Woodwind used in a sentence

Woodwind in a sentence as a noun

Looks like the octave key mechanism on a woodwind.

At the woodwind shop I buy reeds from, it's pretty standard practice to try before you buy when looking for something new. You take a batch down to the basement and try them out on your bassoon.

I played woodwind instruments all through middle and high school. I started on the clarinet, then the alto and tenor saxophones, and the bassoon as well.

I got that from having piano and woodwind lessons simultaneously as a kid

Yep. I learned music theory in the course of learning to play single-note woodwind instruments. There's a lot of focus on scales and intervals.

Also, note that technically a Saxophone is a woodwind, not brass. I played the saxophone for half my life and it is still my favorite instrument sound wise, even though I can no longer play it due to a lung issue.

I wonder if learning to play a woodwind instrument like the recorder or melodica is good exercise for lungs and diaphragm.

I definitely prefer a cello or someone playing a woodwind. Alto sax is my personal favorite solo instrument.

That's an $11,000 woodwind instrument right there, and worth every cent if you are, or aspire to be, a professional oboist. As Erik Naggum put it: "why are we even _thinking_ about home computer equipment when we wish to attract professional programmers?

Kind of off-topic, but ironically the saxophone is probably the most optimal of the woodwind instruments. It was designed much later than the others, and so Sax was able to take the best parts of the others and avoid all the annoying bits.

Stratotune is suitable be used with instruments from the brass, string and woodwind families, including acoustic, classical and electric guitar.

This looks interesting, I like the combination of drums, synth and woodwind. I think this would be a great instrument to use if you were playing electro or other types of sampled music live as you would be able to actually play it, and not spend most of the gig standing behind a laptop and some synths.

It really shines for mallet instruments, but also brass and woodwind and even plucked sounds like acoustic guitar. By making operators react differently to velocity and other modulation changes, you can create very expressive sounds.

Don't even get me started on the totally unintuitive nature of woodwind fingerings or how they are almost totally disconnected from what's going on on the staff. In short, the relative positioning of notes on the staff is good from a tonal perspective but **** from a finger perspective on most every instrument except piano.

Not a musician, but 14 years of lessons in piano, woodwinds and percussion as a kid, and recently acquired keyboards, guitars and clarinet. Recently I started coding in a language i was sort of afraid of, haskell, and playing an instrument I was afraid of, fretless bass, at the same time. I had a "Dammit, go somewhere, do something" moment. Which reminds me that i was going to google for how string, brass and woodwind players aren't locked into equal temperament, they can intonate as they like.

Some of this applies to music and learning an instrument, especially not a woodwind, melody-only on, but a coordinating instrument like piano or other strings, especially if you are singing on top of the harmonny. Both dance and music are fundamentally about harmony, in dance you harmonize your body parts relative to each other and to the dance, and in choreographies like ballet, even more so to the other dancers, requiring exacting precision and balance.

You could arrange the pieces for one rhythm drummer and a bass drummer, move the melodic percussion to a synth keyboard, cut the brass to one trumpet, mellophone, trombone, and sousaphone, cut the woodwind to piccolo/flute, clarinet, move the double-reed parts to alto and tenor saxophones, and pare the strings down to one electric violin, move the second violin part to electric guitar, one electric cello, and electric upright bass. Then add some guys for the mixing board, and a couple of vocalists with operatic pipes.

> The whole experience made me suspect that there's an alternative approach to building modular synths, based on physical facts about sound Yamaha experimented with this in the 90s with their VL series physical modeling synths, but it never caught on, mostly I think because if you want to have convincing results, you really need alternative midi controllers like a breath controller[1] for woodwind and brass intruments. An alternative take on why physical modeling synths never really caught on is GigaSampler[2].