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Re: Instrumentation of most brass bands.

Erik <epittock@xxxxxxxxxxxxx> wrote:

> >There are many books on orchestration and arranging for orchestras and
> >the like, but I was wondering if anyone knew of a resource for
> >arranging for the Brass Band?

> >In the meantime, if someone could post a complete list of
> >instrumentation with the written and sounded notes for each instrument
> >that would be helpful.  Also, which clef each player reads.  Maybe this
> >is something which could be kept on an archive site after it is compiled.

I have my doubts about whether anyone could arrange effectively for a
combination they're not used to hearing.  The brass band has a fair few
conventions and expectations, in addition to what's obvious from the
instruments involved.

My recommendation would be to study a few scores (which would answer the 
questions about conventional notation) as well as giving an idea to the
relative difficulty expected in each part.

One of the features of the brass band is, because all the notation is
treble clef, players are easy to move up or down the band. A good
bandmaster will do some adjusting of this sort to get the players best
suited. You can expect solo fireworks from the euphonium, but not so
much from the baritone players, for instance. (I'm *not* trying to pick
on you! Our 2nd baritone player says he would run a mile if given a solo
to play...)

I'm excluding here the very top bands, who can afford to pick and choose
their players on an individual basis, and would have "hot" players on
every instrument. I did hear the opening of a contest piece recently,
where there was some nice cornet solo playing. I looked up, and saw that
it was a 2nd cornet doing it. Not every band would do that!

For the record:

All players except bass trombone have treble clef parts. The notation
always places the "trumpet middle C" in the same place in the
intrument's harmonic series. Sometimes tenor trombone parts are in bass
clef (concert pitch).

Soprano cornet in Eb. One player. Instrument sounds minor third above
notation. Used sparingly for descants, and often given tutti parts
(which may be ignored :-)

Solo cornets in Bb. Several players (typically 4 or 5), and sometimes
the part is split as many as three ways. Solo and tutti markings in the
part. I.e. just like the first violins in an orchestra.

2nd and 3rd cornets. "The back row". Multiple players per part.

Repiano cornet. Usually (?) one player only. Often shares a part with the
Flugelhorn. (Thereby missing an opportunity for tone-colour variation,
IMHO)

Flugelhorn (in Bb, same as cornets). A wider-bore instrument, derived in
size and in wrap from the key-bugle, but provided with a normal set of 3
valves and (usually, one hopes) a 3rd-valve trigger.

Tenor horns in Eb (sixth below written pitch). Usually one player per
part, sometimes doubled. Solo, 1st, 2nd, 3rd. The Flugelhorn is similar
in sound, and is sometimes treated as the soprano member of this
quartet.

Baritone horns in Bb (9th below). 1st and 2nd. 1st baritone parts often
have fairly high tessitura.

Trombones. 1st, 2nd, bass. A conventional orchestral section, in fact.
The difference in tone between the trombones and the other instruments
can be exploited by a good arranger. The tenor instruments notated in
treble clef, Bb transposition. The bass is notated in concert pitch.

Euphoniums. One part, sometimes split; at least two players. The first
euphonium is often treated as the solo tenor instrument, and frequently
has duets with a single solo cornet - either direct, or as counter-melodies.
Notated in Bb. The euphonium and baritone are quite distinct - the bore
of the euph is much wider than the baritone.

Basses. In EEb and BBb (still treble clef!). Usually two or three players
per part - i.e. 4-6 instruments in all. They don't usually have
independent parts - you need that many basses to balance the rest of the
band. Often only one key of bass is kept going during thinly-scored
works. Some bands will have 3-valve basses, and excursions below written
F# are rare - a pity, in my view, since the extra range is worth having
even a small bands will usually run to a 4-valve bass or two.

Percussion. A more recent addition, and very variable. The top bands
will have a section to rival any orchestra's. I'm just trying to think
if timps are used much, and coming to the conclusion they aren't.
You do get glockenspiels etc., but don't rely on every band having one.
(I.e make sure you cover any important bits by cues.) I'm of the school
that says that you can do without percussion most of the time.

One other thing - it's accepted opinion that brass bands sound better in
the flat keys. If you write in sharps, expect worse intonation (and
even accuracy) on average. It's very frequent to have as many as four
flats for the Bb instruments. Bass trombonists just get used to playing
in 5 and 6 flats a lot of the time :-)

I'm not an arranger nor a conductor, just a player - and not all that
experienced, either, so don't go writing theses on the basis of this
letter :-) I hope this helps. Some of the stuff above may even provoke
others on the list to correct me - I'm sure I need it.

Ian

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