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Take a 25 question quiz to test and certify your knowledge of the tutorial-video course
Orchestration 102 - The Wind Section.
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The dynamic arc of the winds is:
capable of the incredible overall control of the strings at very low volume.
able to match the intensity of the brass in projection and sheer power.
halfway between the strings and the brass.
is the lowest standard member of the oboe family.
has a range of three-and-a-half octaves.
has many commonly-used auxiliaries, such as the tenoroon and sarrusophone.
can play a low B-flat when the A extension is inserted.
Which of the following statement is true?
The bass clarinet can now reach all the way down to written low B-flat.
The bass clarinet can stabilise the horns and anchor the wind section.
The bass clarinet is a widely-used second-level auxiliary.
The bass clarinet has the exact same lower written range as the B-flat standard clarinet.
Which effect does NOT require alternate fingerings?
The standard clarinet voicing position resembles the vowel sound:
“er” or the German “oe.”
Tonguing the syllables “duh” and “the” result in:
The immediate predecessor to the oboe is called:
The oboe has:
one of the narrowest ideally functional ranges of the entire wind section.
a family whose instrumental ranges cover two octaves in difference.
the same exact strengths of register as the English horn.
easy-to-play extreme high notes.
What is legato?
slurring a group of notes together.
the same exact definition as “phrasing.”
playing in a “singing” style.
The essence of playing seamlessly through a series of notes.
is pitched two octaves above the alto flute.
has the same exact written range as the standard flute.
is a second-level auxiliary.
is owned by most professional flute players.
requires a specially constructed mute.
may require removing the reed in double-reed instruments.
is needed in order to really play softly.
is usually unnecessary.
The basic building-block of the orchestra is the:
Some wind instruments require transposition because:
their players may play all models in a family with the same fingering applying to the same staff positions.
their instruments’ registers are essentially homogeneous.
their players can’t read in C.
is achieved most successfully on clarinets and flutes in their lower register.
is easily balanced between all wind instruments.
requires a tongueless attack.
is achieved most successfully on oboes and flutes in their lower register.
Supported exhalation combines the following muscle groups:
the abdominals and the diaphragm.
the abdominals and the internal and external intercostals.
the abdominals, the external intercostals, and the diaphragm.
the abdominals, the internal and external intercostals, and the diaphragm.
How much more is there to learn after this course?
Quite a bit.
A little more.
The clarinet can actually:
play higher than the oboe.
play lower than the bassoon.
play higher than the piccolo.
play higher than the flute.
A cylindrical bore is combined with a parabolic curve in the design of the:
oboe and bassoon.
The standard seating for winds, clockwise from the nearer left of the conductor:
clarinets, flutes, bassoons, oboes.
flutes, clarinets, bassoons, oboes.
flutes, oboes, bassoons, clarinets.
oboes, clarinets, bassoons, flutes.
If an instrument is tuned to B-flat:
when it reads a C, it will play a B-flat.
when it reads a C, it will play a D.
when it reads a B-flat, it will play a C.
when it reads a B-flat, it will play a B-flat.
The following instruments use vibrato as their standard approach:
flutes, oboes. clarinets, and bassoons.
flutes and oboes.
oboes. clarinets, and bassoons.
flutes, oboes, and bassoons most of the time.
The best part of an oboe range is in its:
is an instrument whose fundamental tones vibrate as a half consonance.
is a typical example of “open pipe” construction.
behaves like a closed pipe because of its conical bore.
overblows the 4th partial in the clarino register.
Fork fingering is accomplished by:
cracking a tone-hole to lower the pitch by a half-step.
closing tone-holes below an open hole to raise the pitch by a half-step.
cracking a tone-hole to raise the pitch by a half-step.
closing tone-holes below an open hole to drop the pitch by a half-step.
“à 2” means:
“with two players on a single voice.”
“with two players on separate voices.”
“with the second player on.”
The Wind Section
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