TromboneChat

I'm working on some new arrangements and one thing I haven't had to deal with before is how to translate high sustained tremolo strings (above C6) to trombone choir. I'm looking at a part that is integral to the original music, so dropping it out isn't a solution. I was thinking I should just write it in the highest reasonable range on the first part with a cup mute to soften it a bit and ignoring the tremolo articulation.

Any thought or creative suggestions?

Thanks.

Don't be too literal - consider what this part achieves in the original context, and then attempt an artistically analogous effect, without necessarily aiming for sonic similarity. Good arranging is like good literary translation; you're recreating the spirit of the thing through whatever means necessary, not substituting word-by-word.

Is it a shimmering, heightened idea, possibly an inverted pedal point? Could timbral differentiation do the same job as the registral spacing in the original? If so, a muted line (or lines if widely spaced to avoid weight/density) in a lower register might offer enough contrast. (Will this create any chordal inversion issues?)

Arranging for trombone choir is relatively new for me. My prior work has been almost entirely for band and orchestra, and that work has always led me to be something of a literalist with the goal being to sounds as close to the original as possible. I knew when I decided to dive into this that it would challenge me to get out of that literalist box and help me think more about the spirit of the music.

I appreciate you making that same point about the spirit of the music - what I'm trying to achieve is definitely more about the feel of it than the tonic similarity.

here's a creative solution - write two alternating parts on C4 with harmon mute in, and have them go closed-open-closed very quietly while double tonguing as fast as possible for about 8 beats each at a time.

You could write the exact violin part into the first trombone, write the word "BELIEVE" over the staff, and pray that they figure it out on their own!

TexasTBone wrote: ↑Sat Oct 30, 2021 3:45 pm I was thinking I should just write it in the highest reasonable range on the first part with a cup mute to soften it a bit and ignoring the tremolo articulation.

Any thought or creative suggestions?

Thanks.

Everything of this idea sounds good tome except perhaps the range. It doesn't really matter that much compared to how it fits in with the texture. Just put it in a spot where it's different from the melody if possible. Unless, of course, the original has overlap too. We don't know what the tune is.

Concerning trombone choir, if you know exactly how many people this potential choir has, remember the "rule of 3" concerning intonation and blend. It's more common in string writing, but tripling up on one note (or more) will make it sound like a massed instrument section much more than doubling.

WilliamLang wrote: ↑Sat Oct 30, 2021 7:02 pm here's a creative solution - write two alternating parts on C4 with harmon mute in, and have them go closed-open-closed very quietly while double tonguing as fast as possible for about 8 beats each at a time.

Interesting option. Thank you I will try to use it

What about a soft lip trill (really more of a sustained shake)? With a cup in, I could do that for quite a while at mp or lower.

I'm trying to think which pieces but I'm pretty sure I've played a couple of brass band arrangements where the cornets had something similar to play. If I recall, the best way they found to play it was to find two combinations of valves that could be used to play the same note, ideally with only one valve moving between the two combinations. It's basically like a trill on a single note, apologies if there's a more scientific name for it. The motion of the valve creates some sort of break between each valve combination at the times where the air flow is restricted. It doesn't sound that close to a real string tremolo with clean breaks between bow action but had some sort of excitement/tension which was the main point. It could also sound a bit like somebody double tonguing into a bucket of water.

If you had someone in the choir with a Bb bass trumpet, valve trombone or baritone/euphonium, they could try playing a C between open and 1st valve, maybe with a mute also? Perhaps between 1+3 and 1 would also be worth a try, i.e. hold down 1 and wiggle 3 as fast as possible.

In principle, it could work on a Bb/F trombone with a very short-action and well-oiled valve but I'd think the finger-operated valve instruments would probably sound better.

It might sound awful but worth a try?