Some of the contents of the pages on this site are Copyright © 2016 NJH Music | [Date Prev][Date Next][Thread Prev][Thread Next][Date Index][Thread Index] Re: The composers view
Dave Buckley wrote: > Obviously my literary to brass composing comparison was not meant to be exact but to > indicate that both the poetic forms and the brass band form have limitations within > which the composer must function. In the brass band the form says you write for sop, > solo, 1 and 2 cornet, rep, flugal, 3 horns, 2 baritones, 3 trombones, 1 or 2 euphs , > Eeflat and Bbflat bass and percussion. You must use all the parts if you are writing > for a contest and non contesting players in bands will not be happy if you don't > write for them too. In literary terms then, a haiku or a novel. Limitations but in a > different form. I'm not sure that we need look so far as literature. String quartets without cello parts are not thick on the ground, nor are piano solos for one hand only, although there are exceptions (just as there are in band scoring, such as the two flugels in 'Dances and Arias' or 'Moon and Mexico'). All forms of composition provide limitations, whether tonal, harmonic, timbral etc. - that's a big part of the challenge for the composer. Band music is by no means unique in this respect and I must admit that it bothers me a little to hear so much about the limitations of writing for band. The piano (for example) is essentially much more monochrome but obviously no-one ever told Debussy. I find it more difficult to compose for concert band where there is a much wider range of colours and far fewer possibilities to blend instrumental sounds... David --
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