Colour and Texture in the Brass Band Score
December 10 2005
Ray Steadman-Allen
CD 95362
This reprint of Lt. Col. Dr. Ray Steadman-Allenís 1980 publication is worth its weight in gold! It provides a unique opportunity to look over the shoulder, as it were, of one of the finest of all brass band composers and arrangers a real master-craftsman.
This reprint of Lt. Col. Dr. Ray Steadman-Allenís 1980 publication is worth its weight in gold! It provides a unique opportunity to look over the shoulder, as it were, of one of the finest of all brass band composers and arrangers a real master-craftsman.
The book is divided into two parts, the first dealing with instrumental colour and the second with instrumental texture in brass band scoring. In his introduction, he defines and differentiates the two in musical terms, giving straightaway a clear example by citing three different ways of scoring a short passage for flugel horn and trombones.
The main body of the book deals in great detail with an in-depth study of blending instrumental lines to achieve different ëcoloursí in brass band music. The authorís long practical experience is evident on every page and the 115 musical examples are alone almost worth the price of the book. The chapter headings in Part One cover what he describes as ëcolour resourceí from groupings of like instruments to groupings of instruments from the various brass families and the different combinations thereof. Part Two deals with musical texture and covers techniques such as fugal writing and even jazz and rock scoring.
The bookís original date of publication (1980) means that the author does not include any of the latest avant garde methods of scoring as, at that time, they were largely unknown in brass band circles. Percussion is likewise dealt with in somewhat conservative terms - very large sections containing everything under the sun of a hittable nature had yet to appear. However, as a manual both for composers and arrangers of brass band music, this book is without parallel in providing an insiderís view of the numerous possibilities of the various available voicings and their effect. This publication should be required material for anyone seriously studying brass band scoring, either as a college student or at home. Despite the highly technical nature of the subject, Dr. Steadman-Allen's literary style is comprehensible and written in plain English that most people with a moderate musical education would understand. I simply cannot recommend this book too highly.
Rodney Newton
British Bandsman - Saturday 10th December 2005
