When writing for brass do you find it to restrictive? To further develop this thought, because of only a limited score of like instruments do you find it challenging to develop a score or restrictive by range?
Good points and I agree that mutes can help in coloring the music. Sometimes I feel constrained by the range of the band, although modern bands seem to be extending this area, but there are limits. What do you think?
Replying to your original question ("When writing for brass do you find it to restrictive? To further develop this thought, because of only a limited score of like instruments do you find it challenging to develop a score or restrictive by range?"), I am brand new to scoring for brass. I say that, even though I am 50+ years old, because I have always had a "fear" of brass (a lack of understanding of its potential).
To get over this, I am attacking it head on. I am writing a piece for brass octet (horn in F, trumpet & cornet in Bb, flugelhorn, 2 trombones, euphonium, and tuba) -- if for no other reason than to give myself the spurring-on to tackle this devil of mine.
To confront my private demons, I am reading all I can about orchestration for these instruments (titles/authors avail. upon request). I am also writing whatever I feel like (using the knowledge I have gained so far and the sound produced by Sibelius [latest version] to try to overcome this hurdle.
My next step is to make the various parts of this piece available to brass officianados to listen to and comment on. In tis way, I can (hopefully) learn and so can those in this group.
Attached is the first "combination" of the pieces I have put together for this brass octet. It is composed of fanfares. In the future, each fanfare will be interposed with contrasting pieces attempting to evoke different moods/eras/images.
But for now, the attached is just the currently-assembled fanfares.
My personal question is this: do the listeners here think I have begun to get a handle on brass orchestration, or am I off-base?
Attached, please find the MP# and the PDF of the current (very unfinished) version of this piece.
With all sincerity and anticipation of your replies,