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The word is indeed often used to describe a similar effect produced by alternative fingerings of the same pitch on woodwind instruments.
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Do you think of this as different to an enharmonic trill so beloved of the ECM Sax fraternity ? (I used to know someone who had programmed his reverb with a setting called "Garbareks Bathroom")
It used to be the case that some British orchestras would employ "rank and file" violinists, who would take turns between Firsts and Seconds, changing between concerts/programmes. I don't know how widespread this practice ever was or if it still exists.
Not sure what the situation is in Quartets - I think most have permanent First and Second "chairs".
In most (by no means all) orchestras someone is employed as a first or a second violinist and stays there. If a place becomes vacant there will be auditions, which of course existing orchestra members can compete in, if it involves a step from seconds to firsts, or from rank and file to principal or co-principal of the section. String quartets are a bit different. Most stay in the same order permanently. Others (the Emersons being a prominent example) exchange violinists for different pieces in a programme.
Thanks for the replies. No doubt the same applies to woodwind. But brass seem somewhat different, especially the horn sections. I'm never sure who's leading them. Perhaps it doesn’t matter
Thanks for the replies. No doubt the same applies to woodwind. But brass seem somewhat different, especially the horn sections. I'm never sure who's leading them. Perhaps it doesn’t matter
With horns, you ought to expect two types (I can almost hear the wrath of our horn players rumbling away). There are those that are more 'expert' in the upper range, and those good at grumbling in the depths. The former will usually be horns 1 & 3, the latter, horns 2 & 4.
There won't be a section leader comparable to the case with the violins. The principal horn will no doubt have a preference as to seating (1 & 3 in front. 2 & 4 behind?).
[Addendum: See my follow-up article to this, ‘The insidious class divide in music teaching’, The Conversation, 17 May 2017] An article in The Guardian by Charlotte C. Gill (̵…
[Addendum: See my follow-up article to this, ‘The insidious class divide in music teaching’, The Conversation, 17 May 2017] An article in The Guardian by Charlotte C. Gill (̵…
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