, trombone, timpani, three percussionists, xylophone, harp, piano (doubling celesta), and strings.
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The work is scored for a large orchestra consisting of two flutes, piccolo, two oboes, cor anglais, two clarinets, bass clarinet, two bassoon, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, celesta, piano, and strings.
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The work is scored for solo soprano and an orchestra consisting of two flutes (2nd doubling piccolo), two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, three percussionists, celesta, accordion, harp, and strings.
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The work is scored for a large orchestra comprising three flutes (doubling piccolo), three oboes, three clarinets (doubling bass clarinet), three bassoons (doubling contrabassoon), four horns, three trumpets, three trombones, tuba, timpani, four percussionists, harp, piano, and strings.
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The work is scored for a solo viola and an orchestra consisting of two flutes (2nd doubling piccolo), oboe, cor anglais, two clarinets, bassoon, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, three percussionists, harp, and strings.
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The ode is scored for 2 recorders, 2 oboes, 2 trumpets, timpani, strings, basso continuo and a choir with soprano, alto/countertenor, and bass soloists. It is possible that this instrumentation reflects additions by an 18th century editor.
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The work is scored for solo piano and an orchestra consisting of two flutes, two oboes, two clarinets, two bassoons, four French horns, two trumpets, three trombones, timpani, tambour, and strings (violins I & II, violas, violoncellos, and double basses).
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Information from the MTI home page on the musical The orchestrations call for Double Bass (db. Bass Guitar), Drums (db. Timpani, Duck Call, Glockenspiel, Large Gong, Mark tree, Triangle and Wood Block), Alto Saxophone (db. Clarinet/ Flute), Trombone (db.
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The low brass soloists consist of two tenor trombones, bass trombone, and tuba. They are accompanied by a large orchestra consisting of two flutes, two oboes, clarinet, bass clarinet, bassoon, contrabassoon, four horns, three trumpets, timpani, percussion, and strings.
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The opening chorus, "" (Sound, you drums! Ring forth, trumpets!), is a complex long da capo form (ABA). Unusually for Bach, it opens with a timpani solo. It is followed by the trumpets, and then by the strings and woodwinds.
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The opera is scored for two flutes (second doubling piccolo), two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, bass drum, cymbals, tenor drum, triangle, harp, strings, plus offstage harp and offstage bell in G.
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The work is scored for 2 flutes, 2 oboes, 2 clarinets in B-flat and A, 2 bassoons, 4 horns in F, 2 trumpets in D, timpani, solo piano, and strings. Notable is the absence of trombones and tuba.
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The work is scored for a soli trio of two violins and double bass and an orchestra comprising two flutes, two oboes, two clarinets, two bassoons, four French horns, three trumpets, three trombones, tuba, timpani, two percussionists, and strings.
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The symphony is scored for piccolo, two flutes, two oboes, two clarinets (A, B), two bassoons, four horns (E, F), two trumpets (C, D), three trombones (fourth movement only), tuba (fourth movement only), timpani, cymbals, bass drum and strings.
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The symphony is scored for a large orchestra consisting of piccolo, three flutes, two oboes, cor anglais, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, two trombones, bass trombone, tuba, timpani, two percussionists, celesta, harp, and strings.
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The work is scored for chamber choir, chorus, and a large orchestra consisting of two flutes, two oboes, two clarinets, two bassoons (2nd doubling contrabassoon), four horns, two trumpets, three trombones, tuba, timpani, two percussionists, harp, piano, and strings.
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The performance time is about 30 minutes. It is scored for 2 clarinets, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani and strings. The work was dedicated by Eberl to Prince Lobkowitz, or Le Prince Regnant De Lobkowitz.
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The symphony calls for piccolo, 3 flutes, 3 oboes, cor anglais, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 8 horns, 4 trumpets, 4 trombones, tuba, timpani, triangle, glockenspiel, snare drum, bass drum, gong, cymbals, celesta, 2 harps, and strings.
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Premiered January 31, 2007 by janus, Weill Recital Hall, Carnegie Hall, New York City. Fanfare to an Open Sky (2003) for 3 trumpets, 4 horns, 2 trombones, tuba and timpani, dur. 3 min. Premiered November 2003, Central College, Iowa.
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The music is scored for a solo trumpet and a large orchestra consisting of piccolo, flute, oboe, English horn, two clarinets, bass clarinet, bassoon, contrabassoon, four horns, two trumpets, two trombones, bass trombone, tuba, timpani, two percussionists, and strings.
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Raise the Roof for timpani and symphonic band: Program Note by the Composer. Retrieved May 14, 2015. Raise the Roof is one of Daugherty's most-programmed pieces and has been frequently performed as a concert opener since its publication.
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Sibelius scored the work for piccolo, 2 flutes, 2 oboes, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns (doubled if possible in the Sunrise), 2 trumpets, 3 trombones, tuba, timpani, bass drum, snare drum, tambourine, triangle and strings.
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The suite is scored for 2 flutes, piccolo, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 2 trombones, tuba, timpani, bass drum, triangle, wood block, side drum, tambourine, cymbals, harp, and strings.
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The work is scored for a solo pianist (left hand only) and an orchestra comprising two flutes (2nd doubling piccolo), two oboes, two clarinets, two bassoons, two horns, two trumpets, two trombones, timpani, three percussionists, celesta, harp, and strings.
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Symphony No. 3 is scored for two flutes, one piccolo, two oboes, one English horn, two clarinets in B, one bass clarinet, two bassoons, four horns in F, three trumpets in C, three trombones, one tuba, timpani, and strings.
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The work is scored for a solo violin and cello and an orchestra consisting of three flutes (3rd doubling piccolo), two oboes, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, timpani, percussion, harp, and strings.
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The music quotes at times rhythms from dance music of the early 1950s. The orchestra consists of three flutes (two doubling piccolos), two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba. timpani and percussion, piano and strings.
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The instrumentation is two flutes (second doubling piccolo), two oboes, two clarinets (one in C and one in A), two bassoons, four horns in D, three trumpets (one in D and two in A), three trombones, ophicleide, timpani and strings.
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Piano soloist; 2 flutes, 2 oboes (2nd doubling cor anglais), 2 clarinets (2nd doubling bass clarinet), 2 bassoons, 4 horns, 2 trumpets, two tenor trombones, bass trombone, tuba, timpani, percussion (including snare drum, triangle & clash cymbals), and strings.Josef Weinberger Ltd.
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Discovering Music. BBC Radio 3. 2004-02-07. Retrieved 2012-09-04. The overture is scored for two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, triangle, cymbals and strings.
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"The Song of the Yellow River Boatmen" describes the momentum of the terrifying waves of the Yellow River and uses the rapid chromatic crescendo and long rolls of the timpani and cymbals typical of the eight model plays model operas.
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It is scored for an orchestra including 2 flutes, 2 oboes, 2 clarinets (in B and A), 2 bassoons, 4 horns (in F and E), 2 trumpets (in F and E), 3 trombones, timpani, glockenspiel or/and tubular bells, and strings.
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The work is scored for a large orchestra consisting of two flutes, two oboes, two clarinets (2nd doubling bass clarinet), two bassoons, two to four horns, two trumpets (1st doubling flugelhorn), three trombones, tuba, timpani, two percussionists, two harps, and strings.
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The concerto is scored for solo piano and an orchestra consisting of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. It has three movements: A typical performance of the work lasts 38–40 minutes.
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The work is scored for a large orchestra comprising two flutes, piccolo, two oboes, cor anglais, two three clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, two percussionists, harp, piano (doubling celesta), and strings.
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The work is scored for an orchestra comprising three flutes (2nd and 3rd doubling piccolo), two oboes, cor anglais, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, two percussionists, piano (doubling celesta), and strings.
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It contains features that he used again in later compositions of cantatas, oratorios and his masses, for example movements with three trumpets and timpani in a triple meter for festive occasions, and duets as a symbol of God and man.
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Ludwig van Beethoven. Symphonies Nos. 8 and 9 in Full Score Mineola, NY: Dover Publications, Inc, 1989, p. 36 In his Symphony No. 9, Beethoven presents some of the most advanced timpani writing to be seen by any composer yet.
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The work is scored for a solo organ and an orchestra consisting of three piccolos, two flutes, alto flute, two bass clarinets, alto saxophone, five bassoons, contrabassoon, two horns, four trumpets, flugelhorn, two trombones, two tubas, timpani, five percussionists, and strings.
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To achieve the scoring Bach usually used for festive occasions, all of these reconstructions restore the missing tenor and bass parts in the opening chorus as well as the basso continuo for the whole work and add trumpets and timpani.
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The opening theme features the winds echoing the strings. The transitional music that follows is written for winds only. The second theme in D major features doubled sonority. The development features two large climaxes where the trumpets and timpani enter.
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Mascagni calls for a standard-sized orchestra consisting of 2 flutes, 2 piccolos, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (triangle, cymbals, bass drum, side drum, tamtam, tubular bells), harp, organ and strings.
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The work is scored for a large orchestra comprising two flutes, piccolo, two oboes, cor anglais, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, two trombones, bass trombone, tuba, timpani, four percussionists, harp, piano (doubling celesta), and strings.
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The work is scored for a solo violin and an orchestra comprising two flutes (2nd doubling piccolo), two oboes (2nd doubling English horn), two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, harp, timpani, two percussionists, and strings.
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January (1939) Grant Wood, setting of Michael Daugherty's 2nd movement, "Winter Dreams" Piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (3 players), harp, piano, and strings.
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Quoted in Programme for Djamileh. Opéra de Lyon, 2007. Orchestration 2 flutes (one doubling piccolo), 2 oboes (one doubling cor anglais), 2 clarinets, 2 bassoons, 4 horns, 2 cornets, 3 trombones, timpani, percussion, harp, strings. On stage: piano and tambourine, harp.
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Seeing is scored for solo piano and an orchestra comprising three flutes, three oboes (3rd doubling English horn), three clarinets (3rd doubling bass clarinet), three bassoons, four French horns, three trumpets, three trombones, tuba, celesta, timpani, three percussionists, and strings.
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The work is scored for a solo viola and an orchestra consisting of a piccolo, two flutes, two oboes, cor anglais, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, two trumpets, three trombones, tuba, timpani, percussion, harp, and strings.
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Marschner scored the opera for two piccolos and two flutes (not doubling), two oboes, two clarinets, two bassoons, serpent, four horns, two clarion natural trumpets, three trombones, timpani, tamtam, and strings, together with two offstage horns and two offstage trumpets.
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La Nueva España is scored for 2 flutes (also piccolo and bass flute), 2 oboe, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 French horns, 2 trumpets, 3 trombones, tuba, harpe, piano, celesta, timpani, 3 percussions and strings.
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During this time he studied concurrently with Chuck Brown on the drum set and Lloyd Davis and Roland Kohloff on a percussion and timpani scholarship. He also played Bartok-Dahl-Cowell & Baroque chamber ensembles with the Marin and Napa County Symphonies.
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The work is scored for an orchestra comprising two flutes, piccolo, two oboes, cor anglais, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, two tenor trombones, bass trombone, tuba, timpani, four percussionists, harp, piano (doubling celesta), and strings.
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Morris Goldenberg (July 28, 1911 – 1969) was an American percussionist, music teacher, and method book author. He wrote several books on orchestral snare drumming, mallet percussion, and timpani. He is a member of the Percussive Arts Society Hall of Fame.
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He began playing once more at the Park Plaza Hotel. In 1969 he co- hosted the program Mallets and Brass with Guido Basso for CBC TV. In addition he began studying timpani and percussion and extended his musical expertise substantially.
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The coda recalls earlier material briefly before the first waltz section dances in and rushes headlong into a dazzling finish, underlined by a timpani drumroll and brass flourish. Anton Webern created an arrangement for string quartet, harmonium, and piano in 1921.
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The work is scored for a large orchestra consisting of a piccolo, two flutes, two oboes, cor anglais, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, two trombones, bass trombone, tuba, timpani, three percussionists, harp, piano, and strings.
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The work is scored for a solo trumpet and a large orchestra comprising two flutes, alto flute, two oboes, cor anglais, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, four percussionists, and strings.
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And is festive, like C major Symphonies 32, 33, and 37. It is scored for 2 oboes, bassoon, 2 horns, 2 trumpets, timpani, strings and continuo.H. C. Robbins Landon, The Symphonies of Joseph Haydn. London: Universal Edition & Rockliff (1955): 645.
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The work is scored for solo clarinet and an orchestra comprising three flutes, piccolo, three oboes, cor anglais, two additional clarinets, bass clarinet, three bassoons, contrabassoon, six French horns, four trumpets, three trombones, tuba, timpani, three percussionists, harp, piano, and strings.
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The work is scored for a solo cor anglais and an orchestra consisting of two flutes (both doubling piccolo), oboe, two clarinets (2nd doubling bass clarinet), two bassoons (2nd doubling contrabassoon), four horns, two trumpets, three trombones, timpani, percussion, and strings.
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The work is scored for solo violin and an orchestra comprising two flutes, piccolo, two oboes, cor anglais, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, two trombones, tuba, timpani, three percussionists, a laptop, harp, and strings.
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Iron Foundry is scored for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, two trombones, bass trombone, and tuba, timpani, snare drum, bass drum, cymbals, tam-tam, iron sheet, and strings.
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Besides the solo piano, the piece is scored for 2 flutes (2nd doubling alto flute and piccolo), 2 oboes (2nd doubling English horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets (2nd doubling piccolo trumpet), 2 trombones, timpani, percussion, and strings.
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Some of Druschetzky's music has been recorded on the Naxos Records label, such as his Timpani Concerto on a disc titled Virtuoso Timpani Concertos. All Parthias have been recorded on the Aulia Label by I Fiati Italiani. The first complete recording of Druschetzky's Divertissement for three basset horns was recorded on the Hevhetia label by Lotz Trio ensemble. Four of his Quartets for oboe, violin, viola & cello (F major, G minor, E flat major, and C major) are recorded on Georg Druschetzky: Oboe Quartets on the Hungaroton Classic label, and a selection of his wind music (Amphion Wind Octet) on the ACCENT label.
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The score is written for a small orchestra of eighteen instrumentalists: 2 flutes, (1 also plays piccolo), oboe, 2 clarinets, bassoon, alto saxophone, french horn, 2 trumpets, trombone, piano, 3 timpani + 2 small timpani, 1 percussionist (snare drum, tenor drum, tambourin, pedal bass drum + cymbal attachment, cymbals, tambourine, wood-block and cowbell), 2 violins, violoncello, double bass. The alto saxophone part appears in the score where a viola part would generally be. Milhaud also made a version for piano and string quartet (Op. 81b). "Saint Paul Chamber Orchestra" (program notes), Saint Paul Chamber Orchestra, 1999, TheSPCO.
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Rototoms can replace more specialized drums and, when equipped with timpani drumheads, replicate the timpani's range and timbre but with a distinctive tone. Jazz, rock and studio performers use Rototoms both as a solo voice and as conventional tom-toms; they can be rapidly tuned to produce glissando effects and can be arrayed for a virtual percussion keyboard. For concert and marching band programs, Rototoms combine rapid tuning with portability and sound quality, working both as concert tom-toms and as practice timpani. For stage bands and jazz ensembles, drum kits are fitted out with batter heads.
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The Orchestre des Pays de Savoie was the occasion for new creations on stage and on record. Nevertheless, the defence of new or unpublished operatic works is a mark of his career. In particular, he directed a new production of Niobé et Médée by Pascal Dusapin and Julie by Philippe Boesmans. On disc, he delivered the first recordings of the Sophie ArnouldSophie Arnould on Forum opéra opera by Gabriel Pierné (Luxembourg Philharmonic Orchestra, label Timpani, nominated at the BBC Awards 2008 and Aucassin et Nicolette by Paul Le Flem with Bernard Tétu and the Orchestre des Pays de Savoie (label Timpani, 2011).
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This is set mostly in short nervous phrases for the solo quartet, with the three lower voices singing detached notes below the soprano melody reminiscent of pizzicato strings. The sense of anxiety and foreboding continues with ominous drumbeats and wind fanfares in the Agnus Dei, which opens with minor-key timpani strokes (hence the German nickname, Paukenmesse), perhaps fate itself, knocking seemingly from the depths. This foreshadows the timpani-catalysed drama of the Agnus Dei in Beethoven's Missa Solemnis. The music brightens with trumpet fanfares, ending with an almost dance-like entreaty and celebration of peace, "Dona nobis pacem" (Give us peace).
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Years before the start of the game's story, a prophetic book known as the Dark Prognosticus was written. Many sought to learn their futures from the book, and it was later sealed away as its dark secrets were not meant to be known. The book was stolen for unknown reasons by a group known as the Tribe of Darkness; they hid from the world and forbid marriage into other groups. A member of the tribe, Count Blumiere, fell in love with a human girl named Timpani, but Blumiere's father banished Timpani, wiping her memories and cursing her to wander between dimensions forever.
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The original orchestral arrangement of the piece is scored for two flutes, piccolo, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four French horns, three trumpets, two trombones, bass trombone, tuba, timpani, three percussionists, piano, and strings. The subsequent arrangement for concert band is scored for solo timpani, five flutes (V doubling on piccolo), two oboes, English horn, four clarinets, E-flat clarinet, bass clarinet, two bassoons, contrabassoon, two alto saxophones, tenor saxophone, baritone saxophone, four French horns, three trumpets, three trombones, two euphoniums, two tubas, six percussionists, piano, and two double basses.
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Sibelius was a violinist himself and knew how to compose for strings. A "seamless repeated melody" is played by the strings and answered in the last four bars by the timpani, in an almost religious statement in a world before a Second World War. The version for strings and timpani was first performed in a direct broadcast on 1 January 1939 by the Radio Orchestra conducted by the composer, as the only recorded example of the composer interpreting one of his own works. His maintained a slow tempo professionally, with "unforced rubato", creating a solemn, singing string sound.
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The cycle ends with a return of the timpani induction from the Andante mesto. The instrumentation, with two oboes each, clarinets and bassoons, four horns, two trumpets, timpani and strings, mainly serves the low registers. Genetically and musically there is a close relationship to the funeral cantata (VB 42) performed on 14 May 1792, which is modelled both in text (Carl Gustav Leopold) and formally on conventions of the Passion Oratorio. This two-part funeral music for Gustav III - consisting of symphony and cantata - forms the musical climax and end of the short but culturally brilliant "Gustavian age".
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First page of Bach's autograph score of BWV 30.1, showing the parts for trumpets and timpani in the uppermost four staves, the parts which were omitted by the composer in the BWV 30.2 version of the same music. Bach scored the cantata for four vocal soloists (soprano, alto, tenor, bass), a four-part choir, two traversos, two oboes, oboe d'amore, concertato violin, accompanying strings (two violin parts and one viola part) and basso continuo. The three trumpets and timpani that played in the outer movements of the cantata's secular model, were not copied in Bach's autograph of the sacred work, but could be added ad libitum to the respective movements of that version of the work, as the Bach-Gesellschaft did when they published the composition. In 1752, two years after Bach's death, his son Wilhelm Friedemann added reworked parts for two trumpets and timpani in these movements, and applied some other changes, for a performance in Halle.
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For many years, beginning when timpani and fanfare trumpets were adopted by the cavalry of the old English military, a tradition that would be adopted in Scotland after the 1707 merger of the twin armies, the British Army sported a long and faithful tradition of mounted bands in the whole of the United Kingdom, first brass only and soon brass and woodwind mixed with the traditional timpani on drum horses and the fanfare trumpets. Up until the 1930s, each British Army cavalry regiment, as well as the Royal Horse Artillery, sported a mounted band with a mounted timpanist on the drum horse, with bands being occasionally massed up on parades. Until that decade, the timpani in the bands of the light cavalry units carried the battle honours of their respective formations, which would be the case until 1952, when guidons were reinstated. Almost all the bands became dismounted in the 1930s, with only the bands of the Household Cavalry's now current two regiments maintaining the long tradition.
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The music is scored for 3 flutes (third doubling piccolo), 2 oboes, English horn, 2 clarinets in A, 2 bassoons, 4 horns, 2 cornets in A, 2 trumpets in E, 3 trombones, tuba, timpani, bass drum, cymbals, tam tam, harp and strings.
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The symphony is scored for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, three bassoons, four French horns, three trumpets, three trombones, tuba, harp, timpani (two players), percussion (three players), and strings (violins I & II, violas, violoncellos, and double basses).
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The symphony is scored for piccolo, two flutes, two oboes, English horn, two clarinets, contrabass clarinet, two bassoons, contrabassoon, four French horns, three trumpets, four trombones, tuba, timpani, percussion (three players), harp, celesta, and strings (violins I & II, violas, violoncellos, and double basses).
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Discovering Music. BBC Radio 3. 2004-02-07. Retrieved 2012-09-04. The overture is scored for two flutes, piccolo, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, triangle, cymbals, tambourine, harp and strings.
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The symphony is scored for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four French horns, four trumpets, four trombones, tuba, two harps, timpani, percussion (three players), and strings (violins I & II, violas, violoncellos, and double basses).
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It is scored for piccolo, three flutes, two oboes, English horn, three clarinets, bass clarinet, two bassoons, double bassoon, six horns, three trumpets, three trombones, euphonium, tuba, timpani, bass drum, snare drum, tambourine, cymbals, gong, xylophone, glockenspiel, celesta, organ, harp and strings.
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He notes about the scoring: "The accompaniment is for brass ensemble with timpani, percussion and organ – a combination which in the outer movements makes quite a joyful noise unto the Lord, but which is used more softly and introspectively in the middle movement".
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Winton Dean and Richard Drakeford have commented on the weaknesses of the dramatic characterisations in the libretto. The opera is scored for recorder, flute, bass flute or two chalumeaux, two oboes, bassoon, three trumpets, two horns, timpani, strings and continuo (cello, lute, harpsichord).
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The Cantata runs 8-9 minutes. It starts with a Lento in three-quarter time in C major. The first half of the cantata is Lento, at 108 beats per minute. Then begins the Allegro agitato, characterized by rhythmic strokes of the timpani.
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There are six main characters (2 sopranos, mezzo-soprano, tenor, bariton, bass) and a mixed chorus (SATB). The orchestra consists of piccolo, flutes, oboes, clarinets (in B), bassoons; trumpets (in F), trombone (in F), bass trombone (ophicleide); harp; timpani, gran cassa, piatti; strings.
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Damián Óscar Timpani (born August 8, 1969 in Buenos Aires, Argentina) is a retired Argentine footballer. He played for several lower league clubs in Argentina before moving to Spain where he played for Xerez, Elche, Real Murcia, Ciudad de Murcia and Orihuela.
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The bass recitative, "'" (So gloriously you stand, dear city!), is introduced and concluded with a fanfare-like trumpet and timpani line, further wind instruments, recorders and oboes da caccia add colour to the middle section, in an unusual movement for the Leipzig congregation.
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The instrumentation is: piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets in B, bass clarinet in B, 2 bassoons, contrabassoon, 4 horns in F, 3 trumpets in B, 3 trombones, tuba, timpani (3), percussion (side drum, bass drum & cymbals), and strings.
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The symphony is scored for the following large orchestra: Piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, snare drum, bongos, tom-toms, maracas, tam-tam, marimba, celesta, harp and strings.
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Rob Smith primarily plays a Fender Jaguar as the lead instrument, which is largely responsible for the band's musical style, together with drummer Ryan Pritts's incorporation of a timpani in his drum set since Paik's third album, 2002's The Orson Fader.
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The work is scored for solo piano and an orchestra consisting of piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, xylophone), celesta, harp, and strings.
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The work is scored for solo piano and an orchestra consisting of piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 2 trombones, tuba, timpani, percussion (tam-tam, cymbal, vibraphone), celesta, harp, and strings.
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The concerto is scored for solo piano, three flutes (one doubling piccolo), two oboes, two clarinets in A, two bassoons, two horns in E, two trumpets in E, three trombones (two tenor, bass), tuba, timpani in D and A, cymbals and strings.
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This concerto is scored for a large orchestra, consisting of 3 flutes and piccolo, 3 oboes and English horn, 3 clarinets and bass clarinet, 3 bassoons and contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, piano, celesta, harp and strings.
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The fourth movement is a characteristically rhythmic, energetic and propulsive Haydn finale. The movement is written in sonata rondo form with the opening bars appearing both at the beginning and in the middle of the development section. The stirring coda emphasizes the timpani.
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Carey, who graduated from University of Wisconsin–Eau Claire with a performance degree in classical percussion, makes use of myriad instruments in this album. Alongside the drums, guitar, and piano, one can hear oboe, timpani, viola, xylophone, upright bass, flute, and saxophone.
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The work is scored for an orchestra consisting of two flutes, two oboes, two clarinets in B flat and A, two bassoons, two horns in C and A, two horns in E, F and D, two trumpets in D, timpani, and strings.
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The work is scored for a large orchestra comprising piccolo, three flutes (doubling piccolo), three oboes, cor anglais, three clarinets, bass clarinet, three bassoons, contrabassoon, four French horns, three trumpets, three trombones, tuba, timpani, three percussionists, harp, celesta (doubling piano), and strings.
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The work is scored for solo organ and an orchestra comprising piccolo, two flutes (2nd doubling alto flute), two oboes, cor anglais, two clarinets, E-flat clarinet, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, three percussionists, harp, and strings.
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The work is scored for solo baritone and an orchestra comprising three flutes (doubling piccolo and alto flute), two oboes, three clarinets (doubling bass clarinet), two bassoons (doubling contrabassoon), four horns, three trumpets, three trombones, tuba, timpani, three percussionists, harp, and strings.
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The work is scored for a large orchestra comprising two flutes (doubling piccolo and alto flute), two oboes, three clarinets (doubling bass clarinet), two bassoons (doubling contrabassoon, four horns, two trumpets, three trombones, tuba, timpani, four percussionists, piano, harp, celesta, strings, and electronics.
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The work is scored for an orchestra comprising three flutes (doubling piccolo), two oboes, cor anglais, three clarinets (doubling E-flat clarinet and bass clarinet), three bassoons (doubling contrabassoon), four horns, three trumpets, three trombones, tuba, timpani, three percussionists, harp, piano, and strings.
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The work is scored for solo cello and an orchestra comprising four flutes (3rd and 4th doubling piccolo and alto flute), two oboes, two clarinets, bass clarinet, two bassoons (2nd doubling contrabassoon), four horns, timpani, four percussionists, harp, celesta, piano, and strings.
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The symphony was written for a standard orchestra consisting of piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets in B-flat, 2 bassoons, contrabassoon, 4 horns in F, 3 trumpets in C, 3 trombones, tuba, timpani, snare drum, cymbals, harp and strings.
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The symphony is scored for mixed choir (in the final part) and orchestra of piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, triangle, snare drum, bass drum, cymbals, glockenspiel, (factory) siren, and strings.
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The work is scored for SATB chorus, children's choir, and a large orchestra comprising piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, two trombones, bass trombone, tuba, timpani, three percussionists, and strings.
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The work is scored for a large orchestra consisting of four flutes (3rd and 4th doubling piccolo), three oboes, three clarinets (4th doubling bass clarinet), three bassoons (3rd doubling contrabassoon), four horns, three trumpets, three trombones, tuba, timpani, four percussionists, harp, and strings.
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The symphony is scored for mixed chorus and an orchestra of 3 flutes (3rd doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, triangle, snare drum, cymbals, bass drum, tam-tam, glockenspiel, xylophone, and strings.
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Monroe was home to the Starlite Speedway in the 1960s to 1970s. On May 13, 1966, the 1/2 mile dirt track hosted NASCAR's 'Independent 250.' Darel Dieringer won the race. Since 1984, Ludwig drums and timpani have been manufactured in Monroe.
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The concerto is scored for solo piano and an orchestra consisting of 2 flutes, 2 oboes, 2 clarinets in B-flat, 2 bassoons, 4 horns in F, 2 trumpets in B-flat, 3 trombones, tuba, timpani, bass drum, snare drum, cymbals, and strings.
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The work is scored for a large orchestra comprising three flutes (doubling piccolo and alto flute), three oboes (doubling English horn), three clarinets (doubling bass clarinet), three bassoons (doubling contrabassoon), four horns, two trumpets, three trombones, tuba, timpani, six percussionists, harp, and strings.
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The work is scored for solo violin and cello and an orchestra comprising two flutes (2nd doubling piccolo), two oboes, two clarinets (2nd doubling bass clarinet), two bassoons (2nd doubling contrabassoon), four horns, two trumpets, timpani, one percussionists, celesta, harp, and strings.
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The work is scored for 2 flutes (both doubling piccolo), 2 oboes (II doubling English horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, 1 tuba, timpani, glockenspiel, cymbals, whip, bass drum, snare drum, tambourine, tenor drum, harp, and strings.
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The work is scored for piccolo, 2 flutes, 2 oboes (2nd doubling cor anglais), 3 clarinets (3rd doubling bass clarinet), 2 bassoons, 6 horns, 3 trumpets, 3 trombones, tuba, timpani, 2 percussionists (cymbals, bass drum, triangle, and glockenspiel), 2 harps, celesta, and strings.
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The work is scored for an orchestra consisting of two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, timpani, two percussionists, harp, celesta, and strings. Additionally, the score often calls for the players to produce audible sighs.
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The symphony is scored for an orchestra consisting of 2 piccolos, 2 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 4 trombones, tuba, timpani, tam-tam, cymbals, xylophone, celesta, 2 harps, piano, and strings.
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The work is scored for a large orchestra comprising piccolo, two flutes (2nd doubling piccolo), two oboes, English horn, two clarinets, bass clarinet, contrabass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, four percussionists, harp, piano, celesta, and strings.
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2 flutes (2nd doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, strings. The piccolo is only used in the third movement. The trombones and tuba are only used in the first and fourth movements.
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The work is scored for solo piano and an orchestra consisting of two flutes (2nd doubling piccolo), two oboes (2nd doubling English horn), two clarinets, bass clarinet, two bassoons, four horns, two trumpets, trombone, bass trombone, tuba, timpani, three percussionists, and strings.
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The work is scored for an orchestra comprising two flutes (2nd doubling piccolo), two oboes (2nd doubling cor anglais), two clarinets (2nd doubling bass clarinet), bassoon, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, three percussionists, harp, piano (doubling celesta), and strings.
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The piece is scored for piano and orchestra: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets in B, 2 bassoons, 4 horns in F, 2 trumpets in C, 3 trombones, tuba, timpani, triangle, snare drum, cymbals, bass drum, glockenspiel, harp and strings.
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The work is scored for an orchestra comprising three flutes (3rd doubling piccolo), three oboes (3rd doubling cor anglais), three clarinets (3rd doubling bass clarinet), three bassoons, four horns, three trumpets, two trombones, bass trombone, tuba, timpani, three percussionists, harp, celesta, and strings.
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The symphony is scored for 3 flutes (1 doubling on piccolo), 2 oboes, English horn, 2 B clarinets, E clarinet, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, snare drum, bass drum, tambourine, cymbals, 2 harps, and strings.
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Metrical sign is ) #Gavotte (In D major. Metrical sign is ) #Menuet I/II (In D major. Metrical sign is ) #Réjouissance (In D major. Metrical sign is ) Instrumentation: Trumpet I/II/III, timpani, oboe I/II/III, bassoon, violin I/II, viola, basso continuo.
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2 flutes (2nd doubling piccolo), 2 oboes (doubling English horns), 2 clarinets in B-flat and A, alto saxophone, 2 bassoons, 4 horns in F, 2 cornets in B-flat and A, 3 trombones, tuba, timpani, percussion (1) (bass drum, triangle), harp, strings.
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One pair each flutes, oboes, clarinets, bassoons, with four horns, three trumpets, three trombones and one bass tuba along with timpani and strings. The tuba was added in 1878 (the same year Bruckner added one to his Fourth Symphony). See versions below.
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The work is scored for a large orchestra comprising four flutes (4th doubling piccolo), three oboes, three clarinets (3rd doubling bass clarinet), two bassoons, contrabassoon, four horns, three trumpets in C, two trombones, bass trombone, tuba, timpani, three percussionists, harp, piano, and strings.
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The work is scored for solo piano and a large orchestra comprising three flutes (doubling piccolo) three oboes (doubling cor anglais), three clarinets (doubling bass clarinet), two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, three percussionists, harp, and strings.
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The work is scored for a solo cello and an orchestra comprising two flutes (2nd doubling piccolo) two oboes, English horn, two clarinets, bass clarinet, two bassoons (2nd doubling contrabassoon), two horns, two trumpets, two trombones, tuba, timpani, percussion, harp, celesta, and strings.
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The work is scored for a solo viola and an orchestra consisting of two flutes (2nd doubling piccolo), two oboes (2nd doubling English horn), clarinet, bass clarinet, two bassoons (2nd doubling contrabassoon), two horns, two trumpets, timpani, percussion, celesta, harp, and strings.
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The work is scored for solo violin, SATB chorus, and an orchestra comprising two flutes, two oboes (2nd doubling English horn), two clarinets, two bassoons, four horns, three trumpets (1st doubling piccolo trumpet), three trombones, tuba, harp, timpani, two percussionists, and strings.
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The Symphony No. 53 in D major, Hoboken I/53, is a symphony by Joseph Haydn. It is often referred to by the subtitle "L'Impériale". The symphony was composed by 1777. It is scored for flute, two oboes, bassoon, two horns, timpani, and strings.
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The work is scored for a solo piano and a large orchestra consisting of two flutes, piccolo, two oboes, cor anglais, two clarinets, E-flat clarinet, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, five percussionists, harp, celesta, and strings.
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BBC Radio 3. 2004-02-07. Retrieved 2012-09-04. The overture is scored for two flutes (Flute I doubling piccolo), two oboes, English horn, two clarinets in A, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, bass drum, cymbals, harp and strings.
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The work is written for an orchestra consisting of 2 flutes (2nd doubling piccolo), 2 oboes, 2 clarinets in B, 2 bassoons, contrabassoon, 4 horns, 2 trumpets in B, 3 trombones, tuba, 3 timpani, percussion (bass drum, cymbals, and side drum) and the string section.
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The instrumentation is: piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets in B, bass clarinet in B, 2 bassoons, contrabassoon, 4 horns in F, 3 trumpets in B, 3 trombones, tuba, timpani (4), percussion (side drum, cymbals, bass drum, jingles, glockenspiel), and strings.
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See Oxford Composer Companions: Haydn, ed. David Wyn Jones, Oxford University Press, 2002, p. 475. in C major, (H. XXII:9). Known also as the Paukenmesse due to the dramatic use of timpani, it is one of the most popular of his fourteen mass settings.
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The work is scored for solo piano and an orchestra consisting of piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 2 trombones, tuba, timpani, percussion (tam-tam, cymbals, coco, bell, bass drum), and strings.
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The work is scored for solo piano and an orchestra consisting of piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 tenor trombones, tuba, timpani, percussion (tam-tam, cymbal, bass drum), celesta, harp, and strings.
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2 doubling clarinet in E, no. 3 doubling bass clarinet), 3 bassoons (no. 3 doubling contrabassoon), 4 horns, 4 trumpets, 4 trombones, tuba, timpani, percussion (2 players), harp, celesta, harpsichord, piano, and 8 each of violas, cellos and double basses. Note that violins are absent.
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The concerto is scored for a solo flute and orchestra comprising three flutes, two oboes, two clarinets, two bassoons (2nd doubling on contrabassoon), four French horns, two trumpets, three trombones, tuba, harp, timpani, percussion (three players), strings (violins I & II, violas, violoncellos, and double basses).
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The work is scored for a large orchestra consisting of three flutes (3rd doubling piccolo), three oboes (3rd doubling English horn), two clarinets, bass clarinet, bassoon, contrabassoon, four horns, three trumpets, two trombones, bass trombone, tuba, timpani, four percussionists, harp, piano, celesta, and strings.
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The trumpet is the royal instrument of the Baroque, representing secular and divine majesty. Three trumpets symbolize the Trinity in an aria of Bach's BWV 172, addressing the "Heiligste Dreifaltigkeit" (Most holy Trinity), where the bass voice is accompanied only by three trumpets and timpani.
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The work is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings. It is the first of Haydn's symphonies to be scored for clarinets.Steinberg, Michael (1995) The Symphony: A Listeners Guide. Oxford University Press (), pp. 229-232.
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The work is scored for solo violin, three flutes (3rd doubling piccolo), two oboes, cor anglais, three clarinets (3rd doubling bass clarinet), two bassoons, contrabassoon, four horns, tuba, timpani, tambourine, tam-tam, xylophone, celesta, two harps, and strings. Unusually, the score omits trumpets and trombones.
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The work is scored for an orchestra comprising three flutes (all doubling piccolo), three oboes (3rd doubling English horn), three clarinets (3rd doubling E-flat clarinet), two bassoons, contrabassoon, four horns, three trumpets, two trombones, bass trombone, tuba, three percussionists, timpani, harp, piano, and strings.
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It has the following three movements: The concerto is scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, side drum, bass drum, cymbals, triangle, tamtam (gong), celesta, harp, and strings.
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The work is scored for a countertenor (or alto) and baritone soli, mixed chorus, and an orchestra comprising two flutes, oboe, cor anglais, two clarinets (2nd doubling bass clarinet), bassoon, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, three percussionists, harp, and strings.
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The work is scored for a large orchestra comprising three flutes (3rd doubling piccolo), three oboes (3rd doubling English horn), three clarinets (3rd doubling bass clarinet), three bassoons (3rd doubling contrabassoon), four horns, two trumpets, two trombones, tuba, timpani, three percussionists, piano, harp, and strings.
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The work is scored for a large orchestra consisting of three flutes (all doubling piccolos), three oboes (3rd doubling English horn), three clarinets (3rd doubling bass clarinet), three bassoons (3rd doubling contrabassoon), six horns, four trumpets, four trombones, tuba, harp, timpani, three percussionists, and strings.
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The work is scored for a large orchestra comprising three flutes (3rd doubling piccolo), three oboes (3rd doubling English horn), three clarinets (3rd doubling bass clarinet), three bassoons (3rd doubling contrabassoon), four horns, three trumpets, three trombones, tuba, piano, timpani, four percussionists, and strings.
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The work is scored for a solo oboe and a large orchestra comprising two flutes (2nd doubling piccolo), two clarinets, alto saxophone (doubling bass clarinet), two bassoons, contrabassoon (doubling 3rd bassoon), two horns, two trumpets, two trombones, tuba, timpani, three percussionists, harp, and strings.
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The symphony is written for 2 flutes, piccolo, 2 oboes, English horn, E-flat clarinet doubling bass clarinet, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, snare drum, bass drum, cymbals, triangle, wood block, maracas, piano, mezzo-soprano, and strings.
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The symphony is scored for an orchestra consisting of piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 4 trombones, tuba, timpani, tam-tam, cymbals, coconut hulls, bass drum, xylophone, vibraphone, celesta, harp, and strings.
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The work is scored for a large orchestra consisting of two flutes (2nd doubling piccolo), two oboes, English horn, two clarinets, bass clarinet, two bassoons (2nd doubling contrabassoon), four horns, two trumpets, three trombones, tuba, timpani, two percussionists, harp, piano (doubling celesta), and strings.
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It is scored for piccolo, three flutes, two oboes, English horn, three clarinets, bass clarinet, two bassoons, double bassoon, four horns, three trumpets, two tenor trombones, bass trombone, euphonium, bass tuba, timpani, bass drum, tambourine, cymbals, xylophone, glockenspiel, celesta, piano, two harps, organ and strings.
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The work is scored for solo bassoon and a small orchestra consisting of two flutes, two oboes, two clarinets, two additional bassoons ("in order to provide the occasional potential for building a sort of 'mega-bassoon'"), two horns, timpani, one percussionist, harp, and strings.
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The work is scored for solo cello and a large orchestra comprising three flutes (all doubling piccolo), three oboes, three clarinets (3rd doubling bass clarinet), three bassoons (3rd doubling contrabassoon), four horns, two trumpets, three trombones, tuba, timpani, percussion, piano, celesta, harp, and strings.
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A live marching band plays one of three kinds of music called marchas moras, marchas cristianas and pasodobles. The former two are in the medium or quick time pace. The band, alongside the standard instrumentation, also carries a concert bass drum, timpani and tam-tams.
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Singers: 2 tenors, 2 basses Ensemble: flute (doubling piccolo), oboe (doubling cor anglais), clarinet (doubling E clarinet), bassoon, 2 horns, trumpet, percussion (timpani, triangle, tambourine with bells, tambourine without bells, cylindrical drum, cymbals, bass drum), cimbalom (or piano), 2 violins, viola, cello and double-bass.
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The orchestra reenters with a sudden burst of cymbals, after which the cadenza segues directly into the third movement proper, with a rapid rhythm set by wood block and other auxiliary percussion. The orchestra gradually builds up intensity; the movement grows into a passionate, major-key high-point consisting of quick triplets from a number of instruments, with the timpani providing unceasing, driving pulse. Suddenly the excitement dies; nevertheless, the woodblocks continue the rhythm set earlier. As if the first period of animation was a mere precursor, the movement rebuilds itself into an even louder and more enthusiastic climax, the timpani performing complex maneuvers in coordination with one another.
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Towards the end of the century, reviewed Ellberg's reconstruction and published an "urtext" for Bärenreiter. Ellberg's reconstruction calls for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, tenor trombone, 2 bass trombones, timpani and strings. While Berwald gave clear indications for the woodwinds and strings, such as "detailed notations ... indicating when certain wind instruments play in unison with the respective string parts or in a different octave,"Anonymous, preface to Sinfonie Capricieuse. Melville, New York: Belwin Mills (1980): [i] in Swedish, [ii] in English where he wanted brass and/or timpani, Berwald would merely write the names of the instruments.
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Brown, A. Peter, The Symphonic Repertoire (Volume 2). Indiana University Press, Bloomington (), pp. 153–54 (2002). The full ensemble thus can consist of 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani and strings equalled only in scope by the late set of London Symphonies.
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159–207), ending with a xylophone transition passage (b. 208–15) # Timpani, bongos, conga, and bass drums (b. 216–283). This main structure is followed by a coda (beginning in b. 284) in which the definite-pitched instruments gradually re-enter, leading to an abrupt ending .
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In: The New Grove Dictionary of Opera. Macmillan, London & New York, 1997. The orchestration for the number consists of the two flutes, two oboes, two clarinets, two bassoons, four horns, timpani, triangle and tambourine, full strings, and pistons (for the final chord only).Georges Bizet. Carmen.
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The work is scored for a solo piano and a large orchestra consisting of three flutes (doubling piccolo), three oboes, three clarinets (doubling E-flat clarinet and bass clarinet), three bassoons (doubling contrabassoon), four horns, two trumpets, three trombones, tuba, timpani, three percussionists, harp, and strings.
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The work is scored for an amplified string quartet and an orchestra consisting of piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, two trumpets, two trombones, timpani, two percussionists, harp (special tuning), piano (special tuning), celesta, and strings.
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Goodwin, Noel. La boutique fantasque. Dance and Dancers 19, No 6, June 1968, 32-33. The instrumentation is piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, side drum, xylophone, percussion, celesta, harp and strings.
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The head's tension can be adjusted by loosening or tightening the rods. Most timpani have six to eight tension rods. The shape and material of the bowl's surface help to determine the drum's timbre. For example, hemispheric bowls produce brighter tones while parabolic bowls produce darker tones.
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The work is scored for an orchestra comprising piccolo, two flutes (doubling piccolo), two oboes, cor anglais, two clarinets (first doubling E-flat clarinet, second doubling bass clarinet), contrabass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, two percussionists, piano, and strings.
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The work is scored for solo cello and an orchestra comprising three flutes (third doubling piccolo), two oboes, cor anglais, two clarinets (second doubling bass clarinet), bass clarinet (doubling contrabass clarinet), two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, three percussionists, harp, and strings.
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The instrumentation is: piccolo (with 3rd flute), 2 flutes, 2 oboes, cor anglais, 2 clarinets in B, bass clarinet in B, 2 bassoons, contrabassoon, 4 horns in F, 3 trumpets in A, 3 trombones, tuba, timpani (3), percussion (side drum, bass drum & cymbals), 2 harps, and strings.
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The work is scored for solo piano and an orchestra consisting of piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 tenor trombones, bass trombone, tuba, timpani, percussion (tam-tam, triangle, bass drum), harp, and strings.
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The Surprise Symphony is scored for a Classical-era orchestra consisting of two each of flutes, oboes, bassoons, horns, trumpets, plus timpani, and the usual string section consisting of violins (first and second), violas, cellos, and double basses. Performances of the Surprise Symphony last about 23 minutes.
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The work is scored for an orchestra of 2 piccolos, 2 flutes, 2 oboes, cor anglais, 2 soprano clarinets, bass clarinet, 3 bassoons, sarrusophone, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, castanets, tambourine, gong, snare drum, xylophone, celesta, 2 harps and strings.
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The cantata is scored for piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (woodblocks, snare drum, tambourine, triangle, cymbals, bass drum, tam-tam, xylophone, tubular bells), harp, piano, strings, and a choir.
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The symphony is scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, snare drum, triangle and strings. In 2014 Chandos released a CD recording of the symphony played by L'Orchestre de la Suisse Romande conducted by Neeme Järvi.
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The work is scored for a solo mezzo-soprano and an orchestra comprising three flutes (one doubling alto flute), three oboes (one doubling cor anglais, three clarinets (one doubling bass clarinet), two bassoons, four horns, two trumpets, two trombones, tuba, timpani, three percussionists, harp, celesta, and strings.
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The opera is scored for 2 flutes, 2 oboes, 2 clarinets, (1 also basset clarinet and basset horn), 2 bassoons, 2 French horns, 2 trumpets, timpani and strings. Basso continuo in recitativi secchi is made up of cembalo and violoncello. Period performance practice often uses a fortepiano.
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There is also an old Timpani from the 1840 century donated by the Commercial counselor Adolph Lindskog. The belltower of Ostrobothnian style was erected by Henrik Thomasson Kattil 1742. He was born in Jörala village in Vörå. There are two church bells from the 1690 century.
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The work is scored an orchestra comprising for four flutes (fourth doubling piccolo), two oboes, cor anglais, three clarinets (third doubling E-flat clarinet), bass clarinet, four bassoons (fourth doubling contrabassoon), four French horns, four trumpets, three trombones, bass trombone, tuba, timpani, five percussionists, harp, and strings.
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The work is scored for an orchestra consisting of 2 flutes (one doubling piccolo), 2 oboes, 2 clarinets in B, 2 bassoons, contrabassoon, 4 horns in F, 3 trumpets in F, 3 trombones, tuba, timpani, side drum, triangle, bass drum, cymbals, organ (ad lib) and strings.
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The work is scored for two flutes (one doubling on piccolo), two oboes, two clarinets, two bassoons, contrabassoon, four French horns, two trumpets, three trombones, tuba, timpani, snare drums, rattle, tambourine, triangle, cymbals, tamtam, bass drum, and strings (violins I & II, violas, violoncellos, and double basses).
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The concerto is scored for solo violin; two flutes (one doubling piccolo), two oboes, two B♭ clarinets, E♭ clarinet, bass clarinet, two bassoons; four horns, three trumpets, two tenor trombones, bass trombone, tuba; timpani, snare drum, bass drum, wood block, triangle, cymbals, harp and strings.
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Belfagor is scored for the following instruments: piccolo, 2 flutes, 2 oboes, English horn, E-flat clarinet, 2 clarinets, 2 bassoons, double bassoon, 4 horns, 3 trumpets, 3 trombones, bass tuba, timpani, triangle, ratchet, drum, bass drum, cymbals, tam-tam, xylophone, handbells, bells, celesta, harp, strings.
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Requiem Canticles is scored for contralto and bass soloists, mixed chorus, and an orchestra consisting of 3 flutes (3rd doubles on piccolo), alto flute, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani (2 performers), 2 percussionists (xylophone, vibraphone, and tubular bells), harp, piano, celesta, and strings.
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He began his career as a timpanist after attending Berlin's Staatliche Hochschule für Musik.Gary Brain - career . He studied piano, cello and composition with Boris Blacher and timpani with Werner Tharichen, the timpanist of the Berlin Philharmonic. He played in the BBC Training Orchestra in Bristol, United Kingdom.
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The work is scored for a solo trombone and a large orchestra consisting of three flutes (3rd doubling piccolo), two oboes, cor anglais, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, two additional trombones, bass trombone, tuba, timpani, two percussionists, harp, piano, and strings.
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The work is scored for two flutes and piccolo, two oboes, two clarinets and E clarinet, two bassoons and contrabassoon, four horns, three B trumpets, three trombones, tuba, timpani, snare drum, triangle, cymbals, bass drum, tam-tam, glockenspiel, xylophone, two harps (one part), piano, celesta and strings.
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This symphony is scored for piccolo, 2 flutes, 2 oboes, cor anglais, 3 clarinets (3rd doubling Eb clarinet), bass clarinet, 3 bassoons (3rd doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, snare drum, bass drum, cymbals, triangle, tambourine, tam-tam, xylophone, harp, celesta and strings.
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The music is scored for a large orchestra consisting of four flutes (doubling piccolo), four oboes (doubling English horn), four clarinets (doubling bass clarinet), four bassoons (doubling contrabassoon), six horns, four trumpets, two trombones, bass trombone, tuba, timpani, three percussionists, harp, piano (doubling celesta), and strings.
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The overture is scored for: a piccolo, a flute, two oboes (first or second oboe doubles a cor anglais), two clarinets in A, two bassoons, four French horns in G and E, two trumpets in E, three trombones, timpani, triangle, bass drum and cymbals, and strings.
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The work is scored for an orchestra consisting of three flutes (2nd and 3rd doubling piccolo), three oboes (3rd doubling cor anglais), three clarinets (3rd doubling bass clarinet), two bassoons, contrabassoon, four horns, four trumpets, three trombones, tuba, timpani, three percussionists, piano (doubling celesta), harp, and strings.
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Brahms' cadenza to the first movement. The Romanze second movement, in the subdominant of D minor's relative key, (F major), B major, is a five-part rondo (ABACA)Girdlestone (1964), p. 319-321. with a coda. The trumpets and timpani are not used in this movement.
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The London Suite is scored for: :Violin I & II :Viola :Cello :Bass :Flute I & II :Clarinet I & II :Oboe I & II :Horns I – IV :Trumpets I & II :Trombones I & II :Harp :Timpani :Percussion: Triangle, Side Drum, Bass Drum, Cymbals (clashed), Cymbal (suspended), Glockenspiel, Tubular Bells and Gong.
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The work is scored for solo piano and a large orchestra comprising three flutes (2nd doubling alto flute and piccolo; 3rd doubling piccolo), three oboes, three clarinets, three bassoons (3rd doubling contrabassoon), four horns, three trumpets, two trombones, bass trombone, tuba, timpani, four percussionists, and strings.
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The symphony is scored for a large orchestra consisting of 2 piccolos, 2 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, tam-tam, bass drum, cymbals, triangle, side drum, glockenspiel, celesta, 2 harps, and strings.
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Information about LOOM costumes The company made much of the limited space and resources. The orchestra consisted of two players: pianist Brian Molloy, a graduate of Juilliard, who played every score by heart, and Mount-Burke himself, covering the organ and timpani, while conducting the performance.
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3 flutes, 2 oboes, cor anglais (English horn), 2 (soprano) clarinets in B, 3 bassoons; 4 valve (French) horns in F, 3 valve trumpets in F, 3 trombones, tuba; 2 harps, 3 timpani in D, A, & E, cymbals, snare drum; (strings): 1st & 2nd violins, violas, cellos, contrabasses.
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The work has three movements: #Allegro moderato #Andante sostenuto #Molto allegro e appassionato The concerto is scored for solo cello and an orchestra consisting of 2 flutes, oboe, English horn, 2 clarinets (second doubling bass clarinet), 2 bassoons, 2 horns, 3 trumpets, timpani, snare drum, and strings.
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The work is scored for solo soprano, mezzo-soprano, tenor, baritone, SATB chorus, and an orchestra consisting of two flutes (2nd doubling piccolo), two oboes, two clarinets, two bassoons (2nd doubling contrabassoon), two horns, two trumpets, three trombones, timpani, three percussionists, piano (doubling celesta), harp, and strings.
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Le temps l'horloge is scored for piccolo, two flutes, two oboes, two clarinets, bass clarinet, two bassoons, contrabassoon, three horns, three trumpets, three trombones, tuba, timpani, crotales, high and medium suspended cymbals, two tam-tams, wood block, bass drum, vibraphone, marimba, harp, celesta, harpsichord, accordion and strings.
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The work is composed for solo cello and an orchestra comprising two flutes (2nd doubling piccolo), two oboes, two clarinets, (2nd doubling E-flat clarinet and bass clarinet), bassoon, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, three percussionists, piano (doubling celesta), harp, and strings.
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Steinberg, Michael. "The Symphony: a listener's guide". p. 232–236. Oxford University Press, 1995. The movement concludes with an extended coda featuring a bugle call for solo trumpet, a timpani roll, which was a revolutionary adaptation of the instrument, and a loud outburst in A major.
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The work is scored for solo piano and an orchestra comprising three flutes (3rd doubling piccolo), two oboes, cor anglais, three clarinets (3rd doubling bass clarinet), two bassoons, contrabassoon, four horns, three trumpets, three trombones (3rd on bass trombone), tuba, timpani, three percussionists, harp, and strings.
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The Concerto for Orchestra is scored for an orchestra comprising three flutes (3rd doubling piccolo), three oboes (3rd doubling English horn), two clarinets, bass clarinet (doubling piccolo clarinet), two bassoons, contrabassoon, four French horns, three trumpets, three trombones, tuba, harp, timpani, percussion (four players), and strings.
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Metrical sign is ) #Gavotte I/II (In D major. Metrical sign is ) #Bourrée (In D major. Metrical sign is ) #Gigue (In D major. Metrical sign is ) Instrumentation: Trumpet I/II/III, timpani, oboe I/II, violin I/II, viola, basso continuo (second movement: only strings and continuo).
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The work is scored for two flutes and an orchestra consisting of two oboes (2nd doubling cor anglais), two clarinets (1st doubling E-flat clarinet; 2nd doubling bass clarinet), two bassoons, two horns, two trumpets, trombone, timpani, two or three percussionists, piano (doubling celesta), harp, and strings.
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On Encounters he worked with guitarist John Schneider. Encounters II showcases unique techniques for tuba such as multi-phonics double pedal range. In 2010, the Los Angeles Philharmonic released a recording on DG Concerts of the Timpani Concerto No. 1 featuring Joseph Pereira as soloist with John Adams conducting.
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The third movement is a fast minuet and trio. The minuet is in B major. Its second section starts conventionally in the dominant of F major but shifts into A major for a flute solo. The trio remains in B major, but omits the trumpets, horns and timpani.
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The concerto is scored for a solo piano and orchestra of piccolo, dizi (Chinese flute), 2 flutes, 2 oboes, 2 clarinets (in B-flat), 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, triangle, cymbals (suspended), harp, pipa (though not all editions of the score show this), and strings.
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The piece is orchestrated for two flutes, two oboes d'amore (doubling on oboes), two bassoons, one natural horn (in D), three natural trumpets (in D), timpani, violins I and II, violas and basso continuo (cellos, basses, bassoons, organ and harpsichord). A third oboe is required for the Sanctus.
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Associated Board of the Royal Schools of Music, Trinity College London and London College of Music provide examination for orchestral percussion player. Candidates perform a balanced programme of three pieces, one chosen from mallet percussion song list, one from snare drum song list and one from timpani song list.
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Symphony No. 4, Op. 29, FS 76, also known as "The Inextinguishable" (), was completed by Danish composer Carl Nielsen in 1916. Composed against the backdrop of the First World War, this symphony is among the most dramatic that Nielsen wrote, featuring a "battle" between two sets of timpani.
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The symphony is scored for piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets in B-flat (A, E-flat), bass clarinet, 2 bassoons, contrabassoon, 6 horns (horns V and VI ad lib), 3 trumpets in C, 3 trombones, tuba, timpani, triangle, cymbals, bass drum, harp, and strings.
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The symphony is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, "serpente" (possibly a serpentthe standard Italian term for serpent (the musical instrument) is serpentone) and contrabassoon (fourth movement only, now usually played on the contrabassoon alone), 2 horns, 2 trumpets, 3 trombones, timpani and strings.
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A standard set of timpani (sometimes called a console) consists of four drums: roughly , , , and in diameter. The range of this set is roughly D2 to A3. A great majority of the orchestral repertoire can be played using these four drums. However, contemporary composers have written for extended ranges.
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2 flutes (2nd doubling piccolo), 2 oboes (2nd doubling cor Anglais), 2 clarinets (2nd doubling bass clarinet), 2 bassoons (2nd doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (gong, clash cymbals, suspended cymbal, triangle, 3 woodblocks, bass drum, snare drum & tenor drum), and strings.Boosey & Hawkes Ltd.
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The work is scored for a large orchestra consisting of two flutes, piccolo, two oboes, cor anglais, three clarinets (3rd doubling E-flat clarinet), bass clarinet, two bassoons, contrabassoon, four horns, three trumpets (3rd doubling bass trumpet), three trombones, tuba, timpani, three percussionists, harp, piano (doubling celesta), and strings.
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They are a collection rather than a suite, as Carter suggested no more than four be performed at once. The pieces make heavy use of extended techniques, including playing with the back end of the timpani sticks, varying the beating spot on the drumhead, glissandos, and sympathetic vibration.
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The symphony is scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, snare drum, tam- tam, cymbals (crash and suspended), wood block, whip, 2 cowbells, conga, bongos, 2 timbales, tubular bells, tenor drum, harp and strings.
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The work is scored for 3 flutes, piccolo, 3 oboes, English horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 8 horns, 5 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, triangle, glockenspiel, bells, tam-tam, celesta, organ (harmonium if the organ is not available), 2 harps and strings.
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The climax of the work is built up, where gestures from the first movement are returned, now having undergone a different experience. This climax fades out on a timpani roll, which leaves a short, witty coda where fragments of the music are broken up and disappear into thin air.
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The march is scored for two flutes, two piccolos, two oboes, two clarinets in B flat, two bassoons, four horns in F, two cornets in B flat, two trumpets in B flat, three trombones (two tenor, one bass), tuba, three timpani, snare drum, cymbals, bass drum, tamtam, and strings.
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Sibelius scored his second symphony for an orchestra consisting of standard instruments: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, and strings. It is written in four movements: It is his longest symphony, with a duration of approximately 45 minutes.
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It ends abruptly in a cadenza, followed by a major-key recapitulation of the first movement, and a coda. Along with the solo cello, the concerto is scored for an orchestra consisting of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani and strings.
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The work is scored for a solo piano and a large orchestra comprising three flutes (3rd doubling piccolo), three oboes (3rd doubling cor anglais), three clarinets (3rd doubling bass clarinet), three bassoons (3rd doubling contrabassoon), four horns, four trumpets, four trombones, tuba, timpani, three percussionists, harp, celesta, and strings.
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The work is scored for a large orchestra consisting of three flutes (third doubling piccolo), three oboes (third doubling cor anglais), three clarinets (third doubling bass clarinet), three bassoons (third doubling contrabassoon), four horns, three trumpets, three trombones, tuba, harp, piano (doubling celesta), timpani, four percussionists, and strings.
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This revision was carried out during a holiday break in 1974, at N'Gor, a beach resort near Dakar in Senegal . The attacks and pitches remained unaltered, but the six timpani were redistributed, three each for just two players, and the note values were doubled in order to facilitate reading .
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The work is composed for solo clarinet and a large orchestra comprising two flutes (2nd doubling piccolo), two oboes, cor anglais, two clarinets, bass clarinet, two bassoons (2nd doubling contrabassoon), four horns, three trumpets (3rd doubling piccolo trumpet), three trombones, tuba, timpani, two percussionists, piano (doubling celesta), and strings.
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The work is scored for an orchestra of piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, alto saxophone, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, triangle, tambourine, side drum, cymbals, bass drum, tamtam, xylophone, glockenspiel, tubular bells, harp, piano, and strings.
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The scoringAvailable at the SMC,v.i. External links. is for double wind and brass (without tuba), timpani, percussion and strings, the only exception being that the clarinet section is expanded to four players, and includes bass, alto and piccolo clarinets. The premiere was given on 30 November 1996 (St.
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Britten arranged the anthem for an SATB chorus and an orchestra consisting of two flutes, two oboes, two clarinets in B-flat, two bassoons; four horns in F, two trumpets in C, three trombones, one tuba; a percussion section that includes timpani, cymbals, side drum, bass drum; and strings.
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The work is scored for solo violin and an orchestra consisting of two flutes (2nd doubling piccolo), two oboes (2nd doubling cor anglais), two clarinets (2nd doubling bass clarinet), two bassoons (2nd doubling contrabassoon), four horns, two trumpets, three trombones, tuba, timpani, three percussionists, celesta, harp, and strings.
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The work is scored for a large orchestra comprising three flutes (2nd and 3rd doubling piccolo), two oboes, cor anglais, two clarinets (2nd doubling bass clarinet), bass clarinet, contrabass clarinet, three bassoons (3rd doubling contrabassoon), four horns, three trumpets, three trombones, tuba, timpani, three percussionists, piano, harp, and strings.
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The suite calls for piccolo, two flutes, two oboes, cor anglais, two clarinets in B-flat, two bassoons, four horns in F, two trumpets in B-flat, three trombones, tuba, three timpani, cymbals, triangle, various Chinese percussion instruments, celeste, harp, first and second violins, violas, celli, and double basses.
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Symphony No. 103 in E major (H. 1/103) is the eleventh of the twelve London symphonies written by Joseph Haydn. This symphony is nicknamed The Drumroll after the long roll on the timpani with which it begins. It is from 1795, and his second-to-last symphony.
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The piece is scored for solo trumpet and orchestra comprising three flutes (third doubling on piccolo), three oboes, three clarinets, three bassoons (third doubling on contrabassoon), four French horns, three trumpets, three trombones, tuba, harp, timpani, percussion (three players), and strings (violins I & II, violas, violoncellos, and double basses).
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The work is scored for a solo clarinet and an orchestra comprising two flutes (1st doubling piccolo, 2nd doubling alto flute), two oboes (2nd doubling cor anglais), two clarinets (2nd doubling E-flat clarinet), bass clarinet, bassoon (doubling contrabassoon), four horns, trumpet, timpani, four percussionists, harp, celesta, and strings.
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The work is scored for a large orchestra consisting of three flutes (all doubling piccolos), three oboes (3rd doubling English horn), three clarinets (3rd doubling bass clarinet), three bassoons (3rd doubling contrabassoon), four horns, three trumpets, three trombones, tuba, timpani, four percussionists, harp, piano (doubling celesta), and strings.
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The work is scored for a solo piano and an orchestra comprising three flutes (3rd doubling piccolo), two oboes, English horn, three clarinets (3rd doubling E-flat clarinet and bass clarinet), two bassoons, contrabassoon, four horns, three trumpets, two trombones, bass trombone, tuba, timpani, four percussionists, harp, and strings.
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The symphony is scored for piccolo (doubling alto flute), two flutes (second doubling second piccolo), two oboes, cor anglais, two clarinets, bass clarinet, two bassoons, double bassoon, four horns, three trumpets, three trombones, timpani, four percussionists (playing marimba, tubular bells, flexatone, glockenspiel, and crotales), harp, celesta, and strings.
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The work is scored for solo piano and a large orchestra consisting of piccolo, two flutes, two oboes, English horn, two clarinets, E-flat clarinet, bass clarinet (doubling contrabass clarinet), two bassoons, contrabassoon, four horns, three trumpets, two trombones, bass trombone, tuba, timpani, five percussionists, celesta, harp, and strings.
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The Concerto pour orgue, cordes et timbales (Concerto for organ, timpani and strings) in G minor, FP 93, is an organ concerto composed by Francis Poulenc between 1934 and 1938. It has become one of the most frequently performed pieces of the genre not written in the Baroque period.
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Rolls on timpani are almost exclusively single-stroked. Due to the instruments' resonance, a fairly open roll is usually used, although the exact rate at which a roll is played depends greatly on the acoustic conditions, the size of the drum, the pitch to which is it tuned and the sticks being used. Higher pitches on timpani require a faster roll to maintain a sustained sound; some timpanists choose to use a buzz roll on higher notes at lower volumes; although there is no definite rule, most timpanists who employ this technique do so on a high "G", and above. In the end, it often comes down to the discretion of the timpanist.
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In orchestrated form "Noctuelles" is scored for triple woodwind (including E clarinet) minus one contrabassoon; four horns, three trumpets, three trombones and tuba, timpani, percussion, two harps, celesta and strings. There is a more recent orchestration (2001) of "Noctuelles" by American composer Steven Stucky. It is published by Theodore Presser Company and is scored for 3 flutes (3rd doubling piccolo), 3 oboes (3rd doubling English horn), 2 clarinets, 3 bassoons (3rd doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, 2 percussionists, celesta, two harps, and strings. In 2001 American conductor Leif Bjaland orchestrated "Oiseaux tristes" scored for 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, harp, and strings.
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The original orchestral arrangement of Mothership is scored for three flutes (3rd doubling piccolo), E-flat clarinet, two clarinets (both doubling bass clarinet), three oboes (3rd doubling English horn), two bassoons, contrabassoon, four French horns, three trumpets, two trombones, bass trombone, tuba, three percussionists, laptop, timpani, harp, piano, and strings. A subsequent wind ensemble arrangement of the piece by Bates is scored for four flutes (1st and 2nd doubling piccolo), two oboes (2nd doubling English horn), two bassoons, contrabassoon, E-flat clarinet, four clarinets, two bass clarinets, soprano saxophone, alto saxophone, tenor saxophone, baritone saxophone, four C trumpets, four French horns, two trombones, bass trombone, euphonium, tuba, harp, piano, four percussionists, laptop, timpani, and double bass.
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Throughout this section, the timpani subtly foreshadows the coming strife with a repeated eighth note pattern played softly in the background. This action begins to intensify at rehearsal 118, with the return of the "ghost" motive from the first movement and the hammering of eighth notes in timpani, brass, high winds, and tambourine. It is a striking moment, a violent outburst in the midst of relative serenity; Elgar stated that it represented "the madness that attends the excess or abuse of passion", and tied it to a section of a Tennyson poem related to a corpse's experience in his grave ("...the hoofs of the horses beat, beat into my scalp and brain...").Kennedy, "Symphony No. 2", 62.
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A double concerto (Italian: Doppio concerto; German: Doppelkonzert) is a concerto featuring two performers—as opposed to the usual single performer, in the solo role. The two performers' instruments may be of the same type, as in Bach's Double Violin Concerto, or different, as in Brahms's Concerto for Violin, Cello and Orchestra. The term can also refer to the use of a double orchestral body where a work is in concerto grosso form; for example, Martinů's Double Concerto for Two String Orchestras, Piano, and Timpani is commonly known by the title "Double Concerto," where the word "double" refers to the two string bodies rather than to the piano and timpani, who are not soloists in the conventional sense.
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The symphony exists in 3 versions. The first version is scored for 2 oboes, bassoon, 2 horns, and strings. Subsequently, the second version included a second bassoon part and a timpani part. H.C. Robbins Landon has speculated that Haydn added flute and trumpet parts for a third version performed in London.
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The composition, as it has survived, consists of a single movement marked Grave - Allegro molto and takes around 10 to 12 minutes to perform. The single-movement symphony is orchestrated with 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, 1 tuba, timpani, and strings.
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60 'Il Distratto' of 1774. Mozart had previously used trumpets and timpani in the slow movement of his Linz Symphony of 1783.HC Robbins Landon, Haydn: Chronicle and Works, 5 vols, (Bloomington and London: Indiana University Press, 1976-) v. 2, Haydn at Eszterhaza, 1766-1790 The minuet is in G major.
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Michel Fleury, "Jean Cras, an exceptional destiny", Polyphème, Timpani, 2003, pp. 15-17 With the outbreak of war in 1914 Cras was appointed as adjutant to Admiral Augustin Boué de Lapeyrère. He later worked in the Submarine Defense Service. In 1916 he was appointed commander of the torpedo boat Commandant Bory.
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The music is scored for piccolo (doubling 3rd flute), 2 flutes, 2 oboes, cor anglais, 2 clarinets (1st doubling E-flat clarinet), 2 bassoons, contrabassoon (doubling 3rd bassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, snare drum, suspended cymbal (played with snare drum sticks), triangle, bells, harp, organ and strings.
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The suite is scored for two flutes (one doubling piccolo), two oboes (one doubling cor anglais), two clarinets in B (one doubling on bass clarinet), two bassoons, four horns (in E and F), three trumpets (in E and F), three trombones, tuba, timpani, triangle, bass drum, cymbals, tambourine, harp, and strings.
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The work is scored for 3 flutes (3rd doubling piccolo), 2 oboes, English horn, 3 clarinets in B and A (3rd doubling clarinet in E), 2 bassoons, contrabassoon, 4 horns in F, 4 trumpets in C, 3 trombones, tuba, timpani, tambourine, "military" snare drum, bass drum, cymbals, piano, harp and strings.
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Nabucco is scored for two flutes (one doubling piccolo), two oboes (one doubling English horn), two clarinets in A, two bassoons, four horns in D, two trumpets in D, three trombones (two tenor, one bass), one cimbasso, timpani, bass drum, cymbals, side drum, triangle, two harps, strings, and an onstage banda.
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The concerto is scored for piano solo accompanied by an orchestra of typical size: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussionin the 3rd movement, including triangle, glockenspiel & bass drum. IMSLP states celesta, perhaps in the place of glockenspiel., and strings.
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The work is in standard four- movement form and scored for two flutes, two oboes, two bassoons, two horns, two trumpets, timpani and strings. #Largo — Vivace #Adagio in F major #Menuetto. Allegro #Finale. Presto The second movement is an orchestration of the second movement of the F minor piano trio, Hob.
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The concerto is scored for an orchestra consisting of a solo piano, two flutes (one doubling on piccolo), two oboes, two clarinets (in B flat), two bassoons (one doubling on contrabassoon), four horns (in F), three trumpets (in C), three trombones, tuba, timpani, snare drum, bass drum, triangle, cymbals, and strings.
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The work is in standard four movement form and scored for two flutes, two oboes, two bassoons, two horns, two trumpets, timpani and strings.Antony Hodgson, The Music of Joseph Haydn: The Symphonies. London: The Tantivy Press (1976): 134–135. #Adagio — Vivace, #Adagio ma non troppo, in F major #Menuetto e Trio.
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The work is scored for an orchestra comprising piccolo, 1 flute, alto flute, two oboes, cor anglais, 2 clarinets ( 2nd doubling E-flat clarinet), bass clarinet, contrabass clarinet, two bassoons, contrabassoon, four French horns, three trumpets (3rd doubling piccolo trumpet), three trombones, tuba, timpani, three percussionists, harp, celesta, synthesizer, and strings.
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Act 5 contains more music than any other, to accompany the wedding feast. There is a brief fanfare for trumpets and timpani, a parody of a funeral march, and a Bergamask dance. The dance uses Bottom's braying from the overture as its main thematic material. The play has three brief epilogues.
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Falstaff is scored for an orchestra of two flutes and piccolo, two oboes and cor anglais, two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion (side drum, triangle, tabor, tambourine, bass drum, cymbals), two harps (second harp ad lib), and strings.
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The concerto is scored for solo violin and an orchestra of three flutes (second and third flutes doubling piccolo), two oboes (second oboe doubling cor anglais), two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion (glockenspiel, cymbals, triangle, bass drum, side drum, tenor drum), harp and strings.
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The work is scored for a large orchestra comprising three flutes (3rd doubling piccolo), two oboes, English horn, two clarinets, E-flat clarinet, bass clarinet, three bassoons (3rd doubling contrabassoon), four horns, four trumpets (1st and 2nd doubling piccolo trumpet), three trombones, tuba, timpani, percussion, harp, piano (doubling celesta), and strings.
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The work is composed for solo piano and a large orchestra comprising three flutes (3rd doubling piccolo), two oboes, cor anglais, three clarinets (3rd doubling E-flat clarinet), bass clarinet, two bassoons, contrabassoon, four horns, three trumpets (3rd doubling trumpet in D), three trombones, tuba, timpani, two percussionists, and strings.
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The symphony is scored for an orchestra consisting of 2 piccolos, 3 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 4 trombones, tuba, timpani, tam-tam, bass drum, large side drum, Indian drum, side drum, cymbals, vibraphone, celesta, 2 harps, and strings.
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Notes on the score (cymbal, timpani, violins) indicate that Chabrier had an orchestration in mind.Delage Fayard 1999 p126. Steven Huebner notes that Chabrier's melodies (instrumental and vocal) are frequently combined with chromatic decoration, citing as an example 'Ivresses'.Huebner, Steven: 'Chabrier, Emmanuel', The New Grove Dictionary of Music and Musicians, ed.
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The concerto is scored for piano solo, 2 flutes, 2 oboes, 2 clarinets in A, 2 bassoons, 2 horns in A, 2 trumpets in C, trombone, timpani in A & E, violins I & II, violas, cellos, and basses. With this instrumentation Clara Schumann chose the usual orchestration typical of early Romantic music.
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The oratorio is scored for Heldentenor solo, soprano, alto, tenor, and bass solos, mixed choir, and an orchestra of piccolo, 2 flutes, 2 oboes, cor anglais, 3 clarinets (doubling E-flat clarinet and bass clarinet), 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, organ, and strings.
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Around 1742 Bach copied Pietro Torri's Magnificat in C major for double SATB choir and orchestra, and then arranged it by adding a third trumpet part and a timpani part.Bach Digital Work D-B Mus.ms. Bach P 195 at Bach Digital website.Mus.ms. Bach P 195 at Berlin State Library website.
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The central movement is the Sanctus (with Benedictus), a lively, and exclamatory movement which is brightly orchestrated with bells, flute, and oboe and occasional timpani recalling the passage in Old Testament scripture in Isaiah chapter 6, and the worship of the six-winged seraphim in the heavenly throne- room of God.
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The work is scored for a solo flute and an orchestra consisting of two flutes (2nd doubling piccolo), two oboes (2nd doubling English horn), two clarinets (2nd doubling bass clarinet), two bassoons (2nd doubling contrabassoon), two horns, two trumpets, two trombones, tuba, timpani, three percussionists, piano (doubling celesta), harp, and strings.
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The work is scored for strings, 2 recorders (or flutes), 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani and continuo. Athalia shows flexibility and originality in form on Handel's part, combining solos with chorus in new ways. Its vivid characterisation through music contributed to its immense success at its premiere.
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Ernani is scored for one piccolo, one flute, two oboes, two clarinets, one bass clarinet, two bassoons, four horns, two trumpets, three trombones, one cimbasso, one harp, timpani, bass drum and cymbals, snare drum, on-stage band with on-stage bass drum, one offstage horn, six offstage trumpets, and strings.
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Scored for one flute, two oboes, and two bassoons, along with two horns in B and E and strings. Of all of Schubert's symphonies, it is scored for the smallest orchestra. It is the only one of his symphonies which does not include clarinets, trumpets or timpani as part of the instrumentation.
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Drawing inspiration from his grandfather, a band leader. Darken began playing drums at age 12, and played timpani and mallets in high school. Darken attended Brevard College in Brevard, North Carolina, then transferred to Oral Roberts University in Tulsa, Oklahoma. Darken was also a part of the ORTV Richard Roberts television show.
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In modern performances, the B horn part is commonly played with B basso, rather than B alto, horns. It is likely that B basso horns were preferred in the 1792 premiere, making the symphony the first of Haydn’s to employ the instrument. The trumpet and timpani parts are also scored in B.
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The extended instrumental ritornello presents the musical material of the whole movement. The voices enter in unison, first imitating timpani, then trumpets. In the following section, the vocal lines are mostly homophonic and sometimes imitative, while the instrumental forces drive the movement. The second section is a modified repeat of the first.
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Rapture is scored for orchestra comprising three flutes, three oboes, three clarinets, three bassoons, four French horns, four trumpets, four trombones, tuba, harp, timpani (two players), three percussionists (bass drum, five triangles, tam-tam, China cymbal, suspended cymbal, chimes, glockenspiel, and antique cymbals), and strings (violins I & II, violas, violoncellos, and double basses).
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The work is scored for solo piano and an orchestra consisting of two flutes (both doubling piccolo), two oboes, two clarinets (1st doubling E-flat clarinet; 2nd doubling bass clarinet), two bassoons (2nd doubling contrabassoon), three horns, two trumpets, two trombones, bass tuba, timpani, two percussionists, harp, piano (doubling celesta), and strings.
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Like most drumheads, timpani heads can be made from two materials: animal skin (typically calfskin or goatskin) or plastic (typically PET film). Plastic heads are durable, weather-resistant, and relatively inexpensive. Thus, they are more commonly used than skin heads. However, many professional timpanists prefer skin heads because they produce a "warmer" timbre.
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Many schools and youth orchestra ensembles unable to afford purchase of this equipment regularly rely on a set of two or three timpani, sometimes referred to as "the orchestral three". It consists of , , and drums. Its range extends down only to F2. The drums are set up in an arc around the performer.
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In the early 16th century, the bindings were replaced by screws. This allowed timpani to become tunable instruments of definite pitch. The Industrial Revolution enabled the introduction of new construction techniques and materials, in particular machine and pedal tuning mechanisms. Plastic heads were introduced in the mid-20th century, led by Remo.
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It requires 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani and strings and while not published in his lifetime, exists in sketches and score at the National Széchényi Library, Budapest. It was premiered 2 June 1897, in Budapest with Gyula Erkel (son of Ferenc) conducting.
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While attending Miller High School, he played drums in addition to timpani and violin and also sang in the choir. At 16, he sang professionally in a local touring gospel quartet called the Evangelist Singers. He took up the vibraphone at 16 after hearing Lionel Hampton play the instrument in Benny Goodman's band.
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The work is scored for solo violin, two flutes (one doubling piccolo), two oboes (one doubling cor anglais), two clarinets, bass clarinet, two bassoons (one doubling contrabassoon), four horns, two trumpets, trombone, harp, strings, and a colorful percussion section of timpani, bass drum, cymbals, gong, tubular bell, glockenspiel, vibraphone, xylophone, and celesta.
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The piece is scored for 3 flutes (the third is interchangeable with a piccolo), alto flute, 3 oboes, English horn, 3 clarinets (1 in E♭, 2 in A), bass clarinet (B♭), 3 bassoons, contrabassoon; 6 horns (F), 3 trumpets (C), 2 tenor trombones, bass trombone, tuba; timpani, triangle and strings.
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The work is scored for 2 flutes, 2 oboes, 2 clarinets in B (I mov.) and A (II & III mov.), 2 bassoons, 4 horns in F, 2 trumpets in B, 3 trombones (2 tenor, 1 bass), tuba, timpani, bass drum, cymbals, solo piano, and strings. It is written in three-movement concerto form.
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The work consists of eight movements, initially published in three groups. ;Group 1: # Prelude # Carol # Christmas Dance ;Group 2: # Ballad # Moto Perpetuo ;Group 3: # Musette # Polka Melancolique # Galop The work is scored for solo viola, 2 flutes, 1 oboe, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, percussion, celesta, harp and strings.
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It was dedicated to Sessions' father Archibald. It is scored for three flutes (one doubling piccolo), three oboes (one doubling English horn), four clarinets, three bassoons, four horns, three trumpets, three trombones, one tuba, timpani, percussion, piano, and strings.Anonymous. Andrea Olmstead describes all of Sessions's symphonies as "serious" and "funereal".Olmstead, page 356.
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As it is in effect a substitute finale to the Piano Concerto No. 5, the instrumentation for the Rondo is very nearly the same. Other than the solo piano, the Concerto's instrumentation consists of two oboes, two trumpets, two horns, timpani and strings. The Rondo uses this ensemble too, but adds one flute.
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A drone is made out of a heavily reverbed timpani, followed by tape loops of drum rolls on the different parts of the drum kit and a drum solo. "Exit" (Part 3) (0:38) (Geesin, Mason) The piece concludes with multiple overdubbed flute parts, creating harmony before the piece slows to an end.
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IMSLP (whose source is the Swedish Musical Heritage website) The symphony is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani and strings. It consists of four movements: # Allegro risoluto # Adagio - # Scherzo. Allegro molto # Finale. Allegro vivace A typical performance lasts 25–30 minutes.
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The overture is scored for a Romantic orchestra, consisting of 3 flutes (1 doubling piccolo), 2 oboes, 2 clarinets in C, 2 bassoons, 4 horns in F, 2 trumpets in B, 3 trombones, tuba, 3 timpani tuned to A, D and G, percussion (glockenspiel, triangle, cymbals, bass drum, tam-tam), harp, and strings.
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4 flutes, 4 oboes, 4 clarinets, 4 bassoons, 8 horns, 4 trumpets, 4 trombones, 2 tubas, Timpani, percussion, accordions, military band (saxhorns, extra trumpets, horns, tenor horns, euphonium, tubas and snare drum), alarm bells, cannon shot, sirens, eight-part chorus, speaker on megaphone (as the voice of Lenin), Maxim gun, harps, keyboards, strings.
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The work is scored for solo piano (left hand) and an orchestra consisting of two flutes (2. doubling piccolo), two oboes, English horn, clarinet in E, two clarinets in A and B, bass clarinet in B, two bassoons, two horns in F, two trumpets in C, three trombones, timpani, four percussionists, and strings.
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Krasner and Berg's widow Helene with the score (1961) The concerto is scored for 2 flutes (both doubling as piccolo), 2 oboes (one doubling as a cor anglais), alto saxophone (doubling as 3rd clarinet), 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 2 trombones, tuba, timpani, percussion, harp and strings.
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Anthology of Fantastic Zoology is scored for an orchestra comprising three flutes (3rd doubling piccolo), three oboes (3rd doubling English horn), three clarinets (2nd doubling E-flat clarinet and bass clarinet), two bassoons, contrabassoon, four French horns, three trumpets, two trombones, bass trombone, tuba, three percussionists, timpani, harp, piano/celesta, and strings.
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In the orchestral version Idylle is a semi-tone higher. The instrumentation is 2 flutes (one doubling piccolo), 1 oboe, 2 clarinets in B♭ and A, 2 bassoons - 2 horns in F and E, 2 cornets à pistons in C, 3 trombones (Scherzo-Valse only) - timpani, bass drum, triangle - harp, strings.
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Images pour orchestre is scored for a large orchestra consisting of 2 piccolos, 2 flutes, 2 oboes, oboe d'amour, cor anglais, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns and 4 trumpets (in C), 3 trombones, tuba, timpani, field drum, tambourine, castanets, 2 harps, celesta, triangle, xylophone, cymbals, 3 bells, strings.
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The work is scored for solo cello and orchestra, where the orchestra consists of two flutes (2nd doubling piccolo and alto flute), two oboes, two clarinets (2nd doubling bass clarinet), two bassoons (2nd doubling contrabassoon), four French horns, three trumpets, two tenor trombones, bass trombone, tuba, timpani, three percussionists, harp, and strings.
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The work is scored for an orchestra comprising three flutes (2nd and 3rd doubling piccolo), three oboes (3rd doubling cor anglais), three clarinets (2nd doubling bass clarinet, 3rd doubling E-flat clarinet), two bassoons, contrabassoon (doubling bassoon), four horns, three trumpets, two trombones, bass trombone, tuba, timpani, six percussionists, harp, piano, and strings.
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The work is scored for an orchestra comprising three flutes (3rd doubling piccolo), two oboes, cor anglais, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, three percussionists, harp, piano (doubling celesta), and strings and a separate brass quintet comprising a horn, two trumpets, trombone, and tuba.
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It was there he took timpani lessons, his only formal music training. At San Francisco State he met Dave Brubeck, a young pianist also fresh from a stint in the Army. Brubeck introduced Tjader to Paul Desmond. The three connected with more players and formed the Dave Brubeck Octet with Tjader on drums.
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Hildegard Herrmann, "Thematisches Verzeichnis der Werke von Joseph Eybler", Musikwissenschaftlichte Schriften X (München – Salzburg: Emil Katzbichler, 1976) The work premiered on 15 April 1810 and was commissioned by Emperor Francis I for empress Maria Ludovika. It is scored for flutes, oboes, clarinets, bassoons, contrabassoon, horns, trombones, trumpets and timpani, fortepiano and strings.
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Cantata misericordium is scored for solo tenor and baritone, SATB choir, string quartet, string orchestra, piano, harp, and timpani. The work is in a single movement with "a highly unified structure built up out of short interlinked sections". Its tonality is largely F-sharp major, but with a D in the bass.
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The work is scored for an orchestra comprising two flutes (doubling alto flute), piccolo (doubling flute), two oboes, cor anglais, two clarinets (doubling E-flat clarinet and bass clarinet), bass clarinet, two bassoons, contrabassoon, four horns, four Wagner tubas, three trumpets, three trombones, tuba, timpani, four percussionists, harp, piano (doubling celesta), and strings.
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338–339 One possible solution was for timpanists to add more drums to their set-up, but this also created a problem: During this time, performances often took place in courts or at smaller theaters that had limited stage space and large timpani set-ups did not fit very well. Timpanists at this time were faced with a problem; using a large, cumbersome set of timpani to play their parts would not be possible due to space restraints. However, a solution was found, and with the help of technological advancements during the 18th century in Europe, devices were developed and added to the drums to change the pitch. These changes allowed for a single drum to play more than just two notes.
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The first version of Esquinas is unpublished and details of the scoring are unknown. The second version is scored for a chamber orchestra which, according to the manuscript of the score held by the Free Library of Philadelphia (Fleisher Collection), consists of piccolo, 2 flutes, 2 oboes, cor anglais, E clarinet, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion (including xylophone), and strings. The publisher's (Peer International) website gives a slightly different instrumentation: 3 flutes (third doubling piccolo), 2 oboes, cor angalis, E clarinet, 2 clarinets, bass clarinet, 4 horns, D trumpet, 4 trumpets, 3 trombones, tuba, timpani, percussion (2 Indian drums, xylophone, ch, bass drum, suspended cymbal, woodblock, tamtam, triangle, jingles, güiro), harp, and strings.
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The orchestration of the concerto was revised in 1961 by Walton, with the premiere of the revised version being performed by John Coulling accompanied by the London Philharmonic Orchestra under Sir Malcolm Sargent on 18 January 1962. The revised orchestration features 2 flutes (second doubling piccolo), oboe, cor anglais, 2 clarinets (second doubling bass clarinet), 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, harp and strings, compared to the original of 2 flutes, piccolo, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani and strings. Walton did not withdraw the earlier version, but did express a preference for the revised orchestration. Consequently, it is this version that is typically performed.
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The Orchestral Suite No. 3 calls for: 3 flutes (one of them piccolo), 2 oboes, 1 English horn, 2 clarinets (in A), 2 bassoons, 4 horns (in F), 2 trumpets (in F and D), 3 trombones, tuba, timpani, side drum, tambourine, triangle, cymbals, bass drum, harp and strings (violins 1 & 2, violas, celli, double basses).
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486 The full tally of instruments, apart from the piano, comprises piccolo, flute, oboe, cor anglais, E clarinet, clarinet in B and A, 2 bassoons, 2 horns in F, trumpet in C, trombone, timpani, triangle, snare drum, cymbals, bass drum, tamtam, wood block, whip, harp, 16 violins, 6 violas, 6 cellos, and 4 double basses.
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The song received general acclaim from music critics. Brittany Mahaney of ANDPOP praised the song's playful demeanor, and called "Jumanji" a summer anthem. Mahaney further elaborated that the song "practically screams summer with dance worthy steel drums and timpani hits". On a similar note, Jason Lipshutz of Billboard also deemed the song an anthem.
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Ancient Fife and Drum Corps, as well as modern drum corps have been used by early modern armies for signalling and ceremonies, occasionally played by drummer boys in conflicts such as the American Civil War. Over a period of time, Snare drums, as well as timpani, have been adopted into civilian classical and popular music.
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Danse macabre is scored for an obbligato violin and an orchestra consisting of one piccolo, two flutes, two oboes, two clarinets in B, two bassoons; four horns in G and D, two trumpets in D, three trombones, one tuba; a percussion section that includes timpani, xylophone, bass drum, cymbals and triangle; one harp and strings.
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The work is scored for the following orchestra: :woodwind: 3 flutes (3rd also piccolo), 2 oboes, 2 clarinets, 4 bassoons :brass: 4 horns, 8 trumpets (4 offstage), 3 trombones, Ophicleidean obsolete instrument usually replaced by a tuba or cimbasso in modern performances :percussion: timpani, bass drum :strings: violins I, II, violas, violoncellos, double basses.
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The work is scored for an SATB chorus, a children's choir, and an orchestra comprising piccolo, three flutes (3rd doubling piccolo), three oboes, two clarinets, bass clarinet, contrabass clarinet, two bassoons, contrabassoon, four horns, four trumpets, three trombones, two tubas, timpani, four percussionists, piano, celesta, quarter tone piano, 2 harps, strings, and pre- recorded tape.
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The instrumentation is: piccolo, 2 flutes, 2 oboes, 2 clarinets in A, bass clarinet in A, 2 bassoons, contrabassoon, 4 horns in F, 2 trumpets in F, 2 cornets in A, 3 trombones, tuba, timpani (3), percussion (2 side drums,The second side drum is ad. lib. triangle, glockenspiel & jingles, bass drum & cymbals), and strings.
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The second theme, meanwhile, depicts movement at sea and "rolling waves". The piece is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings. Performances of the overture typically last between 10½ and 11 minutes. The autograph manuscript of the work is held in the Bodleian Library, Oxford.
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Castor, the Twin is the second studio album by Dessa, a member of Minneapolis indie hip hop collective Doomtree. It was released by Doomtree Records in 2011. The album features new arrangements of her previously released songs. The original production has been replaced with live instrumentation on piano, vibraphone, mandolin, viola, double bass and timpani.
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The work is in standard four movement form and scored for flute, two oboes, two bassoons, horns and/or trumpets, timpani, continuo (harpsichord) and strings. Early conflicting manuscript sources make the exact scoring for the brass unclear. Typically, however it is performed with both horns and trumpets.H.C. Robbins Landon, The Symphonies of Joseph Haydn.
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In November 2019, the ONF announced the scheduled conclusion of his ONF tenure at the close of the 2020-2021 season. In May 2020, Krivine resigned from his ONF post with immediate effect, one year ahead of his originally scheduled departure. Krivine has conducted recordings for the Deutsche Grammophon, Warner Classics, Timpani, and Naive labels.
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The piano and orchestra share equally in the continuous evolution of ideas. The work is in F minor (with the last movement in F major). Duration in performance is about fifteen minutes, and the instrumentation is piano solo and orchestra: pairs of flutes, oboes, clarinets, and bassoons; four horns; two trumpets; timpani; and strings.
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The Missa solemnis in C minor, K. 139/47a, is a mass composed by Wolfgang Amadeus Mozart in the summer of 1768 in Vienna. It is scored for SATB soloists, SATB choir, violin I and II, 2 violas, 2 oboes, 2 trumpets, 2 clarini (high trumpets), 3 trombones colla parte, timpani and basso continuo.
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The work is scored for a large orchestra comprising three flutes (one doubling piccolo), three oboes (one doubling English horn), two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, two trumpets, three trombones, tuba, timpani, percussion (crotales, orchestra bells, vibraphone, suspended cymbals, tam-tam, tambourine, temple blocks, snare drum, bass drum) harp, piano, and strings.
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First page of M.Haydn's Requiem The mass is scored for the vocal soloists and mixed choir, two bassoons,p. [i] (1969) Sherman. Though the score says "Fagotto," in the preface Sherman writes: "Two bassoons are necessary to reinforce the basses at the octave." four trumpets in C, three trombones, timpani and strings with basso continuo.
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The work is scored for a large orchestra consisting of three flutes (second and third doubling piccolo), three oboes (third doubling cor anglais), three clarinets (second doubling E-flat clarinet, third doubling bass clarinet), three bassoons (third doubling contrabassoon), four horns, three trumpets, three trombones, tuba, harp, piano (doubling celesta), timpani, three percussionists, and strings.
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The symphony is scored for 3 flutes (3rd doubling piccolo), 3 oboes (3rd doubling cor anglais), 3 clarinets (3rd doubling bass clarinet), 3 bassoons (3rd doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, triangle, snare drum, cymbals, orchestral bass drum, tam-tam, xylophone, tubular bells, 2 harps (preferably doubled), celesta and strings.
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The work is scored for a large orchestra consisting of four flutes (3rd and 4th doubling piccolo), three oboes (3rd doubling English horn), three clarinets (2nd doubling E-flat clarinet; 3rd doubling bass clarinet), three bassoons (3rd doubling contrabassoon), six horns, three trumpets, three trombones, tuba, timpani, percussion, harp, piano, synthesizer, celesta, and strings.
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The symphony is scored for a large orchestra which consists of 4 flutes (3rd and 4th doubling piccolos), 2 oboes, cor anglais, 2 B-flat clarinets, E-flat clarinet, bass clarinet, 3 bassoons (3rd doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, tambourine, cymbals, snare drum, triangle, xylophone, tamtam, and strings.
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The overture is scored for two flutes (II Piccolo), two oboes (II English horn), two clarinets in A, two bassoons, two horns in F, two trumpets, 3 trombones, 1 tuba, timpani, 3 percussion (triangle, antique cymbals, glockenspiel, snare drum, tambourine, cymbals, bass drum, and tam tam), celesta, harp, and strings. Duration is approximately 7 minutes.
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Tony Meehan was born to Irish parents at New End Hospital, New End, Hampstead, North West London, England. He was 10 when he became interested in playing drums. By 13, he had his first job with a band playing in a dance hall at Willesden, London. He also played timpani with the London Youth Orchestra.
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The symphony is scored for two flutes (one doubling on piccolo on third movement only), two oboes, two clarinets, two bassoons, contrabassoon (third and fourth movements), four horns, two trumpets, three trombones (fourth movement only), timpani (two in first and second movements, three in third and fourth movements), triangle (third movement only), and strings.
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The piece is scored for solo violin and orchestra comprising two flutes (2nd doubling piccolo), two oboes (2nd doubling English horn), two clarinets in B-flat (2nd doubling bass clarinet), two bassoons (2nd doubling contrabassoon), four French horns, four trumpets in C, two trombones, bass trombone, tuba, three percussionists, timpani, piano, harp, and strings.
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Andante Festivo is a single-movement composition by Jean Sibelius, originally scored for string quartet in 1922. In 1938, the composer rescored the piece for string orchestra and timpani. On 1 January 1939 Sibelius conducted his composition in a live worldwide broadcast, making it the only sound document of him interpreting his own music.
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The Requiem calls for sixteen timpani, quadruple woodwind and twelve horns, but the moments when the full orchestral sound is unleashed are few – the Dies irae is one such – and most of the Requiem is notable for its restraint.Anderson, Martin. "The Proms raises the titanic" , The Independent, 21 July 2000. Retrieved 19 October 2018.
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The work is scored for a solo viola and an orchestra consisting of two flutes (2nd doubling alto flute and piccolo), two oboes (2nd doubling English horn), two clarinets (2nd doubling bass clarinet), two bassoons (2nd doubling contrabassoon), four horns, two trumpets, two trombones, bass trombone, tuba, timpani, two percussionists, piano, harp, and strings.
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The work is scored for a large orchestra consisting of three flutes (3rd doubling piccolo), two oboes, cor anglais, three clarinets (3rd doubling E-flat clarinet), bass clarinet (doubling contrabass clarinet), two bassoons, contrabassoon, four horns, four trumpets (4th doubling piccolo trumpet), three trombones, tuba timpani, three percussionists, harp, piano (doubling celesta), and strings.
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The work is scored for women's choir, girls' choir, and a large orchestra comprising three flutes, three oboes (doubling cor anglais), three clarinets (doubling E-flat clarinet and bass clarinet), three bassoons (doubling contrabassoon), four horns, three trumpets, two trombones, bass trombone, tuba, timpani, four percussionists, harp, piano, electric guitar, electric bass, and strings.
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The Capriccio is scored for solo piano, pairs of woodwinds (flutes doubling piccolo, oboes, clarinets doubling piccolo clarinet, and bassoons), cor anglais, four horns, three trombones, tuba, strings and timpani. In addition to the solo piano, there is a concertino group of soloists consisting of the first violinist, first violist, first cellist and first bassist.
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The work is scored for a solo organ and a large orchestra comprising three flutes (2nd doubling alto flute, 3rd doubling piccolo), three oboes (3rd doubling cor anglais), three clarinets (3rd doubling bass clarinet), three bassoons (3rd doubling contrabassoon), four horns, three trumpets, three trombones, tuba, timpani, four percussionists, harp, electric piano, and strings.
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The orchestral score requires 1 flute, 2 oboes, 3 clarinets, 2 bassoons, 2 horns, 1 trumpet, 1 trombone, timpani, percussion (various instruments), piano and strings (6 violins I, 6 violins II, 4 violas, 3 violoncellos, 2 double basses). Apart from the vocal soloists, a small chorus (or a vocal quartet or quintet) is also required.
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The work is scored for an orchestral complement of piccolo, two flutes, two oboes, two clarinets, two bassoons, four French horns, three trumpets, three trombones, tuba, timpani, cymbals, triangle, organ, harp, and strings. A tenor soloist and TTB male choir (two tenor parts and single bass part) are also employed in the final movement.
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The opera is scored for 2 flutes, 2 clarinets (in A), 2 oboes, 2 bassoons, 4 horns (in D and A), 2 trumpets (in D), 3 trombones (alto, tenor and bass), strings and timpani. The tunings for clarinets, horns and trumpets are from the overture. For instance, act 1 opens with horn in D.
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Penny Kiley of Liverpool Echo was critical of the song, describing it as "over-produced". She added: "It is hard to pick out a song or tune, and Tanita's voice, sometimes so effective, just seems to be droning on this." Adam Sweeting of The Guardian felt "both tune and lyrics are buried under thundering timpani".
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The work is scored for a solo piano and a large orchestra comprising two flutes (one doubling piccolo), two oboes, two clarinets, bass clarinet (doubling clarinet), alto saxophone, soprano saxophone (doubling tenor saxophone), three bassoons (one doubling contrabassoon), four horns, three trumpets, three trombones, tuba, timpani, percussion, celeste (doubling keyboard glockenspiel), harp, and strings.
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The work is scored for solo baritone and a small orchestra consisting of 3 flutes (2 & 3 doubling piccolo), 3 oboes, 3 clarinets in B-flat (3 doubling bass clarinet in B-flat), 3 bassoons, 3 trumpets in C, 4 horns in F, 3 trombones, tuba, percussion, timpani, harp, piano (doubling celesta), and strings.
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The Ba'ku's ability to slow time uses a variation of this music. Goldsmith approached starship sequences with quick bursts of brass music. While observers are watching the Ba'ku unseen, Goldsmith employed a "spying theme". Composed of a piano, timpani percussion, and brass, the theme builds until interrupted by the action theme as Data opens fire.
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The concert suite ends at this point. In the complete ballet, the minor second returns again as the tramps rob the Mandarin. The attempted suffocation and stabbing are illustrated with great force in the orchestra. As the tramps hang the Mandarin from the lamp, the texture is blurred with glissandi on trombones, timpani, piano and cellos.
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Vasconcelos has played congas, berimbau, gourd, triangle, drums, cymbals, repique, tambourine, gong, caxixi, talking drum, cuica, shaker, palmas, pandeiro, zabumba, udu, cabasa, prato, tambor, hi-hats, bells, water drum, vibraphone, güiro, ganza, cowbell, tabla, xequere, Turkish drum, repique, cymbals, surdo, shells, African bells, agogo bells, clay pot, timpani, snare drum, flexatone, Tibetan gong and other assorted percussion.
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The tune also appears on Miles Davis and the Modern Jazz Giants and Brilliant Corners, featuring Max Roach with a timpani drum added to his set, this inspired Monk's son "Toot" Monk to play the drums. Live versions appear on the albums recorded in Italy, Tokyo, It Club, Jazz Workshop, and the album Misterioso (Recorded on Tour).
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A plaintive melody for cor anglais would later find prominent use for the solo viola in Harold en Italie. The instrumentation is two flutes (second doubling piccolo), two oboes, English horn, two clarinets in A, two bassoons, four horns (in D and G), three trumpets (one in D and two in A), three trombones, timpani, harp and strings.
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For the timpani part there are rolls indicated by "" and a wavy line (something which occurs in none of the other movements except by Robbins Landon's editorial emendation in bar 16 of the first movement). L.P. Burstein has noted Haydn's use of the VII chord and the VII → V progression in the fourth movement, second ("B") version.
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This Mass was known to Anton Bruckner.p. 138, Maier, Zamazal (1980) Elisabeth, Franz. Graz Anton Bruckner und Leopold Zenetti Akademische Druck- und Verlagsanstalt The mass is scored for vocal soloists, SATB choir, 2 oboes, 2 bassoons, 2 trumpets in C, timpani, strings and organ,p. 40 (2002) Green the latter supplying figured bass for most of the duration.
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The opera is scored for piccolo (doubling 3rd flute), two flutes, two oboes, cor anglais, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, bass tuba, timpani, triangle, drum, tam-tam, bass drum, cymbals, glockenspiel, celesta, harp, and strings, together with offstage flute, offstage cornet, offstage bell, offstage drum, and offstage sleigh bells.
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The album is entirely instrumental, apart from Vangelis' processed vocals on "Ballad". Vangelis plays synthesizer, sequencers, electric piano, electronic organ, harmonica, brass, timpani, percussion. It is the first album on which Vangelis used the Yamaha CS-80 synthesizer, on which he would come to rely heavily in subsequent work, and is the most sequencer-based album of his career.
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The choir sings for most of the time, only occasionally interspersed by solo lines which are always set for two voices. The orchestral parts are for two oboes, two horns, two trumpets, timpani, strings and organ. The music is influenced by his teachers Leopold Mozart, Michael Haydn and Johann Ernst Eberlin. The Alleluia is sometimes performed independently.
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Noyce was born in Sutton Coldfield, Warwickshire. His father, Peter, was choirmaster and assistant organist at Lichfield Cathedral, and Jane, his mother, has been a town planner. Aged about 17 he played classical percussion, snare drums, timpani and xylophones in symphony orchestras. Later on he tried a number of other musical instruments such as piano, guitar and trumpet.
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Originally the band consisted of di Marzo, Alberto Borregales (timpani), Ilan Chester (keyboards) and (violin). In the evening of May 28, 2018, Evio di Marzo was shot by thieves while resisting being stolen his car in downtown Caracas, Venezuela. Di Marzo was transported to Pérez Carreño Hospital in the same city, where he was pronounced dead on arrival.
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30, is Johann Sebastian Bach's arrangement of Torri's Magnificat. In Bach's version of the work, which originated around 1742, there are an additional trumpet and timpani. Both Torri's original and Bach's arrangement were recorded in the first decade of the 21st century. Shortly after the second of these recordings was released in 2012, it was discovered that BWV Anh.
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Schlosskirche, Wittenberg, main door As Hofmann points out, Bach achieved "festive magnificence", using two horns and timpani not only in the opening chorus but also as obbligato instruments in the two chorales. Bach established unity of form by using a horn motif from the first movement again in the first chorale, juxtaposed to the hymn tune.
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The overture would start with the percussionist (Timothy Hook) on the timpani, and the Drummer (Dave Beck). Then the brass would come in, and the last four bars of "You're the Voice" would blend in. The Orchestra, would exchange during the Age of Reason medley with the Farnham Band. The artists would exchange sets, sometimes singing duets.
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101–111 These drums were used until the 15th century, when cavalry such as the Mongols, Muslims and Ottoman Turks would mount timpani-like drums on horseback. These drums were much larger than those previously used and were very similar to the drums that would be later used in the orchestra.James Blades. Percussion Instruments and Their History.
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The work is scored for SATB choir and an orchestra comprising two flutes (2nd doubling piccolo), two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, four percussionists (on glockenspiel, two tambourines, snare drum, triangle, two pairs of cymbals, rute, small cymbals, bass drum, chimes, sleigh bells, maracas, and güiro), harp, and strings.
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The concerto is scored for a large orchestra consisting of piccolo, 2 flutes, 2 oboes, English horn, piccolo clarinet (in E), 2 clarinets (in A), bass clarinet (in A), 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, triangle, snare drum, cymbals, bass drum, wood block, tam-tam, harp, strings, and the solo piano.
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La campana sommersa is scored for the following instruments: 3 flutes (3 doubling on piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 2 tenor trombones, bass trombone, bass tuba, timpani, bass drum, handbells, cymbals, tam-tam, triangle, Basque drum, xylophone, anvils and drum sticks, harp, celesta, organ, bell, strings.
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In the same concert, another rarity, the wooden timpani, could be heard for the first time in Finland. In January 2019, Maija Lampela played as soloist on the so-called violin for women, pardessus de viole, and in October the same year Marieke Van Ransbeeck from Belgium appeared in the series on musette de cour, French baroque bagpipe.
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Sinfonia in D major, BWV 1045, specifically known as, Violin Concerto movement BWV 1045, is an orchestral work for solo violin, three trumpets, timpani, two oboes, strings and Continuo by Johann Sebastian Bach. A late work composed in Leipzig between and 1746, surviving only as a fragment, the Concerto is often considered a sinfonia of a lost cantata.
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The Hochschule is structured in four divisions and four institutes. It offers programs in accordion, composition, conducting, coaching, drums, guitar, harmony and counterpoint, harp, jazz, music theatre, opera direction, strings, timpani, piano and wind instruments. The 2002 founded Kurt-Singer-Institut specializes on research on health for musicians. Since 2003 the Institut für neue Musik deals with contemporary music.
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Moscow () is a cantata composed by Pyotr Ilyich Tchaikovsky in 1883 for the coronation of Alexander III of Russia, to a Russian libretto by Apollon Maykov.Wiley, p. 261. It is scored for mezzo-soprano, baritone, mixed chorus (SATB), 3 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, harp and strings.
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The concerto is scored for solo piano, flute, two oboes, two bassoons, two horns in C, two trumpets in C, timpani and strings. The concerto has three movements: #Allegro maestoso; in common time. The tempo marking is in Mozart's catalog of his own works, but not in the autograph manuscript.Neue Mozart-Ausgabe #Andante in F major.
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The proliferation of percussion literature is extremely important to Jarvis and he has performed nearly 100 solo pieces for multi-percussion, timpani, vibraphone, marimba, solo snare drum and drum set composed for him. His compositions are published by Calabrese Brothers Music LLC, Indian Paintbrush Productions and L-T Music Publishing. He is a member of Broadcast Music Incorporated.
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For the music, Handel used the same devices as in his operas and other oratorios: choral and solo singing. The solos are typically a combination of recitative and aria. His orchestra is small: oboes; strings; and basso continuo of harpsichord, violoncello, violone, and bassoon. Two trumpets and timpani highlight selected movements, such as the Hallelujah Chorus.
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In 2012, he started a collaboration with overtone singer Christian Zehnder and Arkady Shilkloper. The same year he recorded "Pilgrims", a new trio album with percussionist Tony Majdalani and guitarist Marco Jencarelli. The Percussion Art Ensemble Berne premiered his new composition "Oscillating Orbits" in 2013, scored for marimba, vibraphone, timpani and various percussion instruments, featuring violinist Misa Stefanovic.
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The symphony is scored for 3 flutes (third doubling piccolo), 2 oboes, cor anglais, E clarinet, 2 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 2 trumpets, 2 cornets, 3 trombones, tuba, timpani, percussion (triangle, tambourine, cymbals, bass drum), 2 harps, 20 first violins, 18 or 20 second violins, 14 violas, 12 cellos, and 12 contrabasses.
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He played in the school bands at Janesville High School and Monroe High School. At Janesville he played tenor banjo in a dance orchestra called Rosie's Ragadors, and timpani with the school orchestra at Monroe. He also played left guard on the American football teams at Janesville and Monroe. He expressed an interest in chemistry, biology, geology and photography.
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The symphony is scored for a large orchestra consisting of three flutes (third doubling alto flute), three oboes, four clarinets (fourth doubling E clarinet), four bassoons (fourth doubling contrabassoon), four horns, three trumpets, four trombones, tuba, timpani, two percussionists, piano, harp, and strings."Sessions: Symphony No. 8", Edward B. Marks Music Company: Classical (publisher's website, accessed 26 August 2015).
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The 77-bar long composition in B major is set in Allegro moderato for choir and soloists, and orchestra (2 trumpets in B, timpani, and strings without violas). The organ supplies figured bass. The first verse ("") is sung by the soprano soloist. The next verses are sung as an Arioso alternatingly by the soloists and the choir.
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One way in which Dusapin stands out from other contemporary composers is through his selection of certain instruments and rejection of others. Unlike even Xenakis, he avoids the use of electronics and technology in his music.Pugin, "New Intimacy in French Music", 19. Likewise, he has removed the use of percussion other than timpani from his works.
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Alcancías is scored for a chamber orchestra of piccolo, oboe, E clarinet, B clarinet, horn, 2 trumpets in C, trombone, timpani, percussion (xylophone, maracas, snare drum, suspended cymbals, güiro, bass drum) and strings. Despite the absence of the instrument in the score, cites Alcancías as one of several Revueltas compositions in which the tuba is prominent.
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Gauche repeatedly played "cuckoo, cuckoo", accompanied by the bird. Eventually, he felt that the cuckoo's song was better than his cello. Gauche chased the bird away, causing it to fly into his window, hitting its head. The third night as he was practicing, a Japanese raccoon dog came to him asking to practice the timpani to Gauche's cello accompaniment.
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The instrumentation consists of: two flutes (one doubling piccolo), two oboes, two clarinets in B-flat, alto saxophone (ad lib.), tenor saxophone (ad lib.), two bassoons (one doubling double bassoon), four horns, two trumpets in B-flat, three trombones, tuba, timpani, glockenspiel, xylophone, cymbals, bass drum, tenor drum, side drum, triangle, tambourine, tam-tam, harp, and strings.
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Wing on Wing is scored for two sopranos and an orchestra comprising four flutes (3rd doubling alto flute, 1st doubling alto flute and bass flute), three oboes, cor anglais, three clarinets (3rd doubling E-flat clarinet and bass clarinet), contrabass clarinet, four French horns, four trumpets, three trombones, tuba, timpani, four percussionists, two harps, celesta, sampler, and strings.
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The piece is scored for a full romantic orchestra (with the exception of a 4th horn), containing two flutes (second doubling piccolo), two oboes, two clarinets, two bassoons, three horns, two trumpets, three trombones, tuba, timpani, triangle (last movement only), and strings, and is in the standard three-movement concerto format: Total duration: approximately 40 minutes.
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The concerto is scored for solo cello, two flutes (2nd doubling piccolo), two oboes, two clarinets (each doubling B and A), two bassoons (2nd doubling contrabassoon), one horn, timpani, celesta, and strings. The work has four movements in two sections, with movements two through four played without a pause: A typical performance runs approximately 28 minutes in length.
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The work is scored for a large orchestra consisting of three flutes (one doubling piccolo), two oboes, English horn, three clarinets, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion (marimba, tubular bells, bass drum, tom-toms, bongos, vibraphone, roto-toms, cymbals, sand blocks, crotales, small bass drum, djembe, timbales, tambourine, sizzle cymbal), harp, and strings.
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The portal of Divankhana The western arcade is dominated by a dynamic portal. Its sleeve includes a sophisticated semi- arched stalactite complex system. A timpani on the entrance door is covered with ornaments on the surface of the stone. The severity of the portrait of the portal is more noticeable than the elegance of the ornament.
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Schubert made considerable revisions to the mass for subsequent performances. He added parts for 2 oboes or clarinets, 2 trumpets and timpani, all , for an 1825 performance in St. Ulrich, Vienna. He revisited the mass in 1828, seven weeks before his death, with a purely choral setting of the (D. 961) to replace the earlier soprano solo.
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Other instruments used by the band include banjo, synthesizers, tuba and timpani. Their musical style is described to range between funk, dub, post- rock and electronica. The group had a high reliance on samplers and other studio equipment to overdub and articulate rhythms. The group disbanded in 2003 shortly after the recording of the album Answers.
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3 flutes (3rd doubling piccolo), 3 oboes (3rd doubling English horn), 3 clarinets (3rd doubling bass clarinet), 3 bassoons (3rd doubling contrabassoon); 4 horns, 4 trumpets, 3 trombones, 1 tuba; timpani, percussion (glockenspiel, triangle, tambourine, covered drum, bass drum, tam-tam); 2 harps; soloists, chorus; strings.Beaumont (1985), p. 76.Kindermann, pp. 229-231Roberge, pp. 32-33.
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The work is scored for a large orchestra consisting of three flutes (2nd and 3rd doubling piccolo), three oboes (3rd doubling cor anglais), three clarinets (2nd doubling E-flat clarinet; 3rd doubling bass clarinet), three bassoons (3rd doubling contrabassoon), four horns, four trumpets, four trombones, tuba, timpani, four percussionists, two harps, piano (doubling celesta), and strings.
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However, often at least one pair of timpani is included, though they rarely play continuously. Rather, they serve to provide additional accents when needed. In the 18th and 19th centuries, other percussion instruments (like the triangle or cymbals) have been used, again generally sparingly. The use of percussion instruments became more frequent in the 20th century classical music.
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The first movement opens with a cushion of pianissimo strings pulsating gently. The soloist then enters with a characteristic IV–V–I phrase, in D minor G–A–D. The violin announces the theme and is briefly echoed by clarinet, then continues into developmental material. More low woodwind and timpani accompany the soloist in several runs.
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The work is composed for solo baritone and mezzo-soprano and a large orchestra comprising three flutes (3rd doubling piccolo), three oboes (3rd doubling English horn), three clarinets (2nd doubling E-flat clarinet; 3rd doubling bass clarinet), two bassoons, contrabassoon, four horns, two trumpets, two trombones, tuba, timpani, three percussionists, piano, harp, electric guitar, and strings.
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It is scored for a full mixed choir, soprano and tenor soloists, and an entirely percussive orchestra – possibly inspired by Stravinsky's Les noces – consisting of four pianos, timpani, bass drum, 3 tambourines, triangle, castanets, maracas, suspended and crash cymbals, antique cymbal (without specified pitch), tam-tam, lithophone, metallophone, 2 glockenspiels, wood block, xylophone, and tenor xylophone.
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The show had a unique opening: A huge "True" sign, apparently five stories tall, darkened, was seen in deep shadows. Jack Webb announced, "This is True!" Strong symphonic music included timpani rhythms, followed by the majestic opening theme. The True sign became brightly lit as Webb walked alongside the illuminated sign in an off-stage direction.
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Cadences are important from a performance standpoint, as a good drum cadence can make the band stand out from the rest in competition. Field shows are often preceded by the band marching to the beat of the cadence. Marching percussion generally consists of at least snare drums, tenor drums, cymbals, and bass drums, and may include timpani.
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These rise in intensity, flying into a complex, ecstatic tutti. Playing throughout the majority of the movement, the timpani guide the orchestra into a quick descent, and, having quieted the ensemble, provide gentle pulse. Brass play some short chords, and then settle onto a lingering resolution. The movement, approximately six minutes in length, draws to a tranquil close.
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The slow movement opens with a distant trumpet call, with both timpani playing quietly. This presents an ominous feel; the introduction closely resembles an approaching, marching army. Soon the strings play an eerie, shimmering accompaniment to this scene. A quiet woodwind section gives a low pulse typical of Glass, in accordance with a similar throb of the tambourines.
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The songs are scored for piccolo, 3 flutes (3rd doubling on 2nd piccolo), 2 oboes, English horn, 2 clarinets in B-flat and A, bass clarinet, 3 bassoons (3rd doubling on contrabassoon), 4 horns in F (also E-flat and D), 3 trumpets in C, E-flat and F, 3 trombones, tuba, timpani, harp, celesta, and strings.
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The Witch and the Saint has a running time of 10:22. It is a tone poem, composed in 2004. Overall, it’s an epic pieceanyone listening to it without knowing the story behind it would get the impression of a melancholy story being told through powerful musical phrases. The piece opens with a thundering timpani triplet.
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In addition, musicologist Walter Everett highlights the subtle use of piano in the musical arrangement; played as an electric guitar motif by Harrison on initial takes of the song, this part provides a countermelody during the verses. The timpani and piano (the latter played by McCartney) were overdubbed onto take 9, along with a guitar intro.
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The low strings bear the heavy burden of the ox-cart, with the melody carried by horns and tuba. The climax is ushered in by an overwhelming percussion crescendo, the melody in the violins, trumpets, horns and the ox-cart in the timpani. Stokowski follows Mussorgsky's original score here by having the movement start fortissimo, instead of Ravel's pianissimo.
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Violinophone Uirapuru is scored for an orchestra consisting of: piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, soprano saxophone, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (tam-tam, tubular bells, reco-reco, coco, floor-tom, tamborim, cymbals, bass drum, xylophone, celesta, glockenspiel), 2 harps, piano, violinophone, and strings.
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The symphony is written for an orchestra consisting of 2 piccolos, 3 flutes, 3 oboes, cor anglais, 3 clarinets, 2 bass clarinets, 3 bassoons, 2 contrabassoons, 6 horns, 4 trumpets, 4 trombones, tuba, timpani, tam-tam, cymbals, triangle, pandeira, chocalho, glockenspiel, reco reco, side drum, large snare drum, bass drum, Novachord, xylophone, vibraphone, celesta, 2 harps, piano, and strings.
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On 26 July 2007, at the Lithuanian embassy in London, record label Toccata Classics released an album of the composer's works entitled "Peteris Plakidis: Music for String Orchestra" on which the composer was pianist. Reviews include a description of "Music for Piano, String Orchestra and Timpani" as a "Bartók inspired (...) vehicle for nationalist and separatist feeling".
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The concluding movement is a motet on a quotation from Revelation, "" (The Lamb, that was slain). Three trumpets and timpani appear only in this triumphant movements of praise. It begins in homophony and expresses the text "" (Glory and honour and praise and power) in another permutation fugue with a climax in the subject played by the first trumpet.
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In addition to the solo cello part, the concerto is scored for two flutes, piccolo, two oboes, two clarinets, bass clarinet, two bassoons, contrabassoon, three horns, two trumpets, two trombones, tuba, celesta, harp, timpani, percussion (bongos, tom-toms, snare drum, bass drum, crotales, triangle, suspended cymbals, cymbals, gongs, tam-tams, xylophone, marimba, and glockenspiel), and strings.
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The work is scored for an SATB chorus and a large orchestra consisting of three flutes (2nd doubling alto flute; 3rd doubling piccolo), two oboes, English horn, two clarinets, bass clarinet (doubling 3rd clarinet), contrabass clarinet, two bassoons, contrabassoon, four horns, three trumpets (3rd doubling piccolo trumpet), three trombones, tuba, timpani, four percussionists, harp, piano (doubling celesta), and strings.
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The work is scored for solo piano and a large orchestra comprising three flutes (3rd doubling piccolo and alto flute), three oboes (3rd doubling cor anglais), three clarinets (1st in B, 2nd in A, and 3rd in B doubling bass clarinet), three bassoons (3rd doubling contrabassoon), four horns, two trumpets, three trombones, tuba, timpani, rototoms, three percussionists, and strings.
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The work is scored for piccolo, 3 flutes (3rd doubling on piccolo), 3 oboes, english horn, 3 Bb clarinets (1st and 2nd doubling on A clarinets, 3rd doubling on 2nd bass clarinet), bass clarinet, alto saxophone, 2 bassoons, contrabassoon, 6 horns, 4 trumpets, 3 trombones, tuba, timpani, 5 percussionists, jazz drum set, piano, celesta, 2 harps and strings.
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Concert de Gaudí is scored for solo guitar and orchestra comprising two flutes (2nd doubling piccolo), two oboes, two clarinets, two bassoons, two French horns, two trumpets, three trombones, harp, celesta, timpani, three percussionists (tambourine, tenor drum, bass drum, castanets, wood block, rute, suspended cymbal, Chinese cymbal, triangle, tam-tam, xylophone, marimba, and antique cymbals), and strings.
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It is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings. The work is in standard four-movement form, as follows: #Adagio, (D minor) – Presto, (D major) #Andante, (G major) #Menuetto. Allegretto, (D major) #Finale. Vivace, (D major) The opening movement starts with a minor introduction consisting of 23 measures.
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The symphony requires an instrumentation of one pair each of flutes, oboes, clarinets, bassoons, with four horns, three trumpets, three trombones, timpani and strings. From the 1878 revision onwards, a single bass tuba is also incorporated into the instrumentation. The published score of 1889 introduces a part for third flute (doubling on the piccolo) and a pair of cymbals.
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The work is scored for an orchestra comprising three flutes (2nd doubling piccolo; 3rd doubling piccolo and alto flute), three oboes, three clarinets in A (3rd doubling bass clarinet), two bassoons, contraforte (or contrabassoon with low A), four horns (optional 8 horns), piccolo trumpet, three trumpets, three trombones, tuba, timpani, six percussionists, two harps, piano (doubling celesta), and strings.
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The concerto is structured in the traditional concerto form of three movements: # Allegro non troppo ma passionato # Lento cantabile # Allegro vivace The concerto is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, glockenspiel, xylophone, celesta, snare drum, bass drum, cymbals (both crashed and suspended), harp and strings.
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It is scored for 2 flutes, 2 oboes, 2 clarinets in B, 2 bassoons, 4 horns in F, 2 trumpets (both in B & C), 3 trombones, tuba, timpani (3), 2 percussionists (first with triangle, tambourine and glockenspiel, second with snare drum, triangle, tambourine, bass drum and cymbals) and string section. Not all these instruments are played in all movements.
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At the trio, the machine suddenly shuts down. Upper winds and the snare drum push forward to a syncopated exchange between the low brass and upper winds and marked by the bass drum and tam-tam. This gives way to a steady, march-like timpani motif that drives the orchestra back to the atmosphere of the beginning.
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The work is scored for an orchestra comprising two piccolos (doubling flute and alto flute), two flutes (doubling bass flute), three oboes, cor anglais, three clarinets (doubling E-flat clarinet), bass clarinet, three bassoons, contrabassoon, six horns, three trumpets, three trombones, tuba, timpani, four percussionists, two harps, one keyboardist (on piano and celesta; optional organ), and strings.
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The work is scored for four soloists: bassoon, trumpet, viola, and timpani, accompanied by an orchestra consisting of three flutes, three oboes, three clarinets, three bassoons (third doubling contrabassoon), four horns, three trumpets, three trombones, tuba, timpani, three percussionists, piano, two harps, and strings. In Soli III the principle of featuring soloists in turn is expanded to the form of a concerto grosso or sinfonia concertante, with the soloists accompanied by an orchestra . Unlike in a concerto grosso, however, the solo instruments do not together constitute a concertino group, but instead each soloist in turn leads a concertante group of related instruments in the orchestra. For example, the first solo group, led by the solo bassoon, features a series of intricate ensembles for a trio of two bassoons and contrabassoon in the orchestra .
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Fanfare Bands are a unique type of marching and military band that plays for entertainment, public occasions and gatherings as well as competing in various competitions. They evolved from the medieval ensembles of trumpets and drums, and in the ensembles of trumpets and timpani which were formerly common in the mounted bands of cavalry and later artillery regiments. Beginning in the late Middle Ages, trumpets and drums (usually snares and tenors) would sound fanfares to make important holidays or ceremonial events. These instruments would also serve as timekeepers in various towns, and announce various special events. Incorporated in mounted bands since the 12th century, timpani and trumpets or bugles were, from the middle of the 15th century, employed to motivate mounted troops in battle as well as on parade.
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The use of a larger choir is partly a question of balance with the relatively large instrumental forces, but there is also supporting evidence for the use of more than four singers in the score, where a marking implies that Bach envisaged the option of a vocal ensemble that is separate from the four soloists. This was Bach's first cantata for festive orchestra, including trumpets and timpani. The instruments are divided into four spatially separated "choirs", placing the work in the polychoral tradition associated with composers such as Heinrich Schütz. The instruments required for the Baroque instrumental ensemble are three trumpets (Tr), timpani (Ti), two recorders (Fl), two oboes (Ob), bassoon (Fg), organ obbligato (Org), two violins (Vl), viola (Va), violoncello (Vc), viola da gamba (Vg) and basso continuo.
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The concerto is scored for an orchestra consisting of a solo piano, two flutes (one doubling on piccolo), two oboes (one doubling on cor anglais), two clarinets (one doubling on bass clarinet), two bassoons, four horns (in F), two trumpets (in C), three trombones, timpani, two snare drums (one with snares and one without), bass drum, four cymbals, triangle, tamtam, and strings.
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Works of his, Martha Graham, Israel's Batsheva, Jose Lemon, Balanchine, Doris Humphrey, and many others were all featured in the concert. His first lively premiere of Ritmo Jondo, repeated itself as requested by the audience. The composition was 6 minutes in duration, written for the clarinet, trumpet, xylophone, timpani, and 3 hand clappers. Carlos Suriñach's work was unknown until this point.
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The symphony is scored for two flutes (one doubling piccolo), oboe, cor anglais, two clarinets, two bassoons, two French horns, two trumpets, three trombones, timpani and strings. This is a smaller orchestra than Vaughan Williams used in his four earlier symphonies, with only two horns, no tuba, no harps and no percussion except timpani.Day, pp. 154–155; and Howes, p.
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Musically, "My Trigger" is an electropop and indie pop song with a hip hop groove and influences of "old-school Motown". Instrumentation is provided by bass guitar, organ, piano and timpani. Wyatt utilizes a falsetto vocal style throughout the song. It includes a section with electronically manipulated vocals, which "sounds like a squirrel is ... having a seizure", according to Michael Pementel of PopMatters.
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The symphony was originally scored for flute, two oboes, bassoon, two horns and strings. Later, parts for two trumpets and timpani were added. #Grave — Presto #Poco adagio (Andante con variazioni in many sources), #Menuetto & Trio: Allegretto, #Finale: Vivace, The opening slow introduction is marked Grave. The first theme features a lyrical rising half-step motif followed by three loud chords.
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The concerto is scored for a solo trombone and orchestra, comprising two bassoons, contrabassoon, four French horns, three trumpets, three trombones, tuba, harp, timpani, xylophone, glockenspiel, chimes, marimba, two suspended cymbals, snare drum, tenor drum, five tom-toms, two bongo drums, bass drum, a pair of crash cymbals, two tamtams, and strings (violins I & II, violas, violoncellos, and double basses).
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The piece is scored for two flutes (2nd doubling on piccolo), two oboes (2nd doubling on oboe d'amore and English horn), two clarinets (2nd doubling on bass clarinet), two bassoons (2nd doubling on contrabassoon), four French horns (all doubling Wagner Tubas), three trumpets, three trombones, tuba, timpani, percussion (three players), and strings (violins I & II, violas, violoncellos, and double basses).
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Agon is scored for a large orchestra consisting of piccolo, 3 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones (2 tenor, 1 bass), harp, piano, mandolin, timpani, tom-tom, xylophone, castanets, and strings. At no point does the entire orchestra play a tutti. Each section is scored for a different combination of instruments.
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Nave of Worcester Cathedral Sursum corda, Op. 11 is a musical work by the English composer Edward Elgar for strings, brass, timpani and organ, composed in 1894. The composer dedicated it to his friend Henry Dyke Acland (1850-1936), an amateur cellist who was his golfing companion, manager of the Worcester Old Bank in Malvern, and son of Henry Acland.Kennedy, p.342Moore, p.
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Both were performed by an ensemble called an orquesta típica, a group with brass, woodwinds and timpani that performed outdoors. When the upper classes decided to dance indoors, the instrumentation was radically altered. The new ensemble was called charanga francesa. Although the word francesa literally means "French," it was used in nineteenth-century Cuba more specifically as a name for Haitian Creoles.
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A brass mallet used with orchestra bells will add extra vibration to aid in the smoothing of the sound. To get these faster rolls, percussionists (keyboard, snare and timpani) all often use the muscles of their fingers instead of those of the wrists. The fingers have a shorter rotation length and can move faster with less effort than the wrist.
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Some drums were tightened together by horses tugging from each side of the drum by the bolts. Over the next two centuries, a number of technical improvements were made to the timpani. Originally, the head was nailed directly to the shell of the drum. In the 15th century, heads began to be attached and tensioned by a counterhoop tied directly to the shell.
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The work calls for soprano, mezzo-soprano, tenor, baritone, bass solos, actor, actress, mixed choir, and an orchestra of two flutes (second doubling piccolo), two oboes (second doubling cor anglais), three clarinets (second doubling alto saxophone, third doubling bass clarinet), two bassoons (second doubling contrabassoon), four horns, three trumpets, three trombones, tuba, harp, electric guitar, electric bass, synthesizer, timpani, percussion, and strings.
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The instrumentation is: two piccolos (2nd ad lib.), two flutes, two oboes, two clarinets in A, bass clarinet in A, two bassoons, contrabassoon, four horns in F, two trumpets in F, two cornets in A, three trombones, tuba, three timpani, percussion (bass drum, cymbals, triangle, side drum, jingles, glockenspiel (ad. lib.) and tambourine (ad lib.)), two harps, organ, and strings.
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109–111 Those who possessed timpani were an exclusive group. This meant that timpanists themselves were only allowed to be employed by nobility and were not to interact with other instrumentalists, who were considered to be household employees of an inferior rank. As a result, guilds were formed by timpanists and trumpeters and members were treated as an elite group.Edmund A. Bowles.
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Three flutes (third doubling piccolo), two oboes, cor anglais, three clarinets in A, three bassoons (third doubling contrabassoon) – four horns in F, three trumpets in B-flat, three trombones, tuba – timpani, three or four percussion (side drum, cymbals, suspended cymbal, bass drum, xylophone, tambourine, triangle, tenor drum, maracas, rumba sticks, castanets, glockenspiel) – harp – strings. The piece takes about seven minutes to perform.
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Dukas scored La Péri for one piccolo (doubling third flute), two flutes, two oboes, one English horn, two clarinets in A, one bass clarinet in B flat, three bassoons; four horns in F, three trumpets in C, three trombones, one tuba; a percussion section that includes timpani, bass drum, snare drum, cymbals, triangle, tambourine and xylophone; one celesta; two harps and strings.
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The work is scored for a large orchestra consisting of three flutes (3rd doubling piccolo), alto flute, three oboes, cor anglais, three clarinets (3rd doubling bass clarinet), bass clarinet, three bassoons, (3rd doubling contrabassoon), contrabassoon, six horns (5th and 6th doubling Wagner tubas), four trumpets, four trombones, two tubas, timpani, four percussionists, two pianos (2nd doubling organ), two harps, and strings (no violins).
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A typical performance of all eight waltzes takes 15 minutes. They are marked: The orchestral arrangement of the piece is written for an orchestra consisting of two flutes, two oboes, cor anglais, two clarinets (in B and A), two bassoons, four horns (in F), two trumpets, three trombones, tuba, timpani, tambourine, cymbals, snare drum, glockenspiel, triangle, bass drum, celesta, two harps, and strings.
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Erwilian became known for using numerous acoustic instruments in their recordings and performances rather than synthesized or electronic substitutes, even for rare instruments. Their collection comprises many different woodwinds, strings, and percussion from diverse genres and cultures including various recorders, whistles, chalumeaux, violin, viola, cello, harp, guitar, bass, hammered dulcimer, mandolin, Appalachian dulcimer, timpani, celesta, harmonium, melodica, accordion, marimba, orchestra chimes, and handbells.
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The work is scored for solo piano and an orchestra comprising three flutes (1st doubling on 2nd piccolo; 2nd doubling alto flute & 3rd piccolo; 3rd doubling 1st piccolo), three oboes (3rd doubling cor anglais), three clarinets (3rd doubling alto saxophone), bass clarinet, contrabass clarinet, two bassoons, contrabassoon, three French horns, two trumpets, two trombones, timpani, four percussionists, harp, celesta, and strings.
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The symphony is scored for two flutes, two oboes, two clarinets in A, two bassoons, two horns in D, E and A, two trumpets in D (first, third and fourth movements only), timpani (first, third and fourth movements only) and strings. The composer also made a transcription of the entire symphony for piano trio which bears the same opus number.
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The song is a slow ballad with an approximate tempo of 76 beats per minute. It begins with Tritt singing the first verse and chorus in the key of F major, then modulates downward to B-flat major for White, who sings the second verse and chorus. It includes piano, timpani, and a four-piece string section arranged by David Campbell.
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Métaboles is scored for four flutes (3rd & 4th doubling piccolos), three oboes, cor anglais, two B-flat clarinets, E-flat clarinet, bass clarinet, three bassoons, contrabassoon, four horns, four trumpets, three trombones, tuba, timpani, percussion (temple blocks, snare drum, tom-toms, bass drum, small suspended cymbal, Chinese cymbal, tam-tams, crash cymbals, triangle, cowbell, xylophone, glockenspiel), celesta, harp and strings.
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Chôros No. 9 is scored for a large orchestra consisting of piccolo, 2 flutes, 2 oboes, cor anglais, 3 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 4 trombones, tuba, timpani, tam-tam, bass drum, tambor, tambor surdo, camisão (large and small), pio, triangle, reco-reco, tartaruga, , chocalho (metal and wood), xylophone, vibraphone, celesta, 2 harps, and strings.
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"If U Seek Amy" runs through a dance-oriented beat and features many instruments, including keyboards, snare, bass drums, electric guitars and timpani. According to the sheet music published at musicnotes.com by Hal Leonard Corporation, the song has a beat of 130 beats per minute and is written in the key of A minor. Spears's vocal range spans from G3-C5.
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He scored the work for four vocal soloists, a four-part choir and a festive Baroque instrumental ensemble of three trumpets and timpani, two oboes, strings and continuo. The oboes and strings play with the voices in motet style in the choral sections, while the trumpets add the style of a new time. The cantata is part of Bach's Picander cycle.
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3 flutes (3rd doubling piccolo), 3 oboes (3rd doubling English horn), 3 clarinets (3rd doubling bass clarinet), 3 bassoons (3rd doubling contrabassoon); 4 horns, 4 trumpets, 3 trombones, 1 tuba; timpani, percussion (glockenspiel, triangle, tambourine, covered drum, bass drum, tam- tam); 2 harps; chorus: female (unison) ad lib.; strings. BV 248a and b instrumentation: as for BV 248 except without chorus.Kindermann, pp.
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The ballet is scored for a large orchestra consisting of a piccolo, 2 flutes, 2 oboes, a cor anglais, 2 clarinets, a bass clarinet, 2 bassoons, a contrabassoon, 4 horns, 3 trumpets, 3 trombones, a tuba, timpani, triangle, castanets, snare drum, maracas, tambourine, tenor drum, cymbals, bass drum, tamtam, glockenspiel, xylophone, wood block, tubular bells, a piano, a harp, and strings.
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The work opens with a series of timpani strokes, a reminder perhaps of Beethoven's Violin Concerto. The rhythm is taken up by the bassoon and other instruments, persisting as an ostinato throughout the entire work. The violin enters with a song-like lament, soaring above the orchestra. The music is soon interrupted by a more militaristic and percussive secondary theme.
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A table top stand. While the vast majority of music stands are designed to provide their own support for raising the music rack to the desired height, there are some music racks which are designed for placing on a table or counter. Since a table or counter must be used, this makes these racks unsuitable for instruments such as timpani.
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Picander (=Christian Friedrich Henrici). Ernst-Schertzhaffte und Satyrische Gedichte, Volume IV. Leipzig: Friedrich Matthias Friesen (1737). The first movement was likely used as a model for the opening chorus of Preise dein Glücke, gesegnetes Sachsen, BWV 215, a work that Bach composed at short notice in 1734. BWV 215 is scored for double choir and festive orchestra with trumpets and timpani.
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Additional material was provided by Anthony Berendt, Greg Brenman, David Tyler (as Dave Meek), Neil Mullarkey, Greg Snow, Nick Symons and Sandi Toksvig. The music is written by Steven Edis with Hugh Laurie and Tony Slattery (the exception being the music in the Dracula monologue which is Francis Poulenc's Concerto for Organ, Strings and Timpani in G minor). The director was Jan Ravens.
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M'Boom is an American jazz percussion group founded by drummer Max Roach in 1970. The original members were Roach, Roy Brooks, Warren Smith, Joe Chambers, Omar Clay, Ray Mantilla, and Freddie Waits. All of M'Boom's members are and always have been percussionists, employing a variety of percussion instruments besides the drums. These include bells, gongs, marimba, timpani, vibraphone, xylophone, and musical saw.
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The work is scored for an orchestra comprising piccolo, three flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, four trumpets, two trombones, bass trombone, tuba, timpani, four percussionists (glockenspiel, two octaves of crotales, marimba, vibraphone, sandpaper blocks, bass drum, crash cymbals, tambourine, large tam-tam, tenor drum, triangle, wood block), two harps, piano, strings.
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While Ave Maria is set for soloists, Verdi scored the Stabat Mater for a four-part mixed chorus (SATB) and a large orchestra of three flutes, two oboes, two clarinets. four bassoons, four horns, three trumpets, four trombones, percussion (timpani and bass drum), harp and strings. The work is through-composed, without repetition of text. It is full of chromaticism.
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Hart plays, or has played, drum set, RAMU, gong, tubular bells, tambourine, timpani, bongos, timbales, maracas, bass drum, snare drum, triangle, güiro, djembe, castanets, didgeridoo, glockenspiel, cymbals, surdo, saron, beats, tar, berimbau, kalimba, cowbell, rattle, shekere, rainstick, agogo bells, bells, wood block, taragat, balafon, tarang, gourd, clacker, bombo, dumbek, tom-toms, caxixi, water gong, talking drum, blaster beam, theremin, and even pan flute.
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She studied the oboe there with Léon Goossens. She also learned the piano as a second instrument, and played the cello and the timpani. Benjamin Britten, nearly three years younger, was also a student there and he got her to play through some of his compositions for oboe. She started her professional career by deputising for Léon Goossens in the Drury Lane Orchestra.
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That day and the next, McCartney overdubbed his lead vocals and rhythm guitar, Harrison added lead guitar, and all three sang the chorus. On 30 July, they added more vocals, including Lennon, who had rejoined the sessions on 9 July. More vocals, timpani and drums were overdubbed on 31 July. The orchestra that marked 30 musicians altogether was recorded on 15 August.
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The concerto is scored for a solo tuba and an orchestra consisting of two flutes, piccolo, oboe, English horn, two clarinets in A, bass clarinet, two bassoons (second doubling on contrabassoon), two horns, two trumpets, three trombones (two tenors, one bass), harp, timpani, percussion and strings.Broughton, Bruce. Concerto for Tuba and Orchestra. 1987. Boca Raton, Florida: Edwin F. Kalmus & Co., inc. 1987. Print.
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In the last movement two sets of timpani are placed on opposite sides of the stage undertaking a kind of musical duel. Nielsen described the symphony as "the life force, the unquenchable will to live".. Symphony No. 4. Also frequently performed is the Symphony No. 5 (Op. 50, 1921–22), presenting another battle between the forces of order and chaos.
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Raise the Roof is a one-movement concerto for timpani and orchestra by the American composer Michael Daugherty. The work was commissioned by the Detroit Symphony Orchestra for the opening of the Max M. Fisher Music Center. It was premiered in Detroit, October 16, 2003, with conductor Neeme Järvi leading the Detroit Symphony Orchestra and timpanist Brian Jones.Daugherty, Michael (2003).
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Raise the Roof for timpani and orchestra: Program Note by the Composer. Retrieved May 14, 2015. Daugherty later arranged the piece for concert band in 2007; this arrangement was commissioned by the University of Michigan Symphony Band and was premiered under conductor Michael Haithcock at the National Conference of the College Band Directors National Association on March 30, 2007.Daugherty, Michael (2007).
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The work is scored for a large orchestra comprising three flutes (3rd doubling alto flute and piccolo), three oboes (3rd doubling cor anglais), four clarinets (3rd doubling E-flat clarinet; 4th doubling bass clarinet), three bassoons (3rd doubling contrabassoon), four horns, four trumpets (4th doubling trumpet in D), three trombones, tuba, timpani, three percussionists, piano (doubling celesta), harp, and strings.
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The Company of Heaven is a composition for soloists, speakers, choir, timpani, organ, and string orchestra by Benjamin Britten. The title refers to angels, the topic of the work, reflected in texts from the Bible and by poets. The music serves as incidental music for a mostly spoken radio feature which was first heard as a broadcast of the BBC in 1937.
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The work is scored for: 2 flutes (1 doubling on piccolo), 2 oboes (1 doubling on English horn), 2 clarinets (1 doubling on bass clarinet), 2 bassoons (1 doubling on contrabassoon), 4 horns, 3 trumpets, 3 trombones, 1 tuba, 1 timpani, 3 percussion, 1 harp, 1 qin, 39 strings (12 first violins, 9 second violins, 7 viola, 6 cellos, 5 basses); 64 total.
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A one-in-a-bar scherzo, it begins softly with strings before the flute enters, accompanied by chamber-like subdued textures from the orchestra. The soloist has dialogue with both the woodwinds and the timpani during this section, giving the impression of dry wit. This section too climaxes near its end, before ending softly and mysteriously, leading into the final Adagio.
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The work is scored for a countertenor, two tenors, baritone, children's choir, SATB chorus, and a large orchestra consisting of two flutes, piccolo, three oboes (3rd doubling cor anglais), three clarinets (3rd doubling bass clarinet), two bassoons, contrabassoon, four horns, four trumpets, three trombones, tuba, timpani, four percussionists, harp, piano (doubling celesta), chamber organ, grand organ (or synthesizer), and strings.
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There are many kinds of bubens, including def, daf, or qaval (Azerbaijan), daf or khaval (Armenia), daira (Georgia), doira (Uzbekistan and Tajikistan), daire or def (Iran), bendeir (Arab countries), pandero (Spain). In Kievan Rus, drums and military timpani were referred to as buben.An Iranian woman playing a frame drum, from a painting on the walls of Chehel Sotoun palace, Isfahan, 17th century, Iran.
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Conjurer has a duration of roughly 35 minutes and is composed in three movements: #Wood #Metal #Skin The title of each movement corresponds to the type of percussion instruments used in it. Corigliano thus employed such instruments as the marimba and wood block for the first movement, the vibraphone and chimes for the second, and timpani and bass drum for the third.
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Krause was born in Winzig (today Wińsko, Poland) into a musical family. His father was a Stadtpfeifer from whom he learned to play the flute, violin, keyboard and timpani. Krause studied law at the University in Frankfurt an der Oder, where he attended lectures by Alexander Gottlieb Baumgarten, among others. Baumgarten's ideas on aesthetic had a profound influence on Krause.
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He does so, intoning "may these, the pressed out juices of my victims, serve to strengthen and sustain me before my necessary deed." The three dissolve into a grotesque dialogue, the timpani and orchestra hammering inscrutable off-beats. Nekrotzar says only "Up!" over and over again as he guzzles wine. Finished drinking and utterly incapacitated, he rants and raves about his achievements.
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Two flutes (second doubling piccolo), one or two oboes, two clarinets, one or two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion (side drum, cymbals, bell), harp, and strings. A note in the score reads: "Optional 2nd oboe and 2nd bassoon parts have been added by Vilém Tauský, with the composer's authorization." The work takes about eight minutes to perform.
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Hodgson (1976): 58, footnote. Several more recent performances, however, have included timpani. The work is in three movements: #Allegro, #Andante, in G major #Tempo di Menuet, più tosto allegro, The Alleluia motif dominates the first movement. It is the first theme; the second theme is also derived from it and it is also included in the closing material of the exposition.
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He was Chief Conductor of the Hamburg Symphony Orchestra from 2000 to 2004. In February 2013, Talmi returned to the ICO as its music director. Talmi's compositions include the official march of the Israeli Army, Tsahal Tso'ed, an Elegy for Strings, Timpani and Accordion ("Dachau Reflections"). His composition "De Profundis for Choir and Orchestra" premiered in Quebec City in May 2011.
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Soprano, contralto, and baritone soloists; SATB choir; and orchestra consisting of 2 flutes, 2 oboes (2nd doubling cor anglais), 2 clarinets in A, two bassoons (2nd doubling contrabassoon), 4 horns, 2 trumpets, timpani, bass drum, triangle, suspended cymbal, tam-tam, tubular bells, harp, organ (ad lib), and strings consisting of 8 first violins, 8 second violins, 6 violas, 6 cellos, and 4 contrabasses.
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An alto aria, ' (Through powerful strength You maintain our borders) is based on contemporary poetry. Set in C major with the trumpets and timpani as the only obbligato instruments, it is in two sections: the first in triple time marked Vivace corresponds to God's power and glory, while the second in common time is a prayer for peace on Earth.
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The oldest source is a partially autographed set of parts from around 1730.D-B Mus. ms. Bach St 153, Fascicle 1 at . Bach wrote out the first violin and continuo parts, C. P. E. Bach wrote out the trumpet, oboe, and timpani parts, and J. S. Bach's student Johann Ludwig Krebs wrote out the second violin and viola parts.
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Musical voyage starts on a steady sustained chord which appears throughout the piece. Stationary chord is interrupted by the timpani hits amplified with the piano. Interruptions evolve new textures and drag the piece into the more anxious musical territories. Steady and unsteady musical structures interact each other through the piece and the singers endeavor to keep music in a more restful atmosphere.
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Piano Concerto No. 3 consists of three movements: which combine for an approximate duration of 23 minutes. The piece was originally scored for 2 flutes (2nd doubling piccolo), 2 oboes (2nd doubling cor anglais), 2 clarinets in A and B (2nd doubling bass clarinet), 2 bassoons, 4 horns in F, 2 trumpets in C, 3 trombones, tuba, timpani, percussion, strings, and piano.
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Aristophanes – marked Allegretto :III. Eryximachus, the doctor – marked Presto :IV. Agathon – marked Adagio :V. Socrates: Alcibiades – marked Molto tenuto and Allegro molto vivace Although the Serenade is scored for violin, strings, harp and percussion (timpani and five more percussionists playing side drum, tenor drum, bass drum, triangle, suspended cymbal, xylophone, glockenspiel, chimes, Chinese blocks, tambourine), the violin is the most prominent solo instrument.
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The symphony is scored for a large orchestra including: 2 or 3 flutes (2nd doubling on piccolo), 2 or 3 oboes (2nd doubling on cor anglais), 2 clarinets (in B), bass clarinet (in B) (ad lib.), 2 bassoons, contrabassoon (ad lib.), 4 horns (in F), 2 trumpets (in C), 3 trombones, tuba, timpani, triangle, side drum, cymbals, bass drum, strings.
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The instrumentation of Auditorium consists of two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings. The instrumentation of the pre-recorded ensemble comprises flauto traverso, Baroque oboe, Baroque bassoon, natural horn, natural trumpet, theorbo, harpsichord, and strings. In accordance with the era, the Baroque ensemble is tuned a half-step lower than the orchestra.
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The work is scored for a solo mezzo-soprano and a large orchestra comprising three flutes (third doubling piccolo), three oboes, three clarinets (first and second doubling clarinet in A; third doubling bass clarinet and E-flat clarinet), three bassoons (third doubling contrabassoon), four horns, three trumpets, two trombones, bass trombone, tuba, timpani, four percussionists, piano (doubling celesta), harp, and strings.
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The work is scored for a soprano, electronics, and a large orchestra consisting of three flutes (3rd doubling piccolo), two oboes, three clarinets (3rd doubling bass clarinet), two bassoons, four horns, four trumpets (all offstage; 2nd doubling piccolo trumpet; 2nd and 3rd playing crotales; 4th playing glockenspiel), two trombones, bass trombone, optional tuba, timpani, four percussionists, piano (doubling celesta), harp, and strings.
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In 2012, Mr. Varvello just released a new cd, again in classical music with the famous company TESTIGO, "Concerto for bandoneon", this album includes a concert for bandoneon with strings, piano, harp, timpani and percussion, in three movements, and is accompanied by works of Frédéric Chopin, Johann Sebastian Bach and Achille-Claude Debussy, and tangos of Agustín Bardi, Eduardo Rovira Astor Piazzolla.
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Examples of exceptions include the circular drum, – a timpani whose first overtone is about 1.6 times its fundamental resonance frequency,Elena Prestini, The Evolution of Applied Harmonic Analysis: Models of the Real World, (p140) gongs and cymbals, and brass instruments. The human vocal tract is able to produce highly variable amplitudes of the overtones, called formants, which define different vowels.
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The Symphony No. 56 in C major, Hoboken I/56, is a symphony by Joseph Haydn, composed by 1774. It is scored for 2 oboes, bassoon, 2 horns (C alto and F), 2 trumpets, timpani and strings.H. C. Robbins Landon, Haydn: Chronicle and Works, 5 vols, (Bloomington and London: Indiana University Press, 1976-) v. 2: "Haydn at Eszterhaza, 1766-1790",.
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91; The story of Bülow discussing Stirner from the conductor's podium is also described by Alex Ross, music critic for The New Yorker in "Beethoven Unbound", by Alex Ross, The New Yorker, Oct. 22, 2001; Hans von Bülow's participation in placing a memorial plaque on Stirner's last residence is reported in a New York Times Saturday Review of Books article on Stirner, "Ideas of Max Stirner", by James Huneker, New York Times Saturday Review of Books, April 1907 Some of his orchestral innovations included the addition of the five-string bass and the pedal timpani; the pedal timpani have since become standard instruments in the symphony orchestra. His accurate, sensitive, and profoundly musical interpretations established him as the prototype of the virtuoso conductors who flourished at a later date. He was also an astute and witty musical journalist.
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The deserted musical landscape of the opening remains disturbed only by distant timpani rolls and faint glimmers of light from the woodwinds. Without warning, the first section Allegro bursts on to the scene at fff – thundering timpani, biting rhythms from the trumpets and piccolos and rushing semiquavers in the strings in the background as the trombones announce a theme, characterised by an upward movement and, at its height, a downward slur of a semitone followed by repeated notes a major third lower. This theme acts as the first subject of a telegraphically argued sonata form, but will also make a reappearance in the final section, although in a new form. This leads to a dramatic appearance of another thematic element, beginning with a twice repeated downward hammering of a minor third which shares a close similarity with the first theme.
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Waltz 3A starts with a brief intrada and is decorated with trills whereas waltz 3B's principal melody is carried by cellos and double basses. Waltz 4A is livelier than the previous waltz part and waltz 4B is dominated by the flute. Waltz 5B has a timpani beat and waltz 5B reconciles the earlier cheerful sections. A brief coda is introduced and waltz 1B is repeated.
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The original score calls for piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, E-flat clarinet, soprano saxophone, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, snare drum, tenor drum, bass drum, chimes, crash cymbals, suspended cymbals, glockenspiel, ratchet, slide whistle, steel pipe, tambourine, triangle, vibraphone, xylophone, marimba, whip, wood block, electric guitar, piano, pre-recorded tape, and strings.
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The typical method of muffling is to place the pads of the fingers against the head while holding onto the timpani stick with the thumb and index finger. Timpanists are required to develop techniques to stop all vibration without making any sound from the contact of their fingers. Muffling is often referred to as muting, which can also refer to playing with mutes on them (see below).
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This segways into a simple, eerie rhythm set by the harp, playing nine consecutive whole notes with a rich harmony of woodwinds above. After several repetitions of the opening material, the movement climaxes with Romantic intensity, the pulsing strings complemented by confident trumpets and timpani. There is an extended decline, which then merges into the concluding passages. The second movement ends tenderly, with quiet nostalgia.
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Hughes, pp. 96–97 Young writes that orchestral players generally like playing Sullivan's music: "Sullivan never asked his players to do what was either uncongenial or impracticable."Young, p. 178Hughes, p. 96 Sullivan's orchestra for the Savoy operas was typical of the theatre orchestra of his era: 2 flutes (+ piccolo), oboe, 2 clarinets, bassoon, 2 horns, 2 cornets, 2 trombones, timpani, percussion and strings.
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The composer follows Hugo's narrative, describing the hero's journey through the vast steppes in the first movement. The string section plays the main theme, which is transformed and distorted with six strokes of the timpani that evoke the fall of the rider.Tranchefort, p. 424. After a silence, strings, bassoon and horn soloists express astonishment of the injured, raised by the trumpets at Allegro Marziale.
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99–104 in Full Score. Mineola, NY: Dover Publications, Inc, 1999, p. 92 In measure 122 of the final movement, Haydn again has the entire orchestra drop out and writes another measure solo for the timpani. Before this solo, Haydn has the orchestra playing quite softly which makes the timpani's loud entrance come as a surprise and helps to set up a loud entrance by the orchestra.Haydn.
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The symphony is scored for 3 flutes (third doubling piccolo), 2 oboes, English horn, 3 clarinets (third doubling bass clarinet and piccolo clarinet in D), 3 bassoons, 4 horns, 3 trumpets in C, 3 trombones, tuba, timpani, triangle, bass drum, tomtoms, snare drum, cymbals, castanets, tam-tam, tambourine, glockenspiel, celesta, piano and harmonium, harp (or several, ad. lib.), strings (20, 20, 14, 12, 12).
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The cycle's original scoring was plain: SATB choir with organ accompaniment. Decades after Schubert died, a grander edition was published: SATB choir, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani and basso continuo. Besides the now standard misnomer Deutsche Messe, the cycle is also sometimes called the Wind Mass due to the preponderance of wind instruments in this just-listed orchestration.
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The symphony is scored for 3 flutes (3rd doubling piccolo), 2 oboes, 2 clarinets in B, 2 bassoons, 4 horns in F, 3 trumpets in B, 3 trombones, tuba, timpani, cymbals, bass drum (movements 1, 2 and 4 only), triangle (movements 2 and 4 only), snare drum, tambourine, tam-tam (movement 4 only) and strings. A typical performance has an approximate duration of 45 minutes.
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Christopher Palmer prepared a version of Crown Imperial for solo organ, brass, timpani and percussion (with harp ad lib), specifically for the Laurence Olivier Memorial Service in October 1989. The composer's autograph manuscript score is located at the Beinecke Rare Book and Manuscript Library, at Yale University (Frederick R. Koch Collection—MS FRKF 595a, short score, 11 pp; and MS FRKF 595b, full score, 45 pp).
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The theme is now played legato by the horns, accompanied by a sustained pedal point in the bassoons. The violins simultaneously play an elaborated version of the theme. (See also heterophony.) The timpani and pizzicato lower strings add further colour to this variegated palette of sounds. “Considering that the notes are virtually the same the difference in effect is extraordinary”:Fiske, R. (1970, p.
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Dvorák's summer residence, where he composed the symphony Dvořák kept the typical format of a symphony in four movements, but structured them in an unusual way. All movements show a remarkable variety of themes, many of them based on Bohemian material. Occasionally the development of the themes seems like improvisation. The first movement is a powerful and glowing exposition characterized by liberal use of timpani.
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New England Triptych is an orchestral composition by American composer William Schuman, based on works of William Billings. The work lasts about 16 minutes, and is written for an orchestra comprising three flutes (3rd doubling piccolo), two oboes, English horn, E-flat clarinet, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion (bass drum, cymbals, snare drum, tenor drum), and strings.
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Robert Layton: "Franz Berwald: The Four Symphonies", 1985 The symphony is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani and strings. It consists of four movements: # Allegro con energia # Adagio maestoso # Stretto # Finale. Adagio - Allegro molto A typical performance lasts approximately 30 minutes. The movements follow the typical structure of Romantic symphonies of the period.
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The Piano Concerto No. 22 in E major, K. 482, is a work for piano, or fortepiano, and orchestra by Wolfgang Amadeus Mozart, composed in December 1785. This is the first piano concerto of Mozart's to include clarinets in its scoring, and is scored for solo piano, flute, two clarinets (in B), two bassoons, two horns, two trumpets, timpani (in E and B), and strings.
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Chôros No. 8 is scored for two pianos and an orchestra consisting of piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, alto saxophone, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 4 trombones, tuba, timpani, percussion (bass drum, tam-tam, tambourine, tamborim, snare drum, triangle, cymbals, 2 metal chocalhos (small and large), reco-reco, caracaxá, caraxá, puíta, ratchet, xylophone), celesta, 2 harps, and strings.
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The Symphony No. 8 by Robert Simpson was completed in 1981 and commissioned by the Royal Philharmonic Society. The first performance was given at the Royal Festival Hall on 10 November 1982 by the Royal Danish Orchestra conducted by Jerzy Semkow. The work employs a large orchestra which includes two sets of timpani and four horns. It one of Simpson’s largest, richest and most complex scores.
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Bass clef Diatonic scale on C, bass clef. When the F-clef is placed on the fourth line, it is called the bass ( ) clef. This is the only F-clef used today so that the terms "F-clef" and "bass clef" are often regarded as synonymous. This clef is used for the cello, euphonium, double bass, bass guitar, bassoon, contrabassoon, trombone, baritone horn, tuba, and timpani.
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" "The expression," Salonen added, "quickly becomes more extroverted through a series of accelerandi. A rhythmic mantra starts to develop in the congas and bongos. It will appear often later in the course of the movement, mostly in the timpani. This music is often dance-like; sometimes gesticulating wildly, perhaps from the sheer joy of no longer having nothing to do with clouds and processes.
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His band was composed mainly of wind instruments, and therefore was a típica. Its initial members were: Miguel Faílde (cornet); Pascual Carreras (ophicleide); Pancho Morales (1st violin); Juan Cantero (2nd violin); Anselmo 'Frijolín' Casalín (1st clarinet); Eduardo Faílde (brother, 2nd clarinet); Cándido Faílde (brother, trombone); Eulogio Garrido (double bass); Andrés Segovia (timpani); Isidro Acosta (güíro).Castillo Faílde, Osvaldo 1964. Miguel Faílde: creador musical del danzón.
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Portrait of Franz Schubert by Franz Eybl (1827) The Mass No. 3 in B-flat major, 324, is a mass composed by Franz Schubert in 1815. It is four soloists, a four-part choiur and orchestra. While by length it could be a missa brevis, its large orchestral force with trumpets, timpani and woodwinds has also led to its classification as a missa solemnis.
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In 1881 Andreyev organized his Great Russian orchestra that included string instruments: four types of domras, six types of balalaika, gusli, woodwind instruments: zhaleikas; percussion instruments: makras (a sort of timpani), bubens. Many instruments were heavily customized to work in an orchestra setting. In a few years, the orchestra became famous, generating thousands of followers as well as causing an explosion of balalaika compositions.
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Mechanic Fantasy, organ, string orchestra and timpani (2013) (published by Gérard Billaudot), 10 min. Commissioned by the Orchestre Régional de Basse Normandie Chant de l'âme, string orchestra and C trumpet (2014) (published by Gérard Billaudot), 6'30 min. Crop Circles, orchestra (2012) (published by Gérard Billaudot), 10 min. Commissioned by Radio France for the Orchestre National de France Distances, chamber orchestra (2010) (published by Gérard Billaudot), 11 min.
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3 flutes (3rd flute also taking piccolo), 3 oboes (3rd oboe also taking English horn), 3 clarinets (2nd also taking E clarinet; 3rd clarinet also taking bass clarinet), 3 bassoons (3rd also on contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, bongos, chimes, glockenspiel, marimba, snare drum, suspended cymbals, tam-tam, tenor drum, tom-toms, vibraphone, xylophone), 2 harps, piano, celesta, and strings.
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The Requiem is scored for 2 basset horns in F, 2 bassoons, 2 trumpets in D, 3 trombones (alto, tenor, and bass), timpani (2 drums), violins, viola, and basso continuo (cello, double bass, and organ). The basset horn parts are sometimes played on conventional clarinets, even though this changes the sonority. The vocal forces consist of soprano, contralto, tenor, and bass soloists and an SATB mixed choir.
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The standard woodwind section consists of flutes (one doubling piccolo), oboes (one doubling English horn), soprano clarinets (one doubling bass clarinet), and bassoons (one doubling contrabassoon). The standard brass section consists of horns, trumpets, trombones, and tuba. The percussion section includes the timpani, bass drum, snare drum, and any other percussion instruments called for in a score (e.g., triangle, glockenspiel, chimes, cymbals, wood blocks, etc.).
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Many percussion instruments are tuned by the player, including pitched percussion instruments such as timpani and tabla, and unpitched percussion instruments such as the snare drum. Tuning pitched percussion follows the same patterns as tuning any other instrument, but tuning unpitched percussion does not produce a specific pitch. For this reason and others, the traditional terms tuned percussion and untuned percussion are avoided in recent organology.
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McCartney recorded the song during the height of the tensions that marred the sessions for the White Album. On 9 August 1968, he recorded 25 takes singing and playing acoustic guitar simultaneously. Take 24 was perceived to be the best (take 2 later appeared on Anthology 3). McCartney recorded overdubs of timpani, another guitar, and drums on 20 August, when George Martin's orchestral contributions were also added.
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In four movements, the symphony is scored for flute, 2 oboes, 2 bassoons, 2 horns in C, 2 trumpets in C, timpani and strings. The first movement begins with an Adagio introduction of 20 measures. A sonata form movement follows with a mostly triadic first subject group 400px and a more dance-like second subject group. 500px The exposition has a repeat (not always followed in performance).
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The development of just 30 measures ends with a crescendo leading directly to the recapitulation. The second movement in F major has a central section in F minor. 500px The timpano in C is used in this movement (the timpani were set to C and G for the first movement and are not changed in the course of work). The third movement is a Minuet with Trio.
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Kleiber was born as Karl Ludwig Bonifacius Kleiber in Berlin in 1930, the son of the eminent Austrian conductor Erich Kleiber and American Ruth Goodrich, from Waterloo, Iowa. In 1935, the Kleiber family emigrated to Buenos Aires and Karl was renamed Carlos. As a youth, he had an English governess and grew up in English boarding schools. He also composed, sang, and played piano and timpani.
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All parts of the orchestra were original Baroque instruments. There were used: 17 violins, 7 viols, 5 cellos, 3 double basses, 4 oboes, 3 flutes, 2 bassoons, 2 recorders, 2 trumpets, 1 chalumeau and theorbo, timpani, harpsichord and positive organ. Vocal casting included 2 sopranos, 2 tenors, countertenor, bass and boy's choir. The tradition of Jesuits did not allow the use of female figures in the play.
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The song's early recording sessions were originally named "Let Go of Your Ego". The basic track was made on February 9, 1966, at United Western Recorders. The eclectic instrumentation includes prominent use of timpani, bass harmonica, and tambourine. For the song's bass harmonica break, Wilson instructed session musician Tommy Morgan to "wail on that, baby", where Morgan's solo is joined by Glen Campbell's banjo.
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The six timpani are tuned to a whole-tone scale, a quarter tone lower than the piano. Each drum corresponds to one octave in the piano . This oppositional scoring differentiates the piece from its immediate predecessors, Kreuzspiel, Spiel, and Formel. The former two use percussion as a noise element in contrast to pitch, while Formel integrates percussion timbres into the pitch structures of the other instruments .
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It is presumed that Mozart wrote it to play with his sister Maria Anna ("Nannerl"). Years later he performed it in a private concert with pupil Josepha Barbara Auernhammer. The concerto was originally scored for the two pianos together with two oboes, two bassoons; two horns; and strings. Mozart later expanded the score with pairs of clarinets, trumpets and timpani in E flat and B flat.
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The Violin Concerto is scored for solo violin and orchestra consisting of 2 flutes, 2 oboes, 2 clarinets in A, 2 bassoons; 2 natural horns crooked in D, and 2 natural horns crooked in E, 2 trumpets in D, timpani, and strings. Despite Brahms' scoring for natural (non- valved) horns in his orchestral works, valved horns have always been used in actual performance, even in Brahms' time.
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Note his characteristic palms-inward two-mallet grip. Another popular grip is similar to french grip, a grip used on timpani. The mallets are again held between the thumb and index fingers and controlled with the remaining three fingers, but the palms are held vertically, facing inward towards each other. Most of the stroke action comes from the finger-tip control of the shafts.
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The symphony/oratorio is scored for tenor, baritone, and bass soloists, mixed choir, and an orchestra consisting of 2 piccolos, 2 flutes, 2 oboes, cor anglais, 3 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 4 trombones, tuba, timpani, tam-tam, cymbals, chocalho, coconut hulls, lion's roar, bells, gong, sleigh bells, small frame drum, bass drum, xylophone, marimba, celesta, 2 harps, piano, organ, and strings.
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At the University of Texas, from which he earned the degrees of bachelor of music and master of music, he studied composition with James Clifton Williams, Kent Kennan, and Paul Pick. In 1956–57 he was honored with the Carl Owens Award for student composition. After college he played timpani for the Austin Symphony Orchestra before becoming an arranger for the Eighth United States Army bands.
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A gong bass drum (or simply gong drum) is a musical instrument in the percussion family. It is a type of drum that uses a single large drumhead in order to create a loud, resonant sound when struck. The head can be tuned as loose as possible to avoid any sense of pitch in the sound, or tensioned more tightly to produce timpani-like tones.
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In contrast to Haydn's trend of speeding up his minuets, here he slows the pace back to Moderato providing a more old-fashioned aristocratic minuet. The finale is in sonata rondo form. The primary theme became a popular tune in its time. In the center of the movement is a development-like section which contains a surprise timpani strike followed by a traversal of many distant keys.
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Beecham appointed Victor Olof as his orchestral manager, and they started recruiting. At the top of their list were leading musicians with whom Beecham had worked before the war. Four had been founder members of the LPO fifteen years previously: Reginald Kell (clarinet), Gerald Jackson (flute), James Bradshaw (timpani) and Jack Silvester (double-bass). From the current LPO they engaged the oboist Peter Newbury.
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A percussion concerto is a type of musical composition for a percussion soloist and a large ensemble, such as a concert band or orchestra. Two notable figures in the genre are the percussionists Colin Currie and Evelyn Glennie, who have separately commissioned and premiered numerous entrees to the repertoire. Two common subsets of the percussion concerto are the timpani concerto and the marimba concerto.
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He played a variety of percussion instruments such as vibraphone, timpani and the drum set. He held a Bachelor's degree, as well as an Honorary Doctorate in Music from New England Conservatory in Boston. Firth was the principal timpanist of the Boston Symphony Orchestra from 1956 to 2002. He was the orchestra's youngest member when music director Charles Munch hired him as a percussionist in 1952.
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's instrumentation is exclusively brass and percussion, a nod to the show's roots in the drum and bugle corps activity. Blast!'s performers use trumpets, flugelhorns, mellophones, baritone horns, tubas, trombones (including one on a unicycle during "Gee, Officer Krupke!"), french horns, and a full complement of percussion instruments including snare drums, tenor drums, bass drums, xylophones. vibraphones and marimbas, timpani, and other standard percussion equipment.
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Symphony No. 3 is scored for two flutes, two oboes, two clarinets in B, two bassoons, three horns (the 1st in E, C, and F; the 2nd in E and C; and the 3rd in E), two trumpets in E and C, timpani in E and B (in the 1st, 3rd, and 4th movements) and in C and G (in the 2nd movement), and strings.
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Julian is classically trained in voice, trombone and timpani. As a contemporary engineer, session player, producer and arranger he plays guitar, bass, strings, horns, and keyboards, and arranges, records, and programs samples and drum loops. He has produced songs for artists ranging from Stetsasonic to Jimmy Webb. Julian toured as a lead singer for six years around the United States with his rock band.
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However, Berwald did indicate the tuning and register of the brass and timpani at the beginning of each movement.Nils Castegren, preface to Sinfonie capricieuse. Kassel: Bärenreiter (1989): iv in German, v in English, vi in Swedish. The work is in three movements, # Allegro # Andante # Allegro assai and lasts about 29 and a half minutes per Berwald's indications of duration (from which metronome markings could be extrapolated).
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He has collaborated with other art forms such as dance, poetry, theater, performance art and VJs. He has received various scholarships and awards, including Nattjazz sin Vitalpris. Together with co-composer Stephan Meidell, Hegg-Lunde got brilliant reviews for his commissioned opening concert Voice & Strings & Timpani for the 2016 Nattjazz. It was presented with musicians like Mari Kvien Brunvoll, Eva Pfitzenmaier, Kim Åge Furuhaug, and Stein Urheim.
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A native of New York City, Adler grew up during the Depression. He bought his first snare drum when he was thirteen and learned to play it without formal instruction. Two years later, he got a job playing at a hotel in Belmar, New Jersey. He began lessons with a professional pit drummer from the Palace Theater and studied timpani in his high school orchestra.
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The cantata in six movements is festively scored for four vocal soloists (soprano, alto, tenor and bass), a four-part choir, and a Baroque instrumental ensemble of three trumpets, timpani, flauto traverso, three oboes, two violins, viola, and basso continuo. # Chorale: # Recitative (alto): # Aria (bass): # Recitative (soprano, tenor): # Aria (tenor): # Chorale: In the opening chorus, Bach illustrates the singing of angels in different choirs by assigning different themes to the strings, the oboes and the trumpets, in a rich scoring typical only for the most festive occasions of the liturgical year such as Christmas. Mincham compares the movement to the 15 opening movements preceding it in the second annual cycle: "it is the most lavishly scored chorus so far and certainly the most extrovertly festive in character". In movement 3, trumpets and timpani accompany the bass voice in a description of the battle against Satan.
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A typical symphony at this time was written for a pairs of oboes and horns and strings, but the Eisenstadt orchestra had recently taken on two new horn players, and Haydn wrote this symphony for an expanded ensemble of one flute, two oboes, four horns, timpani and strings (violins divided into firsts and seconds, violas, cellos and double basses), with bassoon doubling the bass-line. The timpani part in the autograph score is not in Haydn's hand, but it is quite possibly authentic: he may have written it on a separate sheet, with somebody else adding it to the score at a later date. #Allegro molto, #Adagio cantabile in G major, #Menuet & Trio (Trio in G major), #Finale. Allegro molto, The first movement opens with held chords in the winds and the strings playing a simple figure based on an arpeggio: :Image:Haydn- symph-13-opening.
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Foreman considers the concerto, which uses twelve- tone themes, to be the epitome of Bush's thematic theory of composition, although Bush's contemporary, Edmund Rubbra, thought it too intellectual for general audiences.Foreman, pp. 118–19 The Dorian Passacaglia and Fugue for timpani, percussion and strings, (Op. 52, 1959), involves eight variations in the Dorian mode, followed by eight in other modes culminating in a final quadruple fugue in six parts.
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Sleep, Text by James Joyce for choir, organ and timpani. Recorded live, this composition has been commissioned by the American University of Beirut Choral Society for the Living Lebanese composer's concert, which took place in 2004, Assembly Hall, American University of Beirut. Soliloquy, a symphonic composition in three movements, written for the Lebanese National Symphony Orchestra and performed in May 2005, at Saint Joseph Church, Beirut. Conductor: Harout Fazlian. Aaah!...
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In his study on the composer, Jacques Barzun describes the work as "a genuine tour de force for a young dramatic musician working without knowledge of Beethoven." The instrumentation is two flutes doubling piccolo, two oboes, two clarinets in C, two bassoons, contrabassoon, four horns (in Eb and D), three trumpets (two in E and one in Eb), three trombones, two ophicleides, percussion (timpani, bass drum and cymbals) and strings.
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The instrumentation is two flutes (second doubling piccolo), two oboes, two clarinets in C, two bassoons, four horns (in Eb and C), three trumpets in C, three trombones, ophicleide, timpani and strings. In the publication of the overture by Breitkopf and Härtel, the ophicleide is exchanged for a tuba on the basis that French and German orchestras no longer owned ophicleides. This editorial decision is upheld in many modern performances.
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"Nasty" is a song by American singer Janet Jackson from her third studio album, Control (1986). It was released on April 15, 1986, by A&M; Records as the album's second single. It is a funk number built with samples and a quirky timpani melody. The first and last 30 seconds incorporate the emphases from "Get Up (I Feel Like Being a) Sex Machine" but in a different key.
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"Jumanji" is a song recorded by American hip hop artist Azealia Banks for her debut mixtape, Fantasea (2012). The song was released as a free promotional single, available for digital download and streaming via Banks's SoundCloud, on May 11, 2012. "Jumanji" is composed as a tropical track with musical influences including kuduro, dancehall, and calypso music. Instrumentally, the song features a trumpet, a timpani, a harp, and calypso steel drums.
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The symphony is scored for flute, two oboes, bassoon, two horns and strings. Some versions also include two trumpets and timpani which appear only in the Finale. #Adagio — Allegro #Andante, in G major #Menuetto & Trio: Allegretto #La chasse Presto The first movement displays one of Haydn's favorite musical devices, turning accompaniment into melody. Here, this is done in the simplest possible manner by constructing the main theme out of repeated notes.
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It is structured as nine movements, and scored for four vocal parts and a festive Baroque orchestra with trumpets, timpani, flutes, oboes and strings. Choral movements frame a series of alternating recitatives and arias. Bach led the first performance with the Collegium Musicum at the Zimmermannsches Caffeehaus on 8 December 1733. was first published by the Bach Gesellschaft in 1887, as part of the first complete edition of Bach's works.
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"You Still Believe in Me" is a song written by Brian Wilson and Tony Asher for American rock band the Beach Boys, released as the second track on their 1966 album Pet Sounds. The recording was produced by Wilson, who also sings lead vocal, with instrumentation that includes harpsichord, clarinet, timpani, and bicycle horn. Wilson and Asher created the song's ethereal intro by plucking a piano's strings with a bobby pin.
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It was also noted that, an eternal conflict between good and evil, humanity and the Devil's home was expressed through Huseyn Javid's poetry. The Devil's home was expressed through a modern threat of atom and hydrogen bomb. Aydin Azimov's “horror influencing” music, which is based on tremolo string and ostinato beats of timpani, dissonances of woodwind and brass instruments of orchestra created panicky condition of humanity before the terrible.
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Orchestra: 2 flutes (both doubling piccolo), 2 oboes (2nd doubling English horn), 2 clarinets (2nd doubling bass clarinet in C), 2 bassoons (2nd doubling contrabassoon); 3 horns, 2 trumpets, 3 trombones; timpani, 3 percussion (glockenspiel, triangle, tambourine, military drum, bass drum, cymbals, tam-tam, celesta); strings (8 violins I, 8 violins II, 6 violas, 6 cellos, 6 double basses). Stage music: 2 trumpets, timpani.Beaumont (1985), p. 219.Busoni (1918), pp.
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In Mirkwood, the effects include thumping heartbeats on timpani and sounds of bowed and struck string instruments, waterphones, bowls and gongs. Other diegetic music was composed by The Elvish Impersonators, Stephen Gallaghar and members of the cast, including the aforementioned source songs and a "trumpet fanfare" that sends the Dwarves off to the Mountain. The melody of the "Misty Mountains" song goes on to feature in the underscore.
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The work is scored for three flutes (second doubling alto flute, third doubling piccolo, three oboes (third doubling English horn), three clarinets (third doubling bass clarinet), two bassoons, contrabassoon, four French horns, four trumpets, three trombones, tuba, timpani, percussion (anvil, bass drum, bongo drums, chimes, Chinese cymbal, glockenspiel, large triangle, Latin cowbells, marimba, snare drum, suspended cymbals, tambourine, tamtam, tom-toms, vibraphone, wood blocks, xylophone, whip), harp, piano, celesta, and strings.
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The melody by Melchior Teschner, used for "Valet will ich dir geben", begins with a rising first line, spanning an octave, and suitable for praise. The melody was used for many hymns. The hymn was set by Karl-Ludwig Nies for the visit of Pope Benedict XVI at the Frauenkirche, the cathedral of Munich dedicated to Mary, in 2007. Nies scored it for mixed choir, trumpet and timpani.
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Thoth was born Stephen Kaufman in New York City around 1956. His father was a Russian Jew, and his mother was from Barbados. Kaufman attended LaGuardia High School of the Arts in Manhattan and holds a degree in comparative literature from San Francisco State University. His mother was the first African-American timpani player for the New York Philharmonic, and Thoth was exposed to classical music at a young age.
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Faris, p. 39 He composed for flute, oboe, clarinet, bassoon, two horns, piston, trombone, timpani and percussion and a small string section of seven players. After moving to the Salle Choiseul he had an orchestra of 30 players. The musicologist and Offenbach specialist Jean-Christophe Keck notes that when larger orchestras were available, either in bigger Paris theatres or in Vienna or elsewhere, Offenbach would compose, or rearrange existing music, accordingly.
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The piece is orchestrated for 3 flutes (3rd doubling piccolo), 3 oboes (3rd doubling english horn), 2 clarinets, 2 bassoons, 4 horns in F and E, 3 trumpets in F and E, 3 trombones, tuba, timpani, bass drum, cymbals, triangle, tambourine, 2 sopranos/baritones (Tableau 1), 1 baritone (Tableau 5), SATB choir (Tableau 8) and strings. Ralph Wood has commented on the role of the percussion in this composition.
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The piece is scored for two flutes, oboe, cor anglais, two clarinets, two bassoons, four horns in F, two trumpets in F, two trombones, bass trombone, timpani and strings. Somewhat unusually, the two scores available via the IMSLP show different tempo markings at the start. The Eulenberg score is marked Allegretto con moto, whereas the Russian Muzyka score shows Allegro con moto. Borodin also transcribed the piece for piano four hands.
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Crucifixion by Evgraf Semenovich Sorokin (1873) The vocal solos of Dvořák's Stabat Mater are written for soprano, tenor (), alto and bass (). Together, these voices form the vocal quartet (). The choir () consists of SATB singers. The accompanying orchestra has following instruments: 2 flutes, 2 oboes, cor anglais, 2 clarinets in A, 2 bassoons, 4 horns (two in F, two in D), 2 trumpets, 3 trombones, tuba, timpani, organ and strings.
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When the work was first published by Ignaz Sauer in Vienna in 1800, it was expanded, probably by the publisher, to four voices. A second edition, in 1827 by Tobias Haslinger, offers an optional instrumental setting for two to nine instruments: two clarinets (or two violins), two bassoons, two horns, two trumpets, timpani, double bass (or contrabassoon). Franz Schubert followed the model of this setting when he wrote his Deutsche Messe.
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The Konzertstück started out as a third piano concerto; however, because it is in one continuous movement (in four sections) and has an explicit program, Weber decided not to name it "concerto" but "Konzertstück" (Concert Piece). The score calls for flutes, oboes, clarinets, bassoons, horns, and trumpets in pairs, bass trombone, timpani, and strings. It takes about 17 minutes to perform and a brilliant technique is called for.
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The tempo immediately returns to Maestoso; the coda using both subjects. Finally, the concerto ends in C major where the piano soloist has a triumphant scale while the timpani beats the previous rhythm. The first version of 1897 is a three-in-one structure of "Allegro non troppo"—"Largo"—"Tempo primo". The 1904 version comprises three movements of "Allegro ma non troppo", "Largo", and "Maestoso con moto moderato".
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Woodwinds: 2 flutes (2nd doubling piccolo), 2 oboes (2nd doubling cor anglais), 3 clarinets (2nd doubling Eb clarinet, 3rd doubling bass clarinet), 2 saxophones doubling on soprano and tenor, 2 bassoons (2nd doubling double bassoon). Brass: 4 French horns, 3 trumpets, 3 trombones, euphonium, tuba. Percussion: timpani, triangle, woodblock, tambourine, flexatone, ratchet, snare drums, cymbals, bass drum, tam-tam, xylophone, bayan, harmonium. Strings: violins, violas, cellos, double basses, banjo.
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With all eight Pure Hearts, the heroes travel to Castle Bleck. Inside the castle, Bowser and O’Chunks are seemingly crushed, Peach and Mimi fall into a pit, and Dimentio appears to kill both himself and Luigi. Mario and Tippi confront Bleck alone; Tippi reveals herself to be Timpani, but Bleck refuses to end his plan. The other heroes return and defeat Bleck by using up the power of the Pure Hearts.
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The Missa longa in C major, K. 262/246a, is a mass composed by Wolfgang Amadeus Mozart in May 1776. Other sources claim it was composed in May 1775. It is scored for SATB soloists, SATB choir, violin I and II, 2 oboes, 2 horns, 2 clarini (high trumpets), 3 trombones colla parte, timpani and basso continuo. The mass is classed as a missa longa due to its length.
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The Missa brevis No. 7 in C major, K. 258, is a mass composed by Wolfgang Amadeus Mozart in 1776. It is scored for SATB soloists, SATB choir, violin I and II, 2 oboes, 2 clarini (high trumpets), 3 trombones colla parte, timpani and basso continuo. Although classed as a missa brevis (brief mass), the inclusion of trumpets in the scoring makes it a missa brevis et solemnis.
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Kunzel was born to German-American immigrant parents in New York City. At Greenwich High School in Connecticut, he arranged music and played the piano, string bass and timpani. Initially a chemistry major, Kunzel graduated from Dartmouth College with a degree in music, where he was a member of Phi Delta Theta, then studied at Harvard and Brown universities. He conducted the Brown University Glee Club for at least two years.
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The band also supplemented their performances with instruments such as prepared piano, kazoo, harpsichord, timpani, trumpet, and güiro. The result is an experimental amalgam that is neither a true studio album nor a live album. In 1972, a more commercial alternate mix of the album was officially released to capitalize on the band's recent success. A 2018 reissue on Rhino Records collects both the 1968 and 1972 mixes.
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The heel-toe foot technique was pioneered by drummers of the big band era."Heel Up vs. Heel Down Drumming – Bass Drum Technique". Drum.Radar website - accessed Dec 7, 2019 The application most commonly used for this technique at that time was a rocking motion that assisted the drummer in keeping solid time on the hi-hat, while simultaneously playing timpani type floor tom rhythms or swinging the ride cymbal.
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Tucker was able to improvise tirelessly and played a seemingly never-ending flow of creative solos. He began and ended his drum solos with his rendition of Elmer Bernstein's theme from the 1955 film The Man With the Golden Arm. Tucker also used two projection screens that were above his drum riser. One screen played a video of him playing the drums, and simultaneously the other video showed him playing timpani.
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Fairy Pipers :6. Slumber Scene :7. Fairies and Giants It was first performed at the Queen's Hall, London on 14 December 1907, conducted by Henry Wood. It is scored for 2 flutes, 2 oboes, 2 clarinets (both in B & A), 2 bassoons, 4 horns in F, 2 trumpets (both in B & C), 3 trombones, tuba, timpani (3), 2 percussionists (with bass drum & cymbals, triangle & snare drum), harp and string section.
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Besides the soloists, the symphony is scored for a chamber orchestra consisting only of strings and percussion. The strings consist of ten violins, four violas, three cellos, and two double basses, and the percussion section (three players) includes wood block, castanets, whip, soprano, alto and tenor tom-toms, xylophone, Tubular bells, vibraphone, and celesta. The percussion section does not include common instruments such as timpani, bass drum, cymbals, or triangle.
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The symphony is notable for having an unusually large instrumentation for its time, made possible by the large orchestra available to Mozart during his time in Paris. There are 2 flutes, 2 oboes, 2 clarinets in A, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. It was Mozart's first symphony to use clarinets. Sadie remarks that this is the largest orchestra for which Mozart had yet composed in his career.
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The symphony is composed for an orchestra containing 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, celesta, pianino (upright piano), strings, and solo piano. Structurally, there are two parts, each comprising three sections. Each movement is named after the six sections of Auden's poem, trying to mirror the moods and events in the poem.
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After the run of the play in London, Fauré drew on the music for a short orchestral suite, which he orchestrated himself, using Koechlin's London score as a starting point. The original orchestration for the London production consisted of two flutes, one oboe, two clarinets, one bassoon, two horns, two trumpets, timpani, harp and string quartet.Nectoux, Jean-Michel. Notes to EMI recording Fauré: L'oeuvre d'orchestre, 2C167-73071/3, 1981.
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As the Grove Dictionary of Music describes them: > They were more or less hemispherical, 15-25cm in diameter, frequently with > snares and usually played in pairs, suspended in front of the player. They > were usually played with drumsticks, mainly for martial purposes but also in > chamber music, dance and processional music and probably for accompanying > songs. Kettledrums in Europe today are called tympani or timpani, descended from the imported naqareh.
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The interludes and "Passacaglia" are approximately 16 minutes and 7 minutes, respectively, and include two flutes (both doubling piccolo), two oboes, two clarinets, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, bass drum, bells, cymbals, gong, snare drum, tam tam, tambourine, tenor drum, xylophone, celeste, harp and strings. The percussion section added a 14-foot chime to produce bell sounds, which had to be stationed horizontally on stage.
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Published in 1996, the final movement of the symphony is a piece filled with emotion and powerful music. The piece uses an extended mallet percussion section to introduce itself, before handing the melody over to the horns in four-part harmony. The vocalization reveals itself quite early in the piece, as the rest of the band sings "ah" to the oboe solo. The mallet percussion cuts off where the timpani begins.
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