Why Treble Clef?

With the exception of the bass trombone and percussion, all parts are transposed and written in the treble clef, which means that for every instrument, from the big basses right up to the soprano cornet, the fingering for the written notes is similar. This system, which is unique to UK-style brass bands, ensures most parts can be covered when there is less than a full complement of players (Like last week). Some prefer this method in that after transposition, it centers the scored parts within the five lines of the staff. Despite personal preference, in today's world of Finale, it is perhaps shear British tradition (translation: utter nonsense), that would keep any publisher from producing his music in both clefs for inclusion and market share. (Sorry, editor's note there.)

Ian: Son of Dave

1 Eb Soprano Cornet 1 Eb Soprano Cornet serves as the piccolo voice. It requires a delicate touch and is used frequently as a soloist or to add brightness to the cornet tutti sound. The soprano cornet often adds ornamentation, perhaps tugging most at the heart strings by supplying the soaring octive at the end of a musical cadence. (Soprano players are most often hotdogs. Make sure they face inward - & never % % % % % let them play a Schilke without a funnel cup.)

9 Bb Cornets 4 Bb Solo Cornets are the lead voices in the ensemble. 2 Bb 2nd Cornets and two 2 Bb 3rd Cornets fill out the cornet choir. 1 Bb Repiano Cornet is the "roving middle linebacker" of the section. Often used as a solo voice or doubling the Soprano Cornet in unison or at the octave. It also frequently works in tandem with the flugelhorn or is used to add weight to the other cornet parts. In distinguishing the trumpet from the cornet, Phil Smith said: "A trumpet is a bold instrument; a signal instrument." Trumpet players often need to adjust their approach to the cornet as an ensemble instrument rather than an instrument of proclamation. The true cornet ensemble sound is greatly enhanced with the use of a funnel or V cup mouthpiece eliminating the sharp overtones that often cause intonation problems and harsh tonal qualities. Sorry Maynard!

Smith Watkins Bb Cornet

The Besson Flugel w/ .453 bore

1 Bb Flugel Horn 1 Bb Flugelhorn serves as a bridge to the Tenor Horns. It is a frequent solo voice gaining the warmest possible sound in the cornet range and is often used as the top voice in the horn family. Careful not to get too large a horn. A good deal of range is required in modern composition and larger horns tend to surrender the unique timbre to the tenor horns. My favorite is still the 1970 Boosey & Hawkes Sovereign with the Denis Wick 4F. The 2F is a bit deeper in sound but the range is greatly extended with the 4. (I'll sell you the package for $650)

3 Eb Tenor (Alto) Horns 3 Eb Tenor Horns (Solo, 1st & 2nd) often perform as a choir with flugelhorn and baritones. The Solo Horn is a frequent solo voice. French horn players converting to tenor horn must adjust their approach to the more direct, immediate, and brighter response required of the Eb tenor. In fact, horn players converting to the Brass Band often make much kinder & gentler cornet players that do many of their trumpet playing associates (No offense, Maynard). My favorite solo (now playing) is Sandy Smith playing Variations on a Welsh Theme with the Fairies Band. Enjoy!

York Eb Tenor Horn

British Style Small Bore

2 Bb Baritones (Sm Bore) 2 Bb Baritones are often doubled with Euphoniums but work best as lower extensions of the Tenor Horn section. As separate voices, their ability to blend and add a middle-low voice without heaviness is a unique feature of the brass band. It's great to see the resurgence of quality baritone scoring in the modern day brass band. I dare say the baritone has suffered decades of neglect by less than competent arrangers who left the baritone parts to those who didn't make the cut on Euphonium. Get a compensating baritone, but don't waste your money on the 4th valve.

Pea Shooter Preferred!!!

2 Bb Tenor Trombones 2 Bb Tenor Trombones provide the sizzle, punch and drive because of their cylindrical construction. Symphony players often need to adjust to a smaller bore instrument in order to provide the proper timber across the dynamic spectrum. My favorite for brass bands is still the King (hold on) 3B, with the .508" bore. If you must get something that is less than 50 years old, try the Edwards T302, but I'm sure you'll end up with the T350 just to be cool. Bottom line: Sliding euphoniums rob us of the sizzle and muddy the waters belonging to the real low brass.

Brett the Dragon Slayer!

1 Bass Trombone 1 Bass Trombone is both a low support for the trombone section and an additional weight to the tubas. Think of a chainsaw, but without vibrato. This individual must show no signs of co-dependency as he will be written off by every symphony players for miles around as rude, brash and abrasive while loving every minute of it. BTW: This is the only instrument scored in bass clef. As for the plumming; it should be big enough to obtain near sub-sonic frequencies and small enough to project them at earth shattering decibels.