The Big Fuckoff Guide to

Instruments & Score

Reading
Tom Hart

Fundamentals of Instruments & Score Reading................................................................................ 1

Woodwinds ...................................................................................................................................... 5

Reedless ....................................................................................................................................... 5

The Recorder Family ............................................................................................................ 5

The Flute Family ................................................................................................................... 6

The Transverse Flute....................................................................................................... 6

The Piccolo ....................................................................................................................... 6

The Alto Flute .................................................................................................................. 6

The Bass Flute .................................................................................................................. 7

Other Sizes ....................................................................................................................... 7

The Bagpipes ......................................................................................................................... 7

Reeds ........................................................................................................................................... 9

The Clarinet Family .............................................................................................................. 9

The Bb Clarinet ................................................................................................................ 9

The Bass Clarinet ............................................................................................................. 9

The Eb Clarinet ................................................................................................................ 9

The Alto Clarinet ............................................................................................................. 9

Other Sizes ..................................................................................................................... 10

The Saxophone Family ....................................................................................................... 10

The Alto Saxophone ...................................................................................................... 10

The Tenor Saxophone ................................................................................................... 10

The Baritone Saxophone ............................................................................................... 11

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 The Soprano Saxophone ............................................................................................... 11

Other Sizes ..................................................................................................................... 11

Double Reeds ............................................................................................................................ 12

The Oboe Family................................................................................................................. 12

The Oboe ........................................................................................................................ 12

The Cor Anglais............................................................................................................. 12

The Bass Oboe................................................................................................................ 12

The Oboe D’amore ........................................................................................................ 12

The Bassoon Family............................................................................................................ 13

The Bassoon ................................................................................................................... 13

The Contrabassoon........................................................................................................ 13

Brass ................................................................................................................................................ 14

The Trumpet Family........................................................................................................... 14

The Trumpet .................................................................................................................. 14

The Cornet...................................................................................................................... 14

The Flugelhorn .............................................................................................................. 14

The Piccolo Trumpet ..................................................................................................... 14

The Bass Trumpet.......................................................................................................... 15

The Flumpet and Other Variations ............................................................................. 15

The Horn Family (inc. wagner tubas) .............................................................................. 15

The Trombone Family ........................................................................................................ 15

The Tuba Family (inc. euphs & shit) ................................................................................ 15

Strings ............................................................................................................................................. 16

The String Section ............................................................................................................... 16

The Violin ....................................................................................................................... 16

The Viola ........................................................................................................................ 16

The Cello ........................................................................................................................ 17

The Double Bass ............................................................................................................ 17

Harps.................................................................................................................................... 18

The Pedal Harp.............................................................................................................. 18

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 Smaller Harps ................................................................................................................ 18

The Guitar Family............................................................................................................... 18

Acoustic Guitars ............................................................................................................ 19

Electric Guitars .............................................................................................................. 19

Bass guitars .................................................................................................................... 19

Ukuleles .......................................................................................................................... 20

Mandolins ...................................................................................................................... 20

Percussion ...................................................................................................................................... 20

Pitched Percussion ................................................................................................................... 20

Unpitched Percussion .............................................................................................................. 20

Keyboards ...................................................................................................................................... 20

The Piano .................................................................................................................................. 20

The Organ ................................................................................................................................. 20

Aerophone Keyboards............................................................................................................. 21

Historic Keyboards .................................................................................................................. 21

Singers ............................................................................................................................................ 21

Common Voice Ranges ........................................................................................................... 21

Soprano ................................................................................................................................ 21

Alto ....................................................................................................................................... 21

Tenor .................................................................................................................................... 22

Bass ....................................................................................................................................... 22

Others ................................................................................................................................... 22

Choirs ................................................................................................................................... 22

Common Voice Styles .............................................................................................................. 23

Electronic Instruments .................................................................................................................. 24

Electric Keyboards and Pianos ............................................................................................... 24

Electric Guitars ......................................................................................................................... 24

The EWI ..................................................................................................................................... 24

Ethnic Instruments ........................................................................................................................ 24

Historical Instruments .................................................................................................................. 24

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 Early Aerophones .................................................................................................................... 24

Early Reed and Double Reed Instruments ............................................................................ 24

Early Stringed Instruments ..................................................................................................... 24

Early Keyboards ....................................................................................................................... 24

Instrument Ranges ........................................................................................................................ 25

Arrangement in a score................................................................................................................. 26

Some Example ..................................................................................................................... 28

Big Band ......................................................................................................................... 28

Orchestra (classical) ...................................................................................................... 28

Orchestra (modern) ....................................................................................................... 28

Concert Band ................................................................................................................. 29

Brass Band ...................................................................................................................... 29

Marching Band .............................................................................................................. 29

A Brief Guide to Clefs ................................................................................................................... 30

Tablature ................................................................................................................................... 30

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Woodwinds
A note on woodwind instruments:

Many amateur and professional musicians double on several woodwind instruments, with so
called 'reed doublers' often expected to utilise the full range of flutes, clarinets and
saxophones. This is made possible due to the similarity in fingerings between the instruments.
Flute and saxophone fingerings are very similar, close to those of the recorders in C (as
explained later). Clarinets have fingerings similar to the recorders in F. The clarinets have a
slight complication, owing to the fact that they overblow at the twelfth rather than the octave.
This makes them beneficial for conversion to Bohlen-Pierce instruments (reference). This
commonality among woodwind fingerings better facilitates woodwind doubling.

Reedless
The Recorder Family
Recorders (or recorder flutes) are familiar to most children of the so called ‘millennial’
generation, as they were popularly taught in British schools until the late 1990s. They are
manufactured in a variety of sizes, which can be categorized into two main groups, recorders
in C and recorders in F. However, neither of these are transposing instruments, but refer to the
key notes of the instruments. All recorders in C have the same fingering. This is the same for
the recorders in F, transposed up a fourth, but read at concert pitch. Recorder sizes are
summarised in Table 1, in descending order of pitch.

Table 1 - A summary of recorder sizes. The most common consort sizes are highlighted in bold.

RECORDERS IN C RECORDERS IN F CLEF

Garklein Treble 15va
Descant/Soprano Sopranino Treble 8va
Tenor Treble/Alto Treble
Great Bass Bass Bass 8va
Contrabass Sub-Great Bass Bass
Sub-Contrabass Bass 8vb
Smaller recorders, at pitches above the bass, are straight vertical. Recorders at pitches lower
than the tenor have a crook for easier holding, and often have a mechanism at the foot-joint for
reaching the very lowest note (C/F). For this reason, the notes C#/F# are sometimes impossible
to play in the lowest register. This feature was often commonplace on tenor recorders, but
modern tenors are more likely to have a full fingering mechanism.

Recorders have a limited volume range, and often cannot play at any volume other than their
fullest without going out of tune. For this reason, they are best suited to chamber groups with
limited other instruments. There is a vast catalogue of music for recorders from the baroque era
and earlier. More recently, modern compositions have been commissioned for the recorder.

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The Flute Family
The Transverse Flute
The standard flute (often called the transverse flute), operates on air blown across a lip plate,
creating the vibrations needed for sound. The transverse flute in its current form is a non-
transposing instrument, in the key of C, and is notated exactly as it sounds. Its range is upwards
of middle C, spanning three octaves, although professional players can attain one or two notes
higher. Many modern flutes also have a low B foot-joint, allowing them to reach the B natural
below middle C. However, the lowest register is rarely used by the flute, except for solo work.

One of the oldest instruments, both fundamentally and in its modern form, the flute is
applicable to almost all ensembles. A staple in orchestras since the earliest forms, the flute has
a large concerto repertoire and is very common in chamber ensembles. Away from broad-form
'classical' music, the flute is found in military bands (usually with piccolos), concert bands and
most school bands. Although rare, it is not unheard of for the flute to be found in jazz ensembles,
or as a solo jazz instrument. Indeed, in many big bands, reed players will double on other
woodwind instruments, including the flute. The flute is not a staple, but is often seen in pop
ensembles, and occasionally used in rock bands (for a notable example, see Jethro Tull1).

The Piccolo
The most oft seen auxiliary flute is the piccolo. This is pitched an octave above the transverse
flute, but notated an octave lower than it sounds. Although an octave clef should be used, the
marking is rarely seen, and often a standard treble clef is used, with the octave marking
assumed. The key difference between the piccolo and transverse flute is that the lowest note on
the piccolo is D (notated a tone above middle C, sounding and octave higher). Again, the lowest
register is rarely used except for special effects. Piccolos are commonly found in orchestras, but
are most commonplace in military and marching bands. There exists a body of work for solo
piccolo, but this is rarely exhibited.

As the piccolo reads and is fingered identically to the flute, transitioning is simple and players
often double on both instruments.

Historically, piccolos were transposing instruments, pitched in Db, sounding a major seventh
above written. This type of piccolo can be encountered in military and marching band scores
from the early 20th century and before.

The Alto Flute

The alto flute (historically known as the bass flute, a name which is now superseded by the
modern bass flute) is the only transposing modern flute. Pitched in G, it is written a perfect
fourth higher than it sounds. Its written range and fingering are again identical to that of the
transverse flute, with its sounding range three octaves beginning at G below middle C.

The alto flute has a small body of solo work, but is rarely seen outside dedicated flute choirs
and ensembles.

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The Bass Flute
The lowest commonly seen member of the flute family (although its usage is still comparatively
rare) is the bass flute. It is pitched and octave below the transverse flute, and notated an octave
above its sound (a reflection of the piccolo).

Like the alto flute, the bass flute has a small body of solo work, but is rarely seen outside
dedicated flute choirs and ensembles. A notable example of the bass flute used in a jazz context
can be seen in the soundtrack to the 2015 film, The Man from Uncle (heavily featured in Escape
from East Berlin)2.

Other Sizes
Various flutes have been manufactured in sizes bigger than the bass, but usage of these is
limited to flute choirs. A summary of flutes is shown in Table 2, with the most common flutes
highlighted in bold.

Table 2 - Summary of flute sizes

FLUTE KEY SOUNDS

Piccolo C Octave higher
Military Piccolo (defunct) Db Major seventh higher
Transverse Flute C As written
Flute D’amour Bb Tone lower
Alto G Fourth lower
Bass C Octave lower
Contra-alto G Octave plus fourth lower
Contrabass C Two octaves lower
Subcontrabass G Two octaves plus fourth
lower
Double Contrabass C Three octaves lower
Hyperbass C Four octaves lower

The Bagpipes
The bagpipes (or simply pipes) are unique among all wind instruments in that they do not
require a constant stream of air from the player. Rather, the air is stored in the bag, and
squeezed through the instrument by the players arm when they take a breath. By this
mechanism, the bagpipes can produce a near-infinite note length, without audible gaps for
breathing. When imitating bagpipe players, other musicians must play in groups, and stagger
their breathing accordingly.

Bagpipes are usually written in the treble clef, and sound exactly as written. However, very
little pipe music is written down, the majority being learned by ear.

Bagpipes are nowadays rarely seen outside of ceremonial military bands. Historically, pipe
music was the basis for much traditional dance, but this has faded. Bagpipes are occasionally

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used for effect in pop and rock records, a notable example being AC/DC's It’s a Long Way to the
Top (If You Wanna Rock 'n' Roll)3.

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Reeds
The Clarinet Family
The Bb Clarinet
The most commonly seen clarinet is the Bb (or soprano) clarinet, a transposing instrument
written a tone higher that it sounds. Its range is notated from E below middle C, spanning to C
three octaves above middle C, sounding a tone lower. Professional players can achieve notes
higher than this. Historically, the clarinet has been pitched in A, sounding a minor third higher
than written.

The clarinet has been widely used in orchestras since the baroque era. As mentioned, early
scores call for the clarinet in A, with the Bb clarinet being developed in the 19th century. The
clarinet is also a staple of concert, school, military and marching bands. It has frequent use in
jazz, especially in early swing bands from the 1920s to '40s. For example, Glenn Miller utilised
a clarinet instead of a second alto sax in his band4. Clarinets are rare, but not unheard of, in
modern popular music.

The Bass Clarinet

The bass clarinet is pitched an octave below the Bb clarinet, and is written and fingered
identically. It is therefore written an octave plus a tone higher than it sounds. Unlike the smaller
clarinets, it has a curved bell, not unlike the saxophone (having been developed by Adolphe
Sax), and a point to rest on while playing, as with the cello. It is used extensively in orchestras
and concert bands, though less so in marching bands, owing to its awkward size and shape. It
is commonly utilised by reed doublers in jazz music, and occasionally used as a solo instrument
(see Courtney Pine5 and Shabaka Hutchings6 for modern examples). The bass clarinet is rarely
seen in popular music.

The Eb Clarinet
The Eb is a common, but not standard, orchestral instrument, sometimes seen in early swing
bands. Its written range and fingering is the same as all other clarinets, but sounds a minor third
higher than written. For this reason, it is often utilised at the top of its range.

Solo work is limited. The Eb clarinet is generally reserved for use in orchestras, marching and
military bands, and occasionally concert bands. In a clarinet choir, the Eb clarinets will often
carry the melody.

The Alto Clarinet

Pitched between the standard Bb and bass clarinets is the alto clarinet in Eb. Again, its written
range and fingerings are the same as other clarinets. The alto clarinet sounds a major sixth lower
than written. It bears a greater resemblance to the bass clarinet, sharing the same curved bell.

The alto clarinet is occasionally seen in orchestras, and more commonly used military, marching
and concert bands, and in dedicated clarinet choirs. Other usage is rare, if seen at all.

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Other Sizes
There exist various other sizes of clarinet, which are summarised in Table 3. The most common
are highlighted in bold.

Table 3 - Summary of clarinet sizes

CLARINET KEY SOUNDS

Eb Clarinet Eb Minor third higher
Soprano Bb Tone lower
Soprano (defunct) A Minor third lower
Basset horn F Perfect fifth lower
Alto Eb Major sixth lower
Bass Bb Octave plus tone lower
Contra-alto Eb Octave plus major sixth
lower
Contrabass Bb Two octaves plus tone lower
The Saxophone Family
The Alto Saxophone
The most commonly seen saxophone sizes are alto and tenor. The alto saxophone is pitched in
Eb, sounding a major sixth lower than written. Its written range is from Bb below middle C, up
to the F natural two octaves above middle C. Higher notes, known as the altissimo range, are
achievable. Most modern saxophones have an additional F# key, to facilitate the hitting of one
semitone above the saxophone's normal range. Straight alto saxes, as opposed to the more usual
curved bells, are available.

Two alto saxophones are a standard in big bands, and usage is common across all areas of jazz
and funk. Saxophones were occasionally used as an orchestral instrument in the 20th century,
and there exists a limited scope of orchestral solo work (see Amy Dickson7 and Jess Gillam8 for
examples of modern classical saxophone). The alto saxophone is a standard instrument in
concert, military and marching bands, and is often seen in popular and rock groups. Dedicated
saxophone ensembles also heavily utilise the alto sax.

The Tenor Saxophone

The tenor saxophone is identically notated and fingered to all other saxophones, but sounds an
octave plus a tone lower than written. Its written range is also the same as other saxophones,
with a similar altissimo range.

Two tenor saxophones are standard in big bands, and usage is extensive in wind bands, with
occasional orchestral use. Jazz is the tenor saxophone's primary outlet, with a vast span of work
both as a solo and ensemble instrument. The tenor saxophone is probably the most often seen
auxiliary instrument in popular music, along with the trumpet.

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The Baritone Saxophone
The baritone saxophone is pitched in Eb, sounding an octave plus a major sixth lower than
written. It is commonly seen as the bass end of the saxophone section, although there are larger,
lower saxophones. Its pipework is more extensive than other saxophones, and as such is coiled
for easier handling. The altissimo range is also achievable on baritone saxophones.

Orchestral use is very rare, but use in wind bands in common place. The baritone saxophone is
a standard instrument in marching, military and concert bands. A single baritone sax is also
standard as part of the horn section in a big band. It is exceptionally rare for more than one
baritone sax to be used in any context. Use in popular music is lesser that higher saxophones,
but still relatively common. For solo baritone saxophonists, see Gerry Mulligan9 and Leo
Pellegrino10.

The Soprano Saxophone

The saxophone with the least use of the four most common instruments is the soprano
saxophone. Again, it’s written range and fingering are identical to that of other saxophones. The
soprano is pitched in Bb, and sounds a tone lower than notated (analogous to the Bb clarinet).
Unlike the majority of saxophones, the soprano is most commonly seen with a straight bore
(more like the clarinet), although curved bell sopranos are available.

Its usage in classical music is scarce, although a limited solo repertoire exists (see Jess Gillam8
for contemporary examples). The soprano sax is not standard, but common in military and
marching bands. In jazz, the soprano sax is more often seen as a solo instrument. It is frequently
used by reed doublers in big bands. Soprano sax use is rare, but not unheard of, in popular
music.

Other Sizes
Other, primarily larger, saxophones have been produced, summarised in Table 4. The bass
saxophone is the most common of the extension types. For expositions of the bass saxophone,
see Moon Hooch11 and West Side Story12, orchestrated by Leonard Bernstein.

Table 4 - Saxophone size summary, with the most common highlighted in bold

SAXOPHONE KEY SOUNDS

Sopranino Eb Minor third higher
Soprano Bb Tone lower
Alto Eb Major sixth lower
Tenor Bb Octave plus tone lower
Baritone Eb Octave plus major sixth
lower
Bass Bb Two octaves plus tone lower
Contrabass Eb Two octaves plus major
sixth lower

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Double Reeds
The Oboe Family
The Oboe
The oboe is pitched in C, and sounds exactly as written. Its range is rather more limited than
single-reeded instruments. A range of almost three octaves, from Bb below middle C to G two
octaves above middle C, is technically achievable. However, the comfortable range of the
instrument is generally from the D above middle C, up a maximum of two octaves. The oboe is
consistently classified as one of the most difficult instruments to play, owing to the difficult
embouchure (lip arrangement) required to make a sound.

The oboe is a standard orchestral instrument; historical oboe variations have been in use since
the renaissance. It is also a standard instrument in concert bands, and can often be seen in
military bands. However, use outside of this is minimal, except for in chamber music and
dedicated double reed ensembles. There is a large body of concerto work for the oboe, mainly
from the baroque and classical eras, but with a fair amount of modern works.

The Cor Anglais

The cor anglais (or English horn) is akin to the alto flute or clarinet (or the tenor saxophone to
the alto). It plays and reads in the same way as the oboe, but is written a fifth higher than it
sounds (thereby being a fourth lower than the oboe). Although larger than the oboe, the cor
anglais does not bend in the same way as the bass clarinet, and the untrained eye may struggle
to tell the difference from the oboe.

The cor anglais is an occasional doubling instrument in orchestral works, but is rarely seen
outside of this setting. Solo work is very limited. The most notable example is in Dvorak’s
Symphony No. 9 – From the New World13.

The Bass Oboe

The bass oboe is analogous to the bass clarinet. It is written and fingered in the same way as the
oboe, but sounds an octave lower. Usage is incredibly rare, although there are scattered
references. A popular example is in Holst’s The Planets, particularly the solo passage in Mars14.
Another good example can be found in Wicked, orchestrated by Danny Troob and Larry
Hochman, particularly as a decorative effect in Popular15.

A variant on the bass oboe, the Heckelphone, was developed by Wilhelm Heckel on the
suggestion of Wagner. This was manufactured to give a richer tone, but only around 150 have
ever been made.

The Oboe D’amore

A rare variant of the oboe is the oboe d’amore, pitched in A, sounding a minor third lower than
written. The majority are wooden and utilised only in renaissance and early baroque music.
They are most often used by consorts aiming for a historically accurate performance.

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The Bassoon Family
The Bassoon
The bassoon family is relatively limited in scope. The primary instrument, the bassoon, is
pitched in C, sounding exactly as written. It is generally written in the bass clef, but the tenor
clef is also used. The range spans from Bb below the bass stave (two octaves below middle C)
up three octaves to the C and octave above middle C. Professional players can achieve notes
up to the G above this. The bottom range can be extended, using the so called 'Wagner bell'.
This is not an attachment, but is part of the bassoon's design, and allows the player to extend
the range by a semitone, down to bottom A, which is occasionally called for in orchestral
works. The best known orchestral bassoon solo is in Dukas' The Sorcerer's Apprentice16.

The bassoon is a standard orchestral instrument. Early variations were a staple of renaissance
and baroque orchestras. The bassoon is also standard in concert bands, but less so in marching
and military bands, as most bassoonists feel the need to sit when they play. Usage outside
these contexts, save for in dedicated double reed ensembles, is rare.

The Contrabassoon
The contrabassoon (or double bassoon) is akin to the bass clarinet or bass oboe, in that it is
pitched an octave below the bassoon. Music for the contrabassoon is written in the bass clef,
an octave higher than it sounds. As with the bass clarinet, it is supported by a stand, rather
than a strap. Its written range and fingerings are exactly the same as the bassoon.

Use of contrabassoon is limited occasional use in orchestras, concert bands and double reed
ensembles. There has been some chamber music written for the instrument. A notable
example of a double-reeded instrument utilised in jazz is the use of a contrabassoon in John
Coltrane's The Complete 1961 Village Vanguard Recordings17.

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Brass
A note on brass instruments:

All brass instruments have the use of various mutes – which are devices inserted into the bell
of the instrument in order to change the sound. A variety of mutes are used, and vary between
instruments. The use of a mute can be spelled out (i.e. ‘cup mute’), as commonly done in jazz.
In classical music, use of a mute is denoted by con sordini, and the removal of it as senza sordini.

The Trumpet Family

The Trumpet
The trumpet is the highest pitched, and often the most recognisable of the brass instruments. It
is pitched in Bb, and sounds a tone lower than written. Its comfortable range is from F# below
middle C to the C two octaves above middle C (written). The top end of this range varies widely,
and is dependent on the skill of the player. Trumpeters renowned for achieving high notes (see
Dizzie Gillespie18 and Manyard Ferguson19) have pushed this range to a written top A and
beyond.

Trumpet players, particularly in jazz, can create a similar effect to the mute simply by placing
their hand over the bell of the instrument. Using this technique, characteristic ‘waa-waa’ sounds
can be produced.

The trumpet became a standard orchestral instrument in the classical era, but was used
extensively prior to this. Four trumpets are standard in big band scoring, and trumpets are
standard in all forms of wind bands, especially dedicated brass bands. Along with saxophones,
the most often seen auxiliary instruments in popular and rock music.

The Cornet
The cornet differs from the trumpet only in its construction, and is played in exactly the same
way. The cornet has a narrower bore and more bends in the pipework, giving a brighter, more
piercing sound.

The cornet’s most common use is as the lead instrument in brass bands, but can occasionally be
found in orchestral and jazz works.

The Flugelhorn
The flugelhorn (or simply, the flugel), is played in the same way as the trumpet and cornet, but
with a wider bore and fewer twists in the pipework, leading to a richer, more mellow sound.

The flugel’s use is often limited to brass bands, but has some orchestral use, and some big band
trumpeters will double on the flugelhorn. A popular example comes from the film Brassed Off20.

The Piccolo Trumpet

The piccolo trumpet is pitched an octave above the trumpet, and sounds a minor seventh above
its notated pitch. Its tubing is half the length of the traditional trumpet (leading to double

14
frequency notes, i.e. an octave above). Many piccolo trumpets have four valves, instead of the
conventional three. The fourth valve lowers the pitch by a fourth, extending the lower range of
the instrument.

Piccolo trumpet usage is largely limited to brass bands, but there has been some orchestral
usage, such as in Stravinsky’s Rite of Spring21.

The Bass Trumpet

There are a number of instruments known as the bass trumpet. Primarily, they are pitched in
Bb, and octave lower than the trumpet, and sounding an octave plus a tone lower than
written. Bass trumpets have also been built in C, sounding an octave lower than written.

Usage is limited mostly to brass bands, with occasional orchestral use. The bass trumpet is
also occasionally used in jazz, sometimes by trumpeters doubling in big band.

The Flumpet and Other Variations

The Horn Family (inc. wagner tubas)
The Trombone Family
The Tuba Family (inc. euphs & shit)

15
Strings
The String Section
Stringed instruments have a number of distinguishing features. Foremost, the same note can
often be produced on each of the four strings. The so-called ‘open’ strings are tuned in fifths to
four base notes. These vary between instruments.

A variety of tone effects can be made on stringed instruments, notable the pizzicato technique,
which requires the player to pluck the strings, rather than bow them. A return to normal
bowing is signalled by arco in the score. Chords of two notes are attainable, by contacting the
bow with two strings simultaneously. Chords of up to four notes are theoretically achievable,
but in reality, the bottom notes would be played as grace notes, and only the top two notes
sustained for the duration of the chord.

Extended ranges of stringed instruments are accessible by the use of harmonics. These are
notated with diamond noteheads representing the note as it sounds, with the fingered note
occasionally being indicated below.

The Violin
The violin (also informally known as the fiddle) is among the most recognisable of all
instruments. It takes a leading role in a number of musical styles. Violins are pitched in C,
written in the treble clef exactly as sounding, and are noted for their large range. The
achievable range starts from the G below middle C, and spans four and a half octaves, to the C
four octaves above middle C. The same notes can often be produced using different strings.
The open strings are tuned to the notes G, D, A and E (ascending).

The violin is the principal instrument in all orchestras. Violins are the only instrument which
is divided into two separate parts (each having its own stave in the score) as a matter of
course, almost without exception. The principal first violin player is known as the leader of
the orchestra, or concertmaster (in North America and continental Europe). The violin has the
largest solo repertoire of any instrument in classical music, and its concerto repertoire is
rivalled only by the piano’s. The violin’s use in chamber music is extensive, with ensembles
often focussed around the instrument. Solo violins are commonplace in folk bands, but very
few other bands utilise strings, save for the string bass. Violins, or rather, a string section, is
common in popular music. This is often produced using a synthesiser, rather than an organic
string section. Jazz usage of the fiddle is rare, but not unheard of. String sections are often
used in jazz orchestras (but not big bands). Solo violins in jazz are rare (for a notable example,
see Ray Nance in C Jam Blues22, 1942).

The Viola
The viola is notable among orchestral, and indeed all, instruments for using the alto clef. It is
pitched between the violin and cello, but held like the violin, rather than rested like the cello.
The achievable range spans from an octave below middle C, up four octaves to the C three

16
octaves above middle C. The open strings are tuned to C, G, D and A (ascending). At the top
of its range, the viola frequently utilises the treble clef.

The viola is standard in the string section of all orchestras. It is often called for in numbers less
than the violins, in similar forces to the cellos. The viola is also utilised in pop music string
sections, as well as frequent chamber ensemble usage. The viola is rarely encountered outside
of these circles, but is occasionally utilised in other styles of music for effect, owing to its
warm, expressive tone. For a notable use of the string section in jazz, see The Epic by Kamasi
Washington23.

The Cello
The violoncello (almost always shortened to simply cello) is held between the legs, supported
by a point stand, as with the bass clarinet and contrabassoon. Its range is an octave below the
viola’s, from 2 octaves below middle C, to the A two octaves above middle C. The open
strings are tuned to bottom C, ascending in fifths to G, D and A. The primary clef is the bass
clef, although the tenor, alto and treble clefs are often used. Cellists must therefore have the
most fluency in clefs of all instrumentalists (save possibly for conductors).

The cello is a standard bass instrument in the orchestral string family, even when double
basses are not called for. They are the primary bass instrument in string trios, quartets and
orchestras, as basses are not used in any of these. Concerto and chamber works are extensive,
probably third only to the violin and piano. Cellos are also used in pop string sections, and
(very) occasionally in jazz. Wind bands, obviously, do not utilise the cello.

The Double Bass

The double bass (often called the contrabass, string bass, upright bass or simply bass) is the
lowest of all stringed and orchestral instruments. Its written range is from the E two octaves
below middle C, to the G above middle C. The double bass is always written an octave higher
than it sounds. The open strings are tuned to bottom E, A, D and G. Most modern basses have
an extended fingerboard to facilitate the written range a further four semitones down to a
bottom C. In broader classical music, basses are bowed by convention, with occasional
pizzicato. In jazz, folk and the majority of modern music, the reverse is true.

The double bass is standard in the modern orchestra, but pre-18th century use is less common.
in baroque orchestras, the double bass often doubles the continuo line at the lower octave,
playing from the same music as the cellos. Mozart and, progressively, Beethoven gave the
double basses more independence.

Double bass fingerings are identical to that of the bass guitar. For this reason, most pop, rock,
folk and jazz bassists double on both instruments. The two are usually differentiated by the
terms electric and upright bass. The double bass is an essential part in all the aforementioned
genres, often providing the foundation on which the chords are built. In early wartime dance
bands, the bass was occasionally replaced by a bass saxophone. In small jazz ensembles, the

17
bass player often improvises bass patterns (such as the walking bass) based on the chord
pattern of the standard. Bowing is rare in jazz, used only for special effects.

The bass is the only stringed instrument used in the modern concert band. Tuba players are
often expected to double on electric and upright basses, using both plucking and bowing
techniques.

Harps
The Pedal Harp
The modern pedal harp (or concert harp) has the greatest range of all orchestral instruments,
save for the piano. It is differentiated from other harps by its ability to access every chromatic
note in its range. Music for the harp is written on a grand stave (treble and bass clefs), with a
range from Cb three octaves and a semitone below middle C, spanning over six octaves to the
G# 4 octaves above middle C. The modern orchestral harp has 47 strings and seven pedals.
The strings are tuned initially to the scale of Cb major. Each pedal corresponds a flattened
note of the C major scale, and changes the pitch of all the strings. Chord playing is possible,
but not more than eight notes, as the little fingers are not used.

The harp is mainly used for scale work. Often, the music is written as one long glissando, with
the first few notes notated in full. Complex chromatic passages are avoided, and if desired
should be written after consultation with an experienced player.

The harp became a standard orchestral instrument in the romantic era, although there is
extensive concerto work predating this. Concert harps are rarely seen outside the orchestra,
although smaller instruments are popular in folk and traditional music. Alice Coltrane is one
of the only notable jazz harpists. An interesting appearance of the harp is Julia Thornton in Jeff
Wayne’s Musical Version of The War of the Worlds24.

For orchestral use, one harp is often sufficient, though it is not uncommon to see two harps
called for. Any more than this is rare (although Wagner used six harps in his ring cycle Der
Ring des Nibelungen25).

Smaller Harps
Several small harps, more easily playable and transportable than the concert harp, are
routinely played. These vary form handheld harps with only a few strings to larger harps with
more strings and fewer pedals. Such instruments have been used in traditional and folk music
for centuries, particularly in Irish and Celtic music. An early example of the harp, the lyre,
could be held in one hand and plucked with the other, often being used as an accompaniment
in conjunction with the lute, an early guitar.

The Guitar Family

General notes on guitars:

18
Guitars are played by several different mechanisms, either strumming with the fingers or a
plectrum, or plucking individual strings using these implements. Classical guitarists often
have very long thumb nails to accommodate single string plucking. Brian May26 famously
preferred to use a coin to play rather than a plectrum. The pitch is altered in a similar way to
orchestral strings, with one notable difference. Guitars have distinct frets built into the neck to
facilitate easier playing. An oft-used device by guitar players is the capo, which covers all the
strings on a particular fret, thus changing all of the open string tunings. The capo is essentially
a transposing device for the guitar.

The vast majority of modern guitars have 6 strings, tuned to E (sounding an octave plus minor
sixth below middle C), then ascending to A, D, G, B and E, finishing a major third above
middle C. Its range spans from the open bottom string to the B two octaves above middle C
(sounding). Alternative tunings are possible and often used, such as ‘drop D’ tuning, often
utilised in rock music.

Methods of notating guitar music vary wildly. Where conventional notation is used, music for
the guitar is always written an octave above its sounding pitch. The treble 8vb clef is used. In
many applications, guitar music can be written using slash noteheads, with written chords
indicated above the stave. Jazz players in particular are expected to interpret both these types
of notation interchangeably within the same piece.

Tablature (often abbreviated to simply tab) is a form of notation developed exclusively for the
guitar and its variations. For the guitar, six lines, representing the six strings, are used.
Numbers are written on the lines to represent the frets to be dampened. Occasionally, rhythm
is indicated above the tab stave.

The guitar, in various forms, is applicable to almost all styles of music. Usage has exploded
over the past 60-70 years in particular, with the introduction of guitar bands and electric
instruments, detailed below. Modern players often play chords exclusively, and many read
only tab, rather than conventional notation. Classical players are expected to be able to read
standard notation and, as mentioned, jazz players must be able to handle all forms of written
music.

Acoustic Guitars

Electric Guitars
Bass guitars
Bass guitars, as the name suggests, provide the bassline in many ensembles. For this reason,
chords are rarely used, although possible. The bass guitar, unlike its higher counterpart, has
only four strings, tuned equivalently to the double bass.

19
Ukuleles
Mandolins

Percussion
Pitched Percussion
Timpani
Marimba
Vibraphone
Xylophone
Glockenspiel
Unpitched Percussion
Keyboards
The Piano
The piano (or pianoforte) is usually the definitive starting point when composing, as its keys
cover the complete range of the orchestra. Its bottom note is A0, and its top A8, although
many modern pianos extend to the C above this (C9). Sound is produced by means of a
hammer that strikes a tuned string (one for each note).

The pedals on a piano function as follows. The far right-hand pedal is the sustain pedal, which
will keep all notes playing for as long as it is held. The far left-hand pedal lowers the volume
of the entire piano for as long as it is held down, drastically changing the feel as a result.

Smaller, upright pianos will traditionally have only these two pedals. However, if an upright
is in possession of a third pedal, it will usually be a muffler pedal. These drastically reduce the
volume by placing a cloth or similar material between the hammers and strings, creating a
very different sound, somewhat akin to the string bass in the lower octaves. In addition,
muffler pedals can often be hooked into place, releasing the need to constantly hold them
down.

The third pedal on a grand piano acts to suspend only those notes which are held at the
moment the pedal is pressed. These notes will be sustained for as long as the pedal is held,
allowing an un-sustained melody to be played above.

The piano is written as a grand stave (treble and bass clefs), although theoretically any clef can
be used in either hand, if this suits easy reading.

In the classical repertoire, the piano has the largest concerto repertoire of any instrument.
While not a standard instrument of the orchestra, its presence is sometimes called for in works
from the 18th century onwards, and increasingly so in the modern era. There are vast swathes
of work for solo piano, suiting all ages and abilities. The piano is also frequent among
chamber ensembles (for example the piano trio and quartet),

20
The piano is a mainstay in pop, rock jazz and folk music, owing to its diversity and range. In
fact, there is strength to the argument that it is more common for a modern ensemble to
contain a piano than not.

Another key function of the piano is accompaniment. Its dual chordal and melodic nature
mean that it can be used both as a stand-alone accompaniment instrument, and as a substitute
for a larger ensemble in rehearsals or performance. As playing requires only the hands and
feet, singing and piano playing can be, and often is, done simultaneously.

It tends to be expected that all professional musicians (and the vast majority of serious
amateurs) have at least rudimentary skills at the piano.

The Organ

Aerophone Keyboards
Historic Keyboards
Singers
Today, singers are the focal point of any musical ensemble. Indeed, it is rare to see in the
charts any purely instrumental music, as lyrics are now seen as the focal point for the modern
listener.

In a score, a singer may be denoted by voice, vocals, range, character or any indication that
whose meaning is clear. It is almost always stated as to whether the voice is solo or in a group.

Common Voice Ranges

Voice ranges are divided into male and female, although there is significant overlap. Exact
ranges depend on the voice of the performer and vary considerably, and even the commonly
agreed subdivisions have varying definitions. When composing or arranging, it is usually
wise to limit vocal ranges to two octaves or less. Below is a rough guide to the main vocal
ranges used in broad-scale classical music.

Soprano
The soprano is the highest female voice. A typical soprano range is two octaves beginning at
middle C. Sopranos will always be written in the treble clef, regardless if as a soloist or in a
choir. Historically, sopranos were written in the soprano clef, i.e. a C (alto) clef with the
specified C being the bottom line of the stave. This will only be encountered in autograph
scores from before the 20th century.

Alto
The alto (or contralto) is a low range for a female voice. A typical range is a fifth lower than
that of a soprano (from F3 to F5). Modern alto parts are always written in treble clef, though
historically (as with sopranos), they were written in alto clef.

21
Tenor
The tenor is the overlap of the highest male and lowest female voices. A typical tenor section
in a choir is heavily dominated by men, as few women can access the lowest notes. A typical
range is from an octave below to an octave above middle C. When written in isolation,
modern tenor parts are written in the treble clef, an octave higher than the notes are to be
sung. More often than not, an octave clef is used to make this explicit. When written in a SATB
choir (see below), the tenors are grouped with the basses, and thus written in the bass clef,
with their notes at true pitch. Historically, tenors were written in the tenor clef, for obvious
reasons.

Bass
The bass is the lowest vocal range, with a typical range of a fourth below that of a tenor, (G2 to
G4). Basses, whether in a choir or in isolation, are always written in the bass clef.

Others
The mezzo-soprano range is situated somewhere between that of a soprano and alto, and is
nowadays written at pitch in the treble clef. Historically, the mezzo-soprano clef was used.
This was a C clef with middle C denoted to be on the second line of the stave. This is rarely, if
ever, seen in modern music.

The baritone is the most common male voice range, situated between a tenor and bass. Where
written in isolation, a bass clef is normally used, although the treble convention as used by the
tenors is also employed. Historically used was the baritone clef, of which there were two
variations, both of which can be read identically. The first is a C clef, with the denoted C on
the top line of the stave. The second is an F (bass) clef, with the denoted F being the middle
line of the stave.

Countertenors are males who can sing within the range of a soprano or mezzo-soprano. These
are incredibly rare, especially in modern music.

Children’s voices fall in the higher vocal range (alto and above) and are rarely grouped by
gender, as before puberty a boy’s vocal range will be similar to that of a girl’s. Young boys
singing high vocal parts are referred to as trebles or, occasionally, descants.

Castrati (singular - castrato) were adult males who had their testicles removed before puberty.
This resulted in their voices being unable to break, allowing them to retain their high vocal
range into adulthood. Other physiological effects also benefitted singing. The practice was
commonplace from the early 16th century, but was largely unheard of by the 19th.

Choirs
The most common form of choir is the SATB (soprano, alto, tenor, bass) choir. This is the most
common to be written in the so-called ‘short score’. In this layout, the sopranos and altos share
the top line, written in the treble clef. The tenors and basses then share the bottom line, written
at pitch in the bass clef. Any arrangement of voices in a choir can be called on to suit the

22
composers demand. Common choirs include the SSAA and TTBB (women’s and men’s choirs
respectively).

Common Voice Styles

Classical & opera
The majority of listeners’ experience of classical singing voices will be operatic voices. These
are similar in style across all broad-scale classical music, their distinguishing feature being a
fairly heavy vibrato. Classically-trained singers will be taught to sing in this style. The
characteristic vibrato is muted somewhat when in choirs, and accentuated in solo opera parts.

Jazz
The jazz voice is much more varied than the classical, and in general much more laid back. Big
band singers (such as Frank Sinatra27 and, more recently, Claire Teal28). Many jazz singers
follow mostly in this style, with some notable exceptions, namely the gravelly tones of Louis
Armstrong29. Many jazz singers will also improvise lines using a technique known as ‘scat’
singing. Ella Fitzgerald30 is the best-known example of a scat singer.

Modern pop
The modern popular voice range is far reaching, but is often characterised by the emotion
encapsulated within the voice. This can lead to a somewhat ‘moaning’ style, lacking the
strength of voices from the first half of the 20th century. Such voices can often be lost without
the assistance of amplification. There are, of course, exceptions to this, and the diversity of
modern pop voices will always span a great number of different voice types. A trend in the
last decade has been for male singers to have a very strong falsetto register.

23
Rock n Roll
Country
Others (effects)

Electronic Instruments
Electric Keyboards and Pianos
Electric Guitars
The EWI
Ethnic Instruments
Historical Instruments
Early Aerophones
Early Reed and Double Reed Instruments
Early Stringed Instruments
Early Keyboards

24
Instrument Ranges
Instrument Notated Sounding
Transverse Flute

Piccolo

Alto Flute

Bass Flute

Oboe

Cor Anglais

Bass Oboe

Oboe D’amore

Table 5 - Summary of Common Instruments by Transposition

C BB EB F G
Flute/Pic. (Bass) Clarinet Eb Clarinet French Horn Alto Flute
Recorders Sop./Ten. Alto/Bari. Cor Anglais
Saxes Saxes
Oboe Trumpet Tenor Horn

25
 (Contra)Bassoon Bb Bass Eb Bass
(Tuba) (Tuba)
Trombone Bb Trombone Eb Cornet
Euphonium/Baritone
Tuba
Strings (inc. Harp)
Piano/Organ
Guitars

Table 6 - Summary of Common Instruments by Written Clef

TREBLE BASS ALTO

Flutes Bassoons Viola
Recorders (tenor and above) Recorders (bass & below) Cello (sometimes)
Clarinets Trombones Bassoons (sometimes)
Saxophones Euphonium/Baritone
Oboes Tubas
Trumpets Cello
Horns Basses/Bass Guitars
Violin Keyboards/Harp (LH)
Guitars
Keyboards/Harp (RH)

General rules for transposing instruments:

Bb: add 2 sharps to concert key signature

Eb: add 3 sharps to concert key signature (Eb parts in treble clef can be read by C instruments
in bass clef, with the appropriate time signature addition)

F: add 1 sharp to concert key signature

G: add 1 flat to concert key signature

A: add 3 flats to concert key signature

Arrangement in a score
In a score, instruments are arranged by section, and roughly by pitch within this. Brackets are
used around several staves to indicate sections. Occasionally, sub-brackets are used to indicate
specific groups of instruments (e.g. Eb, Bb, alto and bass clarinets). Specific instruments are
always arranged in order of pitch. Some reference layouts are included below.

Layout conventions will be stated below, and apply in all situations, except where noted.
Alternate conventions will be specified.

26
Woodwinds are the topmost section in a score, and are arranged thus:

Piccolo
Flutes
Oboes
Cor Anglais
Clarinets
Bass Clarinet
Bassoons
Contrabassoon

If saxophones are used in an orchestral score, they would be placed between the clarinets and
bassoons. In a concert or wind band score, saxophones are placed below the bassoons as a
section (typically alto, tenor and baritone saxophones).

In an orchestral score, the brass section is arranged thus:

Horns (Wagner Tubas)

Trumpets
Trombones
Tuba

Horns are, by convention, placed above trumpets in a conventional orchestral score. However,
the author dislikes this arrangement, as all other sections are arranged in order of pitch. In a
concert or wind band score, trumpets are placed above the horns.

Percussion parts are next in the score. Various unpitched instruments are first. Tuned mallets
are then arranged in order of pitch, with timpani at the bottom of the section.

The strings are always the bottom-most section of the score. They are arranged thus:

Violins I
Violins II
Violas
Cellos
Bassi

If singers or a choir are employed, these are placed below the percussion and above the strings.
In opera scores, singers are sometimes placed between the celli and violas. Pianos, harps and
other auxiliary instruments are also placed in this position (above the soloist and below the
choir if applicable). A solo instrument is most often placed immediately above the strings. In
scores with no strings, choirs and/or soloists are placed at the top of the score. The rhythm
section, where applicable is often at the very bottom of the score (assuming there are no strings).
A rhythm section can be seen in almost any arrangement, but is most commonly in the following
order:

27
Guitar
Piano/keyboard
Bass
Drums

If the compiler is unsure as to arrange the instruments in an unusual instrument group, a good
start is always to arrange the instruments by section, then in order of pitch.

Some Examples
Big Band Orchestra (classical) Orchestra (modern)
(Soloist/Singers) 2 Flutes Piccolo
Alto Sax 1 2 Oboes 2-4 Flutes
Alto Sax 2 2 Clarinets in Bb/A (Alto flute)
Tenor Sax 1 2 Bassoons 2-4 Oboes
Tenor Sax 2 Cor Anglais
Bari Sax 2 Horns (various keys) (Eb Clarinet)
Trumpet 1 2 Trumpets in Bb/C 2-4 Bb Clarinets
Trumpet 2 (Alto Clarinet)
Trumpet 3 (Axillary Percussion) Bass Clarinet
Trumpet 4 Timpani (1-2 Alto Saxophones)
Trombone 1 (1-2 Tenor Saxophones)
Trombone 2 Violins I (Baritone Saxophone)
Trombone 3 Violins II 3-4 Bassoons
Trombone 4 (Bass Trombone) Violas Contrabassoon
Guitar Cellos
Keys Bassi 4-8 F Horns
Bass (4-8 Wagner Tubas)
Drums 4-8 Bb Trumpets
(Auxiliary Percussion) 3-4 Trombones
Bass Trombone
Tuba

Drum Kit
Axillary Percussion
Mallet Percussion
Timpani

(Piano)
(1-2 Harps)
(1-2 Guitars)
(Bass Guitar)

(Choir)
28
 (Soloist)

Violins I
Violins II
Violas
Cellos
Bassi

Concert Band Brass Band Marching Band

Flute/Piccolo Soprano Eb Cornet Piccolo/Flute
Oboe Solo Bb Cornet Bb Clarinet
Bassoons Bb Repiano Cornet Eb Alto Sax
Bb Clarinet 1 Bb Cornet 2 Bb Tenor Sax
Bb Clarinet 2,3 Bb Cornet 3 1st Bb Trumpet
Eb Alto Clarinet Bb Flugelhorn 2nd & 3rd Bb Trumpet
Bb Bass Clarinet Eb Solo Horn F Horn
Eb Alto Saxophone 1,2 Eb Horn 1 1st & 2nd Trombone
Bb Tenor Saxophone Eb Horn 2 Baritone
Eb Baritone Saxophone Bb Baritone 1 Tuba
Bb Baritone 2 Mallet Percussion
Bb Trumpet 1 Bb Trombone 1 Snare Drum
Bb Trumpet 2,3 Bb Trombone 2 Cymbals
F Horn 1,2 Bass Trombone Quad Toms
Trombone 1,2 Bb Euphonium Multiple Bass Drums
Baritone/Euphonium Eb Bass (Drum Kit)
Tuba (String Bass) Bb Bass
Mallet Percussion
Percussion 1 Timpani
Percussion 2 Drum Kit
Mallet Percussion Auxiliary Percussion
Timpani

29
A Brief Guide to Clefs
There are three types of clefs that denote the pitches of the lines and spaces on the stave. These
are the G, C and F clefs, so called because the placement of their defining feature (explained
below) designates the pitch of the stave. Historically, these clefs could be indicated, not by an
intricate drawing, but simply by writing the letters G, C or F at the appropriate point on the
stave.

The G clef (commonly seen as the treble clef) is seen in Figure 1. The line that the final curl of
the clef passes through denotes the placement of the G above middle C. Hence, in the treble clef,
G is on the second line of the stave. In the 17th and 18th centuries, a variation was used for violin
and flute music published in France. In this variation, G4 was denoted to be the bottom line of
the stave. This clef was known as the French violin clef an is rarely, if ever seen nowadays.

The C clef (commonly seen as the alto clef) is seen in Figure 1 - The G Clef
Figure 2. The line that passes through the centre of the clef denotes the placement of
middle C (C4). The modern variants of this clef are the alto clef, where middle C is the centre
line, and the tenor clef, where middle C is the second line from the top of the stave. Earlier
variations included the baritone clef (middle C on the top line), soprano clef (bottom line) and
mezzo soprano clef (second from bottom).

The F clef (commonly seen as the bass clef) is seen in f

Figure 3. The line that passes through the two dots of the F clef signifies the F below middle C
(F3). The only currently seen variant is the bass clef, where the F is placed on the second line
from the top of the stave. Historical variants included the baritone clef (F on the middle line)
and the sub-bass clef (top line).

The percussion, or natural, clef is used to signify that the notes on the stave have no specified
pitch. There are two variations of the percussion clef, the most oft-used seen in - The F Clef
Figure 4.

Figure 1 - The G Clef Figure 2 - The C Clef

Figure 3 - The F Clef Figure 4 - The Percussion Clef

30
Tablature
Tablature is used, commonly among those who are not musically literate, to illustrate notation
for fretted instruments. More of a diagram than a form of writing, the lines of the stave
represent the strings of the instruments. Numbers are written on the lines to represent the fret
which should be covered to play the note or chord. Rhythm is occasionally notated in stems
above the stave.

List of Common Instrumental Ensembles

Chamber
String orchestra – Violins I/II, Violas, Cellos (occasionally Bassi)

String trio – violin, viola, cello

String Quartet – 2 violins, viola, cello

Piano trio – piano, violin, viola

Piano quartet – piano, violin, viola, cello

Wind quintet – flute, oboe, clarinet, horn, bassoon

Brass quintet – 2 trumpets, horn, trombone, tuba

31
Good reference points for instruments:
Instrument Orchestral Chamber Jazz Musical Theatre Rock ‘n’ Roll Pop/ Other
Recorder Flautino Concerto Tim Ridout Wicked Fernando - ABBA
in C, RV443 -
Vivaldi
Flute Flute Concerto in D, Recorder Spain – Chick Everything Jethro Tull Flute – Thomas
KV314 - Mozart ensemble Corea Newton
stuff
Piccolo Soul Bossa Nova West Side Story Live and Let Die –
– Quincy Jones Paul McCartney
Alto Flute Rite of Spring –
Igor Stravinsky
Bass Flute Escape from East
Berlin – Daniel
Pemberton
Bagpipes It’s a Long Way Highland
to the Top (If You Cathedral
Wanna Rock and
Roll) – AC/DC
Bb Clarinet Mozart Clarinet Swing, Swing, Reviewing the
Concerto Swing – Benny Situation –
Anderson Oliver! (film
version)
Bass Clarinet Courtney Pine
Eb Clarinet
Alto Clarinet
Alto Saxophone Jess Gillam Woodwind
quintet
32
 Tenor Saxophone Kamasi
Baritone Saxophone
Soprano Saxophone Kamasi’s dad
Oboe
Cor Anglais
Bass Oboe Popular –
Wicked
Oboe D’amore
Bassoon
Contrabassoon
Trumpet
Cornet
Flugelhorn
Piccolo Trumpet
Bass Trumpet
Flumpet
Horn
Trombone
Tuba
Vioin
Cello
Double Bass
Harp

1 Rock Flute - Jethro Tull, lead flute player Ian Anderson

33
2 Bass Flute - Escape from East Berlin – Man from Uncle Soundtrack – Daniel Pemberton
3 Rock Bagpipes - It’s a Long Way to the Top (If You Wanna Rock and Roll) – AC/DC
4 Clarinet in Jazz Bands - Glenn Miller Band

5 Solo Bass Clarinet - Courtney Pine

6 Solo Bass Clarinet - Shabaka Hutchings

7 Classical Saxophone - Amy Dickson

8 Classical Saxophone - Jess Gillam

9 Baritone Saxophone - Gerry Mulligan

10 Baritone Saxophone - Leo Pellegrino

11 Bass Saxophone - Moon Hooch

12 Bass Saxophone - West Side Story – Leonard Bernstein – Orchestrations by some bloke

13 Cor Anglais - Symphony No.9 From the New World - Dvorak

14 Bass Oboe - Mars from the Planets – Gustav Holst

15 Bass Oboe - Popular from Wicked – orchestrated by those two blokes

16 Bassoon - The Sorcerer’s Apprentice

17 Contrabassoon in Jazz - The Complete 1961 Village Vanguard Recordings by John Coltrane

18 High Range Trumpet - Dizzie Gillespie

19 High Range Trumpet - Manyard Ferguson

20 Flugelhorn - Concerto de Arunjuez from Brassed Off

21 Piccolo Trumpet - Rite of Spring - Stravinsky

22 Jazz Violin - C Jam Blues – Duke Ellington – Ray Nance Solo

23 Jazz Viola - The Epic by Kamasi Washington

24 Prog Rock Harp - War of the Worlds by Jeff Wayne

25 Six Harps - Der Ring des Nibelengun – Richard Wagner

26 Coin for Guitar Pick - Brian May

27 Male Big Band Singer - Frank Sinatra

28 Female Big Band Singer - Claire Teal

29 Gravelly Jazz Singer - Louis Armstrong

30 Scat Singing - Ella Fitzgerald

34