Orchestration: PART 2 (brass) discussion

James, that was very interesting, but I'd like to see something a tiny bit simpler and more sustained.

Imagine repetitions of effects between the different sections of the brass ensemble, like a cresc. with two horns, repeated by two trombones, then the trumpets, for example.

consider layering timbres.. unisons with different articulations.

Don't go out of your way to write something harmonically complicated.. it only needs to be a single chord for this exercise.

Later we can look at how to transpose the effect onto a moving chord progression.

Hmm.... something more like this?

Simple major 7th chord and first trumpet adds the 9th towards the end. Trumpets and tenor bones have sort of a call-response thing going on, sort of a pretty little embellishment, played at a light piano, something mystical perhaps.

I'm running out of room for attachments. . . .

James, excellent!

very good.

Ex1a, for three trumpets
C:| I V6 I VofII | II V6ofII II - |

Originally Posted by Mark

Ex1a, for three trumpets
Am:| I V6 I VofII | II V6ofII II - |

hehehe, nice upwards-resolving suspension there Mark... you should have made those quarter note E's into a half note in trumpet 2!

that's a very nice register for the trumpet. not too high, not too low.

Want to try something fun?

Do the same thing, but force the instruments to cross each other at every other note. (ie: no single instrument will have the "upper" part for more than 2 notes running)

I play Cornet (which as you'll know is essentially the same thing) so I made sure I could play all of it, so I didn't stay in the uncomfortable register for too long

Something fun: You want me to use the same chord progression?

or you can use something lengthier, which would give you a bit more space to breath.

The idea is to trick the ear into hearing a single soprano line, while STILL creating interesting inner lines, yet avoiding giving that single soprano line to one instrument.

Does that mean that you could stay in the extreme high register (top C+) for longer? So each individual player gets a break, and it appears that you have a very high melody?

I don't think that's really advisable.

My recommendation is to avoid the "extreme" range as a general rule. Particularly when writing for orchestra.

Extreme range notes are fine when writing for a specific soloist, or a concertante work.

I'd say, become comfortable within the constraints of the "normal" range of the instruments you use. There is a HUGE amount to do just within those limits.

Yeah, of course, I was just musing I'll have a pop at this tonight, will require a little more thought than I can currently squeeze out, need to top up on caffeine