Psalm 150: Brass Introduction

This is the introduction to the final Pslam setting in my oratorio "The Psalms." In the final setting, I'm pulling out all the stops, so to speak, to being glory to one of the greatest Psalms, the last one, the ultimate Psalm of praise.

The introduction is a massive brass fanfare with three brass and percussion sections. One is part of the standard orchestra, with the other two high in the top tier of the hall set antiphonally left and right. Each additional "brass band" has 4 horns, 4 trumpets, 4 trombones, 3 timpani, a pair of cymbals, and a set of chimes. These three groups interact with each other and often echo each other taking advantage of the antiphonal nature of the setup. The following sketch explains it well:

The score isn't completely orchestrated yet (mostly the brass hasn't be run through with a fine tooth comb), but the essence of the music is certainly there. When listening to the piece I encourage you to use headphones so you can hear the antiphonal nature. GPO doesn't do a great job of panning, but it clearly separates the different choirs in a very large (and reverberant) hall. Naturally, it would have to be a massive hall given the size of the orchestra and chorus, practically Mahlerian in size.

Note that the rising chorale theme in the middle is from the already completed setting of Psalm 23 which ends Part I of the oratorio; this would be the end of Part III.

I hope to bring just a small piece of the massiveness of God's glory and praise to the concert hall with this work.

PDF Score: Brass fanfare.pdf

mp3 Recording: Brass fanfare.mp3

Soli Deo gloria!

i love it

but i don't know why you need a special arrangement for position .i think it is no need

BRAVO

Hi justin.

I love your adoration. But do not think more/louder/higher/stereo is always conveying the glory of the Lord. Your way of doing this is too much.

I perceive the total as just one loud, V chord, waiting for a climax that never will be satisfying. (I know there is happening a lot more, but that is just to keep the harmonic interest, but that is done in a kind of obvious cliche way everybody feels it wil end in yet another authentic cadence)

But maybe this is my view on German high romanticism in general...

Wow, definitely didn't let anything go here. The antiphonal fanfare was nice - quite reminiscent of the old royal fanfares of old. That said, I agree with what Jaap said above. This just doesn't seem to go anywhere really interesting for me. I'm sure many here will love this - I like it, but iono, it seems a little cliche. My favorite part was the suspended tones toward the middle. Thanks, and I hope to see the full body of these psaltery on here.

I'd have to agree with jawoodruff up there. The suspensions do help to break up some monotony. I know it's difficult sometimes writing in this style for brass seeing as though you have to wonder how many times can you vary a theme that usually ends up as an authentic cadence. Overall, it's a good work. You should look into some higher quality sampler patches from either east west or even Garritan.

This is GPO.

Doesn't Garritan have a really expensive, old soundfont that's named Garritan Full Orchestra or something? You guys were talking about it in chat about two months ago, apparently it's very, very high in terms of sound quality but it's not as easily picked up or versatile as GPO is.

Bump

Perhaps this is a bit cliche. I still love it though. :P

Inspired by Rawsthorne at all?

If not, check his stuff out. Very similar to your kind of stuff.