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The Valency of Valiance (More partially-educational horn/trumpet recording tests)

Score and recording attached.

The second recording in my series of small pieces and tests for trumpet and horn. This is a bit anomalous - an arrangement for brass of something intended for full orchestra rather than testing specific brass parts that would be the same in either version.

As a result, the trumpets are playing an impossible part that would be taken by woodwinds and strings, and had to be recorded in chunks. Horn 4 is near the lowest range, not ideal (but he made it work). The horn and trumpet melodies are as they would be in an orchestral arrangement, but I just liked the music enough to dash off the score, as I really wanted to hear it realised live.

Things I'd change on hearing it back: the harmony rise in mm 12 from horns 3&4 I would slur, as it's too separated. Possibly the same for the unison and harmony run in mm 16 from the trumpets and horn 4, that was a final experimental addition which I like but am unsure of style-wise. Horn 4 would play higher harmonies below 3. But tbh, I wouldn't write some of these parts for an orchestra because better instruments would be there to take them. The orchestral arrangement will likely have the melody in unison on all horns.

Based on the previous recording, I included no staccato markings (a few weeks ago I would have used many) as they become redundant.

For fellow seekers of brass knowledge: the player pointed out:

"- Trumpets had to be recorded in several takes indeed, it would be impossible to play it in one-go. It would have to be split between two players.
- Horn 4 is playable but since it's in a really low register it makes it hard to play certain dynamics such as fortepiano and hold the notes for a long time ( really low notes demand much more air )
Fast triplets in that register aren't easy either.
These kind of parts can be seen on the horn but I'd say it'd be better to hand them off to the trombones or tuba."

Hope you enjoy or find something useful or both - the music itself I'm very happy with, I'm excited to expand it!

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Hi Dave,

More excellent tuition.

The trpts in an ideal world could be divided between 3 players with overlapping notes. This would then give each of them rests at appropriate places. I might have slurred the first 2 notes of the triplet figure, with a stacc dot on the 2nd and 3rd note, but that is just an alternative take on it.

One more thing, a spelling issue. All A flats  should be G sharps. The piece is in the Lydian mode, which has a raised (sharpened) 4th (not a flattened 5th!) as it's main feature. I'm being pedantic, and the result is the same with A flats, but I can't help myself...sorry.

great stuff Dave, these I'm sure will be useful to others here.

OH FUCKING HELL MIKE JUST ENJOY THE MUSIC kidding of course :D At the very least, your pedantry teaches me things. The strange world of accidentals and keys is the lurking worry for my scores since it could in theory create mistakes - or, from the player's perspectives, correct notes that I've written wrong. Well, lots of double checking with learned people. So far nothing horrible has happened :/

Based on how he previously played fast staccato rhythms, I felt that dotting here would have choked the sound a little too much. In hindsight I'd have included one or two measures with different articulations but I was more excited about the music this time.

Mike Hewer said:

Hi Dave,

More excellent tuition.

The trpts in an ideal world could be divided between 3 players with overlapping notes. This would then give each of them rests at appropriate places. I might have slurred the first 2 notes of the triplet figure, with a stacc dot on the 2nd and 3rd note, but that is just an alternative take on it.

One more thing, a spelling issue. All A flats  should be G sharps. The piece is in the Lydian mode, which has a raised (sharpened) 4th (not a flattened 5th!) as it's main feature. I'm being pedantic, and the result is the same with A flats, but I can't help myself...sorry.

great stuff Dave, these I'm sure will be useful to others here.

I can't possibly enjoy music, I'm a pro.

I do miss the days of being able to listen to music without mentally taking it to pieces. Your tools are sharper than mine for that purpose, but the intent is probably the same.



Mike Hewer said:

I can't possibly enjoy music, I'm a pro.

that's it..but there is joy in that too. Appreciation grows with knowledge

On a good day.

On a bad day? Salieri syndrome.

Mike Hewer said:

that's it..but there is joy in that too. Appreciation grows with knowledge

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