Home  Articles   Profiles  Forum  Chat  Lessons  Archives  Search   Store   Contact
Register Board Rules Member List Member Map Password Recovery Search Today's Posts Mark All Forums As Read Calendar Library
Go Back   Young Composers Music Forum > Interactive > Masterclasses

Welcome to the Young Composers Music Forum. You are currently browsing as a guest - join today to post messages, upload music, communicate privately with other members, respond to polls and access many other special features. Registration is fast, simple and absolutely free so please, join our community today!

If you have any problems with the registration process or your account login, please contact us.
Closed Thread

 
LinkBack Thread Tools Display Modes
  #1 (permalink)  
Old Dec 2 2007, 1:22 PM

QcCowboy's Avatar

Moderator
Group: Moderators
Joined: 27-April 06
Posts: 3,226
Member Number: 776
Orchestration: PART 2 exercises - brass

Here will be exercises for Lesson 2, Brass instruments.
__________________
"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.
  #2 (permalink)  
Old Dec 23 2007, 2:25 PM

QcCowboy's Avatar

Moderator
Group: Moderators
Joined: 27-April 06
Posts: 3,226
Member Number: 776
EXERCISES FOR LESSON 2

Exercise 1

Write a short chord progression (1-2- measures).
  1. arrange it for 3 trumpets
  2. arrange it for 4 horns
  3. arrange it for 3 trombones and tuba
  4. arrange it for a mixed grouping of brass, chooosing a "feel" for it. Describe HOW you attempted to realize this.


Exercise 2

Write a textured ostinato for brass. This should be no more than a few chords (it can be a static single chord).
Within the texture, mix different articulations (using dynamics, staccato, held, slurred notes).
Try to have the "effect" move through the different sections of the ensemble in a clear movement.

Here was an example from the previous lesson, including only the horns:


I would like to see you apply this idea to a slightly larger ensemble.

Remember that rests are important in textures as well.

Establish your harmony in a solid fashion before preoccupying yourself with the textural effect.
__________________
"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.

Closed Thread



Currently Active Users Viewing This Thread: 1 (0 members and 1 guests)
 
Thread Tools
Display Modes

Posting Rules
You may not post new threads
You may not post replies
You may not post attachments
You may not edit your posts

vB code is On
Smilies are On
[IMG] code is On
HTML code is Off
Trackbacks are Off
Pingbacks are Off
Refbacks are Off


All times are GMT -4. The time now is 1:57 AM.

RSS

Powered by vBulletin®
Copyright ©2000 - 2008, Jelsoft Enterprises Ltd.
Proprietary software and modifications Copyright ©2005 - 2008, Young Composers
Content Relevant URLs by vBSEO 3.1.0