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I ENTER

the force is definitely strong in this one, but I’ll take the challenge(am participating) When are we suppose to submit our scores and audios?

ENTER I SHALL

Hi all ... for those following this thread and maybe those just curious~! Here's the latest version of the composition. I had one meeting with my mentor and I have also made changes before and after. ... you will notice more harmonic variation in the midsection and a tighter edited final movement. Some orchestration tweaks. I am still working on the ending ... I need to discuss my revisions with my mentor and work some harmonic "magic" in the last movement. All comments - suggestions - criticisms most welcome. Hopefully, the next post will be the finished product.

I put a few tips born of some experience and study in a post in another section. Elgar was an excellent writer for orchestral brass and Walton's 1st Symphony is a priceless example. (for a recording, Previn's still tops the list.) I don't know how to quote a post from elsewhere, but here's a copy in case they're of any use to anyone: = = = = = = = = Brass will overpower everything else in the orchestra in a full tutti - everyone playing - at anything above mf. Make sure all important parts of the harmony are in the brass [Edit: at f and louder][ /edit] Other instruments double the brass at the unison, octave, 2 or 3 octaves (for the piccolo). Like, I mean, don't write an independent melody line for violins hoping it will be heard against full brass (as a guide, anyway. There are times when you might depending what's going on in your score). Regard 2 horns as equalling one trumpet / trombone in volume at anything above f. Not very precise but a good start. At f and ff, space the chord notes wide in the lower register. Put each doubling instrument in its brightest register.(Edit: You might want a growling, grumbling or muddy effect so then, you space the low parts closely. [/edit] At p and pp, space the chord notes more closely. At low volume balance is less of a problem. Don't keep players on the high notes longer than necessary. It's tiring. As with much else in orchestration it's about balance.

The number one principle for good balance is to remember that brass is louder than woodwind in loud dynamics, however in quiet dynamics it can play as quietly as the woodwind (the latter group's biggest advantage is its projection.) Trumpets The most powerful brass instrument. Besides its obvious use for fanfares, you can see it used a lot to punctuate loud sections. An interesting point, and one that leads to a good discussion. The thing is, that modern trumpets are very different to the trumpets of yore. All you have to hear is the contrast between a baroque trumpet or F Tromba and the modern Bb trumpet to understand why trumpets used to only be used in loud sections. Even current D/Eb trumpets have a much brighter, more martial sound. Nowadays, trumpets, especially in their low register, can be used to fill out gaps in chords, and can carry beautiful solo lines. Overuse of trumpets is one of my personal bugbears in much music of the Romantic period. Auxiliaries: Cornets have a round broad sound - listen to a British brass band or authentically performed old concert band music to hear them in action. Flugelhorns can act as a bridge between trumpets and horns or play a descant harmony to the horn quartet. Horns The brass instrument that is most like a woodwind. It can play loud, soft, chorales and martial melody lines. It has a huge range, although notation is notoriously odd (horn players are often able to transpose accurately on sight because of this.) In loud passages, horns may need to be doubled to balance with the rest of the brass. Flutes, oboes and clarinets can then double above the trumpets. Auxiliaries: Ah, the Wagner Tuba. Despite its name, it is very much a horn. It can be used to form a quartet below the horns, due to a slightly lower tessitura but a similar range. Trombones Don't write glissandi if you aren't sure of them. Google a slide position chart if you are unsure! Trombones are well used in the orchestra, for good reason. A trio sounds broad and expansive, even at quiet dynamics. It is best to score 1/2/Bass as this is what many orchestras will have and forms the most resonant grouping. Trombones cannot play extremely fast because of the slide, so watch out for this. Auxiliaries: Alto Trombone. I wish this was used more. It has a much lighter sound and a slightly faster technique. Leopald Mozart wrote a concerto for this instrument, and many orchestral trombonists double on alto. Tuba I have no idea about the tuba. Like Caters, I very rarely score for it. All I know is that its timbre is very different from the trombones and should be treated differently. Many composers preferred to use Contrabass Trombone instead. Don't worry about the brass overpowering the woodwind. Generally speaking, orchestral players are well versed in the fact instruments have naturally different volumes. Brass instruments were invented to play loud, but due to modern developments they are gaining a range of expression not unlike the woodwind. Scoring for the brass is less difficult than the woodwinds because the register changes are smoother. If you want to find some good setups, check out the 'Harmony in the Brass' section from Rimsky-Korsakov's Principles of Orchestration. Also, you could have a look at https://bandestration.com. I have not looked at the brass section on this blog, although the woodwind is excellent - very detailed descriptions on each instrument. Nb @caters I believe that the "crescendo of mass" that you speak about is known as a textural crescendo.