Maria Grigoryeva is a composer and violinist who creates and performs music in many different styles. In addition to having her pieces recorded at Warner Brothers Studios in LA, her experience includes preparing scores for fashion shows,... View Full Profile
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300 Violin Orchestra Midi File
This course covers the study and performance of orchestral music. It is open to all students who read music and perform on an orchestral instrument (violin, viola, cello, bass, piccolo, flute, clarinet, double reed, trumpet, french horn, trombone, or percussion.) This course includes public performances and field trips, and meets requirements for music majors and minors. Students study and perform music literature composed for string orchestra and symphony orchestra. This course may be repeated to meet the major requirement for transfer to CSU, Sacramento, or to other universities with a similar transfer requirement. Students may be required to provide their own instruments.
For each of the midi files created, we will try to give you as much information as possible: title, description, dates and more. Sometimes on sketches Beethoven did not write the key nor the instrument...
A comprehensive selection of naturally rich and dynamic stringed instruments. Features solo and ensemble violin, viola, cello and double bass, all recorded in their natural positions within the orchestra, complete with a number of articulations.
Ableton Orchestral Strings offers a comprehensive selection of naturally rich and dynamic stringed instruments. Features solo and ensemble violin, viola, cello and double bass, all recorded in their natural positions within the orchestra, complete with a number of articulations.
This course covers the study and performance of orchestral music. It is open to all students who read music and perform on an orchestral instrument (violin, viola, cello, bass, piccolo, flute, clarinet, double reed, trumpet, french horn, trombone, tuba, or percussion.) This course includes public performances and field trips, and meets requirements for music majors. Students study and perform music literature composed for string orchestra and symphony orchestra. This course may be repeated to meet the major requirement for transfer to CSU, Sacramento, or to other universities with a similar transfer requirement. Students may be required to provide their own instruments. This course may be taken four times for credit.
In the orchestra, pizzicato comes into operation in two distinctways: a) on single notes, b) on double notes and chords. The fingersof the right hand playing pizz. are far less agile than the bow;pizz. passages therefore can never be performed as quickly as thoseplayed arco. Moreover, the speed of pizzicato playing depends uponthe thickness of the strings; on the double basses, for instance, itmust always be much slower than on the violins.
Melody in the alto-tenor register and a still higher compass isassigned to the violas. Cantabile melodies however are not sofrequently written for violas as for violins and 'cellos, partlybecause the viola tone is slightly nasal in quality and better fittedfor short characteristic phrases, partly because the number of violaplayers in an orchestra is smaller. Melodies confided to the violasare generally doubled by other strings or by the wood-wind.
First and second violins divided in two parts and progressing inoctaves will deprive the melody of resonance, since the number ofplayers is diminished by half, the consequences being speciallynoticeable in small orchestras. Nevertheless the method can be usedoccasionally when the strings are doubled by the wood-wind, and whenthe melody falls in a sufficiently high register.-42-
Although, in any orchestral piece, numerous instances are to be foundof melodies and phrases entrusted to a solo wind instrument (generallythe first of each group, wood-wind or brass), solos for stringedinstruments, on the other hand, are extremely rare. Whilst the 1stviolin and 1st 'cello are fairly frequently used in this manner,the solo viola is seldom found, and a solo on the double bass ispractically unknown. Phrases demanding particular individuality-105- ofexpression are entrusted to solo instruments; likewise passages thatrequire extraordinary technique, beyond the scope of the orchestralrank and file. The comparatively weak tone of the solo instrumentnecessitates light, transparent accompaniment. Difficult virtuososolos should not be written, as they attract too much attention to aparticular instrument. Solo stringed instruments are also used whenvigourous expression and technical facility are not required, butsimply in order to obtain that singular difference in colour whichexists between a solo stringed instrument and strings in unison. Twosolo instruments can be coupled together, e.g. 2 Violins soli, etc.and in very rare cases a quartet of solo strings may be employed.
It is seldom that the entire orchestral conception is centred in theupper register of the orchestra (the 5th and 6th octaves), stillmore rarely is it focussed wholly in the lowest range (octaves 1 and-1) where the proximity of harmonic intervals creates a bad effect. Inthe first case the flutes and piccolo should be used along with theupper notes of the violins, soli or divisi; in the second-107- casethe double bassoon and the low notes of the bassoons, bass clarinet,horns, trombones and tuba are brought into play. The first methodgives brilliant colour, the second combination is dark and gloomy. Thecontrary would be fundamentally impossible.
The brass and wood-wind are the two groups which combine the mostsatisfactorily with percussion from the standpoint of colour. Thetriangle, side drum, and tambourine go best with harmony in the upperregister; cymbals, bass drum and gong with harmony in the lower. Thefollowing are the combinations most generally employed: tremolo onthe triangle and tambourine with trills in wood-wind and violins;tremolo on the side drum, or cymbals struck with drum sticks, andsustained chords on trumpets and horns; tremolo on the bass drum orthe gong with chords on trombones or low sustained notes on 'cellosand double basses. It must not be forgotten that the bass drum,cymbals, gong and a tremolo on the side drum, played fortissimo,is sufficient to overpower any orchestral tutti.
Melodic doubling of voices by orchestral instruments (in unison oroctaves) is of frequent occurrence, but incessant duplication for anextended period of time should be avoided; it is only permissible inisolated phrases. The most natural duplication in-123- unison of womens'voices is performed by violins, violas, clarinets and oboes; that ofmens' voices by violas, 'cellos, bassoons and horns. Doubling inoctaves is usually done in the upper register. Trombones and trumpetsoverpower the voice and cannot be used for this purpose. Uninterruptedor too frequent duplication should be avoided, not only because theoperation deprives the singer of full freedom of expression, but alsobecause it replaces by a mixed timbre the rare characteristicqualities of the human voice. Doubling, when limited to a few specialphrases supports the voice and endows it with beauty and colour. It isonly suitable in tempo; to apply it, in unison or octaves to apassage ad. lib. is both ineffective and dangerous. 2ff7e9595c
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