Cornet sections - how should a cornet section work?

[darrenrowan]

Most of my friends in the US at the Houston Brass Band have come from a Trumpet “upbringing”. They have a very different approach to me when it comes to playing as a team in the cornet section. I am not saying one is right and the other is wrong but I am interestined in understanding your thoughts on how you feel a cornet section (including Sop) should play together as a team.

I believe getting the section working well together is key to our cornet section (and Band) making improvements to its “British Brass Band” style sound.

I look forward to your thoughts!!

Thank you.
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Regards Darren Rowan darrenrowan@gmail.com

[JayKosta]

I think the main responsibility and judgement is that of the director.

There can be many different personalities in a group, and various views and willingness to change.

Of course there are also 'local styles'.

My suggestion would be to play in the style that you think is best, and to tell the director that you want to know if anything should be done differently with your playing. Of course, the style you use has to be an acceptable blend in the section.

Jay
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Most Important Note ? - the next one !
KNOW (see) what the next note is BEFORE you have to play it.
PLAY the next note 'on time' and 'in rhythm'.
Oh ya, watch the conductor - they set what is 'on time'.

[TKSop]

A lot of it is common sense teamwork - when people get tired, things start to break down, so create extra rests by cutting numbers where possible. For example, if you've got all 4 solo cornets (or all 2nds and 3rds, etc) on the same line at mezzoforte you don't all need to play it.

Sop comes with its own set of demands, almost every entry is exposed and stamina management is key - don't expect sop to double up on midrange passages (below top G on Bb cornet lines, I leave out anything doubled below that 90% of the time).

In general you get a feel for what works (as a section) with experience - but the primary goal is to keep everyone as fresh as possible, the higher up the line you are, the harder work your parts will be and so the section should be looking to look after you more (where possible!).

[Christian K. Peters]

Hello all,
I agree with TKsop. He comes from the tradition that us North Americans are supposed to be striving for. I see that the biggest challenge for us is to get away from trumpet cup mouthpieces and to imitate the sound of our Brit brothers. I hope that I used that term correctly, I don't want to start another war...Most of us play in community concert/dance bands and are playing with a C cup or close alternative. I have a few bandmates here that are playing deeper Mp's and I am trying to do my part on solo cornet with a Warburton XD cup. The MBC is just too deep for me to have much endurance for my part. No, I don't want MP suggestions. The rest is approach, style (directors gig..) and tone (my responsibility to emulate a BBB vibrato/concept.) In a nutshell, we should be divorcing ourselves from concert band approach to a BBB approach.
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Christian K. Peters
Schilke Loyalist since 1976

[Seymor B Fudd]

[Richard III]

Just a note here. Last week I was trying to go for a specific sound with a cornet. It was for small combo jazz stuff. But that's beside the point. I used a Wick no letter with my BBB style cornet. Day one kicked my butt like it did the first time I was starting with this combination years ago for BBB. But after a few days things changed. The same thing happened that happened years ago. Endurance improved. Range improved. Control improved. I anticipate the same thing happening that happened before. I will reach the point where endurance is the best of any combination of equipment I've ever tried. This setup forces me to do it all correctly. Will this happen for everyone? Not a clue.
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Richard

King 1130 Flugabone
King 12C mouthpiece