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Background
Background
This white paper is a short
This white paper is a short discussion of what and how to go discussion of what and how to go about transcribing orchestraabout transcribing orchestral works for brassl works for brass band. The British author does not intend to
band. The British author does not intend to set forth an absolute, detailed, and clinical method, rather offersset forth an absolute, detailed, and clinical method, rather offers some friendly advice and food
some friendly advice and food for thought for the for thought for the reader. Hopefully, encouraging more people to arrange and,reader. Hopefully, encouraging more people to arrange and, potentially, to inc
potentially, to increase the nurease the number of brass mber of brass band arrangeband arrangements withiments within our concert an our concert and contest hnd contest halls. It isalls. It is assumed that reader has access to notation software and is not a professional musician. This paper was assumed that reader has access to notation software and is not a professional musician. This paper was authored in 200.
authored in 200.
!ore information can be found here"
!ore information can be found here" www.musica#orichalcinus.euwww.musica#orichalcinus.eu
So you want to
So you want to transcribe a classical work
transcribe a classical work
for brass band, do you?
for brass band, do you?
Preamble Preamble
Firstly, let’s get a few things straight, shall we? Firstly, let’s get a few things straight, shall we?
A brass band is not an orchestra and it never will be. No
A brass band is not an orchestra and it never will be. No matter how clever anmatter how clever an arranger you may think you are, you will never make a brass band sound like an arranger you may think you are, you will never make a brass band sound like an orchestra. Don’t attemt it. !ou won’t succeed and
orchestra. Don’t attemt it. !ou won’t succeed and you run the risk of grosslyyou run the risk of grossly distorting what a brass band is.
distorting what a brass band is.
A brass band is wonderful. "t is fascinating, gritty, delicate, sonorous, brash, A brass band is wonderful. "t is fascinating, gritty, delicate, sonorous, brash, loud, soft, brilliant, cheesy, virtuosic, #uirky, and honest. "t is uni#ue$ truly an loud, soft, brilliant, cheesy, virtuosic, #uirky, and honest. "t is uni#ue$ truly an enigma to anyone not brought u within the brass band family.
enigma to anyone not brought u within the brass band family. A brass band is a contradiction, but what a glorious one. "
A brass band is a contradiction, but what a glorious one. " love it and honour alllove it and honour all those dedicated souls who lay in
those dedicated souls who lay in bandrooms across the globe.bandrooms across the globe.
%o, before you set off to transcribe a iece of music from the classical world into %o, before you set off to transcribe a iece of music from the classical world into the brass band world, lease make sure that your intent it not to mimic. Don’t the brass band world, lease make sure that your intent it not to mimic. Don’t sell&short the brass band by 'oh, there’s a French horn solo that should go onto sell&short the brass band by 'oh, there’s a French horn solo that should go onto the solo tenor....( or '...muted cornet sounds )ust like an oboe, doesn’t it?..(. "n the solo tenor....( or '...muted cornet sounds )ust like an oboe, doesn’t it?..(. "n the words of Frankie *owerd, nay, nay, and trice nay.
the words of Frankie *owerd, nay, nay, and trice nay. Another thing, let’s all understand$ this a
Another thing, let’s all understand$ this aer outlines my views only. "’m not er outlines my views only. "’m not aa great arranger by any stretch of the imagination, but "’ve erformed many great great arranger by any stretch of the imagination, but "’ve erformed many great arrangements as a layer over + decades. his is )ust one aroach. !ou should arrangements as a layer over + decades. his is )ust one aroach. !ou should consider many. ake oosing views and form your own.
consider many. ake oosing views and form your own. -hy not? !ou’ve got it-hy not? !ou’ve got it in you. %. "’m not an author either, so forgive my oor grammar, structure, and in you. %. "’m not an author either, so forgive my oor grammar, structure, and rose, too.
rose, too.
And, finally, to areciate that my to&/0 favourite brass band ieces are And, finally, to areciate that my to&/0 favourite brass band ieces are original works and not arrangements1 however, my to&/0 fa
original works and not arrangements1 however, my to&/0 favourite ieces arevourite ieces are orchestral works. *ence, why "’m for orchestral arrangements for brass band, orchestral works. *ence, why "’m for orchestral arrangements for brass band, big&time. here’s some great stuff out there,
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Introduction Introduction
here are a number of internet resources, and the odd book here and there, here are a number of internet resources, and the odd book here and there, that’ll take you through what a band is, with finite descritions of its
that’ll take you through what a band is, with finite descritions of its
instrumentation and caabilities. "’m not going to go into all that. hey’ve done instrumentation and caabilities. "’m not going to go into all that. hey’ve done a good )ob and why should " try to re&make the bed?
a good )ob and why should " try to re&make the bed?
2ne of things "’d like to cover is the rocess. he stes taken to roduce your 2ne of things "’d like to cover is the rocess. he stes taken to roduce your transcrition. his is a more ractical rocess
transcrition. his is a more ractical rocess than theoretical or artistic.than theoretical or artistic. *oefully, it’ll sit nicely with the
*oefully, it’ll sit nicely with the other reference sources you’ll be able to other reference sources you’ll be able to findfind and digest.
and digest.
Composition Composition
*ow do comosers comose? By understanding their rocess may hel to *ow do comosers comose? By understanding their rocess may hel to fashion a way to transcribe for brass band 3our rocess4.
fashion a way to transcribe for brass band 3our rocess4. Arguably, a comoser’s rocess is$
Arguably, a comoser’s rocess is$
Brief
Brief 5 a 5 a commission with client e6ectations and conditions. 2ften withcommission with client e6ectations and conditions. 2ften with the instrumentation already set down.
the instrumentation already set down.
Inspiration
Inspiration 5 could be as simle as humming a tune or dabbling on 5 could be as simle as humming a tune or dabbling on aa iano.
iano.
Sketches
Sketches 5 laying out a iano score. roviding a coherent view of 5 laying out a iano score. roviding a coherent view of structure, form, and content.
structure, form, and content.
Orchestration
Orchestration 5 taking the sketch and ainting the sounds, colours, 5 taking the sketch and ainting the sounds, colours, dynamics, and emotion on to an
dynamics, and emotion on to an orchestral score.orchestral score.
Revision
Revision 5 7efining the draft score whilst constantly referring back to the 5 7efining the draft score whilst constantly referring back to the brief, what insired, and
brief, what insired, and sketches made earlier.sketches made earlier.
ditin!
ditin! 5 indeendent review of the 'final( draft before ublication and 5 indeendent review of the 'final( draft before ublication and erformance, including roducing the
erformance, including roducing the individual erformer’s arts.individual erformer’s arts.
Rewards
Rewards 5 the hearing of the comosition, your baby, for the first time,5 the hearing of the comosition, your baby, for the first time, and not the crude
and not the crude financial recomense for your efforts. 8ore imortantly,financial recomense for your efforts. 8ore imortantly, the continued oularity and re&erformance of your work year a
the continued oularity and re&erformance of your work year after yearfter year after year 5 resulting in immortality for the few 'greats(.
after year 5 resulting in immortality for the few 'greats(. All you comosers out there 5
All you comosers out there 5 are you listening? !es, everyone will have theirare you listening? !es, everyone will have their own eculiar way of comosing which may
own eculiar way of comosing which may look comletely different to thatlook comletely different to that described. -hatever works and shakes ya boots9
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he reason for outlining the comosition rocess is that
he reason for outlining the comosition rocess is that "’ve used it as the "’ve used it as the basicbasic framework, scaffolding so to seak, for
framework, scaffolding so to seak, for my brass band transcrition rocess.my brass band transcrition rocess. 2ne which " have develoed over
2ne which " have develoed over the years, use today, and the years, use today, and describe herein.describe herein. :nock yourself out$ use it, change
:nock yourself out$ use it, change it, or ignore this rocess.it, or ignore this rocess. 8y assumtion will be, throughout, that you’re like me$
8y assumtion will be, throughout, that you’re like me$ an amateur with accessan amateur with access to notation software, and not as a full&time rofessional musician doing this as a to notation software, and not as a full&time rofessional musician doing this as a rimary source of
rimary source of income. -hy? Because commercial necessities will surelyincome. -hy? Because commercial necessities will surely imact on this rocess for certain.
imact on this rocess for certain.
7ead on, 8acDuff, for here is my rocess for what it’s worth. 7ead on, 8acDuff, for here is my rocess for what it’s worth.
S"P #$ "he Brief S"P #$ "he Brief
his is the first ste. -hether you hysically receive an actual brief, or not, the his is the first ste. -hether you hysically receive an actual brief, or not, the comonents of this initial ste remain retty
comonents of this initial ste remain retty much the same. he key is to much the same. he key is to thinkthink before you invest too much time. hink bef
before you invest too much time. hink before you lea9 *ere are ore you lea9 *ere are some thingssome things that " consider before " get stuck in.
that " consider before " get stuck in.
%e!ality
%e!ality 5 -e 5 -e are about to coy are about to coy someone else’s work. ;oyright lawssomeone else’s work. ;oyright laws rotect that erson’s work until it becomes ublic domain 3D4,
rotect that erson’s work until it becomes ublic domain 3D4, which iswhich is unlikely to haen until decades after their death. "f you want to know the unlikely to haen until decades after their death. "f you want to know the laws, for there are many
laws, for there are many countries laws’ to consider, then go to countries laws’ to consider, then go to <niversity<niversity and study them. 8e, " am )ust ultra&cautious when treading through this and study them. 8e, " am )ust ultra&cautious when treading through this mine&field. "f the work is not D then you will need ermission from the mine&field. "f the work is not D then you will need ermission from the coyright holder, which is often not the
coyright holder, which is often not the comoser but their ublisher.comoser but their ublisher. Beware this may take time,
Beware this may take time, involve contracts, and cost cash. An involve contracts, and cost cash. An easyeasy itfall includes coying someone else’s arrangement of a D
itfall includes coying someone else’s arrangement of a D work 5 this iswork 5 this is breeching that arranger’s coyright9 "f in
breeching that arranger’s coyright9 "f in doubt always ask someone whodoubt always ask someone who thinks they know, double&check what they know, or consult an
thinks they know, double&check what they know, or consult an "7 lawyer,"7 lawyer, or referably lay it safe.
or referably lay it safe.
Practicality
Practicality 5 ;an any orchestral work be transcribed for brass band?5 ;an any orchestral work be transcribed for brass band? !es. -ill all orchestral works work well for
!es. -ill all orchestral works work well for brass band? No. here are brass band? No. here are nono absolutes, here, only oinion. For the
absolutes, here, only oinion. For the ine6erienced arranger thenine6erienced arranger then choosing a work that will transfer easily
choosing a work that will transfer easily is #uite a common senseis #uite a common sense
aroach 5 enough said. For those more e6erienced comes a feel 5 a aroach 5 enough said. For those more e6erienced comes a feel 5 a reliance on their )udgment, drawing uon t
reliance on their )udgment, drawing uon their failures and successes,heir failures and successes, lus a belief in the eventual outcome. " have a whole bundle of
lus a belief in the eventual outcome. " have a whole bundle of incomleteincomlete brass band arrangements that are work&in&rogress. "n other
brass band arrangements that are work&in&rogress. "n other words,words, those where " gave u after starting because " couldn’t envision the final those where " gave u after starting because " couldn’t envision the final end roduct$ " wasn’t a good enough arranger to do the work )ustice or end roduct$ " wasn’t a good enough arranger to do the work )ustice or comlete the )ob well. hese incomlete brass band
comlete the )ob well. hese incomlete brass band scores weren’t wastedscores weren’t wasted time as " learnt an awful lot in making the a
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oinion on whether an arrangement will work is
oinion on whether an arrangement will work is by far the mostby far the most imortant. =isten to others but trust yourself more.
imortant. =isten to others but trust yourself more.
&ccessibility
&ccessibility 5 Brass bands is an amateur medium 5 ok, historically 5 Brass bands is an amateur medium 5 ok, historically there’s the odd e6cetion. here are
there’s the odd e6cetion. here are literally hundreds of brass bandsliterally hundreds of brass bands around the globe. From the
around the globe. From the much&loved community band to the remiermuch&loved community band to the remier named elite bands. he sectrum of
named elite bands. he sectrum of commitmencommitment, musical rowess, and oft, musical rowess, and of virtuosity is therefore vast. "f your chosen work for
virtuosity is therefore vast. "f your chosen work for transcrition istranscrition is
technically difficult, or uneasy on the ear, or heavily reliant on rangy solo technically difficult, or uneasy on the ear, or heavily reliant on rangy solo lines, or lasts for >&lus minutes, then it is likely that only a handful of lines, or lasts for >&lus minutes, then it is likely that only a handful of bands will be able to lay it or have the
bands will be able to lay it or have the oortunity to lay it in ublic. &oortunity to lay it in ublic. & hat is, even if
hat is, even if you got your arrangement across their bandroom doorsteyou got your arrangement across their bandroom doorste in the first lace. his shouldn’t sto you in your choice, but consider what in the first lace. his shouldn’t sto you in your choice, but consider what e6ectations you have in how often, where,
e6ectations you have in how often, where, and by whom you would and by whom you would likelike the iece layed. *onestly assess how many bands
the iece layed. *onestly assess how many bands could and would becould and would be willing to lay it?
willing to lay it?
%ibrary fodder'ity
%ibrary fodder'ity 5 "f "’m going to invest a 5 "f "’m going to invest a lot of time in transcribing alot of time in transcribing a work for brass band then " would, referably, wish to be the first to make work for brass band then " would, referably, wish to be the first to make that transfer between worlds. -hat " wouldn’t choose to do is iece that’s that transfer between worlds. -hat " wouldn’t choose to do is iece that’s been done a do@en times over. his is esecially the case if, in my
been done a do@en times over. his is esecially the case if, in my oinion, there’s a really good
oinion, there’s a really good transcrition out there already. here wouldtranscrition out there already. here would be nothing uni#ue about what " would do and why take the wind out be nothing uni#ue about what " would do and why take the wind out ofof the sails of someone else’s creditable work? ;onsidering all of
the sails of someone else’s creditable work? ;onsidering all of this won’tthis won’t revent me from doing a articular
revent me from doing a articular arrangement, it is simly a searrangement, it is simly a sensiblensible #uestion to ask oneself before moving on.
#uestion to ask oneself before moving on.
&vailability
&vailability 5 *ow are you going to get your 5 *ow are you going to get your finished, ristine, andfinished, ristine, and wonderful arrangement to all those bands out there? he advent of the wonderful arrangement to all those bands out there? he advent of the internet, clever notation software, email, self&ublication sites, brass band internet, clever notation software, email, self&ublication sites, brass band forums, et al has changed things dramatically over the last decade or so. forums, et al has changed things dramatically over the last decade or so. "t used to be either$ 3a4 through a ublisher, or, 3b4 hotocoied hand& "t used to be either$ 3a4 through a ublisher, or, 3b4 hotocoied hand& written manuscrits osted
written manuscrits osted ndnd class at great e6ense in buff enveloes. class at great e6ense in buff enveloes. By the way, " have not rinted a hard
By the way, " have not rinted a hard coy of any of my arrangements forcoy of any of my arrangements for years. "f some
years. "f some smart erson could develo lasma screen music stands,smart erson could develo lasma screen music stands, hot&wired to the net, then " can, with hand on
hot&wired to the net, then " can, with hand on heart, say " could seriouslyheart, say " could seriously contribute to saving the rain forest. he oor old librarian would
contribute to saving the rain forest. he oor old librarian would areciate such an innovation, too, for sure.
areciate such an innovation, too, for sure.
Popularity
Popularity 5 ;lassical radio stations have 5 ;lassical radio stations have become very oular. hisbecome very oular. his shouldn’t be a surrise for
shouldn’t be a surrise for the classical world of music is terrific,the classical world of music is terrific, e6tremely varied, and more accessible than ever 5 god
e6tremely varied, and more accessible than ever 5 god bless DAB and thebless DAB and the m+. 2ne thing these successful stations have learnt is that there are the m+. 2ne thing these successful stations have learnt is that there are the mainstream classical favourite works, oular with the ma)ority of
mainstream classical favourite works, oular with the ma)ority of itsits listeners, and then there is the
listeners, and then there is the rest of classical music. he most successfulrest of classical music. he most successful stations are, redominantly, commercial and being classically oular is a stations are, redominantly, commercial and being classically oular is a
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necessity for them in resect of
necessity for them in resect of income. hese stations rarely veer off thisincome. hese stations rarely veer off this safe middle&of&the&road ground. -hat this shows us,
safe middle&of&the&road ground. -hat this shows us, esecially if you areesecially if you are arranging for some financial reward, is
arranging for some financial reward, is that you’ll have to considerthat you’ll have to consider oularity of the music very keenly. "
oularity of the music very keenly. " have taken a not&for&rofithave taken a not&for&rofit aroach. All my arrangements have been f
aroach. All my arrangements have been free of charge to&date. akingree of charge to&date. aking this commercial stance means that " can, in fact, choose from a wider this commercial stance means that " can, in fact, choose from a wider selection of orchestral works and stray off
selection of orchestral works and stray off this safe ground from this safe ground from time totime to time 5 arranging remains my hobby for
time 5 arranging remains my hobby for heaven’s sake.heaven’s sake.
Connectivity
Connectivity 5 For me this is the most imortant comonent at this 5 For me this is the most imortant comonent at this stage of the rocess. 8aybe a new&age word for what is simly about stage of the rocess. 8aybe a new&age word for what is simly about emotion. " only arrange music that " love and that " can connect to. hat emotion. " only arrange music that " love and that " can connect to. hat assion feeds the dedication it takes to sit down for hours in front of my assion feeds the dedication it takes to sit down for hours in front of my ; banging in notes. "t may also be a tad
; banging in notes. "t may also be a tad evangelical of me, in that " wishevangelical of me, in that " wish others from the brass band family to grow to love the iece as " do.
others from the brass band family to grow to love the iece as " do. 2ccasionally "’ve arranged music " didn’t areciate and, " feel, those 2ccasionally "’ve arranged music " didn’t areciate and, " feel, those arrangements didn’t get the care and
arrangements didn’t get the care and attention they needed in retrosect.attention they needed in retrosect.
S"P ($ Sketches S"P ($ Sketches
his ne6t ste is out
his ne6t ste is out of se#uence with our generic comoser’s rocess. here’s aof se#uence with our generic comoser’s rocess. here’s a good reason for this$ we’re not
good reason for this$ we’re not comosing9 After "’ve mused over the 'brief(,comosing9 After "’ve mused over the 'brief(, and my chosen orchestral iece has assed with
and my chosen orchestral iece has assed with flying colours, " sketch.flying colours, " sketch. -hat this involves is taking
-hat this involves is taking or + or or + or more very short e6erts from the orchestralmore very short e6erts from the orchestral iece and roducing a brass band score of these few bars only. ;all it
iece and roducing a brass band score of these few bars only. ;all it rototying.
rototying.
Now, don’t go selecting the easy bits or the bits with the best tunes. "
Now, don’t go selecting the easy bits or the bits with the best tunes. " alwaysalways choose a section that looks the
choose a section that looks the most difficult to transcribe. hen "’ll amost difficult to transcribe. hen "’ll alwayslways choose the oening and closing few bars lus any transitional sections, if any. choose the oening and closing few bars lus any transitional sections, if any. 2ften this’ll take #uite a bit of time 3a day o
2ften this’ll take #uite a bit of time 3a day or so4 and " make sure that theser so4 and " make sure that these handfuls of bars are refined until " feel that
handfuls of bars are refined until " feel that it could even be erformed. NB$ if "it could even be erformed. NB$ if " was friendly enough with a local band " might even take these few bars along was friendly enough with a local band " might even take these few bars along forfor a trial run.
a trial run.
-hat all of this does is to increase my confidence in the outcome$ the comleted -hat all of this does is to increase my confidence in the outcome$ the comleted brass band transcrition will be ractical,
brass band transcrition will be ractical, ossible, workable, and achievableossible, workable, and achievable without having committed weeks of my time and
without having committed weeks of my time and been disaointed at the end.been disaointed at the end. he rototye is then carefully ut to one side. " may return to it, but "
he rototye is then carefully ut to one side. " may return to it, but " may not.may not.
S"P )$ Inspiration S"P )$ Inspiration
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-hy does a brass band arranger need insiration? he iece of music has been -hy does a brass band arranger need insiration? he iece of music has been done. -e are simly in transfer mode. " need insiration in terms of ensemble, done. -e are simly in transfer mode. " need insiration in terms of ensemble, colour, balance, and all such things that will oint to achieving a good
colour, balance, and all such things that will oint to achieving a good brassbrass band transcrition. 8y insiration comes best by emloying the
band transcrition. 8y insiration comes best by emloying the followingfollowing method through this ste of
method through this ste of the rocess.the rocess.
"f "’m going to score a fairly significant orchestral work 3longest "’ve done is /C "f "’m going to score a fairly significant orchestral work 3longest "’ve done is /C minutes4 then what " will always do is ut the original orchestral score into the minutes4 then what " will always do is ut the original orchestral score into the notation software before " start band orchestrating in anger. " don’t bother with notation software before " start band orchestrating in anger. " don’t bother with all the details of the score. "
all the details of the score. " simly ut in the notes without dynamics or slurssimly ut in the notes without dynamics or slurs etc. here are some good reasons why " do it this way and the main advantages etc. here are some good reasons why " do it this way and the main advantages "’ve found are$
"’ve found are$
•
• 8ost orchestral scores have errors in them. his is a 8ost orchestral scores have errors in them. his is a great way to wheedlegreat way to wheedle
them out by listening to layback and using your keen ear1 them out by listening to layback and using your keen ear1
•
• 2nce the notes are in, it is a retty straightforward task to cut aste2nce the notes are in, it is a retty straightforward task to cut aste
directly into your brass band score as
directly into your brass band score as it develos1it develos1
•
• 8ost imortantly, and the insiration bit, " find that " 8ost imortantly, and the insiration bit, " find that " learn the orchestrallearn the orchestral
score inside out after sending E+ weeks banging notes into my ;. " score inside out after sending E+ weeks banging notes into my ;. " start to hear, see, and determine how it’ll be scored as a brass band iece start to hear, see, and determine how it’ll be scored as a brass band iece whilst "’m faced with this e
whilst "’m faced with this electronic orchestra for so long. " don’t lectronic orchestra for so long. " don’t startstart orchestrating cold with a blank manuscrit in front of me.
orchestrating cold with a blank manuscrit in front of me.
rue, this method may seem a bit labour intensive and dull, but it does save you rue, this method may seem a bit labour intensive and dull, but it does save you time downstream and does rovide insiration and a
time downstream and does rovide insiration and a head&start on the vitallyhead&start on the vitally imortant ste of brass band
imortant ste of brass band orchestration. NB$ don’t under&estimate the valueorchestration. NB$ don’t under&estimate the value of taking this ste. ry it. 6eriment.
of taking this ste. ry it. 6eriment.
S"P *$ Orchestration S"P *$ Orchestration
"’d like to send a little more time on this section of the aer,
"’d like to send a little more time on this section of the aer, robably becauserobably because it’s the most imortant in my view.
it’s the most imortant in my view. "f you’re a good "f you’re a good orchestrator then you’reorchestrator then you’re more likely to arrive at a
more likely to arrive at a very good arrangement of your classical work 5 very good arrangement of your classical work 5 seemsseems silly to state the obvious,
silly to state the obvious, doesn’t it? Brass band orchestration skills are crucial todoesn’t it? Brass band orchestration skills are crucial to deliver a good or great arrangement. & %imly selecting a great iece, or even deliver a good or great arrangement. & %imly selecting a great iece, or even having the lu6ury of having an elite band lay it, will not
having the lu6ury of having an elite band lay it, will not cover&u oorcover&u oor orchestration efforts, no doubt about it.
orchestration efforts, no doubt about it. -ithin this section " have
-ithin this section " have covered numerous orchestration toics, individually,covered numerous orchestration toics, individually, rather than trying to
rather than trying to discuss this comle6 sub)ect as a whole.discuss this comle6 sub)ect as a whole.
+hat makes a !ood orchestrator for brass band? +hat makes a !ood orchestrator for brass band?
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"f you gave me the most basic melody line of the nursery rhyme '+ Blind mice( "f you gave me the most basic melody line of the nursery rhyme '+ Blind mice( and then asked me to score it for iano, then "’d
and then asked me to score it for iano, then "’d surely mess it u. " know whatsurely mess it u. " know what a iano is. hat it has b
a iano is. hat it has black and white keys and normally a erson with &handslack and white keys and normally a erson with &hands and /0&digits strikes them with dynamic effect.
and /0&digits strikes them with dynamic effect. " may even know what the" may even know what the edals do and have read a aer on
edals do and have read a aer on 'so you want to score for iano, do you?(.'so you want to score for iano, do you?(. his is all suerficial knowledge and doesn’t mean that " can orchestrate the his is all suerficial knowledge and doesn’t mean that " can orchestrate the simlest nursery rhyme for iano all that
simlest nursery rhyme for iano all that well.well.
-hat " lack is intimate knowledge of the iano, both technically and in -hat " lack is intimate knowledge of the iano, both technically and in erformance. -hat works well and what doesn’t.
erformance. -hat works well and what doesn’t. -hat assages can and can’t-hat assages can and can’t be layed by &hands. *ow best to get the best out
be layed by &hands. *ow best to get the best out of the iano. he list of whatof the iano. he list of what " need to know about the iano is endless, that
" need to know about the iano is endless, that is, if " want a great arrangementis, if " want a great arrangement of this simle nursery rhyme. hen by ana
of this simle nursery rhyme. hen by analogy, " would need intimate logy, " would need intimate knowledgeknowledge of the brass band if "
of the brass band if " wanted to end u with a great arrangement for brass band.wanted to end u with a great arrangement for brass band. Now, no giggling at my use of the word 'intimate(, lease, as "
Now, no giggling at my use of the word 'intimate(, lease, as " deliberately usedeliberately use this word to emhasise the imortance of
this word to emhasise the imortance of understanding the brass band as understanding the brass band as anan instrument & inside out & on aer, in the bandroom, and on&stage.
instrument & inside out & on aer, in the bandroom, and on&stage. A few times "’ve heard
A few times "’ve heard well&educated musicians, not intimate with the brasswell&educated musicians, not intimate with the brass
band, say how restrictive a brass band is in its te6tures, range, colour, etc. -hat band, say how restrictive a brass band is in its te6tures, range, colour, etc. -hat utter bunkum. hey simly lack the re#uired
utter bunkum. hey simly lack the re#uired intimate knowledge.intimate knowledge.
Now sto, all of you9 7ight now, )ust sto. Don’t you dare contact me to e6lain Now sto, all of you9 7ight now, )ust sto. Don’t you dare contact me to e6lain that a full symhony orchestra has this and that and a brass band
that a full symhony orchestra has this and that and a brass band hasn’t. Guesshasn’t. Guess what, " know. 8y oint is that someone with intimate knowledge of a brass band what, " know. 8y oint is that someone with intimate knowledge of a brass band has far more areciation of
has far more areciation of its caabilities, subtleties, te6tures, colours, etc.,its caabilities, subtleties, te6tures, colours, etc., than someone looking at it suerficially, no
than someone looking at it suerficially, no matter how well&educated they maymatter how well&educated they may be 3or think they are4. -hen you love someone you see things that others do be 3or think they are4. -hen you love someone you see things that others do not. =overs of the brass band, also, see what others cannot. hat’s intimacy in not. =overs of the brass band, also, see what others cannot. hat’s intimacy in this conte6t. " believe you need to get intimate to be a great orchestrator of the this conte6t. " believe you need to get intimate to be a great orchestrator of the brass band. NB$ it isn’t an accident that the greatest band orchestrators,
brass band. NB$ it isn’t an accident that the greatest band orchestrators, throughout our relatively short history, have loved brass bands 5
throughout our relatively short history, have loved brass bands 5 )ust think)ust think about it.
about it.
Ah, you say, but "’m not from your world and " want to
Ah, you say, but "’m not from your world and " want to arrange for brass band.arrange for brass band. -ell, my advice, is read what you can read, but then you’re gonna have to get -ell, my advice, is read what you can read, but then you’re gonna have to get ya hands dirty. *ere are a few ideas for your brass band b
ya hands dirty. *ere are a few ideas for your brass band blind date$lind date$
•
• =ook at Hgreat’=ook at Hgreat’ band scoresband scores, and not , and not necessarily orchestralnecessarily orchestral
arrangements. he best scoring hides within original works in my oinion. arrangements. he best scoring hides within original works in my oinion.
•
• Go to a brassGo to a brass band rehearsalband rehearsal. 8ore than )ust one with one band. All. 8ore than )ust one with one band. All
brass bands are uni#ue. hey may look the same, but each has its brass bands are uni#ue. hey may look the same, but each has its strengths, weaknesses, skills, and deficiencies. And beware, it
strengths, weaknesses, skills, and deficiencies. And beware, it is ossibleis ossible that the rehearsal will be
that the rehearsal will be devoid of anything classical and may whollydevoid of anything classical and may wholly consist of musical dits and the trivial. -hy is that so often the case? consist of musical dits and the trivial. -hy is that so often the case?
Page: of 21 Page: of 21
•
• Conduct or playConduct or play with a band. Nothing like getting really dirty and with a band. Nothing like getting really dirty and
learning at the coalface if the oortunity arises. learning at the coalface if the oortunity arises.
•
• =isten to=isten to recordin!srecordin!s, but remember these are very often , but remember these are very often sterilised andsterilised and
homogenised offerings. A bit like a marketing hotograh of a celebrity 5 homogenised offerings. A bit like a marketing hotograh of a celebrity 5 the lighting is )ust erfect, make&u is erfect, skin blemishes have been the lighting is )ust erfect, make&u is erfect, skin blemishes have been electronically removed, and the colour ad)usted using the latest
electronically removed, and the colour ad)usted using the latest imagingimaging software.
software.
•
• Go to a brassGo to a brass band contestband contest. "n the main, the brass band is a s. "n the main, the brass band is a sorting,orting,
cometing animal. %o, to see it in all its finery the best lace
cometing animal. %o, to see it in all its finery the best lace is at ais at a contest.
contest. -onderful e6eri-onderful e6erience. veryone dressence. veryone dressed u in their ed u in their tribal dress.tribal dress. -here each band, whatever their standard, is shown off at its very best. -here each band, whatever their standard, is shown off at its very best. -ell, in most cases 5 drat those nerves and fiddly assages9
-ell, in most cases 5 drat those nerves and fiddly assages9 he above advice is almost e#ually
he above advice is almost e#ually true for anyone who believes themselvestrue for anyone who believes themselves already intimate with the brass band. -hy? %ince " stoed laying in a band already intimate with the brass band. -hy? %ince " stoed laying in a band "’ve found that "’ve
"’ve found that "’ve listened more. %tood slightly back and truly listened more. %tood slightly back and truly listened,listened, studied, and areciated. he other week " went to a band contest. Believe " studied, and areciated. he other week " went to a band contest. Believe " heard every erformance in one articular division. %oke to
heard every erformance in one articular division. %oke to the erformers andthe erformers and some conductors in the bar before
some conductors in the bar before the results were announced. "t’s ama@ing howthe results were announced. "t’s ama@ing how many of them, layers and stick wavers alike, couldn’t get a real feel for how many of them, layers and stick wavers alike, couldn’t get a real feel for how they layed. All of them had ears and, "
they layed. All of them had ears and, " believe, they were all in the hall at thebelieve, they were all in the hall at the time of their erformance.
time of their erformance.
heir roblem, as it was for me when " layed, was that they dwelt on the worst heir roblem, as it was for me when " layed, was that they dwelt on the worst asects of their erformance rather than the best. " even soke, before it was asects of their erformance rather than the best. " even soke, before it was known, to the winning conductor, who was
known, to the winning conductor, who was deely conscious of the number ofdeely conscious of the number of slit notes in the challenging middle
slit notes in the challenging middle section. " wasn’t oblivious to these section. " wasn’t oblivious to these minorminor blemishes1 however, what " heard was a truly rounded interretation and a fine blemishes1 however, what " heard was a truly rounded interretation and a fine e6ecution of a
e6ecution of a classic work. "t classic work. "t was marvellous. was marvellous. -hat " have learned -hat " have learned since "since " stoed laying is to
stoed laying is to areciate interretation, e6ecution, and sheerareciate interretation, e6ecution, and sheer
erformance over the rest of the clatra that " used to think so imortant. erformance over the rest of the clatra that " used to think so imortant. During that contest day " was listening as an orchestrator and someone who During that contest day " was listening as an orchestrator and someone who areciates a good brass band. " was not someone intent on counting slits or areciates a good brass band. " was not someone intent on counting slits or sucking teeth at any hint
sucking teeth at any hint of intonation issues under contesting duress. Now,of intonation issues under contesting duress. Now, ad)udicators lease get back in your bo69 =et us all reeat the mantra$ it is a ad)udicators lease get back in your bo69 =et us all reeat the mantra$ it is a truth that even the greatest contest erformance of all time was not erfect. truth that even the greatest contest erformance of all time was not erfect. Anyway, " digress, my oint is that even if, as an arranger,
Anyway, " digress, my oint is that even if, as an arranger, you are from theyou are from the brass band family you may have to re&visit how to see, hear, and areciate the brass band family you may have to re&visit how to see, hear, and areciate the brass band before you e6ercise your orchestrating muscles on a
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%isten to
%isten to !reat performers!reat performers
"t goes without saying that
"t goes without saying that listening to great erformers lay the orchestrallistening to great erformers lay the orchestral version of your chosen work will hel you to scult the best brass band version of your chosen work will hel you to scult the best brass band orchestration. hese erformers are secial because they often find things
orchestration. hese erformers are secial because they often find things in thein the work that even the comoser didn’t know was
work that even the comoser didn’t know was there. 2n occasion, " have beenthere. 2n occasion, " have been known to mark temi and nuances 3rit, rall, etc4 that a great erformer used in known to mark temi and nuances 3rit, rall, etc4 that a great erformer used in my brass band score that were
my brass band score that were not marked in the original orchestral score.not marked in the original orchestral score. urists out there may shirk at this,
urists out there may shirk at this, but "’m sure brass band but "’m sure brass band stick waversstick wavers welcome all the hel they can get from the score. %urrisingly " have found welcome all the hel they can get from the score. %urrisingly " have found !outube a valuable resource for
!outube a valuable resource for seeking out a variety of erformances, notseeking out a variety of erformances, not necessarily all great, but you do get a wide college of interretations.
necessarily all great, but you do get a wide college of interretations.
After listening a few times " find myself making notes of '..horns rominent in After listening a few times " find myself making notes of '..horns rominent in that section..( or '....
that section..( or '....solo cornet with delicate accomaniment in this section(. "solo cornet with delicate accomaniment in this section(. " scribble these notes directly onto my coy of
scribble these notes directly onto my coy of the orchestral score until it looksthe orchestral score until it looks like an inkwell sider has drunkenly crossed it. NB$
like an inkwell sider has drunkenly crossed it. NB$ make sure your score ain’tmake sure your score ain’t from the local library and then blame me.
from the local library and then blame me.
nderstand the intent nderstand the intent
" cannot stress too highly what "’m about to say in its imortance with regards " cannot stress too highly what "’m about to say in its imortance with regards to brass band orchestration. he comoser sets out
to brass band orchestration. he comoser sets out to convey emotion, orto convey emotion, or images, or a story in their music. "t is vital that you areciate what it
images, or a story in their music. "t is vital that you areciate what it is theyis they are trying to communicate to the
are trying to communicate to the listening audience. As arranger, you mustlistening audience. As arranger, you must ensure that what the comoser intended to
ensure that what the comoser intended to convey you are singularly faithful toconvey you are singularly faithful to within your brass band score. ruly, not
within your brass band score. ruly, not much else matters. "f the much else matters. "f the music ismusic is vibrant and you orchestrate dully for brass
vibrant and you orchestrate dully for brass band then the comoser’s intent willband then the comoser’s intent will have been comromised. "t’s like singing an
have been comromised. "t’s like singing an aria without understanding thearia without understanding the emotional state of the oeratic character. ;ra@y9
emotional state of the oeratic character. ;ra@y9
"f you don’t take the time and take the care needed to understand the "f you don’t take the time and take the care needed to understand the comoser’s intent then it would be like using
comoser’s intent then it would be like using the online Babelfish translator tothe online Babelfish translator to translate %hakeseare 5 you’d get a result from Babelfish, for sure, but all the translate %hakeseare 5 you’d get a result from Babelfish, for sure, but all the rhythmic oetry would most certainly be lost in
rhythmic oetry would most certainly be lost in translation.translation.
<nderstanding and rotecting the comoser’s intent is suer&critical. <nderstanding and rotecting the comoser’s intent is suer&critical.
Paint a picture Paint a picture
his is a techni#ue that "’m using more and more. Not sure whether " can his is a techni#ue that "’m using more and more. Not sure whether " can e6lain it well enough for you to understand, but "’ll have a stab
e6lain it well enough for you to understand, but "’ll have a stab at it. " want toat it. " want to air it, at least, so that it
air it, at least, so that it can hel to break the aint&by&numbers aroach tocan hel to break the aint&by&numbers aroach to orchestration, eg. Iiolins J cornets, ;ellos J
Page: 10 of 21 Page: 10 of 21
not delivers the oorest brass band scoring
not delivers the oorest brass band scoring results and is mimicking of the fresults and is mimicking of the firstirst order.
order.
"f, for one moment, we image a blank canvas, with aints, brushes to hand and "f, for one moment, we image a blank canvas, with aints, brushes to hand and that through our orchestration we are going to aint a icture onto that blank that through our orchestration we are going to aint a icture onto that blank surface. he comoser has ainted an orchestral
surface. he comoser has ainted an orchestral icture, but what colours andicture, but what colours and shading would you use to aint a brass band icture?
shading would you use to aint a brass band icture?
"’m not trying to be aloof, here, "’m )ust attemting to get away from the "’m not trying to be aloof, here, "’m )ust attemting to get away from the mechanics of lis, breathing, fingering, and so on, and treat a brass band mechanics of lis, breathing, fingering, and so on, and treat a brass band as aas a sectrum of colours and tones to
sectrum of colours and tones to be used to convey the be used to convey the comoser’s orchestralcomoser’s orchestral icture. A bit too high&brow? =et’s try another tack.
icture. A bit too high&brow? =et’s try another tack.
Bri!ht
Bri!ht tones tones -ellow -ellow tonestones "reble
"reble $ornet $ornet %lugel %lugel &high'&high'
<o
<o $ornet &low'$ornet &low' Trombone &high' Trombone &high' %lugel %lugel Tenor horn Tenor horn (uphonium &high' (uphonium &high' "enor
"enor TromboneTrombone BaritoneBaritone
(uphonium
(uphonium
Bass
Bass Trombone &low'Trombone &low' BassesBasses
Above is a basic 3greatly simlified4 colour alette for a brass band. Now, "’m Above is a basic 3greatly simlified4 colour alette for a brass band. Now, "’m not suggesting you use this alette, or even this method, but try&out the not suggesting you use this alette, or even this method, but try&out the following e6eriment.
following e6eriment.
•
• %tudy the alette and the colours "’ve used. "f the colours don’t%tudy the alette and the colours "’ve used. "f the colours don’t
work for you then change them
work for you then change them to suit yourself. Now, listen to ato suit yourself. Now, listen to a assage from an orchestral iece. Don’t look
assage from an orchestral iece. Don’t look at the score, listenat the score, listen only and closing your eyes may hel.
only and closing your eyes may hel.
•
• -hat colours do you see? -hat colours do you see? -hich colour do you imagine for each-hich colour do you imagine for each
solo line or ensemble entry? -here is that
solo line or ensemble entry? -here is that colour on our bandcolour on our band alette? -ill you have to
alette? -ill you have to blend two or more colours together for blend two or more colours together for thethe colour you hear? -hat are the
colour you hear? -hat are the brass band instruments that rovidebrass band instruments that rovide that colour uon this alette?
that colour uon this alette?
By using colour association in ainting a brass band icture it may, otentially, By using colour association in ainting a brass band icture it may, otentially, hel retain the integrity of
hel retain the integrity of the comoser’s orchestral icture in yourthe comoser’s orchestral icture in your
transcrition. ;learly, and more imortantly, we avoid the aint&by&numbers transcrition. ;learly, and more imortantly, we avoid the aint&by&numbers othole remarked uon earlier.
othole remarked uon earlier.
"f you find the brass band alette aroach not to
"f you find the brass band alette aroach not to your alette then read theyour alette then read the ne6t section,
ne6t section, nsemblesnsembles. his section eals away my ethereal . his section eals away my ethereal oncing on thisoncing on this sub)ect and discusses it a little
Page: 11 of 21 Page: 11 of 21
nsembles nsembles
2ne of the useful aroaches " take to orchestrating for brass band is not to 2ne of the useful aroaches " take to orchestrating for brass band is not to think of the brass band as brass layers with ercussionists and someone think of the brass band as brass layers with ercussionists and someone who stands in&front waving their arms and making the occasional grunt. No, " who stands in&front waving their arms and making the occasional grunt. No, " now think of a brass band as one entity$ one instrument with brass voices. now think of a brass band as one entity$ one instrument with brass voices. he more you think of individuals the more you notice them, and the less you he more you think of individuals the more you notice them, and the less you think of the overall sound, colour,
think of the overall sound, colour, and emotion that these voices can and emotion that these voices can convey asconvey as a whole.
a whole.
he great thing about this &voice instrument is that it’s versatile. !ou don’t he great thing about this &voice instrument is that it’s versatile. !ou don’t have to be all&guns&bla@ing all the time, ie. all brass voices, all the
have to be all&guns&bla@ing all the time, ie. all brass voices, all the time. As antime. As an orchestrator, we can switch between the tutti ensemble of a full brass band, orchestrator, we can switch between the tutti ensemble of a full brass band, switching voices on and off
switching voices on and off to change the te6ture, colour, mood, to change the te6ture, colour, mood, or simly )ustor simly )ust the dynamic.
the dynamic.
!ou say$ that daft Geoff, he doesn’t know that " know this. Geoff,
!ou say$ that daft Geoff, he doesn’t know that " know this. Geoff, this is reallythis is really stating the obvious and "’m a little insulted. " do realise that smaller ensembles stating the obvious and "’m a little insulted. " do realise that smaller ensembles e6ist within a brass band.
e6ist within a brass band.
!es, it is true that what "’m stating the obvious, but "
!es, it is true that what "’m stating the obvious, but " must say it. 2n numerousmust say it. 2n numerous occasions "’ve layed original and orchestral arrangements that, either, used occasions "’ve layed original and orchestral arrangements that, either, used ensembles oorly or didn’t use ensembles at all,
ensembles oorly or didn’t use ensembles at all, eg. everyone blasted all theeg. everyone blasted all the time throughout the iece and it
time throughout the iece and it was truly monotonous.was truly monotonous. 8y advice in this area is as follows.
8y advice in this area is as follows.
From e6erimentation, e6erience, or )ust listening, we can get
From e6erimentation, e6erience, or )ust listening, we can get a retty gooda retty good idea which ensemble works in any given
idea which ensemble works in any given situation 5 which mi6 of situation 5 which mi6 of brass voicesbrass voices conveys the mood of the music, volume, style, thus getting the best out of the conveys the mood of the music, volume, style, thus getting the best out of the brass band. nsembles that best allow a solo horn to lay a mournful melody brass band. nsembles that best allow a solo horn to lay a mournful melody line or an ensemble that signals the entrance of our hero in the comoser’s line or an ensemble that signals the entrance of our hero in the comoser’s storyline. -hatever the situation, within your chosen orchestral iece, there will storyline. -hatever the situation, within your chosen orchestral iece, there will be the right ensemble 3mi6 of voices4 for that movement, that assage, that be the right ensemble 3mi6 of voices4 for that movement, that assage, that very moment or subtle nuance. But
very moment or subtle nuance. But what mi6 works when?what mi6 works when? " have studied many great
" have studied many great band scores 3original works, mostly4. "’m still doingband scores 3original works, mostly4. "’m still doing so today. his has rovided me
so today. his has rovided me clear guidance on what clear guidance on what ensemble works best inensemble works best in what situation. -hat a
what situation. -hat a reository of knowledge9 -hy would you ignore it? -hatreository of knowledge9 -hy would you ignore it? -hat great brass band work 3original or
great brass band work 3original or otherwise4 reflects the character of theotherwise4 reflects the character of the orchestral iece you are about to
orchestral iece you are about to arrange? %eek out that score arrange? %eek out that score and study itsand study its orchestration. ry contacti
orchestration. ry contacting a local band and ng a local band and chat to their librarian. ven )ust achat to their librarian. ven )ust a few minutes with the right score
few minutes with the right score could rovide in&sight and insiration for could rovide in&sight and insiration for youryour transcrition. Doing this is not breaching coyright. -hat
transcrition. Doing this is not breaching coyright. -hat we are doing iswe are doing is
learning from a master orchestrator on what is best for a brass band. -e’d be learning from a master orchestrator on what is best for a brass band. -e’d be fools to ignore such resources. For e6amle, if
fools to ignore such resources. For e6amle, if you wanted to roduce the you wanted to roduce the mostmost classical 3with a small Hc’4
Page: 12 of 21 Page: 12 of 21
looking at ric Ball’s 'Kourney into Freedom(. "f your chosen iece re#uired a looking at ric Ball’s 'Kourney into Freedom(. "f your chosen iece re#uired a greater variety of sounds and colours then,
greater variety of sounds and colours then, may be, studying Kohn 8c;abes’may be, studying Kohn 8c;abes’ ';loudcatcher Fells( woul
';loudcatcher Fells( would be useful. Now, there are lenty of other greatd be useful. Now, there are lenty of other great scores, so which one aligns closest to
scores, so which one aligns closest to your chosen orchestral work? 5 do youyour chosen orchestral work? 5 do you take my oint?
take my oint?
2ver time you may even be able to build&u a list of ensembles 3voice mi6es4 to 2ver time you may even be able to build&u a list of ensembles 3voice mi6es4 to use in any articular situation 5
use in any articular situation 5 your own orchestrator’s library, so to seak. "your own orchestrator’s library, so to seak. " won’t bore you with a rotracted list of ensembles within the brass band, as " won’t bore you with a rotracted list of ensembles within the brass band, as " don’t know them all, and some that " use may not even work. *ere are )ust a don’t know them all, and some that " use may not even work. *ere are )ust a few gud Huns that will be familiar to you and may be trusted.
few gud Huns that will be familiar to you and may be trusted.
)rincipal cornet )rincipal cornet *ssistant princi *ssistant principalpal
+olo Horn +olo Horn )rincipal
)rincipal euphoniumeuphonium
%lugelhorn %lugelhorn Tutti trombones Tutti trombones )rincipal cornet )rincipal cornet *ssistant princ *ssistant principalipal
+olo Horn +olo Horn )rincipal trombone )rincipal trombone (b bass (b bass %ront row %ront row %lugelhorn %lugelhorn +olo Horn +olo Horn st Baritone st Baritone Tutti trombones Tutti trombones )rincipal euphonium )rincipal euphonium (b basses (b basses Tutti cornets Tutti cornets Tutti trombones Tutti trombones Tutti cornets Tutti cornets Tutti horns Tutti horns Tutti horns Tutti horns Tutti trombones Tutti trombones Tutti euphs Tutti euphs Bb basses Bb basses Tutti trombones Tutti trombones
Tutti baritones euphs Tutti baritones euphs Tutti basses
Tutti basses
Now, these are )ust a few, but )ust think about each ensemble in turn that "’ve Now, these are )ust a few, but )ust think about each ensemble in turn that "’ve listed. -hat are its ch
listed. -hat are its characteristics and how would an orchestrator use them?aracteristics and how would an orchestrator use them? aking flugel with tutti trombones as
aking flugel with tutti trombones as an e6amle$ this ensemble isan e6amle$ this ensemble is characteristically dark and moody. A chorale comes to
characteristically dark and moody. A chorale comes to mind rather than amind rather than a
scher@o. 2f course, this ensemble could lay a scher@o, but my oint is that this scher@o. 2f course, this ensemble could lay a scher@o, but my oint is that this ensemble’s dominant characteristic is dark, stately, and moody.
ensemble’s dominant characteristic is dark, stately, and moody. Kust think if we had a comlete list of all
Kust think if we had a comlete list of all the various band ensembles with theirthe various band ensembles with their dominant characteristics listed, too. -hat we would have would
dominant characteristics listed, too. -hat we would have would be the verybe the very building blocks of good orchestration at our
building blocks of good orchestration at our fingertis.fingertis. =et’s try this out on a
=et’s try this out on another ensemble$ tutti cornets and horns. -hat would thisnother ensemble$ tutti cornets and horns. -hat would this ensemble’s dominant characteristic
ensemble’s dominant characteristics be? hink. *ave you s be? hink. *ave you come u with a come u with a view?view? 8y view would be$ bright, treble, lively, articulate, and flourish. *ow does it 8y view would be$ bright, treble, lively, articulate, and flourish. *ow does it comare to your descrition? " bet it’s not too far away.
comare to your descrition? " bet it’s not too far away. -ith this ensemble understanding we could, literally,
-ith this ensemble understanding we could, literally, listen to any iece of listen to any iece of musicmusic and detail its characteristics and moods. eg. during a articular assage the
and detail its characteristics and moods. eg. during a articular assage the mood is dark and brooding. -e would refer to our imaginary list of ensembles mood is dark and brooding. -e would refer to our imaginary list of ensembles and immediately ick&u flugel with trombones. 2f
and immediately ick&u flugel with trombones. 2f course, this is an overcourse, this is an over simlification of the orchestration rocess, but hoefully you understand my simlification of the orchestration rocess, but hoefully you understand my meaning.
Page: 13 of 21 Page: 13 of 21
Bit at a time Bit at a time
Don’t set off e6ecting to start orchestrating at the start, then each section in Don’t set off e6ecting to start orchestrating at the start, then each section in se#uence, and ending u neat and tidy in the
se#uence, and ending u neat and tidy in the coda. "t won’t haen this way.coda. "t won’t haen this way. !ou’ll get stuck or you may have thought through the ending but not the
!ou’ll get stuck or you may have thought through the ending but not the oening. No roblem. ;reate a blank brass band score temlate of the whole oening. No roblem. ;reate a blank brass band score temlate of the whole iece 5 start to finish and without scoring. -ork on sections in any order that iece 5 start to finish and without scoring. -ork on sections in any order that feels right to you. Do
feels right to you. Do be careful and ensure continuity between sections whenbe careful and ensure continuity between sections when you start to )oin each section with one another.
you start to )oin each section with one another.
.ey si!nature .ey si!nature
For many, what "’m now going to say is musical sacrilege. " know, but "’m still For many, what "’m now going to say is musical sacrilege. " know, but "’m still going to say it. A brass band is a
going to say it. A brass band is a chromatic instrument. "t can theoretically laychromatic instrument. "t can theoretically lay in any key that you give it. hat is in 'theory(
in any key that you give it. hat is in 'theory( it can. A brass band 3its layers4it can. A brass band 3its layers4 has a coule of
has a coule of strange characteristics that are retty much universal across thestrange characteristics that are retty much universal across the globe. 3/4 Brass bands become less and less comfortable the further they
globe. 3/4 Brass bands become less and less comfortable the further they
migrate from the concert key of Bb, and 34 Brass bands are more comfortable migrate from the concert key of Bb, and 34 Brass bands are more comfortable laying in minor rather than ma)or. " have stereotyed, of course, but it is a laying in minor rather than ma)or. " have stereotyed, of course, but it is a universal truth nonetheless. Although you could transcribe your chosen
universal truth nonetheless. Although you could transcribe your chosen orchestral work in its original key, you
orchestral work in its original key, you might well be slamming s#uarely intomight well be slamming s#uarely into these strange henomena that "’ve described. Faced
these strange henomena that "’ve described. Faced with a concert key of &with a concert key of & ma)or, many bands would take f
ma)or, many bands would take flight, droing your arrangement in the light, droing your arrangement in the guttergutter on their way back into their burrow. =ook on the bright&side$ there are many on their way back into their burrow. =ook on the bright&side$ there are many instruments that can only lay in one key9 Anyway, am " telling you not to kee instruments that can only lay in one key9 Anyway, am " telling you not to kee to the original key in your brass band arrangement 5 N2, )ust take careful note to the original key in your brass band arrangement 5 N2, )ust take careful note of what’s been said.
of what’s been said.
NB$ " do not recommend the ironing away of relative key modulations 5 now, NB$ " do not recommend the ironing away of relative key modulations 5 now, that would be sacrilege, even
that would be sacrilege, even though some arrangers have brutally done it.though some arrangers have brutally done it.
Ran!y ran!es Ran!y ran!es
2ne thing that robably all of you have mused over is that the range,
2ne thing that robably all of you have mused over is that the range, eseciallyesecially uer octave range, that a
uer octave range, that a symhony orchestra ossesses is enormoussymhony orchestra ossesses is enormous comared to what a brass band can normally deliver on a regular basis. comared to what a brass band can normally deliver on a regular basis. he fact is, is that the brass band has
he fact is, is that the brass band has enough of an octave range without havingenough of an octave range without having to ress
to ress the s#uee@e&your&cheeks&togetherthe s#uee@e&your&cheeks&together&and&hoe&for&the&best button. %ure,&and&hoe&for&the&best button. %ure, if measured, there are a few octaves less, but with skilful orchestration the
if measured, there are a few octaves less, but with skilful orchestration the listener will never know the difference 5
listener will never know the difference 5 if the listener can’t tell, tif the listener can’t tell, then why shouldhen why should it be an issue?
it be an issue?
As arrangers, our rimary ob)ective is to
As arrangers, our rimary ob)ective is to reflect what the comoser wasreflect what the comoser was intending to convey to the listener, but using a brass band rather than a intending to convey to the listener, but using a brass band rather than a
Page: 14 of 21 Page: 14 of 21
symhony orchestra in doing so. 2ur ob)ective is
symhony orchestra in doing so. 2ur ob)ective is N2 to recisely imart theN2 to recisely imart the iccolo art on to the sorano cornet and watch them faint in attemting to lay iccolo art on to the sorano cornet and watch them faint in attemting to lay your arrangement 3NB$ this has actually h
your arrangement 3NB$ this has actually haened on&stage4. his may beaened on&stage4. his may be amusing to the trombones looking on, but
amusing to the trombones looking on, but has virtually no musical merit, let mehas virtually no musical merit, let me tell you.
tell you.
"t is far more critical to get mood, emotion, te6tures, colours, with all the "t is far more critical to get mood, emotion, te6tures, colours, with all the essentials of a good band
essentials of a good band orchestration, than to recisely ma absolute octavesorchestration, than to recisely ma absolute octaves between scores.
between scores.
"f we haven’t, we will likely end u with a brass band arrangement that sees half "f we haven’t, we will likely end u with a brass band arrangement that sees half the band screeching in the gods and the other half grovelling around the
the band screeching in the gods and the other half grovelling around the
basement. his would be as far from a brass band sound as you could get. =et’s basement. his would be as far from a brass band sound as you could get. =et’s not forget that, essentially, a brass band sound artly comes from all
not forget that, essentially, a brass band sound artly comes from all instruments laying in these
instruments laying in these relatively close octaves. 8oreover, screechingrelatively close octaves. 8oreover, screeching cornets give me indigestion.
cornets give me indigestion.
8y advice is let go. Don’t be too focussed on what octave 3treble, alto, tenor, 8y advice is let go. Don’t be too focussed on what octave 3treble, alto, tenor, bass, or contra4 that a hrase or line aears in. Get the ensemble right and bass, or contra4 that a hrase or line aears in. Get the ensemble right and dynamic right, first and f
dynamic right, first and foremost.oremost.
Invention Invention
" believe that great t
" believe that great transcritions are those that are e6cellently orchestrated, ofranscritions are those that are e6cellently orchestrated, of course, but they will also feature invention in their scoring. hat is, trying
course, but they will also feature invention in their scoring. hat is, trying something usual and une6ected. "’m not suggesting sticking +
something usual and une6ected. "’m not suggesting sticking + octave violinoctave violin areggios onto Bb bass,
areggios onto Bb bass, but this e6aggeration illustrates my oint.but this e6aggeration illustrates my oint.
8y advice is to take a risk here and there. Avoid the conventional. his may lead 8y advice is to take a risk here and there. Avoid the conventional. his may lead to setting new orchestration standards that others, including myself, will
to setting new orchestration standards that others, including myself, will want towant to follow.
follow.
By the by$ " love the Bb bass. "
By the by$ " love the Bb bass. "t is the bed rock uon which the uni#ue sound oft is the bed rock uon which the uni#ue sound of a band is built. " have
a band is built. " have known a few virtuosi Bb’s that could lay + octaveknown a few virtuosi Bb’s that could lay + octave areggios, too.
areggios, too.
his aer is the ramblings of a mad&man. -hat " say,
his aer is the ramblings of a mad&man. -hat " say, is what " believe, and notis what " believe, and not necessarily what you should believe. he advice "
necessarily what you should believe. he advice " offer is what "’ve offer is what "’ve learnt andlearnt and shouldn’t constrain you in your transcritions. =et loose. Don’t be
shouldn’t constrain you in your transcritions. =et loose. Don’t be afraid to ushafraid to ush the enveloe. his is where your greatness will
