Portland Youth Philharmonic

Instrumental demonstrations prepared by the sections of the Portland Youth Philharmonic. These are done annually by the members of the orchestra for PYP’s children’s concerts, during which we perform for 10,000 schoolchildren at the Arlene Schnitzer Concert Hall.

Flutes 1:49 Oboes 2:47 Clarinets 3:47 Bassoons 4:46 Low Brass 5:49 Trumpets 6:26 Horns 7:26 Percussion 8:25 Harp 9:34 Piano 10:24 Double Bass 11:06 Cello 12:26 Viola 13:36 Violin 14:30 May 3, 2015 PYP Spring Concert

Flute Family

February 22, 2019



Published on Apr 15, 2012

Nicole Esposito and Horacio Parravicini, flutes Jean-Jacques Naudot Sonata for two flutes Adagio Allegro Sarabande Allegro University of Iowa April 14, 2012







Published on Oct 28, 2015

A description of Polychromatic Music as a new genre and musical language by Dolores Catherino. My TEDx talk on Polychromatic Music is posted at https://www.youtube.com/watch?v=EfJbS… An introductory comparison of 21st century electronic instruments (multidimensional polyphonic controllers) including the Tonal Plexus, Roli Seaboard, Continuum Fingerboard, and Microzone U-648, from a microtonal perspective. The Tonal Plexus and Microzone are multidimensional, polyphonically, at the level of the musical pitch language itself, expanding the chromatic language, exponentially, into a greater pitch-resolution (alphabet) dimension of polychromatic languages. Pitches can be played polyphonically in both the left/right chromatic dimension and the front/back polychromatic (color) dimension. The Microzone has polyphonic touch sensitivity and the Tonal Plexus does not, yet the Tonal Plexus layout allows a pitch programming of up to 211 pitches per octave while the Microzone U648 enables up to 72 pitches per octave. The Seaboard and Continuum (and LinnStrument, Eigenharp Alpha) are multidimensional, polyphonically, at the level of tactile expression – touch sensitivity in up/down, left/right, and, except the Seaboard, front/back dimensions. The LinnStrument is an amazing first-generation hybrid. Each pad-switch has multidimensional expressivity, and the instrument can be programmed polychromatically. However, one limitation of the design, from a polychromatic perspective, is that the pad-switch layout is isomorphic (same fingering ‘shape’/pattern for every key scale/chord type). While this design feature makes the instrument easier to learn, it becomes limiting with advancing levels of proficiency and pitch resolution. Other leading edge features of the LinnStrument include a rudimentary lighting display and the use of open-source software/firmware! Hopefully, future musical instruments will be able to bring together these polyphonic pitch-resolution and expressive tactile-resolution dimensions, as well as visual ‘feedback’ (light/color) dimensions into integrated designs. And, an option for multiple pitch regions per key-switch (i.e. hexagonal key option of 1; 3 – center, top, bottom; or 5 – center, top, bottom, right, left pitch regions). This would allow for more complex pitch layouts with fewer physical key-switches. Although conventional research estimates our hearing range (tested with sine waves) to be within 20 Hz to 20 KHz, higher resolution audio recording formats/encoders and mic, amplifier, speaker, etc. technology, extending upper harmonics content beyond 20 KHz, may enable the perception of new interactive and integrated sonic complexities within our auditory range. These new qualities may be perceived as gestalt (sum greater than the parts), and dynamic (evolving, ‘organic’ color/shape changes over space and time) qualities of multidimensional sound. Another bottleneck in the full implementation of a Polychromatic music system is our MIDI standard (a foundational framework for digital electronic instruments). MIDI remains a ‘gold-standard’ and, since its emergence in 1983, hasn’t yet been significantly updated. Thank you for the questions and comments! more information: dolorescatherino.com facebook: https://www.facebook.com/dolomuse/ Polychromatic (high pitch-resolution) music systems reveal new multidimensional qualities of sound and complex interactions of harmonics. This suggests a deeper look into the extent of information loss in capturing these qualities, when analyzed and approximated in two-dimensional analog to digital conversion protocols (limited to sampling rate and bit depth measurements). It seems that this third auditory dimension is related to the inclusion of ultrawide frequency bandwidth spectra and non-periodic waveform elements of complex sounds. Hopefully, further auditory qualities will be synergistically uncovered between Polychromatic (hi-res) music systems and innovative three-dimensional analog to digital conversion protocols in the future.


Philharmonia Orchestra (London, UK)

Published on Aug 7, 2013

In this film, David Corkhill introduces some of his instruments in the percussion section.

Vibraphone – 00:07
Xylophone – 02:29
Marimba – 03:31
Glockenspiel – 04:53
Bass Drum – 05:54
Tam-Tam – 07:19
Snare Drum – 08:57
Cymbals – 10:49
Triangle – 13:14
Crotales – 14:17
Tambourine – 15:16

To learn more about the percussion section visit http://www.philharmonia.co.uk/explore…

Why not download our iPad app The Orchestra to learn even more? Visit http://www.philharmonia.co.uk/app for more information.

“Have you seen the app called ‘The Orchestra’? It is astonishing. For somebody who can’t read music to learn how an orchestra functions, to be able to see from the perspective of a flute or a second violin, is really enlightening.” – Sir John Eliot Gardiner, quoted in an interview by Richard Fairman, Financial Times, February 2014

The Philharmonia’s Principal Percussionist’s Chair is endowed by Mercedes and Michael Hoffman. For more information on Chair Endowments, please visit: http://www.philharmonia.co.uk/support..







London Symphony Orchestra


Uploaded on Apr 1, 2011

Rinat Ibragimov, principal double bass of the London Symphony Orchestra together with Catherine Edwards, performs Jan Křtitel Vaňhal’s Double Bass Concerto, originally written in Es Major but performed here a semitone lower.

This popular piece of double bass repertoire is commonly called for in auditions, and here Rinat demonstrates its performance using the original bass part and the Viennese Tuning that would have been in vogue at the time of its composition.

Rinat plays a d-bass by Matheus Albany, a gift from his colleague and friend Alexander Stepanov. He uses Pirastro Eudoxa strings.

Watch Rinat’s performance of Karl Ditters von Ditterdorf’s bass concerto here:

I acquired a ukelin this week. Sounds a little like an autoharp when strummed, a mandolin when plucked, and a glass harmonica when bowed. It’s in really good shape, with only a couple strings missing. Although a number of people have uploaded videos of themselves trying to play one, just a few perform credibly. Many […]

via Meet the Ukelin — Only Strings

Instrument: Violin

January 4, 2016


How To Master Your Instrument

September 13, 2015


Dennis Greenwood

This video is part one on instruments of the the orchestra and covers the strings and brass of the orchestra. Part two covers woodwinds and percussion.