I dont disagree with you. The Chester band appears having all chairs manned and even has more than the standard numbers of alto horns and trombones.
But that situation of a fully manned band cannot be counted on. A couple of tuba friends in the UK more or less frequently are asked to sit in even with championship level bands. Bands in less densely populated areas often have to get by with fewer than the standard number of 25 brass players. Of course there is this story of some Australian bandsmen flying their private planes 300km just to get to rehearsals. Yet that dedication may be rather unique. Klaus >________________________________ >From: Raymond Horton <[email protected]> >To: [email protected] >Sent: Monday, June 27, 2011 8:04 AM >Subject: Re: [Finale] Need advice on writing for brass band > >The Chester Brass Band, from its website, is a British-style brass >band, with its strict instrumentation. > >That site will lead you to a site that tells more about the type group: >http://www.chesterbrass.com/ > >Also see: > >http://www.nabba.org/ > >There is a good book: >_Scoring for Brass Band_ by Denis Wright > >which will teach you all of the basics. It is a bit old (percussion >is outdated, but percussion really does not differ from any other >group - one only needs to know the particular groups limits of players >and instruments) but will give you a very good start. I found it >helpful when I was beginning to do several arrangements and >compositions for British BB. > >It appears the book may be out of print. I will sell my copy >(excellent condition, only my name written in it) for half of what I >paid. I believe mine cost $24 inc shipping - I'll sell it for $12 >incl shipping. > >One other book I see on the google is _Colour and texture in the brass >band score_ by Steadman-Allen (1980). I do not know it. I see one >good review - appears to be more advanced. Only a couple of $45 used >copies on Amazon - a shame - I might buy that if not so high (and if I >had a job right now). > >================== >You can read the most basic aspects on the pages above (all the brass >instruments in treble clef [either Bb or Eb] except bass trombone, >even the Eb and Bb basses, etc., etc.). > >The most challenging thing for me, at first, was trying to figure out >how balance the cornets. The standard section is four solo cornets, >two 2nds, two 3rds, and one repiano cornet. ("repiano" is a >corruption of the Baroque term "ripieno".) Not all bands have these >exact numbers but this is the ideal. Four solo players allows some >rest, also divisi is not uncommon. The repiano is sort of a floating >player - can be used to double other parts as needed or for occasional >minor solos (such as a muted solo in between the solo cornets open >playing). The second and third parts are expected to be simpler by >degrees. > >A lot more recordings are available now than there used to be, so take >advantage of that. And borrow scores from the group for which you >are writing - that will show you some of the usual practices. I did >this a lot at first. > >I filled in on bass trombone with the group that I have written a lot >for on a concert a few weeks ago. This was the first time I had >played bass trombone with a brass band since my first semester of of >college (1970) as I have always played euphonium since (well, and tuba >a couple of times). The band played an arrangement (actually a >rip-off of a school orchestra movie medley) by a novice arranger in >the band who made a lot of mistakes. She kept the trombones playing >all the time - big mistake. The trombones are the only cylindrical >brass instruments in the band and should be kept for color. Also - >she kept trying to write all the high string and WW parts in the >cornets, instead of flipping some down into lower ranges for tenor >horns, euphonium etc. And she needed to thin some of it down - too >much tutti all of the time. > >What was said earlier about the loss of vibrato in American brass >bands now is true but sad. By losing nearly all touches of >British-style vibrato (not the extreme old-timey English Salvation >Army vibrato with no attack but that tasteful British playing - you >know - what _I_ like), many American brass bands now get a sound >pretty much identical to a brass choir with trumpets and French horns. >Not a bad thing, just, not so different any more. > >Raymond Horton >Bass Trombonist, Louisville Orchestra >Minister of Music, Edwardsville (IN) UMC >Composer, Arranger >VISIT US AT rayhortonmusic.com > >> > On Jun 26, 2011, at 10:12 PM, "Adam Taylor" <[email protected]> >> > wrote: >> > >> >> Greetings all! >> >> >> >> I have the opportunity to write for a local community brass band (The >> >> Chester Brass Band in Chester, NS) and I am looking for any advice from >> >> list members who have undertaken such things. THe only person I ever >> >> knew personally that had written for brass band was my old professor, >> >> Dr. Cardy, but he's passed away. >> >> >> >> I have the link to the bandsman.co.uk site on writing for brass bands, >> >> but I am interested in hearing other perspectives and other people's >> >> experiences on the matter. >> >> >> >> Any help would be appreciated. >> >> >> >> Sincerely, >> >> Adam > >_______________________________________________ >Finale mailing list >[email protected] >http://lists.shsu.edu/mailman/listinfo/finale > > > _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
