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  4. Bruckner, Aequale for three trombones

  • Bruckner, Aequale for three trombones

    PaoloTP
    PaoloTP
    last edited
    last edited

    Hi,

    In my quest to learn writing for brass, I can't but meet Bruckner again and again. This time, it is the first of his Aequales for three trombones. I don't have an alto, so it is two Tenors and one Bass.

    VSL Synchron Brass, full microphones set. It was not difficult to reposition them in the room, by using the Synhcron Player's mic pan controls, so that they could be centered instead of moved to the right.

    Since I've morbid attitudes, I tried to tune (or detuneā€¦) them as real brass player would probably do.

    Bruckner, Aequale #1

    Paolo
  • MackerM
    MackerM

    Bravo, Paolo! An excellent choice for a demonstration of orchestral intonation.

    The subdominant 13th in Bar 2 immediately got my interest (it's not that this simple form of the 13th chord is particularly needy of the tender ministrations of orchestral intonation, it's just that I love the chord, lol). So I listened avidly all through. My overall impression was delight in hearing your adroit rescue of Bruckner's trombones from Equal Temperament! Also I'd be very interested to hear what brass players make of it, if they give it a listen.

    There was one moment where my ear sort of winced a bit; I don't know what it was, I haven't had time to go back through, find and analyse whatever it was. Maybe I'll find time later.

    Overall, a fine piece beautifully rendered. And on top of that, you've broken new ground for Dorico, in using orchestral intonation for a brass-only piece. Very well done Paolo.
  • PaoloTP
    PaoloTP

    Thank you very much, Macker. There are a few intervals that I am revising, since they sound too dissonant. The Dominant 7th, for example, should be lowered to sound less harsh. Major 2nd intervals could also be adjusted. I hope to be able to have a revised version tomorrow.

    Paolo
  • PaoloTP
    PaoloTP

    Updated. Smoothed pitches, adjusting something by ear. Removed a few Espressivo articulation.

    Paolo
  • MackerM
    MackerM

    Overall, you've succeeded in moving this piece out of the unnatural mathematical realm of Equal Temperament and back into the natural, human, musical realm where it rightly belongs. And, paradoxically, you've achieved this by applying yet more mathematics, via electronic mechanisms. It's a strange world we live in these days, lol.

    i still can't say I'm completely convinced at every moment in this piece - e.g. is there something a bit odd about the early part of he long-ish cadence from 0:44 secs? I don't know.

    Sorry, wish I had time to do some analysis to help out, but I'm elbows-deep with Situater right now.

    Anyway, you've reached an important (and probably unprecedented) milestone using Dorico. And of course it's never easy when you're way out in front! 

    Keep up the great work, Paolo!
  • PaoloTP
    PaoloTP
    last edited
    last edited

    @Macker said:

    i still can't say I'm completely convinced at every moment in this piece - e.g. is there something a bit odd about the early part of he long-ish cadence from 0:44 secs? I don't know.

    Macker, thank you very much for your analytical listening!

    You are right about that sequence or chords, and others here and there. The problem involved intervals from Major Sixth to Major Seventh. There are several ways of retuning them, depending on the context, and not all authors agree on the right way.

    I've therefore mixed their suggestions and my ear to remake the tuning in a more consonant way.

    Paolo