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.
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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 and ornamentation to the cornet tutti sound, 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
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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. 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. Herbert Clarke said it more directly: "I never heard of a real soloist playing before the public on a Trumpet. ... It pollutes the art of Music."
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This is the real deal breaker. IF YOU'RE NOT PLAYING ON A FUNNEL CUP alias V CUP alias FLUMPET - you are not contributing to the ensemble sound that makes the Brass Band unique. Rather, you're playing a trumpet mouthpiece with a cornet shank and your sound will be a distraction at mf and above. REPENT AND CHANGE YOUR WAYS.
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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 $950)
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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 than their trumpet counterparts, while cross-over trumpet players are often better suited to meet the challenges of the Tenor Horn.
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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
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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.
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Bass Trombone provides the edge for the bass voice: Caution! These cats are licensed to kill. We do not hold them accountable to the general standards of human behavior. They are exempt from all dynamic markings that contain 'm', 'p', 'dim' or arrow type things pointing to the right. They know no boundaries and they take no prisoners. They are the commissioned to act out behalf of all who cannot do so with a clear conscience. For more on the personality profile of the brass band bass trombonist, google the word 'pirana'
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2 Bb Euphoniums are the predominant solo tenor voices. Often serves as the tutti octive for the bass lines. Perhaps predominant is an understatement. Euphonium players in the brass band must have the range and technical acumen of solo cornet players while producing several times the liters. The true euphonium player will serve as the 'romantic' of the band. If he/she can't make you cry, put 'em on baritone - and make sure they surrender the instrument.
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Big Bottoms! 2 EEb & 2 BBb Tubas give composers an extraordinary flexibility in dictating the sound of the bass part. In octaves or fifths, the section can give the brass band an incredible richness of tone. The lighter quality of the EEb can have all the lyricism of the Euphoniums. You'll need to encourge these 'heavy metal' Eb players to remain in their octive in order to keep the integrity of the chord structure. A 1/2 nut placed secretly over thier 4th valve stem usually does the trick. It's the fatter BBb that is intended to add the weight. The BBb guys can prove helpful in establishing alternative methods of disabling the pedal tones from the EEb. (See "Sins in the Bandroom" for this and other helpful information, myths and legends of the Brass Band World.)
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3 Percussionists will cover the entire spectrum of percussion instruments including, but never limited to the tam tam, gongs, bass drum, timpani, side drum, bells, chimes, cymbals, glockenspiel, xylophone, vibraphone, marimba, of course a set or kit, and anything else you can't afford!
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