Quote:
Originally Posted by EnigmusJ4
Qc... I have a question for you. How do you treat cornet vs. trumpet? What do you think we should consider when choosing one or the other, or how to write for one as opposed to the other? Have cornets had a history for ever replacing trumpets in the orchestra, have they even ever been called for?
Also, in your woodwind theory thread, you provided an image illustrating the range of the horn, and I tell you, the low written D you call the lowest extreme is damn near impossible. I can hardly go beyond low written Ab, myself, and the lowest I've heard ever called for was Eb below the stave, but I've never heard it with my own ears. I would call these notes virtually impractical, would you agree?
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I don't take cornets into consideration at all, as they are not a "normal" part of an orchestra. Cornets are band instruments.
Through the development of cornets and trumpets, the two instruments have grown very similar, and the need for either/or has diminished. There ARE still parts for the cornet in some orchestral works (Strawinski: Petrushka; Tchaikowski: Capriccio Italien). The distinguishing characteristics of the cornet are not as noticeable within an orchestral context (cf: Piston).
The cornet would seem to have some advantages over the trumpet in its ability to blend with the woodwinds, however, it lacks the "heroic" quality of the trumpets.
For the purposes of this course, we will stick to instruments that are traditionally used within the context of the modern symphony orchestra.
As for that low D on the horn, it's a pedal tone. Berlioz's Romeo and Julliet calls for a low C. Strawinski's Rite of Spring calls for a number of low G's. And if I recall correctly, Mahler's second has a low C for the 4th horn. That low register is for very special effects, and IS very difficult to control and produce. If you notice the little graph I made, I had "full range", "normal range", and most importantly, "
most useful range".
NOTE: There are a lot of instruments that are not "standard" in the orchestra, yet have a valid place in modern repertoire. If you know of someone who plays that instrument, then by all means, write for it. However, when writing without a specific ensemble in mind, remember that the slightest departure from the norm can put a stop to ease of performance.