University of Virginia Library

Brass.

The formation of the group of brass instruments, like that of the
wood-wind is not absolutely uniform, and varies in different scores.
The brass group may be divided into three general classes corresponding
to those of the wood-wind (in pair's, in three's, and in
four's).

     

Group corresponding to the wood-wind in pair's	Group corresponding to the wood-wind in three's	Group corresponding to the wood-wind in four's
2 Trumpets I, II.	3 Trumpets I, II, III. (III — Alto trumpet or:    [  2 Cornets I, II.  2 Trumpets I, II.	(II — Small trumpet). 3 Trumpets I, II, III. (III — Alto trumpet or Bass trumpet.
4 Horns I, II, III, IV.	4 Horns I, II, III, IV.	6 or 8 Horns I, II, III, IV, V, VI, VII, VIII.
3 Trombones.	3 Trombones I, II, III.	3 Trombones I, II, III.
1 Tuba.	1 Tuba [2].	1 Tuba.

The directions are the same as in the preceding table for woodwind.
It is evident that in all three classes the formation may
vary as the composer wishes. In music for the theatre or concert
room page after page may be written without the use of trumpets,
trombones and tuba, or some instrument may be introduced, temporarily
as an extra. In the above table I have given the most
typical formations, and those which are the most common at the
present day.

Note I. Besides the instruments given above, Richard Wagner used some
others in The Ring, notably the quartet of tenor and bass tubas, and a contrabass
trombone. Sometimes these additions weigh too heavily on the other
groups, and at other times they render the rest of the brass ineffective. For
this reason composers have doubtless refrained from employing such instruments,
and Wagner himself did not include them in the score of Parsifal. Some
present-day composers (Richard Strauss, Scriabine) write for as many as five
trumpets.

Note II. From the middle of the 19th century onward the natural brass
disappeared from the orchestra, giving place to valve instruments. In my second
opera, The May Night I used natural horns and trumpets, changing the keys,
and writing the best notes "stopped"; this was purposely done for practise.

Though far less flexible than the wood-wind, brass instruments
heighten the effect of other orchestral groups by their powerful
resonance. Trumpets, trombones, and tubas are about equal in

strength; cornets have not quite the same force; horns, in forte
passages, are about one half as strong, but piano, they have
the same weight as other brass instruments played softly. To
obtain an equal balance, therefore, the marks of expression in the
horns should be one degree stronger than in the rest of the brass;
if the trumpets and trombones play pp, the horns should be
marked p. On the other hand, to obtain a proper balance in
forte passages, two horns are needed to one trumpet or one
trombone.

Brass instruments are so similar in range and timbre that the
discussion of register is unnecessary. As a general rule quality
becomes more brilliant as the higher register is approached, and
vice versa, with a decrease in tone. Played pp the resonance is
sweet; played ff the tone is hard and "crackling". Brass instruments
possess a remarkable capacity for swelling from pianissimo
to fortissimo, and reducing the tone inversely, the sf > p effect
being excellent.

The following remarks as to character and tone quality may be added:

          

a)	1. Trumpets (B♭ — A). Clear and fairly penetrating in tone, stirring and rousing in forte passages; in piano phrases the high notes are full and silvery, the low notes troubled, as though threatening danger. 2. Alto trumpet (in F). An instrument of my own invention, first used by me in the opera-ballet Mlada. In the deep register (notes 2 to 3 in the trumpet scale) it possesses a fuller, clearer, and finer tone. Two ordinary trumpets with an alto trumpet produce greater smoothness and equality in resonance than three ordinary trumpets. Satisfied with the beauty and usefulness of the alto trumpet, I have consistently written for it in my later works, combined with wood-wind in three's.
Note. To obviate the difficulty of using the alto trumpet in ordinary theatres and some concert rooms, I have not brought into play the last four notes of its lowest register or their neighbouring chromatics; by this means the alto trumpet part may be played by an ordinary trumpet in B♭ or A.
	3. Small trumpet (in E♭ — D). Invented by me and used for the first time in Mlada to realise the very high
trumpet notes without difficulty. In tonality and range the instrument is similar to the soprano cornet in a military band.
Note. The small trumpet, (B♭ — A) sounding an octave higher than the ordinary trumpet has not yet appeared in musical literature.
b)	Cornets (in B♭ — A). Possessing a quality of tone similar to the trumpet, but softer and weaker. It is a beautiful instrument though rarely employed today in theatre or concert room. Expert players can imitate the cornet tone on the trumpet, and vice versa.
c)	Horn (in F). The tone of this instrument is soft, poetical, and full of beauty. In the lower register it is dark and brilliant; round and full in the upper. The middle notes resemble those of the bassoon and the two instruments blend well together. The horn, therefore, serves as a link between the brass and wood-wind. In spite of valves the horn has but little mobility and would seem to produce its tone in a languid and lazy manner.
d)	Trombone. Dark and threatening in the deepest register, brilliant and triumphant in the high compass. The piano is full but somewhat heavy, the forte powerful and sonorous. Valve trombones are more mobile than slide trombones, but the latter are certainly to be preferred as regards nobility and equality of sound, the more so from the fact that these instruments are rarely required to perform quick passages, owing to the special character of their tone.
e)	Tuba. Thick and rough in quality, less characteristic than the trombone, but valuable for the strength and beauty of its low notes. Like the double bass and double bassoon, the tuba is eminently useful for doubling, an octave lower, the bass of the group to which it belongs. Thanks to its valves, the tuba is fairly flexible.

The group of brass instruments, though uniform in resonance
throughout its constituent parts, is not so well adapted to expressive
playing (in the exact sense of the word) as the wood-wind group.
Nevertheless, a scope of greatest expression may be distinguished

Table C. Brass group.
These instruments give all chromatic intervals.

Natural sounds are given in white notes. The upper lines indicate the scope of greatest expression.
* The 7th natural harmonic is everywhere omitted as useless; the same in the horns, the notes 11, 13, 14 and 15.
** The bnatural of the octave — 1 does not exist on the trombone.

in the middle registers. In company with the piccolo and double
bassoon it is not given to the small trumpet (E♭ — D) and tuba
to play with any great amount of expression. The rapid and
rhythmical repetition of a note by single tonguing is possible to
all members of the brass, but double tonguing can only be done
on instruments with a small mouth-piece, trumpets and cornets.
These two instruments can execute rapid tremolando without difficulty.
The remarks on breathing, in the section devoted to the
wood-wind, apply with equal force to the brass.

The use of stopped notes and mutes alters the character of
brass tone. Stopped notes can only be employed on trumpets,
cornets and horns; the shape of trombones and tubas prevents
the hand from being inserted into the bell. Though mutes are
applied indiscriminately to all brass instruments in the orchestra,
tubas rarely possess them. Stopped and muted notes are similar
in quality. On the trumpet, muting a note produces a better tone
than stopping it.

In the horn both methods are employed; single notes are stopped
in short phrases, muted in longer ones. I do not propose to describe
the difference between the two operations in detail, and will leave
the reader to acquire the knowledge for himself, and to form an
opinion as to its importance from his own personal observation.
Sufficient to say that the tone is deadened by both methods,
assuming a wild "crackling" character in forte passages, tender and
dull in piano. Resonance is greatly reduced, the silvery tone of the
instrument is lost and a timbre resembling that of the oboe and
Eng. horn is approached. Stopped notes (con sordino) are marked
+ underneath the note, sometimes followed by O, denoting the
resumption of open sounds, senza sordini. Brass instruments, when
muted, produce an effect of distance.