Instrumentation

[randomnoise]

I don't know of any company that makes a mellophone in Bb. An F mellophone's fundamental is an octave higher than a F French Horn, the same octave as the High F side of a triple horn or a descant horn. Bb Marching French Horns fundamental is the same as that of the Bb side of a double horn, i believe. Therefore marching with a Bb Marching French Horn would be a nightmare because of all the partials you have to deal with on that instrument. The mellophone has the same set and relation of partials as a trumpet and is therefore much easier to be accurate on and easier to march with.

As someone who marched French Horn and considers it to be my main instrument, the issue of partials being closer together is not a nightmare - it is part of the gig. It's true that this is the common complaint about using Horn on the field, but I need to point out to everyone that this has been done for many years. The partials are just as close together as they are for a lead trumpet player. By this logic, we shouldn't have parts above the staff for trumpet.

Of course that is silly. French Horns sound great, and using them allows performers to play on something that is closer to the concert instrument. This is a good thing.

Mellophone? Who plays Mellophone outside of marching groups and the rare Kenton Big Band chart? But, and this to me is one of the most important reasons drum corps use mellos, Mellophones are easier to play - especially while marching! They are loud, too.

Edited March 23, 2006 by randomnoise

[BMBob]

As someone who marched French Horn and considers it to be my main instrument, the issue of partials being closer together is not a nightmare - it is part of the gig. It's true that this is the common complaint about using Horn on the field, but I need to point out to everyone that this has been done for many years. The partials are just as close together as they are for a lead trumpet player. By this logic, we shouldn't have parts above the staff for trumpet.

Of course that is silly. French Horns sound great, and using them allows performers to play on something that is closer to the concert instrument. This is a good thing.

Mellophone? Who plays Mellophone outside of marching groups and the rare Kenton Big Band chart? But, and this to me is one of the most important reasons drum corps use mellos, this is easy!

Well-said. The issue of playing with close partials is the same as a concert horn player having to develop a full four-octave range - it goes with the territory.

[SkyRyder_FMM]

Now, if only more lines would march french horns and fluegals along with the mellophones - that would be sweet! Some depth and color to the middle voice.

[BMBob]

Now, if only more lines would march french horns and fluegals along with the mellophones - that would be sweet! Some depth and color to the middle voice.

I think the depth and color would be nice - it would also take a bit more effort for the arranger.

[brakedrum]

Mellophoniums were used by Stan Kenton Big Band...great horn, but quite different from a Mellophone (which is used as a replacement for french horns, mid voicing in the marching idiom, due to more technical parts). b flat horns, I think would be the easiest to implement, due to its close association/intonation to bflat trumpets.

typical set up:

22 trumpets

14 mellophones

14 baritones

8 euphoniums

10 or 12 tubas

this 68 or 70 horns should provide you with a full well balanced ensemble.

8 to 10 snares

5 tenors

5 basses

12 Front ensemble:

4 marimbas

3 vibes

2 xylos

1 timp

2 aux

34 guard

2 DM

that's 133 corps

[BMBob]

Mellophoniums were used by Stan Kenton Big Band...great horn, but quite different from a Mellophone (which is used as a replacement for french horns, mid voicing in the marching idiom, due to more technical parts).

Those were loud horns, too. I remember reading that Kenton eventually sat the mellophoniums about 15 feet away from the rest of the winds, on the other side of the drum set, just so they wouldn't overpower the ensemble.

[brakedrum]

Those were loud horns, too. I remember reading that Kenton eventually sat the mellophoniums about 15 feet away from the rest of the winds, on the other side of the drum set, just so they wouldn't overpower the ensemble.

if you have ever heard his original recording of "Malaguena", you will not accept anything else...yes, scouts in 88 came close as well as Blast!, but havent heard anything that remotely is as powerful than the original

Powerful horns those things.

Anyone remember the Downey inspired, think DEG or Dynasty developed them special for BD, the MFL horn....i assume you know what "MFL" means....

[Tristan]

Mellophoniums were used by Stan Kenton Big Band...great horn, but quite different from a Mellophone (which is used as a replacement for french horns, mid voicing in the marching idiom, due to more technical parts). b flat horns, I think would be the easiest to implement, due to its close association/intonation to bflat trumpets.

typical set up:

22 trumpets

14 mellophones

14 baritones

8 euphoniums

10 or 12 tubas

this 68 or 70 horns should provide you with a full well balanced ensemble.

8 to 10 snares

5 tenors

5 basses

12 Front ensemble:

4 marimbas

3 vibes

2 xylos

1 timp

2 aux

34 guard

2 DM

that's 133 corps

I agree with you except on one part--trade one xylo for another vibe--xylo has such a cutting part that two aren't really necessary. If you absolutely need two, mount a baby xylo on one of the marimbas.

[jfmello]

Those were loud horns, too. I remember reading that Kenton eventually sat the mellophoniums about 15 feet away from the rest of the winds, on the other side of the drum set, just so they wouldn't overpower the ensemble.

The mellophoniums used by the Kenton band were Conn 16Es. Horrible monsters to tune, but with a .500 bore, very loud. Kenton did sit the mellos apart from the rest of the ensemble in concert situations to prevent the mellos from overpowering the ensemble; considering that there were only four mellos in the Kenton set-up, they must have been quite loud indeed.

BTW, the 16Es were in the key of F, but came with an Eb crook. From interviews with the Kenton mellophonium players, the horns actually played much better in Eb.

Edited April 12, 2006 by jfmello

[brakedrum]

I agree with you except on one part--trade one xylo for another vibe--xylo has such a cutting part that two aren't really necessary. If you absolutely need two, mount a baby xylo on one of the marimbas.

it is to assume that each keyboard will have superflerous additons, but no, 2 xylos work well, depending on the mallet selection if a bright and articulate sound is desired...i prefer hard rubber and two for split parts or octave differences (fuller sound and projection reasons)

two marimbas have mounted orchestra bells

two vibes have mounted piccolo xylos

obvioulsy suspended cymbals, snare, toms, wood blocks, variety of cymbal and metallic structures (i.e., brakedrums, chime trees) all would be mounted throughout the keyboard ensemble making them "percussion stations".

I do not see the reason to have a smaller guard, front or hornline to march plates (aka: cymbals) field cymbals really do not provide any musical additions that couldnt be handled by the front. where i think cymbal colours and timbres are extrememly important and give texture, I dont see wasting them on the field, except for visual and FX reasons.

now in "old school" when much big band type of charts were played requiring ride cymbal, field hand cymbals doubled for ride (holding for snares-toms, etc.)...this is the exception, ride cymbal in the front just does not have that special ensemble sound you get from 8 to 10 snares playing behind the first hash on heavy plates....love that sound!

Float, DeLucia and Thurston used to write some really great ride patterns!

Edited April 13, 2006 by brakedrum