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ok, the problem with your second example (the one with trumpets and trombones) is the close proximity of the bass trombone and tuba, along with the huge gap between 3rd trumpet and 1st trombone.
That's not the best-sounding disposition for an ensemble of this nature.
Generally, and I insist on the term generally, it is best to have the widest intervals between the lowest members of a grouping, and teh closest distance between the highest members.
For example, were you to score a C major chord, you might give a low C to a tuba, then the C one octave up to the 3rd trombone, then you'd give a G to 2nd trombone, and again a c, a 4th up, to the 1st trombone, then your trumpets could easily play E - G - C above that.
I say generally because there ARE exeptions in the repertoire. However, at this point in our learning, it is best to learn the more standard dispositions and learn why those work better.
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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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