Apex - Epic Brass for Live Masterclass

Even after listening to this several times while trying to transcribe, it gives me goose bumps. Wish I could be there in person to hear it.

I didn't make it very far on the transcription today, which means I probably won't be able to finish before the class, but I'm kind of stumped by what's happening at measure 18 where the meter changes. There's some new motion that I can't identify. It feels like the trumpets might be playing some kind of an gentle but quick arpeggios. Almost like there are triplets and eighth notes going at the same time. But I don't really trust my ears on that. Seems like I've heard you talk about string shimmer effects at some point and wondering if this might be something similar.

 

Fuck! This is gonna sound amazing live. I can't wait for the masterclass

 

I like the piece. I like the midi-performance. And I guess I have old ears, but the "mock-up" sounds very acceptable to me. I am always surprised that you get such excellent mock-up results. Probably because you have a good ear.

I am so looking forward to this brass class. The chance to examine the score, hear the mockup, then hear the piece performed by world-class musicians is really exciting. I hope this will just be the first of many of these types of classes.

As a trombonist (or former trombonist) I would be especially thrilled if you would give the trombones the chance to do something lyrical. Since the best lyrical range for trombone centers around middle C, the horn seems to get all the best melodic material. But the trombone, in the hands of a pro, is equally adept at performing a melody, and with more power. Anyway, just a personal, and biased, opinion.

 

Well, made it in under the wire. I stumbled at the 3/4 in the backgrounds like @John Eldridge, but I made some rhythmic figure that half-ass fits. Also, hard to localize the bass range and trombone/horn mix (especially with virtual), but that's part of the fun! I recommend opening the pix in another browser tab and zooming as needed (legal size score paper makes for a tight fit on the screen).


Cheers
Edit: Well, heard the revised orchestration....have more work to do, but maybe this gets me on the right track.

 

We both heard the slurs in the first bars different from what Mike intended, interesting!
Here's how/why I heard it, but If we're wrong (and I guess we are) could you maybe explain why one is more correct ?

Edit:
This piece is really growing on me btw, I'm gonna continue transcribing it..

 

That's what I thought, because it actually looks disjointed when you see it, so I knew it likely wasn't quite right just by the visual thing.
I just didn't know what it should have been instead. This happens allll the time btw., but we learnin'...

Thanks!

 

@T.j. Prinssen
TL,DR: avoid paralysis by analysis

I am a full-time brass player and think that you (the composer/orchestrator/engraver) should work to give the performer your intent without confusion. I'm often guilty of this very thing.

In my experience, 90% of the time, the lead player in the section will set the style (big band, concert ensembles, etc.) and the section players are expected to follow. Sometimes, this results in direct contravention of the markings on the page, but you get the added benefit of a cohesive ensemble sound. So, unless the composer or conductor is a stickler about their markings/intentions, then expect "some" degree of artistic license.

I could see how in a high cost studio session, the more detailed your score and parts are, then less time is wasted on multiple takes while the ensemble gets their act together. A more detailed part might mark some breaths for the bass trombone/tuba if you wanted a staggered effect that doesn't taper dynamically (like 2 to 3 measures of a tied whole-note pad), but again, that can get worked out on a subsequent read (or during a coffee break!) between the sections.

On the other hand, if you mark every little nuance on their parts, then you can get a shitty performance, because they're busy trying to decipher what you mean. That's where the "paralysis by analysis" effect comes into play.

On a related subject, we're dealing with these virtual brass instrument libraries with limited articulation/inflection abilities. I was initially frustrated by the early mix of this chart when transcribing (the subsequent one was much better!), but even the best programmed midi mock-up in the world can't provide the range of legato, portamento, accent, and tone variation that a live human can perform. So, I personally try not to get too hung up on the minutiae of the markings, and try to focus on the harmony/voicing/rhythm/dynamics. I also recognize that Mike probably cranked this out initially to give everyone a taste and to prepare for the masterclass - ended up not loving the first recording, and revised it. Like @Mike Verta and the other members of the Redbanned community, I am glad you're taking the time to work on your craft and asking great questions!

 

@Mike Verta a quick question about your programming on Apex: did you really cross voices between the bass bone and tuba (m.5, m.17)? I like the sound in real life, but I don't hear it that often. The ranges certainly overlap, and it is a cool color choice.

 

Ah, I see, you wrote the tuba in 8vb bass clef.

 

@Mike Verta I'm sorry if this sounds like a really dumb question but how differently would you voice the brass in this piece if they were meant to play with the whole orchestra?

 

Tubas aren't usually 8vb are they?

 

PS -- Thanks for the Indiegogo update, was looking for an excuse to get the desperately needed Template Balancing class .