Composition

Brass orchestration

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Fox

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Opening post by Fox

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Hello everyone.

I recently started doing orchestration (studying on my own) because I like to create, even though I am still at the very beginning; I try to practice every day after school, using the scores of the great masters as inspiration.

Brass instruments are the most difficult parts for me because they are unique sounds, and managing to distribute them well without them sounding too compressed and "clumped together" is difficult.

Could someone, in their spare time, check a brass harmonization I have done? I would like to understand if it is okay.

Thank you all

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Reply 3 by Fox

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Zazza wrote:

If that's fine, in what sense?

hi, sorry I didn't specify.. I mean in terms of the balance of the parts and correct harmonization

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Reply 4 by Oracolo

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I would make them sound in a quartet avoiding sections (you only have one tuba), I am not convinced by the octave doubling at the beginning, even if the tuba blends well with the horn.

I didn't understand if you wrote them in real notes or not, I didn't understand the base key (one part starts and the closing is on a standard chord, a sort of diminished triad)

Is there a given part? Which one?

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Reply 5 by Fox

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Thanks! can I ask you what it means to avoid sections?

Yes, I wrote them as real notes

The key of the piece is a minor

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Reply 6 by Oracolo

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The word ensemble made me think of sections rather than soloists.

l'ultimo accordo è da decidere meglio.

The diminished triad would sound better if there were a B in the bass, since there is an F, probably moving towards a VI degree or a IV6.

In the last chord of the first line, I would put a G# instead of the trumpet's F which is already in the bass.

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Reply 7 by Zazza

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Aside from Oracle's suggestions, I would consider adding dynamics. The 'la' of the horn on beat 5, for example, might work well in mp/mf, but in p it could already be a problem.

Counterpoint-wise, you could have done much more

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Reply 8 by Fox

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Oracolo wrote:

The word ensemble made me think of sections and not soloists.

the last chord needs to be decided better.

The diminished triad would sound better if there were a B in the bass, since there is an F, which probably either goes towards a VI degree or a IV6.

In the last chord of the first line, I would put a G# instead of the trumpet's F which is already in the bass.

thank you so much for the suggestions!!!!

you are right I used sections, so are you advising me to use single instruments? for example a trumpet, a horn, a trombone and the tuba?

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Reply 9 by Fox

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Zazza wrote:

Aside from ORacolo's suggestions, I would consider adding dynamics. The horn's 'la' in measure 5, for example, might work well in mp/mf, but in p it could already be a problem.

Counterpoint-wise speaking, you could have done much more

thanks a lot!! yes, it is as you say, in fact the horn plays mf.

i also think that it could be done much better than this because when I listen to the result there is something that doesn't convince me; perhaps it's in the choice of sounds, I don't know, or maybe the parts are too tight and the sonority is not very defined, but I still have limits and gaps!

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