# Wind Composition Advice



## TennysonsHarp

I'm trying to write a wind quartet, since I play the clarinet and winds are what I'm most familiar with, but I don't know if I'm doing it properly. Any advice or tips on what to include or leave out?


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## Vasks

Your questions are too general. But, assuming your notation program will correctly transpose the clarinet and French horn, so transposing issues can be avoided by me discussing, then what you need to know is (a) low range flute (low B up to low E) can not play loud and can be easily covered up by the others (b) high range flute (highest E to A) is hard to play soft (c) oboe low notes (low Bb up to E) can not be played softly (d) the highest oboe notes (highest D up to F) are a bit too thin to be loud (d) avoid giving the horn massive fast fingering passages and be aware that if you want it to play a lot of really low notes, you should use the bass clef for that passage (research that as it's too involved for me to write about) and as a brass instrument, the player can not play continuously for a long time; the lip needs rest time (e) the bassoon if playing a lot of high notes in a passage should use the tenor clef for that passage. Like oboe its lowest notes will never be soft and its highest never really loud. Beyond that you need to ask specific questions.


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## arpeggio

Vasks said:


> Your questions are too general. But, assuming your notation program will correctly transpose the clarinet and French horn, so transposing issues can be avoided by me discussing, then what you need to know is (a) low range flute (low B up to low E) can not play loud and can be easily covered up by the others (b) high range flute (highest E to A) is hard to play soft (c) oboe low notes (low Bb up to E) can not be played softly (d) the highest oboe notes (highest D up to F) are a bit too thin to be loud (d) avoid giving the horn massive fast fingering passages and be aware that if you want it to play a lot of really low notes, you should use the bass clef for that passage (research that as it's too involved for me to write about) and as a brass instrument, the player can not play continuously for a long time; the lip needs rest time (e) the bassoon if playing a lot of high notes in a passage should use the tenor clef for that passage. Like oboe its lowest notes will never be soft and its highest never really loud. Beyond that you need to ask specific questions.


Excellent advice.

For a bassoon stay away from notes above the C5. There are bassoonist who can play up to E5, there is an E5 in Tannhauser, but is rare to find any bassoonist but a first rate professional that can go above a C5.


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## Vasks

arpeggio said:


> Excellent advice.
> 
> For a bassoon stay away from notes above the C5. There are bassoonist who can play up to E5, there is an E5 in Tannhauser, but is rare to find any bassoonist but a first rate professional that can go above a C5.


One of the nice features of the Kennan orchestration book is that it shows both a practical average player range and a professional player range for all instruments. Quite a handy tool.


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## arpeggio

Vasks said:


> One of the nice features of the Kennan orchestration book is that it shows both a practical average player range and a professional player range for all instruments. Quite a handy tool.


Thanks for mentioning the Kennan. That was the book we used in college.


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## Heck148

arpeggio said:


> Excellent advice.
> 
> For a bassoon stay away from notes above the C5. There are bassoonist who can play up to E5, there is an E5 in Tannhauser, but is rare to find any bassoonist but a first rate professional that can go above a C5.


Bassoon is often written to high D (4th line treble clef)or above...Ravel writes a solo to high E in his Piano Concerto, Francaix writes a repeated solo to high F in his Serenade for Chamber Orch....and of course there is the nasty fast passage in the opening of Bernstein WSS Dances...Es and Fs....


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## arpeggio

Heck148 said:


> Bassoon is often written to high D (4th line treble clef)or above...Ravel writes a solo to high E in his Piano Concerto, Francaix writes a repeated solo to high F in his Serenade for Chamber Orch....and of course there is the nasty fast passage in the opening of Bernstein WSS Dances...Es and Fs....


I have played the WWS Dances. I could not get the F to speak on my horn but the passage was cued for the alto sax.


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## Heck148

arpeggio said:


> I have played the WWS Dances. I could not get the F to speak on my horn but the passage was cued for the alto sax.


You have to get the right reed/bocal combination.....most recently, I use a doctored "screech" bocal, with a tiny hole drilled near the tip - the Es and Fs popped right out....can't say the sound was too great, and pretty useless in a lower register. I used to use a Heckel "B" bocal - you get a big, full sound - but the reed is really crucial, and concert hall environment could really affect it - temperature, humidity, etc...for Ravel and Francaix - "B" bocal worked best - very exposed solos, that also descend to lower register.


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