I believe that there more insecurity surrounds writing for brass than is the case with other instruments. We trumpeters often encounter pieces that surpass our technical limitations or that are so carefully written, that hardly any of the strengths of the instrument are tapped into. Issues of range, endurance, dynamics – someimes indiviually varied – are often difficult to understand.
By now it’s easy to find several good books and websites that give information about writing for the trumpet, including so-called extended playing techniques. Using these resources comes with a hidden danger: when they are used as catalogues of ranges, techniques etc. it’s hard to understand how context effect thises parameters. For example, if we read about high range without knowledge about how the context (tiring long high note passages, leaps from other registers, etc.) effects our abilty, the results may be drastically different from what the composer expects. Concerning microtones, most are playable on the trumpet. But if the player can’t hear them exactly (a process which requires surprisingly much practice time) they will be unexact and in the end harmonically and melodically useless.
In fact, there is probably no way to “catalogue” all the aspects of our playing, and a half-knowledge about our technique can lead to many misunderstandings and – above all – bad performances.
Many composers also underestimate how we brass players use articulation, dynamics, and sound colors – often intuitively – as expressive means. An awareness of how we shape phrases will help get the most out of writing for brass.
I frequently advise composers individually and also give courses which bring composers together with brass players so that each can further their understanding of the other’s work. These courses usually include a lecture on writing for trumpet and then workshops in small groups. Together we analyse and optimize communication proceses. Sometimes pieces result from these partnerships, but sometimes it is enough for the partners to develop a better understanding for eachother. The workshop part of the courses is generally spread over two or more days, and can also be held with several weeks between meetings. Details vary according to the needs and possibilities of the institutions and students.
For course requests or individual consultations for composers writing for brass please use the contact form.
Writings on composing for trumpet can be found here.