User Manual

ARTURIA – BRASS 2 – USER’S MANUAL
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level of rhythm than melody. There are many examples of this – Benny Goodman and
Glenn Miller, even today the Brian Setzer orchestra makes good use of horns in a big
band setting.
In smaller sections there are fewer instruments, of course, and often a wider harmonic
selection is explored. With the smaller sections, we can use BRASS 2 with harmonized
trumpet, saxophone, and trombone to create a tight ensemble. Consider any of the Blue
Note recordings of smaller jazz ensembles for ideas on this approach. McCoy Tyner's “A
Search for Peace” and Herbie Hancock's “On Green Dolphin Street” are prime examples.
In solo, jazz has always given a large place to brass players. There are a number of
legendary soloists who have changed history with their instruments. To reproduce all the
finesse and nuance of these musicians seems daunting, but nonetheless, you can
reproduce a quite a number of solo playing modes with BRASS 2. To elaborate your brass
performance in a jazz style, begin by deciding on the focus of a single instrument. A
complex portion with several instruments would probably be a bit too long and really
difficult to arrange, given that you have to take the parameters of expression for each
instrument into consideration to obtain a good sound; this is, after all, what happens in
reality with the true musicians in brass sections who play each of their instruments with
unique expression. The sound palette in Jazz is vast. Phrasing is often played with a
subtle combination of legato and detached notes, while alternating styles or punctuating
the notes that follow. Expression is also carried by the variations in the pressure sent to
the instrument, so much so that the note can sometimes be inaudible for one fraction of
a second or might finish in a rapid decrescendo. Consider the trumpet work of Miles
Davis or Wynton Marsalis, the sax performances of Stan Getz or Wayne Shorter, or the
trombone solos of JJ Johnson or Bill Watrous. There is a vast array of virtuosos to draw
from.
1.5 Classical
Using Brass in this style is centered mostly around the trumpet and trombone, with
seldom an entry for the saxophone. The sound can be very different in function of the
usage: either in sections or solos. For example, using trumpets in a section can give a
majestic aspect to the piece; the sound will be straightforward and have easily
discernable attacks. In this style of arrangement, take care not to synchronize the
different trumpets too precisely in order to give the ensemble a realistic effect; even in
classical arrangements there needs to be a space between the notes played. For the part
of trumpet soloists, use a more subdued sound with well-controlled attacks. Play while
alternating between detached and linked notes to give lightness to the playing style. For
a sequence of fast notes, put the accents on the “key notes”, or on the notes a bit higher
than the others, such that the musician has to “search for it”. Any of the classical solo
works from Wynton Marsalis will present a clear image of this approach.
1.6 Fanfare/Military
These styles of music use brass in a powerful and commanding way. Expression in the
playing technique is not the principal element: the ensemble needs to be coherent with a
good level of synchronization. The sounds are very strong and the attacks are direct.
Most of the notes should be attacked without legato in order to give the phrasing a
powerful and detached aspect. The harmonies are simple in general; there are unisons or
often fifth intervals based from the beginning in order to hear several instruments
playing simultaneously. To create an interesting ensemble effect, think about the effect
of multiplication of BRASS 2 instruments; this quickly gives an impression of playing a