Horn line balance

[TAFL]

I think a good answer to your question depends on what kind of sound you want and how experienced your players are. In general, here's what I would consider appropriate...

20 total = 8 sops split 2 ways (5 & 3 or 4 & 4 depending on the book); 4 mid range; 6 baritones split 2 ways; 2 contras. To get more bottom, drop a middle horn and add a third contra.

Our mix, when we have all the parts covered, runs as many mellos as sopranos and baris, so we'd have a mix of 6/6/6/2. The sops, mellos, and baris are split two ways each.

[Shadow_7]

I've heard that baris and sops need to match quantity and contra and mello match quantity. BITD it was somewhere hear 20 baris, 24 sops, 12 mellos, 11 contras. Granted that Baris were part euphs 6+14 or 8+12 in terms of a Euph + Bari config. Plus and minus of course depending on talent. Normally carrying a few extra sops because they like to take more breaks when it comes to playing. Or otherwise got widdled down to clean up the dirt. But it really depends on talent. That which you'll have at the big show, not open house. And some consideration to what you're playing.

But in non-35 land, it normally ends up being something like 3 sops, 2 mellos, 3 baris, 1 contra. Given a choice you generally want two on a part, since not everyone can make every gig. So plan accordingly.

[Robert Kirby]

Ideally? For me it's 1 contra : 2 baris: 1 mid-voice : 2 sopranos, which I think scales nicely. At the point where you have scaled it up enough, give euphs to one-third of those baris. And if you are blessed with some outstanding specimens of perfect marching and rock-solid playing, buy some Kanstul French horns for one-third of those mellos.

Robert

[Bruckner8]

Ideally? For me it's 1 contra : 2 baris: 1 mid-voice : 2 sopranos, which I think scales nicely. At the point where you have scaled it up enough, give euphs to one-third of those baris. And if you are blessed with some outstanding specimens of perfect marching and rock-solid playing, buy some Kanstul French horns for one-third of those mellos.

Robert

The 80 member hornlines are 2:3:2:3 , contra:bari:mello:trumpet....higher ratios of contras and mellos than above.

Bluecoats had 2/3 Euphs, 1/3 baris in that voice. Every other corps that uses baris and euphs were flipped, as you stated above.

What I find most interesting, however, is that all of these 80 member hornlines sound so completely different, even though they have the same instrumentation AND instruments (Yamaha...Bloo, Cavies, Crown, Cadets [not 80,76?], Blue Stars, SCV [not 80,76?])

Therefore, the writing and instruction are the MOST IMPORTANT factors in the outcome of the sound.

Instrumentation should be the least of your worries, but one thing is clear: You need a firm foundation. Always strive to get more contras; don't be satisfied with 1 player,even if only 10 total members. The big boys are using 20% contras (16 out of 80).

[Soprano Martin]

Ideally? For me it's 1 contra : 2 baris: 1 mid-voice : 2 sopranos, which I think scales nicely. At the point where you have scaled it up enough, give euphs to one-third of those baris. And if you are blessed with some outstanding specimens of perfect marching and rock-solid playing, buy some Kanstul French horns for one-third of those mellos.

Robert

Ok, all the French horn stuff is a whole new dimension that we probably dont need to visit in this thread; but for the sake of argument...

You can add to/replace the Soprano IIIs with flugel horns to add depth/warmth to the soprano parts. I'm not a fan of mixing within a section both mellos and frenchies, because it can add difficulties in tuning etc, and one person with a bad ear and...

My preference there is to go all mellos, even though they aren't as warm as the frenchies. Maybe have a good french horn soloist though, thats always awesome

[G-horns]

Ok, all the French horn stuff is a whole new dimension that we probably dont need to visit in this thread; but for the sake of argument...

You can add to/replace the Soprano IIIs with flugel horns to add depth/warmth to the soprano parts. I'm not a fan of mixing within a section both mellos and frenchies, because it can add difficulties in tuning etc, and one person with a bad ear and...

My preference there is to go all mellos, even though they aren't as warm as the frenchies. Maybe have a good french horn soloist though, thats always awesome

If the mellos and frenchies are not playing the same notes, this lessens the tuning issue. As for mellos, depending on the make and model (and sometimes individual horn), there are intonation issues below second line G and above top space G. If you have to use all mellos, don't try to peel paint with 'em and for the lowest mello line use the deepest cup mouthpiece you can.