Writing for brass + woodwind orchestra

Hi everyone,

At my university there is a so called harmony orchestra, with mainly brass and woodwind (no oboes or bassoons though), including saxophones and ofcourse percussion (timpani, and a drum set). They are willing to play one or more pieces of me, however as I am used to writing for symphonic orchestra, I am having some issues writing for them. I just miss the string section ^_^.

Does anyone here have experience writing for such an orchestra? Any advice would be greatly appreciated!

Greetz,

Hugo

Traditionally, the clarinet section has been 'the violin section' of the wind ensemble. Seriously, when wind bands first started becoming a performance force to be reckoned with, they played strictly transcriptions of orchestral pieces, and the proportionately huge clarinet section would take the demanding and forefront violin parts.

If you really can't get away from thinking as an orchestral composer, you might want to write in that vein. Keep in mind that it's probably something you eventually want to get past, because the wind ensemble has really developed into a medium that is very different from orchestra in the way it handles and demands music to work with it. But you'll have a start there. :)

My .02.

Thanks a lot, I will start doing that :P But to be honest, the clarinets by theirselves aren't as versatile as the strings are, so I have to come with another solution, anyway. Ofcourse I have been trying what you said already, but I guess it didn't feel good either. I guess I'll just have to start from the beginning again, and make something that fits each instrument on its own.

By the way: I hate it that I have to consider breath pauses for each instrument, haha. Normally I could give long notes to the strings and not worry about such things ..

By the way: I hate it that I have to consider breath pauses for each instrument, haha. Normally I could give long notes to the strings and not worry about such things ..

Wow, you def do have to worry about "such things" with a string section (uh, bowing?).

But, as with a large violin section, you could get away with a seemingly infinite note in a similar way with a large clarinet section -- staggered breathing.

Focus on the strengths and weaknesses of the instruments at hand though, don't write a "string" part and then give it to the violins. Clarinets are extremely versitle timbrally -- they sound quite different playing low and softly than they do high and loudly. Much more different than, say, violins.

Brass instruments have a wide range of timbre when you consider mutes as well.

Also, just because you have more trumpets in a wind ensemble than with an orchestra doesn't mean you can't throw in that solo trumpet melody and things of that nature.

@ charlie ;) I guess I didnt want to offend anyone with that comment I made :P. Indeed I was considering larger string sections, when playing with few, it ofcourse has the same problem as I am experiencing with the winds. I guess that a long note in soft dynamics could be possible with the 4 players on the flutes and/or the (4 players with the) clarinets. I think the whole issue is that I am used to having the strings as accompaniment and not the brass or the woodwind. So not only the timbre (also versatility) is an issue, however, I think I have some nice ideas so I will see if I can make something out of it.

Thanks for all the advice

greetz

long note in soft dynamics could be possible with the 4 players on the flutes....

No, don't give the same long note to 4 flutes - they'll NEVER be in tune. ;)

Ah thanks, that is seriously the kind of advice I can use ^_^. I only play guitar and piano, so I don't have any experience with woodwind/brass (percussion I do have some experience). I have tried playing the clarinet a few times, though I think it's hard to get a nice sound. I have much breath sounds through the tone. But seriously, a long notes would be better for 2 flutes to do and then have the attack of the note at seperate places?

Your best teacher as far as learning the nuts and bolts of what is possible as well as what is practical among all the instruments is really trial and error. Talk to the musicians, note their immediate responses like "Whoa, are you serious?" vs "Well, duh, of course we can." Write the piece and see how well it goes in the rehearsal and ask the conductor afterwards whether the problems you noticed would be fixed with rehearsal or if it really is poorly written to begin with. Sit down with a flute player and ask them to demonstrate such and such a line, a clarinetist how their low register loud/soft compare with their mid register loud/soft and high register loud/soft, I think you'd be amazed. Try to find really accomplished musicians, if you're going to ask them questions and demonstrations like that, though. Nothing worse than asking someone who thinks they know what they're talking about but don't.

It seems like experimenting with it is all part of the reason that ensemble exists. Go for it!

I think that's indeed the best thing to do. In september I will go to their repetitions and will try and speak to them to gather this kind of information.