John_L wrote:Chuck(G) wrote:I was under the impression that there was a difference in the cornets--the SA doesn't have a repiano part per se, but calls it "1st Cornet" and there are no 3rd cornets.
I can only speak for the Salvationist band in my immediate area, but they follow the standard British instrumentation, with 6 cornet parts (Eb, Solo, 1st, 2nd, 3rd, & Repiano).
The SA at least earlier had their own publishing company (not selling outside the SA itself), and they followed the practice of a 3 part cornet section. It was my impression, that the parts were named Solo, 2nd, and 3rd, but don’t let that be a point of the discussion. According to my source, that had implications on the usage of the alto/tenor horns, which filled in, when the cornet section needed to be written in closer 4 or 5 part harmonies.
Never saw a score with 1st as well as Repiano cornets.
I have read extensively on the brass band history:
Originally there was only one Solo cornet and 3 or 4 Repiano cornets (from the term repieno = tutti violins of the Italian Baroque orchestra).
With time most of the repieno cornets claimed to be "assistant Solo cornets", and only one guy was left back.
When I write for brasses in whatever permutation, I want fully balanced sections. Even in that context it makes sense to have the lead part stronger manned.
The players need more rest, as they play in a higher range. And if the arranger needs an extended harmonic or contrapuntal structure, he she can write the larger section into "divisi".
The odd man out still is the repiano cornet. Often it doubles the (lower) solo cornets, often it plays an octave below the Eb cornet.
For many years it shared its part with the flugelhorn, actually often playing that part alone. The flugelhorn had a hard time in getting accepted, because the first flugelhorns were not very well in tune with themselves.
Many bands sticking with the 25 piece format used 5 solo and only one 3rd cornet. I even have heard one top band with only one 2nd and one 3rd playing the stage of Royal Albert Hall. That went extremely well, because they sat in the right side of the inner horseshoe. And then they were really good players very well capable of holding their very important parts (I sat with the score in my hands).
Many directors overlook the importance of the "back row" cornets. But a strong back row makes things so much easier for the front row.
The question of 3 or 4 part cornet/trumpet sections obviously has my deepest interest, I even have written for 5 part trumpets in stage band funk scores.
In my own ears one of the best solutions I have come up with is in the version of the Helicon Schottische, which I wrote for Steve Marcus’ 10-piece outfit in Chicago. I knew I could trust every single member. You will find my discussion in the preface.
That version of a quite entertaining 1875 US tuba solo can be found for free via the link in my signature. There also are versions for full brass band, brass 5-tet, and tuba with a 10-piece flute choir (the two latter versions premiered by Chuck Guzis).
Klaus Smedegaard Bjerre
PS: Yahoo has changed its format in storing photos. I am redoing about 3000 or 4000 entries in my brass galleries’ index (ouch). Anything in .pdf format keeps its address. If you have special interests during the transition period, please contact me at
YorkMasterBBb@yahoo.com
flugelhorns ?
