- 15 Apr 2021
- Wind Band Music （管乐队的音乐）
- Composer's View on Wind Band Music
（作曲家对管乐队音乐的看法）
Wind Band Music is pretty similar yet different to orchestra music. There are many different things to consider when writing for a these two groups of player. The Wind Band has almost the same instrumentation as the orchestra, however, there is no Strings in the Wind Band (Violin, Viola, Cello and Double Bass). To fill in these missing voices, the saxophones and euphoniums are added. Many sections such as the clarinet or trumpet/cornet section may be split into more parts in higher grade music. The number of players on each part must also be considered when composing as the winds' parts for the orchestra are usually played one player per part. In the Wind Band, however, many of the parts are instead doubled by many players, such that there may be more than 10 players per part. When composing for lower grade music, one very important thing to consider is to avoid writing solos or exposed parts for instruments such as Oboes or Bassoons. This is so as many young bands may not those instruments and thus leads to a section voided of melody. If there is a need for such solos to be written, it is best to cue it into the parts of more common instruments such as the clarinets or flutes.
There is one thing that I am sure everyone have asked themselves. Why are band pieces mostly in flattened keys? What is wrong with key signatures like D Major, A Major or B Major? Actually there is totally nothing wrong with these sharpened key signatures, but many transposing instruments are pitched in B Flat, E Flat and F, which will make their look especially complicating. If a piece is written mostly in sharpened keys, it is best to actually make the following changes (although not every band may be able to accomodate):
- Instead of writing for Clarinet in B Flat, write for Clarinet in A
- Instead of writing for Trumpet in B Flat, write for Trumpet in C
The clarinets when written in key signatures with many sharps or flats will have many awkward fingerings. A Concert A Major will be a B Major on the Clarinet in B Flat but a C Major on the Clarinet in A. That's it for the article today. Thanks for reading.
管乐队的音乐与管弦乐队的音乐相比有很多相似点却也有很多区别。当我们为这两群人作曲时，需要考量的因素也大有不同。管乐队所使用的乐器与管弦乐队差不多，只是少了小提琴、中提琴、大提琴和倍低音提琴等弦类乐器。为了弥补这些乐器的部分，管乐队追加了各种萨克斯和次中音号。很多小组如单簧管或小号的部分也增加了。其次，我们也必须考量一个部分有几个人吹奏。在管弦乐队里，每个木管和铜管乐器的部分都由一个人吹奏。但在管乐队里就完全不同，因为有些部分有可能有多过十个人吹奏。当我们在写较简单的音乐时，必须要避免在双簧管和大管的部分里写下任何独奏部分。这是因为很多规格较小的初级乐队可能没有这些乐器，因此导致某个旋律的丧失。若想写独奏部分给这些乐器，最好是同时以小音符表示在较常见乐器的部分里，如单簧管或长笛等。
有一个问题，相信大伙儿都曾经问过自己，为啥管乐队的音乐大多都是降调的调号？难道A大调，D大调或B大调有啥问题吗？其实这些调号完全没问题。但因为大多的移调乐器都是降B调，降E调或F调，使用以上这些调号就会导致他们的部分变得特别复杂。若想在曲子内使用这些调号，建议作出以下更改（虽然不是每个乐队都能够这么做）：
- 与其写给降B调单簧管，改写给A调单簧管
- 与其写给降B调小号，改写给C调小号
当我们在单簧管的部分使用那些较多升调号或降调号的调号，指法就会变得格外别扭。A调合奏调在降B调单簧管会变成一个B调，而在A调单簧管则会变成C调。
今天就说道这儿。感谢阅读。