Cavalier Brass Ideology

[brassmeaway]

I think a corps paying as close attention to INTONATION and a uniformed sound quality is quite refreshing. While Crown does play in tune and balls loud, the Cavies tend to be on a higher intonation level at the sacrifice of some volume. (But doesn't greater intonation help project anyway?)

I did notice this year that Cavies were starting to push out into the edgier sound category. And if they can play louder and still retain their knack for superb intonation, I think we'll see a shift in some opinions...

[chaddyt]

I absolutely love Cavies' brass sound. Just wish they would spice up their brass book to make it more interesting.

[roosevelt]

I'm sorry, have you ever been a Cavalier or gone to a camp? At least I've been at a couple to be taught by them so I think I have an idea about what they teach.

Yes I have been to a camp.

Yes I have been taught by cavaliers and by people who have taught cavaliers as well as some that still teach cavaliers.

I have also worked with people who have taught cavaliers.

I have also lived and taught in Texas. Have you?

Cavaliers brass approach is nearly identical to the same approach that Eddie Green developed at Lake Highlands HIgh School and later used at The University of Houston. Dave Bertman openly credits Eddie Green with developing the "system" that they use there. This is the same approach that most texas high school bands use.

So I think I have a pretty good idea of what and how they teach too...

[xstevex]

Yes, it's the Eddie Green approach to ensemble sound.

As far as edge or volume is concerned, the idea is that the larger throat, or bore instruments (baritone and tuba) are not designed to be played with edge. When have you ever heard a concert euphonium play to edge before? You may have, but it is not "characteristic" of those instruments to do so. So, they only allow the high brass (with the small bore) to even approach those kinds of sounds.

So it's all based on producing characteristic sounds and matching all aspects of playing, including tone, articulation, etc. both within ones self and between players in the ensemble.

My favorite analogy when comparing this approach to other groups is: "Well, you can tune a chainsaw..."

[Jeff Ream]

I always look forward to hearing the quality of their sound. I have my complaints about their book, and their volume, but I love their sound.

i'd agree. it seems, especially since 2002 it's all about less is more

[audiodb]

Yes, it's the Eddie Green approach to ensemble sound.

As far as edge or volume is concerned, the idea is that the larger throat, or bore instruments (baritone and tuba) are not designed to be played with edge. When have you ever heard a concert euphonium play to edge before? You may have, but it is not "characteristic" of those instruments to do so. So, they only allow the high brass (with the small bore) to even approach those kinds of sounds.

And what is the policy concerning trombone and/or French horn sound in that system?

[kickhaltsforlife]

I also don't think that Cavies sound is "Brassy" I don't know... I am not a fan of their sound, obviously. And I believe Carolina Crown is THE MOST in tune horn line from the past 2 or 3 years. That is how they get their sound. They are ballsy, but they know how to keep things under control. But that horn line just ALWAYS rings.

[Medeabrass]

I know they take a very wind ensemble-esque approach to brass playing.

Very true and I respect them for that to an extent...I wish they would realize it's possible to have your cake and eat it too. All they have to do is look to Crown to realize you can have great balance, blend, and characteristic sounds coming out of the horns AND high volumes. They don't have to be mutually exclusive.

[Medeabrass]

They basically concentrate more on intonation... and also matching quality of sound and tones top to bottom. I believe they play concert F a lot. If you can't play a concert F in tune and together... they believe you cannot do much else.

Someone correct me if im totally wrong.

Sounds like the approach we used at Star of Indiana except it was a G and not an F

[bullethead]

Very true and I respect them for that to an extent...I wish they would realize it's possible to have your cake and eat it too. All they have to do is look to Crown to realize you can have great balance, blend, and characteristic sounds coming out of the horns AND high volumes. They don't have to be mutually exclusive.

INDEED!!!! They are NOT at all "mutually exclusive". As per the "Eddie Green" reference preceding....yeah, I definitely "get" that. I taught number of programs under his "influence" while I was in TX. The "premise" was essentially that, in order to minimize exposure to error, the ensemble was relegated (as in futball) to "playing it safe" so that no mistakes would be made. Although it has proven to be a generally successful approach with novice players, and quite successful with various middle school groups in a state which is littered with his prodigies, it falls extremely short in terms of producing any actual great performers. There's a reason the the University of Houston "produced" scores of teachers, but seldom produced actual professional performing musicians. I wish I had the time to give the accounts of the groups I taught in TX who were essentially "leveled" and denounced by the "Greenies" and yet were somehow repeatedly selected to perform at MidWest, and had success at BOA etc., go figure. I'll take an ensemble willing to risk it all in order to "make music" and make a mistake or two vs. an ensemble who's only goal is to not make a mistake and only exhibit the "math" ANYTIME. (I've personally witnessed this particular methodology take really exceptional players and make them play "pretty good"). When's the last time any of you heard a professional orchestra not have a single error? Did this really effect your experience? Would you have preferred that they "played it safe"?

Not me.

Edited August 18, 2009 by bullethead