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The two in my area (Pacific and Silicon Valley) tend towards a very subtle vibrato - not anywhere near exaggerated as any UK band I have on record. I do not know if this is deliberate - I never asked Tony Clements or Howard Miyata about that. Since they are both on this forum, maybe they will chime in.

edit: both bands tend to play at a much lower volume than most community or college bands I have heard!

NABBA brass bands generally do not. They tend to avoid the whinnying vibratos that so many of the British use, but there are occasional individual imitators of the British style.

I've been to NABBA the last 6 years, and it's usually the highlight of my musical year. The quality of performances steadily improves, and there are now a few bands beginning to perform on par with the better British bands. The 2011 competition will be in Grand Rapids, MI, and 2012 will be in Cincinnati. If you love brass playing, it's well worth the trip.

tuben wrote:British bands today do not use, general band vibrato. In terms of approach, I think British bands have become more 'orchestral' over the past 25 years to the point that they and American groups are similar.

The depth of sound is richer in British Bands, but I'm sure everyone will catch up soon, if they choose to.

I've played alongside some pretty good American Brass Bands, having hosted the Natural State and JMU bands in the last few years, and they're very good ensembles.

Generally, UK bands don't use the extended vibrato that was very common even just 20 years ago. Howard Snell, James Watson etc. changed that with their successful forays into conducting bands, for the better in my opinion.

There are still some old school nanny goats, but not at the higher levels.

There's no need to embrace anything in forming a brass band that the group and conductor don't want to unless you're going into competition. If you form a group for your own enjoyment, do it how you want to.

If you aren't going into competition, use French horns instead of Eb tenor horns if you want to. (NABBA requires tenors in all classes except Open.) F horn players will need to get used to transposing, though.

If you want CC or F tubas playing Bb and Eb bass parts go ahead. They're legal in NABBA rules, too; NABBA rules state that any tuba in any key can play any tuba part. Again, anyone who plays treble-clef Bb bass parts on anything other than a BBb tuba will need to transpose (or learn a different system of fingerings). Treble clef Eb tuba parts are written on the same line as concert pitch in bass clef, so you just have to get used to messing with keys and accidentals.

Most brass bandsmen would agree that for a real brass band sound, trumpets should be banned. Cornets only. Trumpets just can't blend as well, at least IMHO.

And there's no need to use old-style British vibrato unless there's an old-schooler in the group who won't have it any other way.

Bloke, if you want to hear a recent concert by one of the top UK bands go here:

http://www.youtube.com/watch?v=LECAbPrQ ... re=channel" target="_blank" target="_blank

It's a 50 minute concert with very good audio, a distinct lack of nanny goat vibrato, and some breathtaking playing.

And by all means stay through the end to see the BB flat tuba players blowing their a** off on the last piece.

You're dead on on the cornet mouthpiece funnel cup/tiny bore issue. I wish we were able to get all of our cornetists to see that way. Most have converted, but we still have a few holdouts.

There's plenty of brass banding out there that's not competitive. The joy of music is what motivates us all, and competition is not everyone's thing. Putting a band together, getting the necessary instruments and personnel, and obtaining arrangements is a big commitment and takes a ton of work. Best of luck to you and your compatriots if you decide to put a band together. I'd think Memphis would have an excellent talent pool.

I have had the chance to hear an american band (Fountain City brass band) playing in a concert with 2 british bands (black dyke and cory). It was a fantastic evening with great quality playing from all the bands. The Fountain City band certainly was not "out-classed" in any way, certainly not in playing quality, sound or choice of repetoire (Lee Harrelsons transcription of Lux Auromque is still a vivid memory for me).

BTW: Fountain City Brass Band, out of Kansas City, are the winners of the NABBA open for two years' running.

iiipopes wrote:BTW: Fountain City Brass Band, out of Kansas City, are the winners of the NABBA open for two years' running.

Pssst ... FOUR years running (2007, 2008, 2009, 2010).

American brass bands either sound uniquely "American" or they strive to emulate the British . The UK brass band sound is a challenge to us Yanks because playing mostly conical instruments require a different playing technique. For instance, when a trumpet ascends to the upper register it gets brighter as a natural tendency. The cornet, in capable hands will get "sweeter". Playing a cornet requires that the player has that concept firmly in mind or it will sound like a trumpet. The more cylindrical instruments like the baritone (we are talking English bore baritones) have a different tone concept, a brighter cylindrical edge to compliment the euphoniums which are darker and more conical.
When I listen to great bands like the International Salvation Army Staff Band or the Black Watch or Grimethorpe Coalary, I am amazed that among 6 cornets they all have perfect unison vibrato! What's more all the other sections do too. Although in some bands the trombones may or may not. I really don't see an average American community band doing this.
I am sure these are only just a few differences between the American Brass Bands and the UK. Credit where credit is due, the top flight American Bands are getting quite close the the classic British brass band sound, and there are others creating a very unique sound which still continues to evolve.
Howard Miyata