![]() Our model relies on joint time–frequency scattering features to extract spectrotemporal modulations as acoustic features. In addition, we propose a machine listening model to recover the cluster graph of auditory similarities across instruments, mutes, and techniques. Analyzing their responses suggests that timbre perception operates within a more flexible taxonomy than those provided by instruments or playing techniques alone. In this article, we ask 31 human participants to organize 78 isolated notes into a set of timbre clusters. However, most existing approaches to music similarity retrieval fail to describe timbre beyond the so-called “ordinary” technique, use instrument identity as a proxy for timbre quality, and do not allow for customization to the perceptual idiosyncrasies of a new subject. To do this on my home turf with friends old and new just adds to the joy.Instrumentalplaying techniques such as vibratos, glissandos, and trills often denote musical expressivity, both in classical and folk contexts. Some of it is heart-achingly beautiful and the chance to hear it ‘from the inside’, sitting in the midst of the orchestra is wonderful and a privilege. The music is sublime, and never ceases to amaze in its beauty and ingenuity. What’s your favourite part about being in an ensemble like OBS? There is also huge skill in listening to and blending with the other bass line instruments, both in quality of sound and intonation. It helps enormously to play regularly with other players: the better you know each other’s playing, the better the combined sound. You have to be fluent playing in every key, as well as having sufficient stamina to keep playing very long movements unlike string players, bassoonists do have to breathe occasionally in order to keep going! The challenges are twofold: Bach writes varied, inventive and often technically difficult bass lines, requiring huge flexibility and lots of practice. What are the biggest challenges as a bassoonist when performing Bach’s repertoire? ![]() The 1st Orchestral Suite demands as much from the bassoonist as the 2 oboists, and the cantatas can surprise with an unexpected solo obligato line. But we do have our moments! The B Minor Mass has an amazing aria, ‘Quoniam’ for solo bass, solo horn and a pair of solo bassoons, with the first bassoon playing right up high to the limits of the instrument. It rarely has an independent part and is often used to colour the bass line, especially when oboes are playing. The baroque bassoon is primarily a continuo instrument, supporting the bass line of the orchestra with the cello and double bass. As both orchestras and concert halls became bigger, so instruments had to respond to be able to manage the new conditions. In the early 19th century, Almenraeder sought to improve the instrument’s intonation, range and response by augmenting and reworking the keywork. Just as with other woodwind instruments, the bore of the instrument became narrower which makes the sound less broad and more focused. It was only in the classical period that the bassoon was given independent orchestral parts. The development of the bassoon largely followed the requirements made of it by composers who required more virtuosity from both orchestral players and soloists. How has the bassoon evolved since the Baroque era? As composers came to realise what this new instrument could do, music written for the bassoon became more demanding, reflecting the instrument’s new versatility and relative flexibility. ![]() With the addition of extra keys, the baroque bassoon has a bigger range than the dulcian. ![]() This development enabled the machining of the bore and finger holes to become more accurate, resulting in a more even, mellow sound and less wayward tuning. The dulcian, though, is made from a single piece of wood, whereas the bassoon has 4 joints. Both instruments are played with a double reed on the end of a crook, and both have a u-shaped conical bore with holes drilled at an angle. The bassoon evolved from the dulcian over several decades from the late 17th century. Our latest newsletter is by Noel Rainbird on the bassoon! What are the essential features and sound of the bassoon? ![]() Find out more about some of the instruments played by our ensemble in our new series, Bach’s Band. ![]()
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