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Having read the review of the trumpet in F, I think it refers to a natural trumpet. It’s the same as with the French horn. Before the 19th century, these instruments were not chromatic. They were only capable of playing a natural scale. That is why there were horns in D, G, etc., depending on how they were constructed. This entailed significant limitations, particularly from today’s perspective. And that is why they took longer to be incorporated into the symphonic repertoire. In the 19th century, horns and trumpets evolved to incorporate the modern mechanisms of valves, etc., and became as we know them today. I believe that in such situations, one should look for another instrument where the register is comfortable.

I did find this webpage on F trumpets: Robb Stewart Brass InstrumentsOrchestral F Trumpet History — Robb Stewart Brass Instrum...Apparently they were very popular in the 1800s; but it says they're basically extinct today!

Last night, I discovered the magic of Suno's user-designed models feature. Basically, what you do is upload several tracks of your own creation, and this teaches Suno to cater to your tastes and mimic your style. Using this feature has, for me, tremendously improved my satisfaction with Suno and the quality of the site's output. Please do give the following tracks created with this feature a listen:

Now that I think about it, I used to march in a drum and bugle corps and all of our instruments were in G, even though such horns were usually also very rare. I marched with a G Mellophone which was basically a G Marching French Horn. The Trumpets were called G Sopranos and the Trombones and Tubas were just called G Tenors and G Contras. So I'm sure there exists every kind of instrument and tuning imaginable, somewhere.

My bad! 😁

There is no such thing as an F Trumpet! LoL .. There's Bb Trumpet, Eb Cornet, C Trumpet, etc. But if you want a lower, F version of a trumpet you'd probably want a Flugelhorn! Although, I just looked it up on google and it says that F Trumpets and Flugelhorns do exist but are very rare.

Thanks Henry! It's actually by Debussy; not Fauré. (I think Luis mentioned Fauré because their music is of the same era, and has some common traits.) I'd probably have to use an F trumpet rather than a B flat trumpet or cornet? Not an expert in trumpets though! Alex

I actually like the undoubled sound since it reinforces the airy and ethereal mood of the original Faure piece. I think if there’s a bar’s rest it will be better for putting the mutes on. But yeah, using flautando or natural/artificial harmonics can produce that ethereal effect. Will a cornet serve better than trumpet for its more mellow sound? Thx for sharing! Henry

Listen to Freedom's Everlasting Hegemony for String Sextet by 신성음악 on #SoundCloud https://on.soundcloud.com/GQsV2lOAVqKTEFpFeS

Adler’s book does deal with the orchestration itself in a rather detailed fashion. But again, the main focus should be you listening to many orchestral music with the book beside for your assistance on understanding orchestration. Adler’s book does have a quite big list of music references which I did go through and listening all of them really helps me! Henry

I think counterpoint is essential but it can only be learned only after you have some level of understanding on harmony. Fux’s book is great if you want to learn about counterpoint in Palestrina’s style since Fux aimed at the stile antico counterpoint. I would suggest if you want to learn counterpoint, you should get yourself familiar to the Well Tempered Clavier. And theory books on counterpoint are only supplements to real music for you to understand the beauty of counterpoint in real music, Henry

@Luis Hernández Fux is starting point for counterpoint. For tonal 18th century counterpoint: I would recommend: Piston and Kennan and either 18th century counterpoint by Gauldin or Baroque Counterpoint by Schubert.

Many thanks Luis! My idea for the double-bass drone was to have an almost imperceptible note of menace in the background. That's why it's undoubled and pianissimo. It's supposed to represent the backdrop of World War I, since this piece was written in 1917. I think strings can apply the sordino device pretty quickly; but if not, they could always use flautando technique instead (as I have in the double-basses). Noticed this evening I've made an embarrassing transcription mistake at one point: so I will be correcting that later today! Thanks again for listening, Alex

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Hi! I am also writing an essay about to understand music.

TampaBay.mp3So.. I am currently working on a second submission for another call for scores (2/2 now. Submitted one for another competition last week). I would appreciate some feedback on the current progress of this score as it is. I'm looking for answers for: Voice leading; have I been effective with creating smooth transitions between the chords, and leading tones into the different sections? If not, where could I improve this? Form; is the form, starting points & destinations easily distinguishable, enjoyable to follow and effective in the narration of the depicted theme? How could I better write for texture, at and beyond the C rehearsal marking? The score is a tribute and homage to the lives lost during the allied offensive in Germany, kicking off on D-Day in June of 1944. You'll see my call-back to Taps, in a variable manner, near the end of my current stopping point. Enjoy listening & reading along, and I look forward to the feedback I may receive :) TampaBay.pdf

A while ago, I uploaded my orchestration of Schönberg’s Six Little Pieces for Piano, Op. 19. There were lots of things that could have been improved. Mainly because, at the time, I didn’t really know how to analyse the original composition properly and transpose it for the orchestra. I’m uploading only No. 2 from Op. 19 here, which is very, very short. After completing it, it was reviewed by a professional composer, and I’ve noted down the suggestions he gave me. The opening was very ‘dry’, with just the strings in pizzicato, so I added the flute notes, which are in a soft register and played pianissimo, to create a resonant effect. The line played by the oboe and clarinet in bars 2 and 3 – I’d originally written it doubled by a violin, with the parts shared between these instruments. I’ve removed the violin and split the line into two pairs that make sense given the different intervals. This way, the instruments sound ‘pure’, in keeping with this musical language. At the climactic moments, in bar 6 and the finale, I have added a beat or more, so that those climactic chords resonate for as long as necessary. Furthermore, the two final notes on the clarinets were short (eighth notes) and, as the teacher pointed out, the upper part of the chord did indeed sound ‘muted’ and hollow. So I lengthened them. Extending the final chord allowed me to make the harp’s glissando rise and then fall. Before, it only went up. In this sort of language, I think you have to be quite literal, but also allow yourself some licence so that the orchestra can display its capabilities, such as those resonances and prolongations in certain bars. 02 sch.mp3 Partitura_.pdf

My dear friend @Kvothe Thank you very much for taking the time to look at it so closely! And yes, I can certainly see why you would describe it as having a sonatina character. What I am actually trying to do with these pieces is to use binary form as a framework, while at the same time incorporating some of the dramatic principles of Classical sonata form into it. So although the structure remains essentially binary, I try to give the B section a more developmental and dramatic function, rather than treating it simply as the second half of a binary form. In that sense, I agree that “sonatina” can be a more precise description than simply “binary”. The binary structure is the foundation, but I am trying to bring the dramatic logic of Classical sonata form into that framework. My strongest influences are Mozart, Schubert, Beethoven and Scarlatti. Schumann and Brahms have also influenced me at times, although perhaps less directly. I actually haven’t listened to that much Clementi, despite the connection you noticed. Thank you again for your observations. It is really interesting for me to see how someone else perceives the formal and dramatic structure of the piece.

Hello Fantastic. I think it captures the romantic spirit of Fauré [SORRY: DEBUSSY] very well – intimate, aristocratic and with a restrained elegance – acting as a direct bridge between the 19th century and French Impressionism. It all sounds very clear. I just have two comments: 1. Another thing that’s been firmly etched into my mind regarding the orchestra: always reinforce the bass. Because it’s in the part of the audio spectrum that the human ear perceives least clearly. Here it’s carried solely by the double basses; it could be doubled by the cellos, or a horn, or alternated, since you don’t have any bassoons. 2. Finally, I’m not sure if it’s possible to fit mutes onto the violins and viola in such a short space of time (half a bar). Overtones could be used for that effect. Best regards.

Hi I think Fux’s book is entertaining and can teach you a few things, but both the teaching method and the content itself are very outdated. These days, you need to understand counterpoint not only in its Baroque splendour or earlier forms, but also in Classicism, Romanticism and any avant-garde style. As for books on orchestration, my view is that many devote most of their content to the instruments themselves, rather than to orchestration as such. In that sense, the book with the most practical content of this kind is Rimsky-Korsakov’s, though that isn’t very up to date either… To get started with many contemporary compositional techniques, I think Vincent Persichetti’s book is essential.

The "Rolling-Credits-Template" can be Edited to any Film Company's Staff-Credits. The Film Footage was Acquired according to the "Theme-Category" request. When presenting "Media" to third-party's,....................you cant just Talk about it..................... you have to Present it. ps. ........A New "Crescendo compression" has just replaced the original track, for greater "Tension& Release"

Hi @interlect ! Nice video and music! I do wonder about the credits though... "Evelyn Nightmare", "Max Martini" and "Stella Midnight" sound like fake names among many others. Did you get this footage from some website selling stock footage? Thanks for sharing!

Hi @interlect ! It does sound like film score when the protagonists are saving ppl from disasters! Henry

I would like to supplement some information too: I think "Harmony and Voice Leading" by Aldwell and Schachter is the standard textbook for understanding tonal harmony. For me Damschroder's series of Thinking in Harmony and Harmony in XX(Composer's name) is a really good practical series. The 3 volume set is William S Newman's series and I had read the series last summer. Rather teaching Sonata form the series is on the historical change in Sonatas in different musical periods so not neccesarily useful for beginners, but it's a really good read if you want to know the history! Adler's book is a must read on orchestration. I read it this year and it helps me so much on orchestral writing! Henry

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