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Amber Waves - Brass Chorale

Discussion in 'Tips, Tricks & Talk' started by Mike Verta, Feb 22, 2018.

  1. Another piece we'll be looking at for the live masterclass and a good transcription exercise:



    _Mike
     
  2. This one is a lot harder !
     
  3. #3 Mike Verta, Feb 22, 2018
    Last edited: Feb 22, 2018
    Chorale writing is very dense and closed and has overlapping voices so yes it's much harder!
     
  4. Oooh sexy, that's gonna be smoking with the live players, can hear it already!
     
  5. Gonna try transcribing this one :)
     
  6. Great piece, Mike. It was a fun but challenging transcription exercise. I think I did ok on the top and bottom lines and probably only about 30% correct for the middle voices. I thought I heard 3 parts for trombone, 2 parts for horn, 1-3 parts for trumpet (unclear if they are solo or unison when single part so I wrote it out as 3 throughout), and 1 part for tuba. Had some trouble distinguishing horn and trombone in overlapped range. Do you plan to share the score prior to the class for checking our work or should we upload a PDF of our own attempts for feedback?

    I'm looking forward to seeing how this plays out during the class.
     
    Doug Gibson likes this.
  7. Just to get the party started. Been pretty busy over here lately.

    PART 1



    Who's Amber ? :)
     
    John Eldridge and Mike Verta like this.
  8. Here's the score. Preliminary, but probably pretty close.
     

    Attached Files:

    John Eldridge likes this.
  9. Thanks, Mike. Not unexpectedly I really missed a lot of the horns. For what it's worth, I've attached what I heard.
     

    Attached Files:

  10. Doesn't matter - just in the doing of it, your brain is leveling up. But it looks pretty good to me on the whole. Dense stuff relies a lot on not what you hear directly, but what-it-would-most-likely-be, which you deduce from context clues. Good job!
     
    John Eldridge likes this.
  11. One of the things I encountered when doing the transcription that I didn't notice when listening passively was just how far in advance the bass parts start preparing us for heavier modulation and dissonance. When I was on measure 3 I was surprised to find myself writing a G in Trombone 3 (turned out there were other parts playing it as well that I didn't hear). I could feel the tension, but didn't immediately pick up on where or why because everyone else was playing sonorous D major. Then again in measure 5 it becomes more pronounced where all the bass are saying C major and upper melody and harmony are still speaking mostly in D. Then in measure 9 everyone says C major, but only briefly as a cadence. It wasn't until later in the transcription when things get really rich that it seemed like those previous glimpses were helpful in teeing it up. The nice thing was by having it transcribed into the computer I could go back and try removing those tension notes from measures 3/5/9 and see just how out of place measures 17+ felt without them. Fun.
     
  12. It would be interesting to know what motivates your distribution on the sections, how you move the chords within the sections, which instruments you double at the same pitch etc. and also why you do it. Do you just mainly try to stay in the best ranges with each section, or are there also other aspects? I'd love to see a masterclass on that dense and warm choral stuff :D!
     
  13. This one was really magic during the show.
     

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