What is wind music?
In modern music, Wind Music generally concerns any music played by Wind instruments and produces the breath of players. However, there are more than one category of wind music. Wind music less commonly concerns the music of the Earth's wind, not in breath. These tools create sound by causing the air column to vibrate. Brass lanches or "lips vibrated" tools such as trumpets and French corners are often classified as a separate family from wind instruments. Technically, lanches are aerophone subcategory because players cannot cause their lips to vibrate and create a tone on the tool without using their breath. So brass tools sometimes perform with other Woodwind tools, such as the French horn in the Woodwind quintet.
When defining wind music, musicians are considering primary instruments, not accompaniment. For example, if the composer writes a solo flute accompanied by a string quartet, the flute is a tool highlighted for virtuosity and tone. The work would therefore beand classified as wind music despite the presence of strings that are not aerophones.
wind music made with breath falls into two large categories: concert and chamber. Concert music requires too many players to play well in small rooms. Probably the best example of groups in this category are wind belts, sometimes called wind sets that can have anywhere from 25 to 100 artists and can march, depending on the type of band. Chamber music usually includes less than 10 players. For chamber wind music, solos, duets, tria, quartets and quintets, they are the most common sizes, although music for groups such as octets and double quintets.
Introducing wind music requires players to prepare their tools in a way that is not required for non -carophone tools. The primary point of view is that the tool is usually much cooler than the breath of the bondEvent, especially if the performance area of extreme air conditioning. The heat causes that the aerophones are sharp, so before the show, players literally heat their instruments by throwing it into it without holding it in their hands, at least five minutes. This helps to prevent a dramatic change in the playground while playing, as well as damage, such as cracks from a rapid temperature shift. "Heating" for Neaerophones is more about obtaining the muscles of the body, especially the fingers and mouths prepared for the movements needed in the performance.
Another perspective for wind players is to maintain the playground. Some players are capable of a technician such as circular breathing, but players can usually keep remarks if they can continue to push air from the lungs. This is not the case with Neaerophone tools. For example, a chain player can keep the playground for the entire playground if necessary, even if it has to change the direction of the bow to keep the sound running. Composers must take this into account when writing music and check that phrases are not constructedin a way that prevents good breath.
6 Since these tools rely on the wind for tonal production, their sounds are unpredictable and aleotoric, which means they are left by accident. As a result, there is really no way to fold this type of wind music, although recordings of the sounds created could be rewritten and written if necessary.