QcCowboy

LESSON 2

BRASS INSTRUMENTS

We will not go into extreme detail of the brass instruments’ ranges and abliities, for the simple reason that they are considerably more variable than those of the other instruments of the orchestra.

Needless to say, we are all aware of brass instruments’ ability to play LOUDLY. However, that is not all they are capable of. Let’s start with a quick run-through of the brass instruments regularly found in the orchestra.

More so than with other instruments, the extremes of range of brass instruments (both high and low) are limited by the skill of the particular musican for whom you are writing. When orchestrating for general purpose, it is thus best to avoid as much as possible those extreme registers, lest you find your piece being performed by an ensemble whose musicans are incapable of reproducing the desired effect.

NOTE:
The question of extremes of playable range come up quite often when discussing orchestration. While is it true that some performers might be willing and able to play notes that fall outside the “normal” range of the instrument, it is wisest to be aware that the “normal” range of each instrument generally also happens to fall into its most usable and felicitous range. Of course a horn player could probably squeek out the high D (written) above the staff, however, that sound will not be of the best quality, nor will you be guaranteed that in performance that note will come out at all.

HORN:
Also called “french horn”, this is a transposing instrument “in F”, meaning that a written C will sound the perfect 5th below. The main problem with writing for horn is the erroneous conception that it should always be used as a melodic instrument. This leads to horn parts that are considerably too high, and too demanding on the musicians. The horn should rightfully be thought of as an alto instrument, despite its placement above the trumpets in the brass choir of the orchestra. Music of a sustained nature best suits the horn, as well as music that carries on the “origin” of the horn as a hunting instrument.

Despite being grouped with the brass, the horn does not have quite as much carrying power as the other brass instruments. This is the main reason in a “classical” symphony orchestra we find four horns to balance against the two or three each of trumpets and trombones. For considerations of tonal weight the horns often find themselves doubling, both each other and other instruments. In very loud passages, it would be unwise to give four very active parts to the horns during an orchestral tutti. More on this later.

The horn is capable of a lovely pp, with a certain velvety quality to it. Again, a good book on instrumentation is important here for detailed information on the ranges and abilities of these instruments.

Horns in fortissimo can have a particular sound called “cuivré” (French: brassy). The metal of the instrument literally vibrates, creating an almost buzzing effect to the sound. To be sure that you actually DO get a real cuivré effect, it is wisest to also indicate in your score where such an effect is required (a text expression “cuivré” above the notes in question, and an “ord.” for when you wish to return to a normal sound).

TRUMPET:
Here is the actual “soprano” of the brass family. A very agile instrument, it also comes in a number of flavours: trumpet in C, tumpet in Bb; along with its auxilliary instruments, the tiny piccolo trumpets in various keys. Like with the clarinet, trumpetists will often switch instruments to render certain passages easier to finger.

The low register of the trumpet has a certain somber or noble quality to it, while the highest register can be quite piercing. Extreme notes above and below the “normal” range are not entirely impossible, but will always be a reliant upon the particular skill of the musician.

TROMBONE:
One of the beginner orchestrator’s biggest errors is to relegate the trombone to the depths of its range and to limit its interventions to only the loudest moments in the music. The trombone has a beautifully singing upper register, and is capable of the subtlest of pianissimo effects in its mid-range. Over-use of the trombone glissando is another cliché that is easy to fall into. Great care must be taken when writing glissandi for the trombone, as not all interval distances can be successfully connected by a gliss.

The trombone trio is capable of beautifully soft dynamics, and at times is a far better choice than the horns when the orchestrator needs a soft, sustained brass sound beneath an over-all texture.

For detailed information on performance technique, it is best to examine a good instrumentation book, or better yet, speak to a real live trombonist.

TUBA:
Tuba, like trombone, is another instrument too often relegated to the depths of its register or to exclamations in the loudest passages only. A little known fact is that the tuba makes an excellent 5th to a group of horns. It is an instrument perfectly capable of playing in the softest dynamics.

The greatest difficulty when writing for tuba is giving consideration for breath. Being a very large instrument, and requiring a massive amount of air to make it vibrate, the instrument does not lend itself particularly well to overly long phrases, especially if the dynamics are loud.