It can get difficult to distinguish one instrument from another at times, or to aurally isolate an instrument in the mass mix that often is a symphonic sound. Especially when listening to a recording. At a concert, of course, one can see the players, and that provides a good way to distinguish who is playing what when. But I would recommend you take a look at the score, the written music, when you listen to a large classical piece. It's fascinating to be able to see the notes come to life. It takes some practice to follow a score, and some are especially tricky, especially in fast passages, but it pays dividends in hearing things you might never hear otherwise. You can access many symphony scores on line. Give it a try.

 

Sometimes, especially in more modern compositions, I hear composers mixing instrumental timbres in unusual ways to come up with almost a new instrument sound. In those cases I wouldn't want to mentally isolate them, though it is still cool to identify them.

 

And then the wonders of electro-acoustic music With every other composer, we seem to have new "instruments". Lately, I am particularly enjoying the shimmering and droning sounds of a manipulated flute/clarinet sound from Nono, and the wonderful pallet of chiming, metallic resonances from Birtwistle.

 

It helps to listen to a lot of classical music and become familiar with the sound of each instrument. Even so, when there is a lot happening at once, it is difficult to follow each one individually. Also, themes, melodies, whatever, often move from one instrument to another, so trying to follow one instrument gets very complicated.

 

There are places in certain works where some instruments are completely inaudible, even if you're listening for them, either because they blend in with the whole ensemble so that single instruments can't be identified, or because of poor orchestration where they end up being "hidden" by other instruments.

But in normal circumstances, the only skill you need is to be able to follow multiple lines at once, and anyone can develop that skill just by listening attentively.

 

There are places in certain works where some instruments are completely inaudible, even if you're listening for them, either because they blend in with the whole ensemble so that single instruments can't be identified, or because of poor orchestration where they end up being "hidden" by other instruments.

I hasten to add sometimes that sort of writing is not bad orchestration, but good orchestration, the 'unheard' instruments (heard, actually, just not distinctly for their individual sound-color) are massed or double another part, to add a very slight coloring, or mere mass to the overall sound. Some scores, then, you're not meant to be able to pick out each instrument all the time.

Mozart Symphonies, strings, winds, maybe a few horns, are fairly easy to 'exercise' your ear in following the various instruments.

Scores, even if you do not read music, with some practice in following them while listening, do visually point out to you, say, what the clarinets are doing, and often help you hear a particular instrument, or group, within the larger texture.

It is best if you are new to following scores to start out with something 'a bit basic,' like string quartets.

 

Oddly, I find string quartets a bit difficult in this regard. I really enjoy them and they are one of my favourite genres, but sometimes the instruments sound so much alike that I'm not sure which one I'm hearing, so I have a bit of trouble knowing who's playing what.

Oh, scores! Yes, I have occasionally followed a few bars now and again. I don't understand much more than just watching the notes go up and down, but it does help

 

You are quite right about the homogeneity of the strings together -- what they do, famously, is blend with each other!

So, if the OP and others are still here, I would change the string quartet recommendation for woodwind chamber groups, trios, quartets, and quintets.

Too, if you are at a real beginning with all this, there are several pieces written to show off the instruments by familial groups, occasionally as soloists, and then together.

Prokofiev ~ Peter and the Wolf

Benjamin Britten ~ The Young Person's Guide to the Orchestra (Variations and Fugue on a Theme of Purcell)

and Bartok's Concerto for orchestra, second movement, Game of Pairs is also quite neat for following the different instruments.

 

I think a great way to hear everyone is to see everyone. Go to a concert or watch a video where you can see the individuals perform. Then it becomes more familiar while just listening.

It's also important to hear everyone else while you are performing. I know just how difficult this is, however. When you are madly bowing away and you're supposed to listen for others also. Phew, that's tough. This does become easier when the work is more familiar.

Listening to a piece many times will help you hear all the instruments because each time you listen, you can focus on one or two.

 

It also helps to listen to chamber orchestras or orchestras that specialize in historically-informed performances. There, the individual sections are usually smaller and (unless ruined by bad recording engineers) stand out much more from each other. Also, the woodwinds aren't as easily drowned by the strings, which I find is a common problem with large orchestras (or their conductors, actually).

 

as well as the above comments, invest in top-quality hi-fi if you can afford it. It is easier to 'hear' the separate instruments in live performance (and it isn't just because you can see who is playing) but cheaper equipment clouds the transparency of a performance

I was stunned when I bought Mordaunt-Short mezzo speakers a few years ago and '''suddenly''' the big orchestral pieces came alive and revealed that an orchestra was made up of lots of performers, not just lots of instruments. String sections suddenly had many first and second violinists, brass sections had multiple trombonists, wind sections had more than one oboe not just to make them audible.

 

^ A good stereo: +1

When I bought mine in the fall (JBL Nightlife tower speakers and subwoofer/Yamaha amplifier, light years beyond my bookshelf system) I couldn't believe that I could hear things on old familiar albums I'd never heard before. It makes a HUGE difference. ¾ of a year later, I am still blown away by the sound.

 

In many cases, listening to HIP/chamber orchestra performances rather than modern symphonic orchestras that often turn everything into hazy mass of indistinct sounds. Applies particularly to classical and romantic symphonies/concertos.

 

It's the same thing when listening to choral works ... when done correctly, no one individual voice should be heard over the other within the same timbre (soprano, alto, tenor, bass) - the entire group sounds as truly being four parts, seamlessly blending with each other.

The organ does this nicely too ... each pipe rank is voiced so that each note blends with its neighbor.

It's a sign, imho, of great conducting when we can hear each individual group (strings, horns, etc) in the orchestra playing. The multiple instruments of each group add additional mass or volume, but no one player should stick out above the others, unless he/she is playing a solo.

Kh ♫

 

Practice makes perfect. You train your mind and ears to be open to as much information as possible by listening to this type of music as much as possible. If you're going from a 3 piece rock band to a Mahler symphony, then yes, you're going to have a hard time at first. But after years of listening to orchestral music you just get used to it. To a point.

You don't want to focus on separating the instruments out so much that you lose the experience. A composer works very hard to make one piece of music out of so many individual performances.

Honestly, though, it simply takes repeat listens to truly understand what you've heard.

 

Great post from PetrB above.

I used to have a very acute hearing and was able to listen and identify all the instruments. But recently, somehow, my attention has turned to different things - like mood. But paying attention to the orchestration is a very interesting part of listening, for sure. Bach's Brandenburg Concertos are IMO greater masterpieces than they would have been had they been written for the same ensemble.

 

Maybe I'm unique, but the thought of never being able to hear all the instruments in a musical composition has never even entered my brain.

Relax and enjoy the collective sound. There are too many serious things to worry about.

 

Recently I have been listening to the textures achieved by different combinations of instruments. Wagner and Mozart especially.

 

Another thing you can try is to turn down the bass on your amp or your software equalizer. It will make the sound leaner and more transparent.