# Three-Part Canon at the Octave in G Major for Brass Trio



## JorgeDav (Apr 9, 2020)

Hello everyone!

This is a three-part canon at the octave for brass trio (two trumpets and a trombone) that I recently composed. I think the parts are fully playable but the firt trumpet is a little hard because of some high notes. The canon is strict for the whole piece and the last measure is the only moment where the canon is broken and free counterpoint is used.

Any feedback, suggestion or comment is welcome.Thank you and hope you like it!


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## mikeh375 (Sep 7, 2017)

A very nice listen Jorge. I like some of the less conventional clashes - false relationships - as they give it a nice spicing.
I'd advise putting in some rests and give the 1st trpt to a piccolo trpt as that will sort out the register issue.


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## JorgeDav (Apr 9, 2020)

I am really glad you enjoyed it, mikeh375! Your comment about the false relationships is interesting because I was aware of them only after composing it. I have always been interested in false relationships but I still did not come up with any rule for using them. They just kinda popped up while thinking horizontally and because they sounded good to me. Glad to hear others liked them too! 

I did not write the rests because it annoys me the way Sibelius playback cuts the sound all of a sudden. However, now that I think about it, I had actually forgotten to put the rests on the PDF version too, so thank you for reminding me! I also considered changing it to the piccolo trumpet but I like the fact that both top voices have similar timbre, even though I know that makes the first trumpet part to be well into the advance level :S.

Thank you so much for the comment and the advices!


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## Vasks (Dec 9, 2013)

As an OK trumpet player, I have to say that the high concert D and above won't be in the range of an average (non-professional) B-flat horn player. And although some can play them, those notes will be very aggressive, they will not be smooth and blended.

For making playback more what you want, consider doing what I do. Create a sounding score first. Then write in with using ties with different dynamics to create shading. Be creative in getting the sound and length you want. Then duplicate and make a written score by taking out all the things that look irregular, replacing with the standard rhythms and dynamics.


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## JorgeDav (Apr 9, 2020)

Thank you so much for the remark, Vasks! I will see if I can modify the melody so high notes are not reached. It will be hard since the canon is at the octave, but I will try. 

Regarding the playback, I used to follow a similar procedure, if I understood correctly. In sibelius there is the option to export as a video (exporting directly the video as it appears here). What I used to do was to have two scores, an "official" one, which was muted, and then another one full of dynamics and stuff just to make it sound the way I wanted to. Then, when the video is exported, Sibelius allows you to hide scores, so the sounding score would be hidden. However, recently I realized the sound quality deteriorates when I use this method even muting the hidden score. Still needs to find out why :S. Thank you for the suggestion!


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## mikeh375 (Sep 7, 2017)

JorgeDav said:


> I am really glad you enjoyed it, mikeh375! Your comment about the false relationships is interesting because I was aware of them only after composing it. I have always been interested in false relationships but I still did not come up with any rule for using them. They just kinda popped up while thinking horizontally and because they sounded good to me. Glad to hear others liked them too!
> 
> I did not write the rests because it annoys me the way Sibelius playback cuts the sound all of a sudden. However, now that I think about it, I had actually forgotten to put the rests on the PDF version too, so thank you for reminding me! I also considered changing it to the piccolo trumpet but I like the fact that both top voices have similar timbre, even though I know that makes the first trumpet part to be well into the advance level :S.
> 
> Thank you so much for the comment and the advices!


The relative tessituras complicate a desire for similar timbre. I definitely advise you choose practicality over such matters as the two timbres will more easily complement each other.


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