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well, the oboe could have been higher still to explore the "weak" range, and likewise the basson could have gone much lower to take advantage of its louder adn more pungent low notes. flute could have gone still highe to keep as much of the melody in its "strong" range.
I think I mentionned that the terms "weak" and "strong" were relative and that all the ranges were usable.
Obviously, exercise 1 was meant as a "getting to know you" exercise first and foremost.
The idea of "weak and strong" registers is more one of getting into the habit of understanding that certain instruments will have an inate strength in certain registers whereas a different instrument might not be able to compete in the same register.
This concept is particularly important when creating doublings. Both weak and strong registers can and should be used to best advantage when creating mixed timbres, however, first comes the need to understand that there ARE weaker and stronger registers for various instruments.
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"Those that know, do;
Those that understand, teach."
-Aristotle-
"toute audace engendrée par l'ignorance cesse d'être une audace et devient une maladresse"
-Debussy-
In musical criticism, when issues of craft and technical consideration are set aside, what remains is more subjective. However, until technical issues are dealt with, the subjective portion bears considerably less weight.
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