1. Writing for Brass Things to Consider...

2. Brass Section ❖ Blend is generally better that trying to blend the woodwind section. ❖ Always take into account range and tone color when writing ❖ Horn works well one to one in softer dynamics, Traditionally needs support in louder dynamics. (depending on section) ❖ Most common bass doubling - Tuba and Euphonium in octaves. As a conductor, watch pitch.

3. Brass Section ❖ Trumpet can be easily hidden in the lower register. Double in other trumpets or horn to strengthen this register. ❖ Soft passages in low register? Watch ranges and colors and cut down parts. Think dynamic contour and dynamic control ❖ Typical Voicings: Largest interval space in low register ( think harmonic series), Even spacing of voices in upper register, Complete triads in trumpets, horns, trombones whenever possible, Horns can link trumpet and trombone.

4. Link Voicing Complete triads, Use Horns to Link, watch doubling of 3rds and 7ths - especially low. 3rd or 7th in Bass Voice? - Don’t Double!!!

5. Trumpet and Horn Voicing Usually keep even, closed position voicing in the upper registers.

6. Trombone Voicing Open voicing for the Trombones are rich and sonorous!

7. Mutes

8. Other Effects

9. Special Articulations

11. Tips for Combining Woodwinds and Brass ❖ Horns are the go-between. Can either function with woodwind groups or brass groups. ❖ Don’t write horns too high ❖ Avoid too much doubling. You don’t have to have everyone play all the time. ❖ Be more creative than just Brass Choir, Woodwind Choir ❖ Always think what you want for your dominant color in each line. Always think dynamic contour. ❖ Above all things - Think Like A Player...

12. Homework ❖ Read pages 71 - 90 in the Text