A Brief Guide To The Modern Orchestra: Instrumentation

by Artemus

History

The orchestra as you see and hear it today has quite a history behind it; it has evolved,
grown, and shrunk over time according to advancement in both technology and music. In the grand
scheme of music and it's history, the establishment of the western orchestral ensemble can be
considered modern in itself. Some assembly of the orchestra can be found during the sixteenth
century where parts were scored for multiple instruments and divided up (usually the string choir)
yet specific instrumentation was rarely given. This was due to the availability of musicians from
place to place; ensembles would vary and it was necessary to dish out the necessary parts promptly.
It wasn't until the 18th century that the orchestra began forming when Bach experimented with lots
of orchestral instrument combinations and started scoring them. Although he wasn't the first, his
musical prestige helped the advancement of writing for specific instrumentation. Composition was
predominantly focused on the string family and it was not until the time of Mozart, when ensembles
became more of a permanent mainstay of musical performances outside of the opera and an
orchestra was considered an established larger ensemble consisting of three families: strings,
woodwinds, and brass. This, together with the development of music leading up to the Classical
period, and the influence of the Mannheim school which developed dynamics and homophonic
textures, lead the way to the established orchestra that resembles the orchestra of today. Woodwind
instruments became standardised and took greater precedence.

As the orchestral ensemble became more established, the musicianship of its members
improved meaning that the orchestra could become a medium for more complex music. New
techniques, the inclusion of new or improved instruments and the daring of forward thinking
composers, lead to the expansion of the orchestra and its possibilities. Perhaps the most crucial
advancement came about in the 19th century when the valve was invented, allowing chromaticism of
the horns and trumpets. This development meant that the brass became more prominent and, with
the inclusion of the tuba, became an important choir of the orchestra. Prior to the valve, horns and
trumpets could only play notes of their harmonic series although various crooks of different length
could be appended to a single instrument to enable its use in different keys. Larger and larger
orchestras were called for, especially with the influence of Wagner and Berlioz. In response to this
bloating of the orchestra, later composers such as Debussy and Ravel realised a more moderate-
sized, yet virtuoso, orchestra where diversity in texture and combinations of different timbres of the
instruments could be exploited. This development of the orchestra at the turn of the 19 th century was
solidified over the course of the 20th century giving us the standard that we have today.

The Families

The orchestra comprises of four instrument families, or choirs; strings, woodwinds, brass,
and percussion. The hierarchy of the ensemble begins with the conductor. Although there have been
examples in history of conductorless orchestras, with varying degrees of success, the entire
orchestra is lead by a conductor who dictates the pace and guides the entry of instruments in
relation to passages in the music as well as shaping the music to their interpretation. Besides the
conductor, each section has its own leader. The string section is divided into two: the first (primo)
and second (secondo) violins, each with their own leader. Below the conductor, the leader of the
first violin section is often considered the leader of the orchestra as well as the string section. The
principal oboe is the leader of the woodwind, whilst the principal trumpet is regarded as the leader
of the brass section. The lower brass section (trombones, euphonium, tubas) are lead by the
principal trombone. The principal of each section often have assistants who can help, especially for
the horns, in doubling up the principal or take the principal's part leading up to solos.
 Sound is perceived in a number of ways including how loud it is, where it is coming from,
the kind of sound it is (timbre) as well as how high or low is it. The latter quality is called “pitch”
and its variation is the essence of melody in music. For performances, instruments are usually tuned
to “concert pitch”, which is generally accepted today as 440Hz (the frequency) for the note A above
middle C. This has not and is not always the case though. This standard is also necessary due to the
convention of transposing instruments, whose parts are transposed in different keys, e.g. a Bb
instrument playing a C as written would produce a Bb flat at concert pitch.

There are a couple of reasons that such instruments are transposed in different keys. These
instruments have become standardised by convention through historical development. For example,
the horns of the Classical period, prior to the valve or use of crooks, were in F. With the advent of
chromaticism achievable with valves it was simpler to have the horns remain in F than to transpose
centuries of music. Transposing instruments also came about from the desire to maintain fingering
amongst instruments of the same family and so, due to their different ranges, different keys were
assigned. However, the most important reason for the existence of transposing instruments is their
tone. Rebuilding an instrument to a different key or non-transposing instrument alters the way they
sound – their quality, or timbre. Transposing instrument sound best in the keys for which they are
built.

The modern symphony orchestra usually consists of the following instruments and numbers:

String Section:
1st Violins 16 – 18 players
2nd Violins 14 – 16 players
Violas 10 – 12 players
Cellos 10 – 12 players
Double basses 8 – 10 players

Woodwind Section:
Piccolo
2x Flutes
2x Bb Clarinets and Eb Bass Clarinet
English Horn
2x Oboes
2x Bassoons
Contrabassoon

Brass Section:
3x Trumpets
4x F Horns
2x Tenor Trombones and Bass Trombone
Euphonium
Tuba

Percussion:
Timpani, Snare Drum, Bass Drum, Tenor Drum
Cymbals, Woodblock, Triangle, Tambourine, Chimes, Tubular Bells
Glockenspiel, Xylophone, Vibraphone
Strings

The string section is composed of four instrument sections. The orchestral sections are often
referred to as choirs stemming from the organisation of the sounds, or rather the pitch range, of the
different sections – from higher to lower: soprano, alto, tenor, and bass. The equivalent sections of
the strings are divided into violins, violas, cellos, and double basses, with the violin section itself
divided into two sections. The string section of the orchestra was the first to become established and
its precedence stems from a number of factors such as the huge pitch and dynamic range, the variety
of articulations possible, and their continuity, i.e. a musician of the violin family can play without
rest whereas those of the woodwinds and brass cannot play continuously without fatigue, especially
at the extremes of the instrument ranges.

The violin family is so called due to the similarity in construction of the different
instruments. Other than their size and corresponding sounds and ranges, they are nearly identical to
each other consisting of the similar shaped hollow body and neck/fingerboard, with four strings
tuned in fifths, except for the double bass which is tuned in fourths. The following shows the
tunings and the ranges of each instrument.

Violin:

Tuning

Range

Viola:

Tuning

Range
Cello:

Tuning

Range
 Bass:

Tuning

Range

The violin family instruments are nominally played using a bow, drawn across the strings to
create the sound, although there are many different methods of bowing that produce different
effects. Other articulations are possible without the use of the bow too, but more on this later. Most
importantly it is necessary to appreciate the way in which the instruments of the violin family are
played, in particular the bowing and phrasing of passages.

Down-bow is the stroke from the frog end (the gripped end of the bow) to the tip and the up-
stroke is the reverse. Bowing considerations are important for unity between the strings and can
greatly influence the music's character. The tempo and dynamics of passages are key in decisions
made regarding the bowing directions. Generally, non-legato passages require changes in bow
direction with each note (détaché), whilst legato passages are played with one long bow movement.
Double down or up bow movements can be required depending on the attack of the notes and the
desired effect. Sustained notes will require change in bow direction but whether the note starts with
an up or down bow movement should be decided by the tempo and the required attack on the note
following it. It is also important to realise that a natural crescendo occurs when performing an up-
stroke and vice versa. Equally important for the consideration of bowing and legato passages are the
dynamic and tempo; the speed and pressure of a bow movement dictates the dynamics, quicker
equating to louder, which limits the amount of notes that can be slurred together in one bow
movement. It is also worth remembering that the cello and double bass bows are slightly shorter
than those for the violin and viola.

The predominant sound of the strings in orchestral music also stems from the variety of
different sounds that can be achieved with the strings. The string instruments can all perform a
plethora of different articulations, some examples of which I shall very briefly list.
• Portato – separated notes but with a legato stroke; tenuto like
• Staccato – very short articulation (for moderate tempo)
• Marcato – heavy accent like sforzando; separated notes but the bow remains on the string
• Spiccato – staccato where the bow lightly bounces on the string
• Saltando – like spiccato for fast, piano passages where the wrist controls the bow's bounce
on the string
• Jeté/richochet – a rapid succession of notes achieved by “throwing” the bow at the string for
a bounced effect
• Tremolo (bowed/fingered/undulating) – a sustained and regular rapid succession of notes
• Flautando – a soft tone produced by bowing near the fingerboard
• Sul ponticello – effect achieved by playing at or close to the bridge
• Col legno - using the wooden part of the bow; tratto – bowing action; battuto – bouncing
action
• Pizzicato – plucking of the strings; also left hand pizzicato and snap pizzicato (popping the
string against the fingerboard); arpeggiated pizzicato which is like a strum action
 There are a number of other effects that can be achieved, particularly con sordino, that is, the
use of a mute which is fixed to the bridge and natural as well as artificial harmonics can be created.

Before composing and scoring for an orchestra, it is helpful to begin by studying some string
chamber music and examples of how the string section is utilised. One of the greatest advantages of
the string section apart from the variety of articulations, range, and dynamics is that it is the largest
section of the orchestra in terms of musicians. Therefore, it is common to see “divisi” - the dividing
of parts between different sections of the string family. The violin family instruments are able to
play double-stops, that is, two notes on adjacent strings simultaneously. Triple-stops are also
possible for louder passages and quadruple-stops can be performed by quickly arpeggiating across
the strings. However, parts are often divided up between the instruments of each section by the
“inside” and “outside” musicians on the same stand taking respective parts, or dividing by stand (da
leggii).

In studying the string section and composing for it, it is useful to understand the timbres of
each instrument and the sounds of their different registers. The instrumental sections of the violin
family have all become important and equal to the first violin section. Registers overlap and it is
helpful to study these to build knowledge of the palette available for different textures. However,
this is beyond the scope of the introductory article.

The volume of the violin family can make it easy to overlook another member of the string
family which is used a great deal, a single instrument that has a range of over six octaves: the harp.
Although it has endured some changes over the years, the commonly used harp consists of 47
strings tuned in Cb major. The pedals can raise the tuning by one semitone or by one tone and each
pedal is responsible for one note over all octaves. A harpist plays by plucking the strings with all
except the little fingers and one hand can stretch to a tenth easily. A commonly heard technique on
the harp is the glissando. In notation, this is directed by specifying the start and end note and the
tuning of the harp. The harp can also perform harmonics, however, they are very quiet.

Woodwinds

Where the string choir has been described as having a homogeneous sound across its range
of instruments, the woodwind has the most diverse, heterogeneous collection of instruments. There
are several classifications of the woodwind instruments; by their family, the kind of reed they use,
their pipe shape, and whether they are transposing instruments.

The following families consist of the listed instruments:

• Flute family (non-reeds): piccolo, flute, alto flute, bass flute
• Oboe family (double reeds): oboe, oboe d'amore, English horn, heckelphone, bassoon,
contrabassoon
• Clarinet family (single reed): clarinets, alto clarinet, bass clarinet, contrabass clarinet,
bassett horn
• Saxophones (single reed): sopranino, soprano, alto, tenor, baritone, and bass saxophones

All these instruments possess unique timbres but some are more ubiquitous throughout
classical music than others and it is only these that I shall discuss here. The most commonly used
instruments of the woodwind section include the flute, oboe, bassoon, clarinet, and bass clarinet.

The are a number of colours and articulations common to these instruments, including
vibrato, legato and staccato phrasing, where staccato notes can be made by cutting of the breath (air
supply) to the instrument or “tonguing” (using the tongue to stop air flow). For faster passages,
double or triple tonguing can be performed. A similar effect to the violin tremolo can be
accomplished with a technique called “fluttertongue”. This is usually achieved by a rapid roll of the
tongue whilst blowing, similar to rolling ones “R's” but without employing the vocal chords. Some
of the woodwinds can play a muted effect by stuffing a cloth at the opening (obviously not the
flutes). There are also a number of other special effects that have seen use in more contemporary
writing, such as whistletones on the flute, key clicking sounds, non-tone/note articulation (i.e just
breathing into the instrument). These peculiarities are not so common but they are worth
mentioning.

Flutes
Range:

The sound of the flute has a very breathy, lyrical quality stemming from the method with
which it is played – it is the only woodwind instrument that is not played with a reed. The lowest
note that can be played is the C, however, flutes with a “B-foot” are able to play the B natural
below. From the lowest note to the G above is the lowest register and it has a fairly weak but
resonant quality. The next register to the G an octave above has a melodic quality but, again, does
not carry very well. The next octave is the highest register which has a clear brilliance that can carry
well. Above this G, notes can be quite strenuous to produce and the sound becomes quite piercing
and shrill. Since the instrument requires quite a good deal of “puff” it is worth remembering to give
rest periods to the instrument and be cautious when composing longer, sustained passages.

The piccolo is an octave transposing flute and can often be used in doubling up with the
flutes. Naturally, it's sound carries forward the higher registers of the flute and extends its range an
octave higher, so it can be very piercing. Although, it's lower registers have a mellow tone and
similar to the flute, does not carry as well as the higher registers. Besides the piccolo, the alto and
bass flutes can be used to complete the flute family as an integral choir, however they are not so
commonly called upon.

Oboes
Range:

The oboe is a double reeded instrument and possesses a very unique, characteristic sound. It
produces quite a “reedy” sort of sound and I believe that, of all the woodwind instruments, it has a
quality that is the most descriptive of a “wood-wind” instrument. Overall, oboe passages can have a
beautiful, melancholic sound. Its lower register from the Bb to the F above it has a rather thicker
texture and can be a little unstable, but its middle register from the G to the A an octave higher, has
the most warmth. The upper register is a little thinner but its sound is very clear.

Due to the double reed, the instrument is very responsive, demanding quite a lot of control
on the part of the musician; there is tendency for it to honk and squeak by lesser able musicians.
Although, the extra sensitivity means that a good oboe player can sustain notes for longer than a
flautist, but it is worth giving equal consideration for rest periods.
 Single tonguing technique can also be used for staccato effect, but double or triple tonguing
are rarely called for and are not advisable. Trills and tremolos are also possible but capabilities vary
considerably with the instrument model.

There are auxiliary members of the oboe family that can extend the range downwards such
as the heckelphone and baritone oboe, but these are rarely used. However, a relation of the oboe
called the English Horn is worthy of mention since is slightly more common place and has a more
subdued, sombre, sonorous quality. It is considered the alto instrument of the oboe family. Its name
is a bit of a misnomer; it is neither English nor resembles anything from the horn family. It is a
transposing instrument, sounding a fifth below what is written (an F instrument).

Bassoon/Contrabassoon
Bassoon range:

Contrabassoon range:

The bassoon is also a double reeded instrument but it is not classed as a member of the oboe
family due to it different timbre. Its sound has a more wooden, open texture but it can have just as
much expressive quality as the oboe. However, its resonance can get lost when played in
combination with other instruments – its sound tends to get “lost in the mix”. Despite this, it's
extreme registers have quite unique tones; the lower register (Bb to G above it) with its brooding
richness and its higher register (D an octave higher and above) with its thin, clear intensity.

Single tonguing can be used for staccato, but similar to the oboe, double and triple tonguing
are rarely used. Trills can be performed but it is not recommended to score them in the lower
register and tremolos are not generally called for. It is also worth remembering that the dynamics of
the lower register can only be effectively loud and the upper register is quite quiet.

The bassoons counterpart for extending the range downwards is the contrabassoon and is
similar in most respects, especially regarding its lower range of notes; they are sonorous and they
require a particularly considerable amount of “puff” power. Their tonal quality is often used to
solidify passages in doubling with the cello and/or double basses. Due to the amount of breath
required, staccato articulation should not be expected.

Clarinets/Bass Clarinet
Bb Clarinet range:
Bass Clarinet range:

The clarinet is a single reeded instrument and the fingering system is the same for all
instruments of the clarinet family – a clarinet player is able to play the Bb, A or bass clarinet etc. by
simply switching instrument and playing as written. Unlike the other woodwind instruments, whose
tonal character changes depending on the register played, the clarinet's tone is maintained across its
entire range. Also, the dynamic range is greatest and least limited on the clarinet. The clarinet's tone
is best described by its name “clarinet” which comes from the Italian word, “clarinetta”, meaning
“little trumpet”. It's tonal character is quite mellow and perhaps sultry.

Clarinets can be found to play in unison or play completely different parts and all the
articulations and techniques previously described are possible. One particular technique that the
clarinet can perform effectively is an upward microtonal glissando (such as can be achieved on a
violin or trombone). The best and most famous example of this can be heard in the beginning of
Gershwin's Rhapsody In Blue.

Although there are a number of auxiliary instruments of the clarinet family that can extend
the ranges of the clarinet, the most commonly used is the bass clarinet which is usually a Bb
instrument. Extensions can sometimes be used to produce a low C (sounding Bb in concert pitch)
but this is not always available and so the range should generally be considered as going from the
low E (concert pitch Db). The tone quality is richest in its lower registers, with a sinister or
mysterious sound.

Brass

As mentioned at the start of this article, the brass section came to the fore during the
Romantic period and Beethoven with the development of the valve which allowed chromaticism.
Before this, the brass instruments relied on the overtone series and were mainly used as a textural
device rather than one for carrying melody. The tables have turned somewhat and now the brass
section provides some of the most powerful sounds and many different textures; they can sound
ferocious and intimidating; they can give a sense of foreboding or laudation, or they can sound regal
and majestic. Their development since becoming an integral choir of the orchestra has perhaps been
the most significant.

The sounds of the brass instruments are made by “blowing raspberries” into a mouthpiece.
This works in the same way that the reeded woodwinds do where the lips, or embouchure, acts like
the vibrating reeds. Due to this, similarities in phrasing, range/register characteristics, and
articulation are similar; most of the articulations such as tonguing can be performed on the brass
instruments. Rest periods are recommended especially after demanding a brass instrument to play at
one of the extremes of their range – not only do brass instruments require a bit more breath, the lips
and muscles of the mouth are used to their full extent. Also important is the dynamic possibilities of
the instruments. Higher registers can be strenuous and cannot realistically play quietly. Articulations
of particular note are the sforzando or forte-piano where the dynamics can quickly and drastically
be altered such as a loud burst that immediately dies down. Dynamic consideration is crucial when
writing for the brass section in conjunction with the rest of the orchestra – their ability to overpower
the orchestra must be realised. Another factor of the brass is the use of mutes; they not only reduce
the dynamics of a brass instrument but also change their tone.
 The horns and trumpets are transposing instruments whereas the trombones and
tuba/euphonium are non-transposing.

Horns

The horns are the original member of the brass in the orchestra and come in two flavours:
the natural horn and the valved horn. The valved horn is now the standard of the modern day
orchestra and is the only type I shall discuss here. The range is vast as illustrated below.

The pedal notes can be difficult to execute and discretion is advised in scoring parts using
them or writing faster passages in the lower register. Sustained passages in the higher register
should also be avoided if possible, or at the very least should be accompanied with enough rest
periods. The lower half of the range sounds deep and resounding, the middle register has that “hero”
sound and the upper register has a clear brilliance to it. The four horns in an orchestra are normally
divided into pairs, one pair to take the lower parts, the other the higher parts. Large interval leaps
and extreme jumps into different registers should be avoided as well as fast runs that are not
idiomatic.

The sound of the horns can be altered in many ways with the hand that protrudes the bell or
with manufactured mutes that can be inserted. The horn can also perform nuances such as a “rip”
that is a rapid ascent to a note through the overtone series or playing “cuivré” by blowing harder
with more lip tension in order to vibrate the metal, or “bouché” which is playing with the hand
stopped into the bell.

Trumpets

Of the trumpet family, there are many varieties such as the piccolo trumpet, the trumpet in
C, D and Bb, the bass trumpets, the cornet, and the flugelhorn. However, we will concern ourselves
only with the trumpet here. The C and Bb tend to be employed in today's orchestra over the F
trumpet which was used in earlier classical music due to balance – the F trumpet, although,
resounding, can carry the sound too much. The range for the C trumpet is shown below

Although some players are able to play higher than this, the high C should remain the limit when
composing and scoring parts of trumpet. It is the soprano member of the brass. Below the low C the
sound can be a little dull, but the remaining registers have a very clear and brilliant sound that can
cut through the orchestra very effectively (too effectively if one is not careful). The middle register
offer the safest region of playing with the greatest amount of control achievable. It is a bright
instrument and quiet dynamics are not easy but are manageable by more able trumpeters. Naturally,
the highest register cannot be played quietly. Staccato articulations are most forthcoming on the
trumpet and it can be considered one of the most agile instruments of the brass sections.
Trombones

The trombone is a valveless brass instrument. Pitch is altered by adjusting the length of two
connected U-shaped tubes. The present day orchestra usually uses two tenor trombones and a bass
trombones, however, the alto trombone has made appearances and one should be aware of its usage.

The sound of a trombone is a very strong, earthy tone that can be majestic or sonorous or
sombre depending of the quality required and the dynamic used. It is possible for notes higher than
the Bb to be played but it is very difficult and should not be expected of all trombone players. The
bass trombone is pitched much the same as the tenor trombone, however, it has a slightly different
quality from its larger bore and bell size. Its lowest notes resound much stronger than those of the
tenor trombone.

Single, double and triple tonguing are all possible but are more difficult to execute
articulations than on the trumpet due to the larger mouthpiece and these articulations are not as
effectively in the lower register. A characteristic that is unique to the trombone amongst the brass is
its ability to perform a natural (microtonal) glissando up or down. This technique has become a
little too common though and its use should be done in taste.

Tuba

The tuba is a relatively new addition to the orchestra, first employed (and conceived) by
Wagner. It was to support the horns and provide the bass for the trumpets and trombones. A whole
family of tubas were used in his composition The Ring, but outside of Wagner's music, the need for
an entire family of tubas is rarely required. The C and double Bb tubas are the most commonly
found instruments in the orchestra nowadays. They are non-transposing instruments – the
classifications refer to the instrument range, not key.

Despite some sluggishness in the extreme lower range, the tuba can be quite agile and
produce a good dynamic range but, again, consideration must be made for rest periods due to the
amount of breath required to play this, the largest instrument of the brass family. The instrument has
been stereotyped from its use in military and festival brass bands but the instrument can in fact
produce very lyrical, melodic sounds as well as a blended support for the orchestra. Whilst double
and triple tonguing or fluttertongue techniques are rarely found for the tuba due to the large
mouthpiece and looseness required of the lips, that is not to say these techniques are impossible –
just not usual. Wagner's tenor tuba tends to be replaced by an instrument related to the tuba called
the euphonium, although it is not the most commonly called for instrument. Its range is the same as
the bass trombone.
Percussion

The use of percussion in the orchestra and classical music is actually a recent addition. Very
little percussion was used in the seventeenth and eighteenth century. With its increasing usage in
orchestral music, however, there has been an increase in the number of different percussion
instruments utilised. Therefore, I will not begin to describe all the percussive instruments used; it
would be like trying to describe all the implements one can find in a kitchen.

The instruments can be grouped into the following classifications though, with classification
being subdivided into those of definite or indefinite pitch.
• Idiophones – sounds produced by the vibration of its entire body, usually through striking.
e.g. triangle, chime, wood block, cymbals and gongs, bells, vibraphone, xylophone, celesta
• Memranophones – aka “drum”sound produced by the vibration of a membrane when struck
e.g. timpani, snare and bass drum, bongos, tambourine, tabla, cuica
• Chordaphones – produce sound by vibration of a string when stuck and are all tuned
e.g. cimbalom, dulcimer (technically piano, harpsichord, and guitar are examples)
• Aerophones – produce sound when wind blown through it like woodwind and brass
e.g. whistles, siren

The most important and long-standing percussion instrument of the orchestra are the timpani
and they are sometimes considered separate members of the orchestra. There are usually four
timpani used to cover the ranges; 30'', 28'', 25'', 23''. These drums can be tuned which used to be
done prior to a performance, making available only certain pitches. Nowadays, a foot pedal allows
the pitch to be changed quickly and easily so that all pitches can be available during a performance.
They are the most versatile percussion instrument – they can be struck with various different
mallets to produce different sounds and notes can be played singly or they can be rolled, even
glissandi can be performed. Also, the dynamic range is vast from a delicate pianissimo to a
thunderous fortissimo. The next most commonly heard membranophones are the snare drum and the
bass drum.

Pitched idiophones that are commonly used include the xylophone, vibraphone, and
glockenspiel. The xylophone was the first mallet idiophone to became a permanent orchestral
resident. It consists of a series of wooden blocks which are arranged and tuned in a keyboard form,
spanning four octaves and the notes of the wooden bars are amplified through a resonator. The
sound is unmistakeable, often used as the sound synonymous with a comical skeleton, or how it
would sound if you played a tune using the Grim Reaper's ribcage. Closely related to the xylophone
is the marimba but the sound is deeper. Similar to the xylophone in construction is the glockenspiel,
its essential difference being that the bars are made of metal instead of wood, creating a completely
different sound – like that of a music box. The sound carries so well, it can be heard over the
orchestra playing tutti (all instruments together). The sustain is longer than the xylophone or
marimba. Vibraphones are similar to the glockenspiel but they have a motor that can add a vibrato
to the notes played. Also common are orchestral chimes, which are a set of cylindrical metal tubes
that are pitched. They are often called tubular bells.

The orchestra is the most expansive and diverse musical ensemble in western music and,
although the key instrumentation that makes up the core of the orchestra have been discussed here,
there are many aspects of the instrumentation and the various families that I have not mentioned.
The best starting place to appreciate orchestration and its instrumentation is by listening and
identifying elements of music spanning from Baroque through to present day film scores. However,
extensive literature is available on the subject for further reading and composers have made
example of particular instruments through their works. To begin with, listen to Prokofiev's Peter
And The Wolf, Saint-Saen's Carnival Of The Animals and Britten's Guide To The Orchestra.