First mvt. of Brass Quintet

I'm taking composition lessons this semester (first ones) and I'm writing a brass quintet piece. The opening theme in horn line is the basis for the whole movement. The 2nd trumpet line at the end of the mvt. will be the basis for the 2nd mvt. and the third movement will be a combination of both movements at a faster tempo. I know there is a lot of editing that needs to be done, so I'm not that concerned with the comments pertaining to it. I'm more interested in the overall feel, flow between sections, and sound of the piece. I've already rehearsed it a few times with my brass quintet so playability is not an issue.

here's a link to the piece if you dont have finale 2007

Brass Quintet No.1 - eSnips, share anything

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Chromatic work is not my brand of poison. It ia apparent that you have worked a lot on this piece, but I could hardly maintain interest. Only the theme on m. 89 seemed to reward my patience.

I liked your variation in dynamics, though. And I'm sure it will be much more interesting and powerful when performed.

I'm sorry if I sounded harsh.

I enjoyed most of your piece, and I like the ideas you have, but I feel that the middle section gets a bit boring, and the piece only really regains energy close to the end. Some variation in melody and/or tempo would greatly improve the middle section.

Good work

boring seems to be the general consensus...

Have you tried it with a real quintet? I just listened to the Finale file again. (One of my general concerns with sequencer playback of pieces intended for "real" instruments is that you get far too many false positives and false negatives.) Anyhow, live musicians would sound much better than my basic through-the-computer-speakers playback.

Also, hearing the piece played live in a different setting would give you a different perspective on the piece. I don't know if you're one of the prospective players, but I find it more helpful not to play in these situations and to be able to sit some distance away from the ensemble, score and pencil in hand.

Anyhow, boring? Not at all. Chromatic passages are fine by me. A few brief observations:

Bar 13 might have been too early to go into the "two feel" material, but it comes out of that soon enough at 21.

Trombone gliss at 35? To me, feels a bit out of place here, whereas if it were a precursor to a later section which utilised glisses ... (with possible half-valving on trumpet/s and/or tuba? Hand-stopping glisses and/or "woops" on horn?)

Bar 55 is a spot that would kick a*** in real life. The synth version is very lacklustre

Final bar ... is there something for the trombone to do? Join in on the horn's crescendo? (This is mainly a showbiz concern. He's already knocked off before the piece is over. Hope he's not reading the sports pages or whatever.)

Let's know how it goes/went.


jada


[edit – crikey!! I'd completely glossed over your opening statement where you mention that you've tried it, etc. Well, how does it sound live? Did you have the urge to alter anything? Did the bone player catch up on the latest sports gossip?]

well when we perform it the dynamics are over exaggerated (that the effect i'm going for) so I think a lot of this piece has to do with those dynamics and sudden change in both feel and sound/timbre. the end of this particular mvt is leading directly into the second mvt. it sounds fine when we perform it. its a little awkward in some places on the horns, and difficult counting wise (metric mod.) but other than that it sounds fine. starting the second mvt. now.

Interested to check out the whole thing when it's done, or even at interim stages. Looking forward to a recording of the quintet playing the premiere!

cheers – jada