Clarinet in the context of "Glenn Miller Orchestra"

An orchestra (/ˈɔːrkɪstrə/ ; OR-ki-strə) is a large instrumental ensemble typical of classical music, which combines instruments from different families. There are typically four main sections of instruments:

• The string section, including the violin, viola, cello, and double bass
• The woodwind section, including the flute, oboe, clarinet, bassoon, and occasionally saxophone
• The brass section, including the French horn (commonly known as the "horn"), trumpet, trombone, cornet, and tuba, and sometimes euphonium
• The percussion section, including the timpani, snare drum, bass drum, cymbals, triangle, tambourine, tam-tam and mallet percussion instruments

Other instruments such as the piano, harpsichord, pipe organ, and celesta may sometimes appear in a fifth keyboard section or may stand alone as soloist instruments, as may the concert harp and, for performances of some modern compositions, electronic instruments, and guitars.

In music, timbre (/ˈtæmbər, ˈtɪm-, ˈtæ̃-/), also known as tone color or tone quality (from psychoacoustics), is the perceived sound of a musical note, sound or tone. Timbre distinguishes sounds according to their source, such as choir voices and musical instruments. It also enables listeners to distinguish instruments in the same category (e.g., an oboe and a clarinet, both woodwinds).

In simple terms, timbre is what makes a particular musical instrument or human voice have a different sound from another, even when they play or sing the same note. For instance, it is the difference in sound between a guitar and a piano playing the same note at the same volume. Both instruments can sound equally tuned in relation to each other as they play the same note, and while playing at the same amplitude level each instrument will still sound distinctive with its own unique tone color. Musicians distinguish instruments based on their varied timbres, even instruments playing notes at the same pitch and volume.

A wind quintet, also known as a woodwind quintet, is a group of five wind players (most commonly flute, oboe, clarinet, French horn and bassoon).

Unlike the string quartet (of 4 string instruments) with its homogeneous blend of sound color, the instruments in a wind quintet differ from each other considerably in technique, idiom, and timbre. The modern wind quintet sprang from the octet ensemble favored in the court of Joseph II in late 18th century Vienna: two oboes, two clarinets, two (natural) horns, and two bassoons. The influence of Haydn's chamber writing suggested similar possibilities for winds, and advances in the building of these instruments in that period made them more useful in small ensemble settings, leading composers to attempt smaller combinations.

Woodwind instruments are a family of musical instruments within the greater category of wind instruments.

Common examples include flute, clarinet, oboe, bassoon, and saxophone. There are two main types of woodwind instruments: flutes and reed instruments (otherwise called reed pipes). The main distinction between these instruments and other wind instruments is the way in which they produce sound. All woodwinds produce sound by splitting the air blown into them on a sharp edge, such as a reed or a fipple. Despite the name, a woodwind may be made of any material, not just wood. Common examples of other materials include brass, silver, cane, and other metals such as gold and platinum. The saxophone, for example, though made of brass, is considered a woodwind because it requires a reed to produce sound. Occasionally, woodwinds are made of earthen materials, especially ocarinas.

A transposing instrument is a musical instrument for which music notation is not written at concert pitch (concert pitch is the pitch on a non-transposing instrument such as the piano). For example, playing a written middle C on a transposing instrument produces a pitch other than middle C; that sounding pitch identifies the interval of transposition when describing the instrument. Playing a written C on clarinet or soprano saxophone produces a concert B♭ (i.e. B♭ at concert pitch), so these are referred to as B♭ instruments. Providing transposed music for these instruments is a convention of musical notation. The instruments do not transpose the music; rather, their music is written at a transposed pitch. Where chords are indicated for improvisation they are also written in the appropriate transposed form.

For some instruments, a written C sounds as a C but is in a different octave; these instruments are said to transpose "at the octave". Pitches on the double bass sound an octave lower than written, while those on the piccolo and celesta sound an octave higher, and those on the glockenspiel sound two octaves higher.

Dreimal sieben Gedichte aus Albert Girauds "Pierrot lunaire" ("Three times Seven Poems from Albert Giraud's 'Pierrot lunaire'"), commonly known simply as Pierrot lunaire, Op. 21 ("Moonstruck Pierrot" or "Pierrot in the Moonlight"), is a melodrama by Arnold Schoenberg. It is a setting of 21 selected poems from Albert Giraud's cycle of the same name as translated into German by Otto Erich Hartleben.The work is written for reciter (voice-type unspecified in the score, but traditionally performed by a soprano) who delivers the poems in the Sprechstimme style accompanied by a small instrumental ensemble. Schoenberg had previously used a combination of spoken text with instrumental accompaniment, called "melodrama", in the summer-wind narrative of the Gurre-Lieder, which was a fashionable musical style popular at the end of the nineteenth century. Though the music is atonal, it does not employ Schoenberg's twelve-tone technique, which he did not use until 1921.

Pierrot lunaire is among Schoenberg's most celebrated and frequently performed works. Its instrumentation – flute, clarinet, violin, cello, and piano with standard doublings and in this case with the addition of a vocalist – is an important ensemble in 20th- and 21st-century classical music and is referred to as a Pierrot ensemble.

Dave Tarras (c. 1895 – February 13, 1989) was a Ukrainian-born American klezmer clarinetist and bandleader, who was instrumental in the Klezmer revival.

Sidney Beckerman (1919–2007) was an influential klezmer clarinet player. He learned the style from his father Shloimke, who was himself a well known klezmer soloist.Sidney played Jewish weddings and celebrations in New York City and the Catskills throughout the 1930s. After World War II ended, he returned to New York and started working for the US Postal Service.

Upon his retirement in 1982, he was convinced by fellow klezmer musician Pete Sokolow to join the band Klezmer Plus!. A recording of this band in 1989 (with Howie Leess) was named an Outstanding Folk Recording by the Library of Congress

Heinrich Joseph Baermann (also spelled Bärmann; 14 February 1784 – 11 June 1847) was a German clarinet virtuoso of the Classical and Romantic eras who is generally considered as being not only an outstanding performer of his time, but highly influential in the creation of several important composers' works for his instrument.

Benjamin David Goodman (May 30, 1909 – June 13, 1986) was an American clarinetist and bandleader, known as the "King of Swing". His orchestra did well commercially.

From 1936 until the mid-1940s, Goodman led one of the most popular swing big bands in the United States. His concert at Carnegie Hall in New York City on January 16, 1938, is described by critic Bruce Eder as "the single most important jazz or popular music concert in history: jazz's 'coming out' party to the world of 'respectable' music."

The clarinet family is a woodwind instrument family of various sizes and types of clarinets, including the common soprano clarinet in B♭ and A, bass clarinet, and sopranino E♭ clarinet.

Clarinets that aren't the standard B♭ or A clarinets are sometimes known as harmony clarinets. There are many differently pitched clarinet types that may be grouped into sub-families, but grouping and terminology vary; the list below reflects popular usage.

A soprano clarinet is a clarinet that is higher in register than the basset horn or alto clarinet. The unmodified word clarinet usually refers to the B♭ clarinet, which is by far the most common type. The term soprano also applies to the clarinets in A and C, and even the low G clarinet—rare in Western music but popular in the folk music of Turkey—which sounds a whole tone lower than the A. Some writers reserve a separate category of sopranino clarinets for the E♭ and D clarinets, while some regarded them as soprano clarinets. All have a written range from the E below middle C to about the C three octaves above middle C, with the sounding pitches determined by the particular instrument's transposition.

Orchestral composers largely write for soprano clarinets in B♭ and A. Clarinets in C were used likewise from the Classical era until about 1910. Wolfgang Amadeus Mozart also called for clarinets in B♮ when writing in keys with many sharps (e.g. the E major arias in Idomeneo and Così fan tutte), but this became obsolete far sooner. There have also been soprano clarinets in C, A, and B♭ with curved barrels and bells marketed under the names Saxonette, Claribel, and Clariphon.

Concert pitch is the pitch reference to which a group of musical instruments are tuned for a performance. Concert pitch may vary from ensemble to ensemble, and has varied widely over time. The ISO defines international standard pitch as A440, setting 440 Hz as the frequency of the A above middle C. Frequencies of other notes are defined relative to this pitch.

The written pitches for transposing instruments do not match those of non-transposing instruments. For example, a written C on a B♭ clarinet or trumpet sounds as a non-transposing instrument's B♭. The term "concert pitch" is used to refer to the pitch on a non-transposing instrument, to distinguish it from the transposing instrument's written note. The clarinet or trumpet's written C is thus referred to as "concert B♭".