Quartet Advice

Discussion in 'The Rehearsal Room' started by catto09, May 8, 2010.

  1. catto09

    catto09 Member

    Hi All - Realising that Quartets are usually 2x Cornet, Euph, Horn - with Euph acting as the Bass - i'm wondering if anyone can offer any advice to the current set up we have which we could use to better ourselves.

    within the Quartet, we have a Cornet, Bari, Euph, and EEb Tuba. Rather than taking the above and transposing to suit - is there a way we could implement this using the strengths of each of the instruments?
     
  2. Andrew Norman

    Andrew Norman Member

    You're rather "bottom heavy" in your instrumentation and you might be better off starting with a Trombone quartet rather than standard Brass Band Quartet arrangements.
     
  3. James Yelland

    James Yelland Active Member

    Yes, I agree with Mr Norman. But if you are determined to make a go of it, many quartet publishers nowadays include all sorts of alternative parts which might make your line-up viable. Have a look at Marc Reift Publications - they have quite a large catalogue for all sorts of non-standard combinations.

    Good luck!
     
  4. HowarthBrass

    HowarthBrass Member

    Hi,
    Yes I agree with Andrew.

    A Trombone quartet may be better than standard Brass Band Quartets.
    Try www.warwickmusic.com
    Sheet Music. Trombone Quartets.
    Or give them a call. They're very helpful.

    They have over 80 (probably getting on for 100) Trombone quartets available.
    You can even hear mp3 sound clips on some of the pieces in their online catalogue.
    Some, not all, of the Quartets may be all Bass clef, so best to check before you buy.

    I've bought loads of quartets from them which can be used for concerts or contests.
    Good value and nicely printed.
    Give them a try!

    Cheers, Mark H.
     
  5. fsteers

    fsteers Member

    Not sure how common tuba/euph quartets (EETT) are in the UK, but they're commonplace here in the US.

    A lot of tuba quartet arrangements work well with cornet or flugel on euph 1, tenor horn or bari on euph 2, euph on tuba 1, and bass on euph 2, as E1 parts tend to stay in the 2nd line G to D above the staff range, and T1 in the G below the staff to 3rd space C. The Sotto Voce arrangements are particularly suited to that voicing, as the E1 parts are written to exploit Demondrae's phenomenal high range chops.
     

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