Too much Trumpet, Not enough Mello!

[marchinalong8]

If anyone has made the switch from a G corps to a Bb corps (or your corps made the switch) you may find that mellos dont seem to cut as much as the bugle counterparts. Mello players have to compensate as such and play louder.

[rdeger1111]

The Blue Devil Horn Line (or should it be called trumpet line) has exemplified this for the last few years. I haven't heard anything but trumpets from them whenever I saw them for the last 3 years.

Their horn lines of the 70's and 80's had some butt kickin bari sections and contra sections and french horns (remember those). If you listen to Los Suetos, Chicago Suite (Free had the greatest bari sectional melody) and Channel One suite featured every section at one time or another.

I think the judges are rewarding this type of arranging and staging of horns as it is easier to sound tight in trumpets as opposed to any other section.

As for me, I missed the melos, the ballsy baris and a contra (OK Tuba) line that shakes the seats with a good bass line (Garfield and Bridgemen come to mind).

Ignoring the G to Bb difference I think alot of this would be overcome by arrangements and staging on the feild to feature other sections.

Edited April 19, 2006 by rdeger1111

[funkrocker049]

It really bothers me when I'm listening to a show and can't pick out the alto voice, but it bothers me even more when the alto parts are relegated to "fourth soprano" voice rather than another melodic line. I've heard a couple shows with this problem, which is obviously a deficiency in the writing of the brass book.

Honestly, another thing contributing to this is the way some corps seem to approach blend within the line. Regardless of numbers, the line should form a 'pyramid of sound'. Most corps only march 10-12 basses, but the rest of the line still needs to fill into their sound or else the sound will be 'top-heavy'. This translates into individual sections and choirs. Sops need to fit into Mellos, into Baris, int Euphs, into Contras.

[SaraNYC]

Wow! What a list of arrangers. You are lucky to play Hy Dreitzer charts. Such genius!

I like Downey's arrangements. He might favor high brass, but his mello parts are super challenging. Donny Allen, Gerry Kelsey, Larry Kerchner, John Arietano, Key Poulan, Scott Boerma, know how to right well for all sections, including mellos. Corps staffs often load the high brass with numbers, but the mello runs are there with the great arrangers.

I've got to play some of Larry's charts too, and hopefully at some point Key'. Not to dis anyone else you mentioned of course.

Have you ever heard/seen the Blast! mello feature song..I think it was called "Split Complitaries" or something but it is freakin' sweet! Like 32nd runs in the mellos and runs up and down through the section

I belive that was originally an I&E piece played by a Star of Indiana ensemble and it got a perfect score. Josh Talbott composed it. And it would not surprise me if Crown had a great mello line line this considering who their brass staff is. ;)

[Joe]

Wayne hasn't really written much for the mellos since 2001, and I don't really know why (2002 actually did have a lot prior to the complete overhaul of half the show).

I don't think increased numbers are always the answer. I'm pretty sure Madison had 18 in 2002, and I don't really remember that as being a really present mello sound. This would point to it being more of an issue of writing than numbers. Someone want to check on that?

I also loved Phantom's mello book in 2003, but I didn't think it projected as well as it could have. Their tone quality as a section was a little harsh as well, but it more or less fit with the style of the show. I think it had a lot to do with using those tiny cornet mouthpieces with adapters. Does anyone know if they're still using those? I'm not a fan of shallow mouthpieces on the mello, and I don't think there are many people that are.

[BMBob]

Being a horn player (and mello), I agree that I would like to hear more. I think the most under-utilized mello line is from the Blue Devils. This is, of course, only an opinion, and is from one perspective only. I know they carry their weight as far as chords and voicings go, but I would like to hear them get some features and whatnot. I do think that the difference in voicing in multi-key hornlines has an effect on this, but it can easily be overcome with careful arranging and learning how to balance.

[keyp]

I've got to play some of Larry's charts too, and hopefully at some point Key'. Not to dis anyone else you mentioned of course.

I belive that was originally an I&E piece played by a Star of Indiana ensemble and it got a perfect score. Josh Talbott composed it. And it would not surprise me if Crown had a great mello line line this considering who their brass staff is. ;)

The bay area is anxiously awaiting your arrival! :)

[SaraNYC]

The bay area is anxiously awaiting your arrival! :)

Oh great, now Key is working on me too!!! How flattering!

Love the Stairway to Heaven arrangement BTW! Can't wait to hear and hopefully play the rest of the show.

Edited April 19, 2006 by SaraNYC

[idontwan2know]

Firstly, there is no significant difference in the ratios of cylindrical and conical tubing between the latest generation G and Bb. If anything the G horns are more cylindrical as the increased tubing length is usually added in between the mouthpiece and the valve casing.

As for mellos being less prominent in melodic roles, there are several reasons for this. Firstly, style has changed. You see a lot fewer examples of one section carrying the melody through an entire phrase. Secondly, the different relative pitch of F mellos in a Bb hornline vs. G mellos in a G hornline makes them stand out less(and blend better). In a G line, the mellos play in the same octave as the sops and it's not unusual for the parts to cross and end up with your "midvoice" playing higher than the lower sops. This makes the voice stand out very clearly. Frankly, I think the G mellos and the way they were written(generally a good deal higher than F mellos are written for) was more pleasing as a solo/melodic instrument.

However, there's no doubt that they also cut far too well at times, especially in the wrong hands. And having your "alto" comfortably between the soprano and tenor voices is obviously the preferred arrangement. Frankly I think the role that mellos play now is closer aurally to the old french horn bugles and that has given hornlines back the "thickness" of sound that you heard in the late 80s and which dissapeared for most of the 90s when the all-mello mid-voice configuration became standard.

[mchromik]

As for mellos being less prominent in melodic roles, there are several reasons for this. Firstly, style has changed. You see a lot fewer examples of one section carrying the melody through an entire phrase. Secondly, the different relative pitch of F mellos in a Bb hornline vs. G mellos in a G hornline makes them stand out less(and blend better). In a G line, the mellos play in the same octave as the sops and it's not unusual for the parts to cross and end up with your "midvoice" playing higher than the lower sops. This makes the voice stand out very clearly. Frankly, I think the G mellos and the way they were written(generally a good deal higher than F mellos are written for) was more pleasing as a solo/melodic instrument.

However, there's no doubt that they also cut far too well at times, especially in the wrong hands. And having your "alto" comfortably between the soprano and tenor voices is obviously the preferred arrangement. Frankly I think the role that mellos play now is closer aurally to the old french horn bugles and that has given hornlines back the "thickness" of sound that you heard in the late 80s and which dissapeared for most of the 90s when the all-mello mid-voice configuration became standard.

I think you are pretty on here. I would add that it is surpising to compare my two year old Kanstul F mello to my twenty plus year old King K-50 Mello Bugle. The F mello's tone is velvety dark, but also a tad heavy and un-responsive. The G mello is light and responsive (aurally and physically), but also suprisingly bright and edgy. Combine this tone and the pitch relationship between the F mello and Bb trumpet, and you can easily see how a precentage of the 'mello' sound has been lost. In time this will surely get balanced out.