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This article consists of a list of such instruments in the European tradition, including both instruments that are now obsolete and early versions of instruments that continued to be used in later classical music.
Mainly Strings Instruments. Whilst other instruments were used in the Classical period (see the instrument section below), the Classical orchestra was still heavily string based. During the Tutti section, the main melody would normally be performed by the first Violin section. Balanced Phrasing
Test. Classical. A classical orchestra. The classical music era is usually seen as the years between approximately 1750 and 1820. Famous composers from the classical period include: Joseph...
- Overview
- The Classical period
- The Romantic period
The Classical era, which covers roughly the second half of the 18th century, is one of the most significant periods in the development of orchestration. The most talented composers of this period were Mozart and Haydn. Many important developments took place during this time. The orchestra became standardized. The Classical orchestra came to consist of strings (first and second violins, violas, violoncellos, and double basses), two flutes, two oboes, two clarinets, two bassoons, two or four horns, two trumpets, and two timpani. Toward the end of his career, in the London Symphonies, Haydn introduced clarinets as part of the woodwind section, a change that was to be permanent. Haydn also introduced the following innovations: trumpets were used independently instead of always doubling the horns, cellos became separated from the double basses, and woodwind instruments were often given the main melodic line. In the Military Symphony (No. 100) Haydn introduced some percussion instruments not normally used in the orchestras of this time, namely, triangle, hand cymbals, and bass drum; and, what is still more unusual, they are employed in the second movement, which in the Classical tradition is normally the slow movement.
In Haydn’s music a method of composition appeared that had a bearing on orchestration. This consisted of the conscious use of musical motives; motive is defined in the Harvard Dictionary of Music as: “The briefest intelligible and self-contained fragment of a musical theme or subject.” Perhaps the best known musical motive in Western music is the four-note group with which Beethoven’s Fifth Symphony begins. These musical cells became the musical building blocks of the Classical period, particularly in the middle or development section of a movement, with the composer moving the musical motive from instrument to instrument and section to section, giving a new facet to the orchestration. The art of orchestration was thus becoming a major factor in the artistic quality of the music.
The Classical era, which covers roughly the second half of the 18th century, is one of the most significant periods in the development of orchestration. The most talented composers of this period were Mozart and Haydn. Many important developments took place during this time. The orchestra became standardized. The Classical orchestra came to consist of strings (first and second violins, violas, violoncellos, and double basses), two flutes, two oboes, two clarinets, two bassoons, two or four horns, two trumpets, and two timpani. Toward the end of his career, in the London Symphonies, Haydn introduced clarinets as part of the woodwind section, a change that was to be permanent. Haydn also introduced the following innovations: trumpets were used independently instead of always doubling the horns, cellos became separated from the double basses, and woodwind instruments were often given the main melodic line. In the Military Symphony (No. 100) Haydn introduced some percussion instruments not normally used in the orchestras of this time, namely, triangle, hand cymbals, and bass drum; and, what is still more unusual, they are employed in the second movement, which in the Classical tradition is normally the slow movement.
In Haydn’s music a method of composition appeared that had a bearing on orchestration. This consisted of the conscious use of musical motives; motive is defined in the Harvard Dictionary of Music as: “The briefest intelligible and self-contained fragment of a musical theme or subject.” Perhaps the best known musical motive in Western music is the four-note group with which Beethoven’s Fifth Symphony begins. These musical cells became the musical building blocks of the Classical period, particularly in the middle or development section of a movement, with the composer moving the musical motive from instrument to instrument and section to section, giving a new facet to the orchestration. The art of orchestration was thus becoming a major factor in the artistic quality of the music.
Beethoven began his career under the influence of the Classical composers, particularly Haydn, but during his lifetime he transformed this heritage into the foundation of a new musical practice that was to become known as Romanticism. The Classical composers for the most part attempted to orchestrate with a sense of grace and beauty. Beethoven occasionally made deliberate use of new, intense, often even harsh orchestral sounds. He also, in his later symphonies, augmented the orchestra with a piccolo, contrabassoon, and third and fourth horn. The Ninth Symphony has one passage calling for triangle, cymbals, and bass drum, a combination identified with the imitations of Turkish Janissary music in vogue in previous years.
The Romantic era was characterized by great strides in the art of instrumentation, and, in fact, the use of instrumental colour became one of the most salient features of this music. The piano really came into its own as a source of interesting sonorities; the orchestra expanded in size and scope; new instruments were added; and old instruments were improved and made more versatile. The Romantic period saw the appearance of the first textbook on the subject of orchestration. It was the French composer Hector Berlioz’ Traité d’instrumentation et d’orchestration modernes (1844; Treatise on Instrumentation and Orchestration, 1856). Berlioz was one of the most individual orchestrators in the history of music, and his Symphonie fantastique (1830) is one of the most remarkable pieces of music to come out of this era. Berlioz made use of colour to depict or suggest events in his music, which was frequently programmatic in character. He called on large forces to express his musical ideas, an idea that persisted throughout the 19th century and into the 20th. Berlioz’ Grande Messe des morts (Requiem, 1837) calls for four flutes, two oboes, two English horns, four clarinets, 12 horns, eight bassoons, 25 first violins, 25 second violins, 20 violas, 20 violoncellos, 18 double basses, eight pairs of timpani, four tam-tams (a type of gong), bass drum, and 10 pairs of cymbals; four brass choirs placed in various parts of the hall, each consisting of four trumpets, four trombones, two tubas, and four ophicleides (a large, now obsolete brass instrument); and a chorus of 80 sopranos, 80 altos, 60 tenors, and 70 basses.
Feb 24, 2024 · In this article, we will explore the different families of instruments commonly found in classical music. From strings to woodwinds, brass to percussion, and keyboard instruments to lesser-known instruments, we will delve into the rich tapestry of sounds that make up classical music’s orchestral ensemble.
Want to know what instrument does what in the world of music? Our guide will tell you all you need to know. 1. Piano. 2. Clarinet. 3. Double bass. 4. Violin. 5. Trumpet. 6. Flute. 7. Tuba. 8. Cello. 9. French horn. 10. Conductor's baton. 11. Timpani. 12. Harp. 13. Oboe. 14. Viola. New to this whole instrument lark? Our guide is just for you.
Dec 4, 2018 · Instruments used during this time included the flute, the recorder, and plucked string instruments, like the lute. Early versions of the organ and fiddle also existed. Perhaps the most known type of music to come out of the Medieval period was the Gregorian Chant.
