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Author's query

For preparation of an article on the alto/tenor horn, information is needed
about the differences between scoring conventions of the British, European,
and American composers and arrangers of brass band works. For instance, it
seems that in the German scoring, the horns play in a high register with lots
of countermelodies while the afterbeats are given to the trombones. The
British scoring doesn't seem to keep the tenors as high but provides more
solos for the voice as well as duets with the euphoniums. Any insights you
may have to share would be appreciated. Sections of scores can be legally
copied and sent as evidence/examples of writing and arranging styles and
conventions - recordings can also be excerpted. Information is also requested
about instrumentalists: frequently they are recruited from the ranks of
cornet, trumpet, or french horn players and asked to play alto/ tenor as a
second instrument. There seem to be a minority of players who consider the
instrument their principal instrument. French horn players often disdain
association with the alto/tenor feeling it is a poor cousin to the "real"
horn. What is your experience? I would be very grateful for anecdotal
information from horn players, arrangers and composers. Finally, information
is also sought about the quality of the voice as a solo instrument, in
chamber music (like the Hindemith sonata), in an orchestral setting (like
Berlioz in The Trojans), as well as in bands: brass, military, concert,
symphonic, etc., etc.
One article will be placed in Brass Band Bridge, others may be placed in the
Horn Call and the Instrumentalist. Digests of the materials will be posted to
this list. So far I have gathered a tremendous amount of information but I
would like a lot more, especially anecdotal material.
Please reply directly to:  E-mail: Mjabrass@xxxxxxxx Snail mail to: Mark
Anderson, 35 California Quarry Road, Woodstock NY 12498..

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