Woodwind Instrumentation Codes
Following many of the titles in our Wind Ensemble catalog, you will see a set of numbers enclosed in square brackets, as in this example:
Description | Price |
---|---|
Rimsky-Korsakov Quintet in Bb [1011-1 w/piano] Item: 26746 | $28.75 |
The bracketed numbers tell you the precise instrumentation of the ensemble. The first number stands for Flute, the second for Oboe, the third for Clarinet, the fourth for Bassoon, and the fifth (separated from the woodwinds by a dash) is for Horn. Any additional instruments (Piano in this example) are indicated by 'w/' (meaning 'with') or by using a plus sign.
Charlier Theo - Solo De Concours - Trumpet And Piano Trumpet, Piano Schott. Instrumentation: trumpet and piano Nombre de pages: 12 Format: New Edition portrait. 16.00 EUR - Sold by Woodbrass Pre-shipment lead time: On order. Similar items. Schroeder-meyer H. Solo De -concours N°1 - Violon. Title: Charlier - 36 Etudes for Trumpet Author: Super Dad Created Date: 10/4/2008 9:03:02 PM.
This woodwind quartet is for 1 Flute, no Oboe, 1 Clarinet, 1 Bassoon, 1 Horn and Piano.
Sometimes there are instruments in the ensemble other than those shown above. These are linked to their respective principal instruments with either a 'd' if the same player doubles the instrument, or a '+' if an extra player is required. Whenever this occurs, we will separate the first four digits with commas for clarity. Thus a double reed quartet of 2 oboes, english horn and bassoon will look like this:
Note the '2+1' portion means '2 oboes plus english horn'
Titles with no bracketed numbers are assumed to use 'Standard Instrumentation.' The following is considered to be Standard Instrumentation:
- Duo - Flute & Clarinet - or [1010-0]
- Trio - Flute, Oboe & Clarinet - or [1110-0]
- Quartet - Flute, Oboe, Clarinet & Bassoon - or [1111-0]
- Quintet - Flute, Oboe, Clarinet, Bassoon & Horn - [or 1111-1]
From my solo recital earlier this Spring at Luther Memorial church with Kirstin Ihde as my accompanist. The beginning is a bit rough, I must've still had some of the pre-recital jitters, but there are moments later on that I really like what we were able to achieve. From my program notes: This past Fall, I came in to a lesson with John Aley with a musical discovery that I thought was rather clever: the Charlier etude that I’d worked up for that week contained a variation on a small portion of the previous etude (the two are etudes 12 and 13, for those trumpet sleuths out there). I pointed it out in the lesson and was met with an epic example of self-imitation between etude 12 and a solo by Charlier that I was unfamiliar with. The quoted material contained two identical measures and similar melodies before and after. I suppose when you make a good melody, you might as well use it twice (so long as you separate the two instances with enough time or in different contexts, that is). This off-handed conversation led me to take home Solo de Concours and work the piece up myself. It was immediately attractive to me because it’s structured like an advanced Charlier etude but it has more width, depth and of course, a piano accompaniment. When I positively cite its similarity to an etude, I do so with absolute sincerity, for Théo Charlier wrote fantastic pedagogical etudes for trumpet that in many ways are unmatched to this day. His entire life of teaching and performing can be heard in his emotional compositions like Solo de Concours, where the character not only changes wildly throughout the piece, but each individual character is shaped over time as well. There are no primary pigments of “angry,” “happy” or “sad” in his music but rather a palette of numerous shades, evoking just as many musical sentiments.
- Genre
- Classical