Charity number: 1102650

The Brass Quintet and its Instruments

This is the third tuition booklet in the present series, and covers concert workshops given for the third educational cycle
of Young Composer of Dyfed, covering 2006 and 2007. The workshops were held on Wednesday to Friday, October 4th to
6th 2006. Pupils from secondary schools in all the three counties of Dyfed (Carmarthenshire, Ceredigion and
Pembrokeshire) attended.
The workshops were held jointly by our Resident Composer, John Metcalf, and our Ensemble-in-Residence, the Alba
Brass Quintet, from Glasgow (Bede Williams and Caroline Munro, trumpets; Craig McDonald, French horn; Dávur
Juul Magnussen, trombone; and Jonathan Gawn, tuba). As previously, the chairman was Emyr Wynne Jones, Music
Adviser to the counties of Carmarthenshire and Ceredigion.
The programme for the concert workshops is given overleaf. Each lasted around 75 minutes.
The workshops are the first phase of an educational process designed to assist pupils in writing for this medium
and their teachers in assisting them to do so. Other elements include:
• One and a half days educational advice and tuition for up to twelve self-selected schools and sixth-form
colleges around the three counties from the Resident Composer (October 2006 to January 2007);
• Individual tuition sessions with John Metcalf during the school sessions for each entrant to the Young
Composer of Dyfed competition, including tutorials for pupils who have entered from other schools;
• A masterclass for up to 12 finalists chosen by an independent adjudicator (April 2006);
• Written commentary on their works from the adjudicator for all entrants, finalists and non-finalists.
This booklet was given to all members of the audiences at the workshops, and also sent to those entering the
competition who were unable to attend. A compact disc to accompany the booklet will be available by the end of
2005.

For information on the Young Composer of Dyfed programme write to:

Dr Antony Griew, Secretary, Young Composer of Dyfed, Greenhill, Llangunnor, Carmarthen,
Carms., SA32 8EL
or E-mail: antony.griew@virgin.net
Or look at our web site on www.ycod.org.uk
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Programme for the October School Concert-Workshops

These were held at: Pontyberem Hall (October 4th); Aberaeron Comprehensive School (October 5th);
Milford Haven Comprehensive school (October 6th). All were between 10.00 am and 11:30 am.

Introduction: Emyr Wynne Jones

Alba Brass played: Exsultet by James MacMillan
John Metcalf talks about the Brass Quintet medium
Craig MacDonald: about the French horn (with music)
Caroline Munro & Bede Williams: about the trumpet (with music)
Alba Brass played: Masque Arias by Michael Nyman
Jonathan Gawn: about the tuba (with music)
Dávur Juul Magnussen: about the trombone (with music)
John Metcalf talks about writing for Brass Quintet (including information about transposing; the
instruments and doublings available)
Question & Answer Session (Alba Brass and John)
Alba Brass played: Classic Images by Philip Wilby
Wrap (Emyr) and invitation to enter competition
Total time appr ox. 75 minutes
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WRI TI NG F O R BR ASS Q UI NT E T
Following the Wind Quintet and String Quartet, the opportunity for young composers to write for Brass Quintet as
part of this year's Young Composer of Dyfed provides an ensemble of a third main grouping of orchestral instruments.
Despite the fact that brass instruments are by definition wind instruments, the brass ensemble has more in common with
the string quartet than the wind quintet. As with string instruments there is a significant repertoire for brass groups from
the sixteenth century to the present day whereas the Wind Quintet which includes within its make-up a relative newcomer
(the clarinet)and a brass instrument (horn)is a much more modern combination. During their history string and brass
ensembles have evolved as new instruments have emerged - notably with brass the valve instruments which offer a full
range of chromatic notes - but the principles exemplifying the ensembles have remained consistent
One of the characteristics noted in relation to the Wind Quintet was that all the instruments have a very different tone
colour and indeed method of tone production. The combination of single and double reed instruments plus flute and a
brass instrument makes for a diverse and individualistic sound world. String and brass instruments, by contrast, are
much more uniform and homogenous.
The brass quintet is normally made up of two trumpets, horn, trombone and tuba. Some of these instruments are
transposing instruments and the players of the Alba Brass Quintet will offer specific advice on their instruments and any
doublings available. These instruments tend to group themselves into a natural choir including 'treble' instruments
(trumpets), a 'tenor instrument' (trombone)and a 'bass instrument' (tuba). The Horn which has a very wide range
breaks up this pattern somewhat. While the natural grouping of the instruments by range encourages composers to
assign notes in a conventional way, other options are also open.
Historically brass instruments have been fairly strongly associated with certain types of music. They have been used
extensively in ceremonial music, for example fanfares, and in military music eg. marches. They also have acquired a
robust, open air quality typified by marching bands. However, their range of expression is very wide. At periods in their
history they have also been associated with an 'other-worldly' quality and with funeral music. Mozart used them
specifically in this context and a modern equivalent would be New Orleans funeral music. This brings to mind the use of
brass instruments in jazz - another aspect of their versatility.
All of this should suggest to the composer that brass instruments should not be type-cast. It is well to remember that
they can play very quietly (especially the trombone) as well as loudly. In the right circumstances they are remarkably
agile - notably the tuba - and multiple tonguing can accentuate this. Brass players employ a wide variety of mutes. These
are not only to make quieter sounds possible; they are used for many different tonal effects. It is well worth exploring with
'your' players what mutes they have available.
Because of the strength and carrying power of brass instruments, there are many examples historically of their use
spatially. Players can be positioned in different places for offstage and other effects. To the composer this offers the magic
of distance, of echoes and specifically with two trumpets in this ensemble of their antiphonal use in answering phrases.
These are just a few of the many possibilities offered by the Brass Quintet. It is truly a very varied and flexible
ensemble. The opportunity to write for a virtuoso group like the Alba Quintet is, therefore, a very exciting one.
John Metcalf September 2006
Writing for t rumpet
Bede Williams and Caroline Munro
Instrument Ch aract eri sti c s
In the large majority of works for brass quintet the trumpet is the primary melodic and floral force, however when writing
chamber music today players are looking for equal responsibilities; individual solo writing with imposed ensemble
discipline. Traditionally the trumpet parts are split into a 1st and 2nd part, with the 1st part having more importance over
the 2nd. This is a very dated view of the brass quintet or any chamber ensemble. Your 2nd player is just as capable as the
1st. Only for practicality’s sake will it be that the 1st players part be generally higher than the 2nd.
The trumpet is best known through the jazz idiom where a very one dimensional image of the instrument is displayed. One
of the things the trumpet does best is quiet, lyrical playing, here it is at its most expressive. In the hands of a skilled
player, the trumpet can have a different tone colour for every expression. More so than any other instrument in the
quintet the trumpet has extreme dynamic capabilities. As well as very loud and very soft, the trumpet can change between
these dynamics very quickly. Its small bore enables the player to gain great dynamic changes by lesser quantities of air
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moving compared to the other instruments in the ensemble. For the same reason the trumpet is very sensitive to
articulation, this should be utilized to great effect.
The trumpet pitched in Bb has become the modern standard and all parts should be printed up a tone from concert pitch
to allow for this transposition. Most players will also own a trumpet in Eb and a piccolo in Bb (sounding one octave
higher). Trumpets in C are very common too, but it is more the player’s choice to play a trumpet in C and transpose from
the Bb part. There are subtle tone differences between the Bb, C and Eb – however these differences are generally not
considered to be a compositional tool. Choosing to write for the piccolo trumpet can be a compositional device, its sound is
much lighter and more shrill than that of the bigger trumpets. In your parts just write for Bb trumpet, and specify if you
want piccolo trumpet. If what you write is easier to play on the C or Eb, then the players will make the appropriate
transposition at sight.
C an dos, c an’t dos
Range
Although the trumpet is capable of playing very high, the ‘screamed’ register (above top C) is a specialist skill. The text
book range of the instrument is from (in concert pitch) E below middle C to C above the staff. The piccolo trumpet
facilitates up to a fifth above this top C, but these notes are very expensive for the players and should be used with
careful consideration to the musical context. The piccolo trumpet can play no lower than Eb on the first line, so make sure
you allow time to change instruments or when specifying piccolo, don’t write below that Eb.
Respighi’s ‘Pines of Rome’ shows very effective use of the trumpets upper register. The D above the staff (which is not in
the text book) is a good sounding note for most players, but pretty expensive on the lips.

It should be noted that in the majority of trumpet writing the range used is from about an A below middle C to A above the
staff. This is the comfort range that will ensure what you write is played with ease.
Tonguing
The trumpet like almost all wind instruments can be played with double or triple tonguing. Most players can double
tongue semiquavers comfortably at around a crochet = 160-170. The more the individual notes move about over interval
work the harder it becomes to define clarity, we all become very good at bluffing but its just not the same, is it? Triple
tonguing has an upper limit of a semiquaver sextuplet where the crotchet = 120. The same conditions of interval work
apply.
Stravinsky’s ‘Soldiers Tale’ shows great use of moving articulated notes.

Rimsky Korsakov’s ‘Scheherazade’ is considered the benchmark of multiple tonguing capabilities on trumpet.
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Length of Phras e
Like all wind instruments trumpet players need to breathe; we also need to have rests in the music. A guide for this could
be to allow maybe 10 seconds of rests for every minute of music. This allows the player to lift the mouthpiece of his or her
lips and to keep blood flowing through the vibrating tissue. Stamina is an extremely important aspect of playing brass,
therefore it needs to be carefully considered when composing for brass.
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A rticulation and special effects
Mutes
The trumpet has a wide variety of mutes to change timbre. The most common are straight, cup, harmon (or wa wa) and
plunger. Both the plunger and harmon can be used with HOB (hand over bell). This is indicated with a ‘+’ for covered or
‘o’ for uncovered. Remember to allow enough time to put mutes in and take them out. A neat effect which I always enjoy is
using the harmon mute as you would a plunger, rapidly putting the mute half in and out.
Tremolo (VT), flutter tongue (FL), doodle tongue (DL)

The above effects are brilliantly used by Berio in his ‘Sequenza’ for trumpet. Note to the use of + and o signs for HOB.
The doodle tongue is basically very light tonguing, the articulation is barely audible. Flutter tonguing comes out rough,
tremolo is self explanatory.
Multiphonic s
It is possible to sing and play while playing the trumpet, but it is much better and more easily achieved on the trombone.
To work out multiphonics that work on the trumpet composer and performer need to collaborate closely, which we will
welcome.

Writing for French Horn

Craig McDonald
Instrument Ch aract eri sti c s
The French horn is widely regarded as one of the most versatile instruments in western music. Its varied tone colourings,
wide range and its ability to blend with most instruments makes it a valuable asset to any group, in particular the brass
quintet. In a brass quintet the horn is generally used to fill out texture and harmony, with the trumpets being used as the
main melodic line. The horn has a singing quality to its tone so can be used as a solo instrument, particularly in music
that involves an expressive melody. It also has the ability to double any instrument in the quintet. It is not as penetrating
as the trumpet or the trombone.
Sound Qualiti es
Open Horn- Very melodic and expressive, particularly in the middle to high register. It can also sound brash and
exciting when it reaches the louder end of the dynamic range.
Stopped Horn- Used by composers to cut through the texture. Very harsh, nasal quality to the texture and is in extreme
contrast to the tone quality of the open horn. If the composer wants a particular note to be stopped a cross is put over the
note. To return the sound back to the open sound a circle is put over the note. If the composer wants a passage of work to
be hand stopped then he would write "stopped" at the intended passage. To return to the open sound add "open". Stopped
note are more effective in the middle to high register as it sounds more penetrating. It is also very hard to do in the lower
register. One of the best examples of stopped horn is in the last movement of Mahler’s first symphony:
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Muted Horn- Unlike the trumpet or trombone the horn only has one mute available and is used to dampen the open
sound. Write mute (con sord) and open (senza sord)
Natural Horn- This is a hunting horn technique using the natural harmonics available on the horn. All open horn. Non
harmonic notes are possible but have to be hand stopped. If the composer wants this effect then write "natural" at the
intended passage.

Range- The range of the horn is one of the reasons why it is known as such a versatile instrument. It spans over 3 octaves,
but the general range is from pedal C (C below middle C) in bass clef to the C above the treble stave. It is possible to go
beyond both of these extremes but this is the range most composers stick to when writing for horn.

C an and C an't Do's

Like any brass player, a horn player can only sustain a phrase or long note for as long as he can sustain his air flow, for
example, it would be pointless to write a 15 bar phrase without expecting a break for breathing. Write phrases with
breaks in mind. The tubing on the French horn is a lot longer than the trumpet or trombone, so it can't sustain a note
quite as long. A breath every 5-6 bars or so (for a long note) would be sufficient. The lower the register the more air you
use so the more air you need to intake.
If the piece requires a mute then give at least a bars rest before and after the mute change to allow time for the player to
prepare for the next note.
Try to avoid writing stopped notes in the lower register. It doesn't give you the nasal, penetrating sound required. It
sounds muddy and is very difficult to do. Also avoid stopped note at an extremely quiet dynamic. A mute would be the
better option for both of these scenarios.
Try to use the extreme high register (A-E) in small doses because it's very tiring and, because of the close harmonics,
accuracy isn't always guaranteed. The extreme low register should also be used sparingly as it can sound muddy with
the trombone and the tuba already in the same clef.
Like all brass players the horn player can triple and double tongue so high speed tonguing isn't too much of a problem.
It can be difficult if it's combined with awkward valve fingerings. Let the horn player worry about that though.
Double/Triple tonguing is more difficult in the lower range.
A rticulation and Special Effec ts
The horn has a number of unique effects which maybe of use in a brass quintet piece. You can lip trill better on the horn
than any other brass instrument. These work best in the middle register and only work when the trill is a tone apart.
Semi-tone trills require a valve trill.
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Glissandi are also very effective on the horn. It's very different to the smooth gliss of the trombone and can really rip
through a texture. It can only be written as a quick gliss and works better ascending than descending.

Echo horn employs the same technique as the stopped horn but can make something sound far away. Better used in
unaccompanied music or music with a thin texture so you can hear the contrast.

The articulation on the horn is the same as all the brass instruments. Bear in mind the horn faces backwards so the
articulation may not be as clear in some acoustics.

Writing for Trombone

Dávur Juul Magnussen
Instrument Ch aract eri sti c s
The trombone is a very special member of the brass family. Where all other brass instruments use valves to produce
different musical notes, the trombone uses the very recognisable slide. This gives the trombone certain advantages as well
as disadvantages over other brass instruments, which we will dwell on later. Characteristic of the trombone is its shape,
being long and slender. It has retained this shape from the middle ages, because it enables the production of all the notes
in a chromatic scale. Other brass instruments in the middle ages could only produce the notes in their natural harmonic
scale, they have been modified through time to look like they do now. The word “trombone” actually means large trumpet.
This is because the bore of the trombone is cylindrical, just like the bore of a trumpet. All other brass instruments have a
conical bore. This makes the sounds of trumpet and trombone stand out among other brass instruments.
Even though the trombone had the ability over other brass instruments to play chromatically, it was very late to enter into
ensemble playing. This is because the trombone was considered a holy instrument up until the Renaissance. The only
persons allowed to play the trombone were members of royal families and members of the priesthood. It is rumoured that
the penalty for anyone else playing the trombone was execution, but I think this is more likely to have been thought up by
trombonists, bragging about their instrument to other instrumentalists. Luckily the dark ages are over, and the trombone
has become a very common instrument in many instrumental combinations.
Mozart was the first composer to include the trombone in his orchestral works, namely his ‘Requiem’. This work was all
about death, and the role of the trombone in this piece, was to be deaths messenger. Below is the beginning of the duet
between the bass soloist, and the 2nd trombone from the movement ‘Tuba Mirum’.
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Personally I think this excerpt embodies the sound characteristics of the trombone perfectly. Melodically it doesn’t sound
very ‘deadly’, but in this case the melody comes in second to the sound qualities of the trombone. In the Requiem as a
whole, it is the sound characteristics and not the melodic lines, which are used to symbolize death.
This is not the only case of the trombone being used to symbolize something dark or sinister. You can, for example, also
hear the trombone in this role in a lot of music from the romantic period and also in film music.
The trombone does also have other sound characteristics though. In this excerpt for example it takes on a more heroic role.
The Ride of the Valkyrie by Richard Wagner.

There are, as with all other instruments, many sound characteristics to explore in the trombone. In addition to the ones
mentioned above, the trombone is perfect as a soloist in ballade like tunes because of the warmth in its sound. It can take
on a funny, cheerful or even silly sound as well, with certain effects such as tailgates or glissandos. This all depends on
the ingenuity of the composer, in his use of dynamics and range, which can be used with great success on the trombone.
Personally I think that the trumpet and trombone generally have the ability to make greater contrasts in those areas
(dynamics and range), than the other brass instruments, but this of course also depends on the ability of the
instrumentalist.
The keyword for the role of the trombone in a brass quintet is flexibility. It works equally well carrying the melody,
accompanying the melody and as a bass line, but if you hear a trombone in the same role all the way through a piece, it
tends to get boring. This is true for all instruments, but especially for the trombone, because the sound tends to stick out.
So one hint for composers would be that instead of trying to hide it, you should just leave it out.
C an dos, Can’t dos
The range of the trombone is generally as shown here, in the different clefs. The first two, bass and tenor clef respectively,
are the most commonly used when writing for trombone. They are both noted in concert pitch. The G-clef is normally used
in brass bands, where it is also noted in Bb, and the alto clef is used for the alto trombone, which is a trombone in Eb. The
alto clef is noted in concert pitch.

The range of the trombone is very relative. Most good trombonist can go a bit higher than shown here. And if you are
writing for a tenor trombone with a valve (Bb/F trombone), or a bass trombone, you can add somewhere between a fifth or
even a whole octave to the bottom of its range. There is one problem with this though. The low B natural cannot be played
on a Bb/F trombone , because of the natural harmonics. (That is the B natural with two ledger lines).
Another thing to be mindful of is the length of notes for the trombone. If it is a loud note, it shouldn’t be longer than 4-6
beats (1 beat = 60 M.M.). If you go over this, the trombonist may have to stagger breath. Quiet passages can be extended
a great deal. To avoid stagger breathing, the composer has to be very mindful of phrasing.
The nemesis of the trombone is fast playing. This is because the trombone is a very physical instrument. When the other
instrumentalists push down a valve, the trombonist has to move a slide, with great accuracy, and often over a long
distance. This can be very hard for the trombonist. This does not mean that the trombone can’t play fast at all though. It
can play almost as fast as the other instruments, as long as the fast passages aren’t too long. If the composer extends
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them over a greater length, the trombone can have a hard time following the others. This will in most cases result in a
muffled sound. The trombone will lose its normal sound characteristics.
I personally think that fast playing suits the trombone, as long as the composer remembers that he is writing for a
trombone, and not for a trumpet.
The slide on the trombone enables it to slide between different notes. This effect is called glissando, and is noted by pulling
a line between the two notes, where the composer wants a glissando to be performed. Theoretically you can make a
glissando from the bottom to the top of the range, but this would result in an imperfect glissando. Bellow are the longest
glissandos that can be performed perfectly on a trombone.

If you place a glissando between these intervals, you will get a perfect glissando, but if you make a glissando that begins
in one of these intervals and ends in another one, you will get an imperfect glissando. It will still sound like a glissando,
but there will be a little ‘glitch’ when the trombonist has to cross the natural harmonic lines. This can be hidden to a
certain extent if you just note a tailgate instead.

The trombonist will then make a perfect glissando from the most convenient note. Glissandos can off course be both
ascending and descending.
A rticulation and special effects
In addition to the glissando and tailgate mentioned above, the trombone can also perform the same special effects that other
brass instruments can. Though there are some limitations.
The trill for example. On a trombone, a trill has to be performed as a lip trill. This means changing rapidly between two
notes that lie next to each other in the natural harmonic row. This effect should only be attempted in the higher range. If
a trombonist makes a lip trill in the middle range, the trill will be over a very big interval. For example a fourth or a
fifth.
Multiphonics are very well suited for the trombone. The bore size, and the fact that the tubing is very straight, makes it
very easy to perform multiphonics on a trombone. Also, the ambit of the trombone is very similar to the ambit of the human
voice, so they mix very well.
Vibrato can also be used to a great extent on the trombone, because of the slide. With the aid of the slide, it is possible to
produce a very big and smooth vibrato. This kind of vibrato is called slide vibrato.
Thanks for your attention, and good luck with the compositions.

Writing for Tuba

Jonathan Gawn
Instrument Ch aract eri sti c s
The Tuba was traditionally looked down upon by its brass peers as one of the less musical and technically limited
instruments. However around 1950 when the brass quintet was established in its present form (2 trumpets, horn,
trombone and tuba) the ability of the tubist was always being pushed by composers. This led to a rapid development in
the technical abilities expected of the player and enabled composers to write for the instrument in new exciting ways,
exploiting the lyrical and technical abilities of the instrument.
As you have read in writing for trumpet, ensemble members are now looking for equal responsibilities within the group.
Traditionally the trumpet would have had more importance over the other instruments with regard to melodic material.
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This is now a dated view of the brass quintet with the tubist being just as musically and technically capable as any
other member of the ensemble.
Range
The Tuba has a comfortable three octave range from E flat two octaves below the bass clef stave to E flat above the bass clef
stave. It should be noted that it is more difficult to achieve clarity in the lower register of the instrument and that the
upper register can sometimes be overpowering as it is more difficult to close the sound in for the softer dynamics.
Stravinsky’s ‘Petrushka’ shows an example of writing for tuba that exploits the powerful aggressive nature of the
instrument in both the high and low registers.

The excerpt above at Figure 121 was originally written at the shown pitch in the 1911 version and an octave below in the
1947 version when significant technical improvements had been made to the instrument.
Prokoviev’s Symphony No. 5 shown below gives an example of the lyrical ability of the instrument throughout its lower
register.

In the majority of tuba writing for brass quintet the range used is from about an Eb an octave below the bass clef stave to
Bb above the staff. This is the comfortable range that will ensure what you write is played with ease.
Tonguing
The Tuba, like the trumpet and most wind instruments, can be played with double or triple tonguing. Most players can
double tongue semiquavers comfortably at around a crochet = 160-170. The larger the leaps between successive notes the
harder it is to achieve clarity in faster passages. It should be noted that with the tuba being the largest of the instruments
in the ensemble is also the hardest instrument for the player to achieve clarity.
Length of Phras e
“It takes a lot of Breeze to play the Tuba” (Arnold Jacobs, former Tuba with the Chicago Symphony Orchestra)
We all need to breathe! Therefore we need to have rests in the music to enable us to do so. The tuba takes the largest
volume of air to play and for every octave you go down it takes twice as much air. Consideration of the need to breath is
an extremely important aspect of effective writing for wind instruments. However it is possible to play long phrases or
long technical passages with the use of snatch breaths.
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There are two types of breath a wind player will use. A snatch breath or a top up breath is where the player will take
a very quick breath inhaling a small amount of air to top up the lungs to get through technical passages or extended
melodic phrases with minimal disruption. It is preferable however to have a rest to take a more relaxed ‘Full Breath’.
This enables the performer to get a fresh ‘tank’ of air and enables the performer to play longer phrases more efficiently.
Mutes and Eff ect s
Mutes
In theory like the other instruments the tuba has a variety of mutes. However from a practical point of view most players
will only have a straight mute as this will be adequate in most occasions. If a part requires specific specialist mutes they
would need to be provided for the player.
Multiphonic s
It is very effective to sing and play while playing the tuba due to its lower sound. Other effects I have encountered on the
tuba are ‘Beat Box’, half-valving and digerido. To develop effective special effects for tuba the composer and performer
need to closely collaborate. The example below is Fnugg by Baadsvik and shows how he notates the multiphonics.
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The P r esentati on of Scor es and Perfo r m ing Par ts
In Gener al
Young composers soon learn that much valuable rehearsal time can be lost discussing practical notational problems in the
score, rather than the music itself. So much time is wasted working out whether this passage should be played staccato or
legato, or deciding whether it should be mf or pp when the musicians should be concentrating on interpreting the work in
front of them. This is not only a waste of time, but both musicians and composer often find this process frustrating and
annoying!
Sc ore
1. The most important thing here is that the score is clear and legible. The score should be presented in black ink
(not pencil) and should include bar numbers and if possible, rehearsal letters. Remember, a neatly written hand
copy is often as good as something printed off the computer.
2. The ideal format is A4 portrait, not landscape or any strange configuration of paper.
3. Pages should be bound together in some form or other and NOT loose. Loose ring binding is ideal for a score and
parts (do not staple pages together) so that they make up a booklet of A4 pages that when spread out would be
the equivalent of A3 in landscape. Any binding which does not allow the pages to be removed without damage,
however, will cause problems if they have to be photocopied by the organisation which receives them.
4. Tempo markings are essential. ‘Adagio’ or ‘Allegro’ are often too vague - use metronome markings as well.
5. In the full score all instruments should be written 'at pitch' (i.e. as they actually sound) and not transposed.
Par ts, instrument al or voc al
1. Exactly the same principles apply. Parts should always be clearly written in black ink. Bar numbers are
absolutely essential. Rehearsal letters should be added if possible.
2. Remember that performers have to turn pages. Page turns should be carefully arranged with at least one bar's
rest on either side of the page turn otherwise players will have to stop playing (and perhaps lose their place)
whilst they turn the page. Composers who are using computer programs such as Sibelius or Finale will still
have to arrange this carefully when they extract parts from a file. The computer does not do this automatically!
You will have to arrange these turns by using format applications in the program.
3. Points 2 and 3 above also apply to parts. Instrumentalists often find that loose sheets end up scattered on the
floor during a performance!
4. In the parts, unlike the full score, transposing instruments should be correctly transposed.
Phr asing. slurs and dynamics
1. Please be clear about how you intend the music to be performed. Phrasing, slurring and dynamics are an
integral part of any score and as important as the notes themselves.
2. Be clear about how the music should be slurred. In fact, this is more important than giving vague phrase marks
to performers. Composers do not need to give specific instructions about up-bows or down-bows, but they must be
clear about how individual notes or phrases should be slurred.
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3. It is pointless protesting to musicians that particular passages are too loud or soft if dynamic markings are
absent. Be very clear about dynamic markings in the score and parts.
4. It is vital to check each instrumental part with the score. This is especially true with transposing instruments.

Michael Parkin, July 2004 (revised 2005)

Seven Ways In Which To Make Yo u r C om p osi ti on 'Tick'

It is always difficult to explain what makes a musical composition tick, and almost impossible to place one’s finger on
exactly what makes a composition truly great. Here are a few suggestions. Some aim to be practical. Others are less so.
1. The creative qualities in a composition are the most important ones. A great piece of music should resemble a living
organism: it should have its own world of sounds and silences; it should be unique in its characteristics; it should
have a clear shape and form; it should appear to live and breathe, just like you and me. You need not strive for
‘originality’ - a style is something that evolves over time. Rather, it is a question of following a moment of discovery
(something that motivates in every sphere of activity). It is difficult to excite or inspire an audience if the composer
is not first excited and inspired.
2. A good piece of music should speak its language of tones and rhythms with ease, both in terms of its note-to-note
details and its overall form. It should have its own musical grammar, its own sentences, phrases and paragraphs.
These should be divided into parts, sections and larger units; it should have its own patterns and musical themes.
Many people, or only a few, may understand this language, but it must make sense to you. The language may be
your invention or you may have inherited it from another composer or school of composition. In the second case you
will be giving your own accent to this language – you’ll be speaking a dialect of it.
3. Down the centuries music has been connected with many aspects of human experience. Love, death, meetings,
farewells, ceremonial, work and religious observance are just a few aspects of our lives which have stimulated the
creation of music. We would never write a poem without using our own direct experiences and normally music
should do the same. I admire work that tries to relate to the composer’s life events.
4. Music should create the immediate impact we experience when admiring a large abstract canvas; its composition
should evoke and excite the senses; it should possess a dynamic quality with a sense of space; forms and figures
should move and be moved, shapes should emerge and disappear; the order and chaos of our world should be
reflected within it.
5. Once your original intention is formulated and your idea conceived, it becomes the basis for understanding the
composition. The title ‘song’ or ‘dance’, for example immediately sets up expectations. The musical material itself
acts like a proposition to be explored, rather like speaking for a minute on a certain subject. But it is the composer
who chooses the subject. It is, therefore, largely by his or her choices that a work may be understood and judged.
6. Remember that the music is heard, not viewed. The look of the music on the page is not important and an inspired
idea simply yet fully developed and explored may well be more effective than an a less inspired one which has been
‘dressed-up’ for a more instruments. Less is usually more as far as the number of instruments is concerned. It is
better that all those involved do have an interesting and rewarding part.
7. A composition should display competence in terms of technical skills. This includes areas such as writing correctly
and sensitively for instruments and/or voices, considering range, timbre, instrumental or vocal techniques, practical
writing, sounds and their combination, or harmonic, melodic and rhythmic skills, generating harmonic and melodic
variation, developing rhythmic patterns, and constructing clear and solid structures. And, of course, composers
compose the silences as well as the sounds. If you have written a work or part with no rests consider whether this is
your real intention and, especially if it is for a singer or a wind instrument, how practical it is.

John Metcalf, December 2002

Pwyll ap Siôn, November 2004