In the introduction to this chapter, Adler continues a discourse on the evolution of the natural brass instruments to those containing valves and pistons.  Of particular importance is his comment that composers and orchestrators should not overuse "this powerful sound resourse for it can overshadow the rest of the orchestra"  As well, it should be noted that brass instruments are the most physically demanding of the orchestra instruemnts and the players have relatively less stamina.  It is not uncommon to see alternations between 1st, 2nd and 3rd chairs for no other reason than to give the principle player a rest.  Its a valid technique and one you should take into consideration when writing brass intensive music. Finally, there is no better way to create a climax than to utilize the brass.  Frequent overuse of the section may detract from ones ability to build an effective climax.

1.  (Adler CD 4-31) Before the establishment of the late baroque / early classical orchestra we know natural brass were used in ensemble settings
2. (Adler CD 4-32)  In the Baroque pd, three horns with 3 trumpets (coupled by timpani) and 3 trombones were normal but rarely played together.
Notice how the horns are in concert pitch as these were natural horns. Also note how high the orns played.  This is much less common today. Also notice the trading of phrases at bar 15 between the orchestra and the brass and the difference between that and bar 18.
3.  (Adler CD 4-33) During the early classical period, trombones were seldom used.

Doubling of Brass Instruments Within the Modern Orchestra

By the late classical period the full brass section was established within the symphony orchestra.  By the early romantic period the current brass section of 4 horns, 3 trumpets, 3 trombones and 1 tuba was established and thus, with 11 instruments available to cover any given harmony doublings of the same nature as the winds were imployed.

Homophonic Treatment

When various brass instruments sound simultaneously as chords it is important to understand the role and function of each of the instruments in that chord.  The nature of the chord in general will dictate, to some degree the choice of instrument "voicings".  That is,  the desired subtlty, shading, color and texture of a chordal wind passage will require the individual winds to appear in specific places within the whole. Similar to their role as a melodic and harmonic instrument, the decision how to "voice" a brass chord will be as much personal as it is mechanical.  The registral characteristics of each instrument within the chord should be considered very carefully.  If an instrument is to appear in a melodic function within the chord, it must be in a relatively strong register compared to the others.  Various voicings will determine if that instruments are heard as individual units of the whole or as one single entity. 

As opposed to the winds, the brass balances change significantly through their dynamic range.  At ppp-mf each brass instrument carries about the same dynamic weight.  However from mf-FFF two horns should be used in unison to balance a single brass.  (Adler CD4-35)

 

1.     Four ways to voice Brass (Adler CD4-34)

a.     Juxtaposed.  Each instrument group is segregated from the others. Provides the most distinct presentation of each instrument

b.     Interlocked.  Each note from one group is placed between the notes of the other groups such that no group occupies two consecutive enclosed voicings

c.     Enclosed.  At least one group is entirely contained within the voicing of another group

d.     Overlapped.  At least one note from a group is shared with the same note from another group. Provides the least distinct presentation of each instrument

 

1.     Play Adler CD4-36-39)

a.     In the Stravinksy/Bach take note of how, without a slur, every note by default is slightly detached.

b.     Notice in Bruckner the emphasis at the end of bar 191 created by delaying the trumpet entrance and the corresponding loss of the F bass Tuba. Also notice how the brass are the only instruments that do not carry the trills.  Trills would overpower this delicate texture at this moment. Finally, take special note of the extensive use of accents, hats and wedges throughout the excerpt.

Bruckner 7th Symphony 4th mvt.

Using the Brass Choir to Present the Melody
 

1.     As Soloist

a.     (Adler CD4-40) Presenting the brass as unison and octave doubles alone is a particularly strong effect.  Consentrate on the upper registers for a brighter more incisive sound and the lower registers for a darker, thicker sound. 
Note: Adlers quote of Schullers comment about 4 horns in unison is a bit overly cautious.  I have in fact experienced this phenomenon but ONLY when it occurs in the very highest register in which many horn players would have a tough time holding their intonation anyway.  In normal high, mid and low registers I have both written for and conducted 4 horns in unison without a problem.

1.     In combination with other instruments.

a.     (Adler CD4-42) I think the Weinberger is a good example to look at.  I dont see it as an effective use of the trumpets as a melody doubled at pitch by the oboes.  To be clear, Trumpets doubled by oboe is a great combination with which to present a melody but this example is very weak.   In fact there are many elements that we have learned so far that would predict that it is not a good example.    Can you name them?  In this register, the oboe is "warm and reedy"  it is more sweet than forthright.  Whereas it will add a little bite to the trumpets due to the double reed, it wont help the fact that the counter subject is stepping all over the trumpets.  At FF the clarinets are, by Adlers definition "Piercing and Shrill"  that counter melody is being doubled by 2 flutes and a piccolo an octave higher in very strong registers.  As well, at FF by Adlers definition the background of 4 horns are equal in power to the two trumpets.  Those 4 horns are being coupled by B. Tpt and Org both of which would obliterate the added strength of the Oboe on the trumpet.  Then, to make the situation worse, the string middle ground, without any significant rhthmic personality also overpowers the melody with that super strong E string Violin I and cello part.  This piece does not naturally balance well at all and would require a lot of work for a conductor to make it happen well.    Let your ears be the guide on this.  It sounds like a mess to me.

b.     (Adler CD4-47) Now compare the above Weinberger to the Tchaikovsky and we will see why Tchaikovsky was such a master.  At bar 388, Instead of just two, Tschaikovsky uses 4 members of the trumpet family to present the melodic foreground with two oboes doubling at unison and octave.  The background of 4 horns, 2 trombones and two tubas would be too strong for the melody if Tchaikovsky had not presented the background with a significantly different rythm in a completely segregated register.   Notice that the highest background note in bar 388 is Bb 2 (Horns, Trbs Bsn) and the lowest foreground note is G3 (trumpets and various winds) Already the passage is much more clear.  Even though the foreground and background are segregated, Tschaikovsky does recognize the difference in the weight within the brass section and thus adds all the high winds as doubling the melody with piccolos and flutes going into the very top of their "brilliant" register without ever crossing the line into "shrill".  And, to reinforce the idea even more, he hits us with all the violins ALSO doubling the melody on the E string.  This is classic Tchaikovsky and many people criticize it as being too obvious but if its a choice between obvious and clear or muddy and unclear I would go for obvious.

c.     (Adler CD 4-48-56)  With the same critical ear, you should review these examples. Take particular note of the timbral changes in the brass through the big crescendi in the Wagner.  Notice how Hindemith lets each presentation of the fugal subject to be covered by a different brass family.  In the Franck example notice the impact of alternating the brass with the other orchestral choirs.

Using the Brass Choir to Provide a Coloristic Effect

More than any other choir in the orchestra, the brass have adapted, indeed formed the basis of an entirely separate genre.  As such, todays professional brass players are highly skilled in various genres and one should feel free to use any technique available and disregard any presuppositions derived from genre segregation.

1.     (Adler CD4-57-59) "jazz effects"

This example from rhapsody in blue shows an excellent use of the wa-wa effect on the harmon.  You should take note that the same effect can be created by any open bell on both trumpets and trombones so the player could also use a plunger or derby to effectively create wa-wa effects with slightly different colorings.  In the Concerto in F, take note of the deep vibrato.  Although Adler does not mention it, this is very stylistically jazz and in any other context would not be played with such an exaggerated vibrato.  In this example the conductor may have given the direction "molto vibrato" ("a lot of vibrato") and to insure such an effect, you can write this marking directly into the score.  As we saw in the chapter on individual brass, "rips" can be very effective. As opposed to the video we saw of the trumpet player executing a rip from a specific pitch to some undesignated very high pitch, In this instance Gould has the players start at an unspecified note below and rip up to a destination.

2.     (Adler CD4-60) New Techniques

I think a bitter subtitle here would be "combining techniques"  as in and of themselves, the brass dont really demonstrate anything too groundbreaking in this example.  The manipulation of the stem of a harmon mute has been around as long as the mute itself and we have seen that the Niente dynamic is a concept already employed by that subtone effect in the clarinet.    Bar 8 is very interesting in that Gould requests that the stem be pulled out and pushed in while a note is being played.  Listen carefully for the effect.  It is subtle.   As with anything we have learned, think creatively and dont be scared to try combining effects.  Why not fluttertongue a trill??  Why not use a plunger WITH a harmon mute?  Why not have a player experiment with slowly inserting a solotone mute WHILE playing, why not experiment with using two hands for the valves and pistons??.  When experimenting with new techniques ALWAYS Talk to players and see what kinds of unique tricks and techniques they may be able to demonstrate and remember, it is not fair to ask a player to try something that could damage their instrument.