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Symphonic Brass Masterclass Opener

Discussion in 'Tips, Tricks & Talk' started by Mike Verta, Jan 30, 2018.

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  1. #1 Mike Verta, Jan 30, 2018
    Hello everyone -

    I've begun writing pieces for the Symphonic Brass Ensemble Masterclass, and realized it's as good an opportunity as any for people to practice transcription and orchestration.

    I wrote and orchestrated this piece for the ensemble today, and I'll start by sharing just the raw piano sketch I did. A possible exercise would be to transcribe it, and try orchestrating it, and then you can compare it to what I ultimately did. (Hint: Like I talk about in Orch 1 and 2, the clues for the orchestration are right there in the two-handed piano voicings and ranges.)

    Piano Sketch:



    Final - Don't listen to this yet if you're going to do this exercise!
     
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  2. #2 Claude Ruelle, Jan 30, 2018
    Mike that's an amazing piece! I'm gonna give it a try.
     
    Alexander Schiborr likes this.
  3. #3 Torsten Kamps, Jan 30, 2018
    Last edited: Jan 30, 2018
    I can't upload a file... "The uploaded file is too large". I't actually 1.2MB.

    So here it is on soundcloud...

    Sorry for bad mix and timing... I didn't use a proper template and played everything by windcontroller which has heavy latency using Samplemodeling instruments. Especially 16th repetitions are not playable in time... anyway...



    After listening to Mikes version I know I coud have been more courageous. I missed some opportunities for nice dissonances and didn't fill up the parts where the piano doesn't play. Obviously too much faithfulness to the original... (except for the mistakes I probably made).

    Thanks Mike for that lesson and the cool composition!
     
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  4. #4 Raphael Badawi, Jan 30, 2018
    I'll give it a try as soon as I can (probably this week-end): this is great, practical, useful exercice. Thanks :)
     
  5. #5 Alexander Schiborr, Jan 30, 2018
    Oh well, test your might thread. Mike Verta shows his skills and great fanfare, excellent. Thank you..I will give that a try too! :)
     
  6. #6 Claude Ruelle, Jan 31, 2018
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  7. #7 Mike Verta, Jan 31, 2018
    Good efforts you guys! Notice the similarities between both of your approaches and mine. When you really start paying attention to your compositional instincts as played, the orchestration starts to reveal itself, and it becomes natural that we would all be solving the puzzle in similar ways.
     
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  8. #8 Doug Gibson, Jan 31, 2018
    Jesus....... don't log onto Redbanned for 24 hours and look what happens.
    Late to the game.

    Kind a "quick and nasty" version on my part, and only Sibelius playback sounds.....but it was fun.

    Man ... you love your SUS chords.

    Thanks for the exercise !

     
  9. #9 Mike Verta, Jan 31, 2018
    Nice! And yes, I could play with sus variations all day and it'd never get old. Since I was a kid. Something about them...!
     
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  10. #10 Doug Gibson, Jan 31, 2018
    " I like big 5ths and I cannot lie"

    Ok.... bad "dad joke" aside. I hear ya...... quintal harmony has always attracted my ear too. What's not to love ?

    Andy Summers sure did too.

    Nice piece, and I am sure the Master Class will be uber cool. Looking forward to it !

    Best wishes
    Doug
     
  11. #11 Sylvain Provenzano, Jan 31, 2018

    Attached Files:

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  12. #12 Mike Verta, Jan 31, 2018
    Good job but don't forget to think logically, and like a performer, when doing transcriptions. A good portion of things can't be heard directly, and we have to infer them from clues around them, or the composer's tendencies or style. You have open 5ths high in the right hand at bar 6, but by halfway through bar 7 you'd figured out that idea is made up of major triads. That mid-bar-7 clue should probably have tipped you off that they were ALL triads; it makes sense; it's more natural to play. But then you returned to open 5ths in bar 11 - you didn't realize you'd solved the puzzle in bar 7. Watching out for patterns and clues like that can get us far!
     
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  13. #13 Sylvain Provenzano, Jan 31, 2018

    Attached Files:

  14. #14 Mike Verta, Jan 31, 2018
    It's better, yes. Your enharmonic spelling is sort of painful though - it's not very friendly to read. A couple of tips: in a key-less key signature (all accidentals marked) favor flats over sharps for brass. Otherwise, favor the accidental which makes the intervals - especially in chords - friendlier to read.
     
  15. #15 Claude Ruelle, Jan 31, 2018
    @Mike Verta I always ask myself what's the friendliest way to notate accidentals, rhythm etc... That's definitely something you should discuss with the players during the masterclass - I had a chat once with a few String players from the Royal Academy of Music, and it was fascinating. I'd love to know what top Hollywood musicians like to sight read.
     
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  16. #16 Doug Gibson, Jan 31, 2018
    Gosh .... so interesting to see how other people interpret the same transcription.
    Anyone else hear measure 9 (not counting pick-up bar) as 3/4, returning to 4/4 next measure ? Just me ?
     
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  17. #17 Claude Ruelle, Jan 31, 2018
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  18. #18 Sean Barrett, Jan 31, 2018
    Definitely hearing the same.

    This looks fun. Hoping to have some time later this week to take a stab at it.
     
    Doug Gibson likes this.
  19. #19 Mike Verta, Feb 1, 2018
    It is indeed a bar of 3/4.
     
  20. #20 Sylvain Provenzano, Feb 1, 2018
    Damn ! I knew it !

    There are probably some key changes too ...
     
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