Approbation for Brass Quartet

Approbation - approval; commendation.

I think it's a very nice quartet. It's not a tradition quartet (those have two trumpets instead of two trombones). The last note may be a problem for the trumpet player. The high A on a trumpet  has a tendency to run high and especially after sustaining for a bit. In saying that, it's possible. It'd be nice to hear it with a real quartet. 

@Samtaylor - Thank you for your feedback! I wrote this for some colleagues and can say that it was an issue for the trumpet player. The trumpeter was only in his 1st year of formal lessons, so that high A was a stretch. However, I have heard experienced trumpet players play in that range like it's nothing.

Oh yeah I mean. the range wouldn't be the problem id be they dynamics. most trumpet players in high school can get a C above the staff (Bb concert) however when writing for drum corps and jazz bands double C's aren't uncommon at all. I'm a senior in high school and I can play a G above high C. writing for inexperienced players is a bit of a task but if they can play it, anyone can. 

1) Writing for a non-traditional quartet although seems quite fun will limit the number of performances. There are already made groups that could play this.  Outside of school, good luck trying to get this played.

2) The tessitura of the opening line will not project on trumpet...well...eh...it can but given what you have written, I'd say go for another quartet.  How about trombone or tuba quartet?  You'll have to eventually take some things down an octave but it can work.  Don't be afraid of C4 for trombones and euphs. We like those.

3) The ending A on trumpet is not a problem. The voicing is.  That P12 is going to be interesting.

4) The piece is almost two stoic.  This can be solved two ways IMO.

a) Add more counterpoint

b) Use this as an opening, and write something else to go with this.  It sounds the piece isn't done, it's begging for more. And then add more counterpoint

1 hour ago, maestrowick said:

1) Writing for a non-traditional quartet although seems quite fun will limit the number of performances. There are already made groups that could play this.  Outside of school, good luck trying to get this played.

2) The tessitura of the opening line will not project on trumpet...well...eh...it can but given what you have written, I'd say go for another quartet.  How about trombone or tuba quartet?  You'll have to eventually take some things down an octave but it can work.  Don't be afraid of C4 for trombones and euphs. We like those.

3) The ending A on trumpet is not a problem. The voicing is.  That P12 is going to be interesting.

4) The piece is almost two stoic.  This can be solved two ways IMO.

a) Add more counterpoint

b) Use this as an opening, and write something else to go with this.  It sounds the piece isn't done, it's begging for more. And then add more counterpoint

 

 

Thank you for your constructive criticism! I agree with you. I wrote this piece for colleagues at my school, so I was limited to an extent. Literally, ONE trumpet player in the classical department. I imagine fusing the 1st trombone part with the 2nd and adding a brand new 2nd trumpet part. Is the P12 you mentioned between the trumpet and 1st trombone at the end? If so, I believe I can fix that with adding the new trumpet part. I think the reason it may sound stoic is because of the MIDI audio; physically. It could also be the basic chord progressions; mentally. However, with a new trumpet part I can expose hidden melodies lying within the chords. I would like this piece, although it is short, to stand out on it's own. Something like Pomp & Circumstance.

Yes, the P12 was btw the trumpet and trombone.    Your texture is pretty heterophonic (and at times homophonic) whioch gives the stoic texture. Now, if that is what you're going for, so be it.  Look and listening to Gabrieli and see how he does his with heterophonic and homophonic textures. He was the MASTER at it.  The recording with Philadelphia, Chicago, and Cleveland is THE standard recording.  The parts should be on Petrucci. Whether slow or fast, he wrote with perfection and set the bar for brass players.  Listen to the whole album just to get an idea of how to move.

Enjoy!