Writing For Brass Quintet, Anything I Should Know?, Christmas Arrangement. Options

[jonscott14]

Hi, I'm currently working on an medley of christmas carols and songs for the school brass quintet. I was wandering, is there anything I need to be mindful of? Are there any rules to make it easier?
Many thanks

Jonscott14

[oboist]

I'm not a brass player but I do quite a bit of arranging for a variety of instruments.

I would have thought the key thing is to make sure you get the range right (and any transposition needed!), give each instrument a bit of a break occasionally so they're not playing full-out all the time, have louder and quieter moments and, perhaps, give everyone a "tune" at some point. Even tuba players seem to like having a tune occasionally.....

Best of luck - sounds like a good project. Hope it comes out well (IMG:style_emoticons/default/smile.gif)

[kenm]

Hi, I'm currently working on an medley of christmas carols and songs for the school brass quintet. I was wandering, is there anything I need to be mindful of? Are there any rules to make it easier?

Oboist's advice is good. As a trumpeter, you know how much more exhausting the high register is. That applies to all brass, but generally, the lower the instrument the longer stretches they can play.

Horns are economical in their use of air and tubas the most demanding, but make sure that there are adequate breaks, to take (or snatch) a breath, within long passages for all the instruments.

A common rule is that the horn needs to play one dynamic level higher to balance trombone or trumpet, but keep in mind also that the upper register of each instrument is more penetrative than the lower.

"A good score is full of holes." (I can't remember who first said this) Even with four-part harmony, you could be resting one of your instruments at all times. If you see opportunities to thin the texture, do so, to rest the ears of the audience as well as the lips of your players. E.g. in "Adeste Fideles" you are required to reduce to one part (for "venite adoramus" = "O come let us adore Him"). You would normally put that on Trumpet 1, but for the next phrase, in two parts, you could ask Trumpet 2 to continue the soprano part and use the horn on the alto entry.

[jonscott14]

Thankyou for all your tips and ideas! its sounding good so far, i've emailed my attempt so-far to YAP, so hopefully it will soon be on his site. (IMG:style_emoticons/default/smile.gif)

[thefunkygibson]

Just for a bit of thread hijacking, could someone with a greater knowledge than myself post the playing ranges of the brass instruments and where they enjoy playing - or direct me to a site with this on it?

I'm arranging Queen's Bohemian Rhapsody for my school orchestra and being a woodwind player with no brass playing friends, I'm completely at a loss! I want to give the brass the tune for a while to make up for them having to pad out the harmony so much (we've got lots of flutes and violins but not so many middle-range people who are good for such harmony parts) but I'm not sure quite where to write it for them.

We've got one tenor horn, 3 or 4 trumpets, 3 or 4 trombones (I'm not sure if they're bass trombones or what) and one who says he plays tenor tuba but it might be a euphonium - should that be in the treble clef? Sibelius thinks so anyway.... I should pay more attention in concert band (IMG:style_emoticons/default/ph34r.gif)


Thanks in advance!

[jonscott14]

If you're using sebelius stick to the guides it gives you, although trumpets can play a bit higher - it all depends on the player.

If you are writing for players around grade 8 a high C (at the intruments (not concert) pitch) (two octaves from written middle C) (again at the intruments (not concert) pitch)

For players who are a bit less experienced don't write anything above thier G

Sebelius is helpfull, so make use of it - you might want to ask the players themslefs - as they can give you the best advice.

[JohnS]

Thefunkygibson

http://www.dolmetsch.com/musictheory29.htm

You'll have to scroll down a little to get to the brass family.

BTW, are you a fan of The Goodies?

[kenm]

I'm arranging Queen's Bohemian Rhapsody for my school orchestra[...]

Do you have permission? If not, whoever owns the copyright could bring an action against you or, more probably, the school, since they won't have the option of going bankrupt.

We've got one tenor horn, 3 or 4 trumpets,

These instruments are chromatic from written F# below middle C up to about the top of the treble clef (professionals an octave or more higher), but you need to ask your players about how happy they are up high. To be safe, don't keep them above C space for more than a second or so at a time.

3 or 4 trombones (I'm not sure if they're bass trombones or what)

It might be a good idea to find out the specific instruments. Many tenor trombones have a thumb operated valve (called a plug by trombonists) that extends the range up to an octave (depending on the player) downward from concert E below bass clef. Modern bass trombones are the same shortest length as tenors, but wider bore; typically, they have two thumb valves. However, the modern plug tenor can play any note that the old G bass trombone (the one that has a longer slide with a handle) can.

and one who says he plays tenor tuba but it might be a euphonium - should that be in the treble clef?

They're the same instrument, but if he calls it tenor tuba he probably prefers bass clef concert pitch. Most trombone players are happy in bass clef concert pitch also, but brass band players usually play from Bb transposing treble clef parts and (mostly orchestral) trombone parts exist in tenor and alto clef. Ask them what they prefer. Also affecting the transpositions of the parts, while the Bb trumpet is standard in the UK, some players own instruments in C, D or high F, which they may prefer for a high part.

Sibelius thinks so anyway....

Sibelius is usually right, but don't trust it for range.

[euph1]

If you have a euphonium in the quintet.............give it a nice solo!!!!!!!!!