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Greetings all!

I have recently completed a composition, written for a 7-trumpet ensemble (with flugelhorn!) for my school. I started on it during the Christmas break, took about a week or two to complete. I was aiming for an exciting fun piece to play with interesting effects and more dissonance than I usually use. I don't know what else to say, but please let me know your thoughts, thank you!

YouTube Score Video: http://www.youtube.com/watch?v=ktLGg1gg_24

Playback is with NotePerformer 3 

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This all has a very nice even keel feel and arrangement. Captures that holiday feel I so often hear in brass. There seem to be no distinct highlights in this. No build ups. In some places the trumpets almost seemed to loose momentum in sound which I though peculiar. I kept wanting to hear lower brass louder and maybe an Eb trumpet. Nicely done overall aside from those minor nits.

Overall I really enjoyed this, but I used to be a trumpeter so am programmed to enjoy brass.
I think the real fun in this would be in the performance. The different parts, and the interplay of each line could well be extended to the stage with each performer in a separate and distinct position. The observer would then experience an auditory and visual journey across a space.
For such a long fanfare, and that's what it is, some different trumpets would blend well, just to vary the timbre at times.
I think there is more that could be done, but it's already got relisten appeal.
Good work and thank you for sharing.

As much as I like this the way it is, I can totally hear it scored for a Canadian Brass type group. Much more tonal variety and range while maintaining a bright brass sound. 

Eric,

    I too was once a trumpeter, so I really enjoyed this and would have loved to play it (30 years ago). Great melodies, fanfares, dissonances, But it is not complete.  You need more articulations especially for trumpets.  How about a big accent on the first note followed by staccato triplets?  Trumpets and brass in general can attack a note or barely let it slide out.

Overall it needs to be shaped up.  Listen to it and feel the phrases.  There need to be bigger climaxes and lower lows.  In places phrases seem to be cut off before they are finished.  For instance at 50 hold the chord another measure, then start the triplets with accent on the first of six and the rest staccato.  At 107 is the end of the first section.  There needs to be a longer ritard followed by a short break before the next section begins.  In other places a measure or two added will give a bigger climax.  The ending is anticlimactic. Hold the second to last note longer and give a bigger crescendo before the final note.  Several places the sound seems to die because underlying chords end too soon.  At 68 hold the underlying chord through 70 until the 16ths. I feel a faster tempo at 145 will draw it together, At 156 continue the syncopated eighths with no rest, same at 164.  Love the part after 165.  With a little work this very good piece can be a great piece.

Lawrence, thank you for your detailed response! I am still applying some changes to piece before it's final, especially regarding articulations!

Lawrence Aurich said:

Eric,

    I too was once a trumpeter, so I really enjoyed this and would have loved to play it (30 years ago). Great melodies, fanfares, dissonances, But it is not complete.  You need more articulations especially for trumpets.  How about a big accent on the first note followed by staccato triplets?  Trumpets and brass in general can attack a note or barely let it slide out.

Overall it needs to be shaped up.  Listen to it and feel the phrases.  There need to be bigger climaxes and lower lows.  In places phrases seem to be cut off before they are finished.  For instance at 50 hold the chord another measure, then start the triplets with accent on the first of six and the rest staccato.  At 107 is the end of the first section.  There needs to be a longer ritard followed by a short break before the next section begins.  In other places a measure or two added will give a bigger climax.  The ending is anticlimactic. Hold the second to last note longer and give a bigger crescendo before the final note.  Several places the sound seems to die because underlying chords end too soon.  At 68 hold the underlying chord through 70 until the 16ths. I feel a faster tempo at 145 will draw it together, At 156 continue the syncopated eighths with no rest, same at 164.  Love the part after 165.  With a little work this very good piece can be a great piece.

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