This is a slightly expanded (and lighthearted) version of a synopsis of brass band instrumentation originally penned by Lt. Colonel Tom Palmatier, past President of NABBA. You can be sure that any questionable or inflammatory editorial comments were added by us. Colonel Tom is far more respectable than are we. Note: the comments below definitely do not apply to the Georgia Brass Band. We are a happy and harmonious bunch unencumbered by the broad generalizations you are about to read.
One E flat Soprano Cornet serves as the piccolo voice. It requires a delicate touch and is used frequently as a soloist or to add brightness to the cornet tutti sound. The soprano cornet often adds ornamentation, upper octave work, and generally sharp intonation to the group sound. Most soprano players feel they are lead players in a jazz band and will routinely play too loud and hang over when the rest of the band cuts off.
Four B flat Solo Cornets are the lead voices in the ensemble. The use of four cornets permits players to switch off on parts that are frequently continuous throughout the entire piece. Divisi parts are also frequent, much to the dismay of the players. Notes are usually grouped impossibly close and are very difficult to read. The four solo players should ideally match each other in sound, temperament, and IQ. This is rarely the case, however, and petty jealousies can often sabotage a potentially good section.
Two B flat Second Cornets and two B flat Third Cornets fill out the cornet choir. Primarily these parts call for people that can play low notes really loud. The ability to play them in tune is preferable, though not required.
One B flat Repiano Cornet is the "roving middle linebacker" of the section. Often used as a solo voice or doubling the Soprano Cornet in unison or at the octave. It also frequently works in tandem with the flugelhorn or is used to add weight to the other cornet parts. Most repiano players enjoy this part because it is not as difficult as the solo cornet book and doesn't have troublesome divisi parts.
One B flat Flugelhorn serves as a bridge to the Tenor Horns. It is a frequent solo voice and is often used as the top voice in the horn family. Often this part is played by a would-be principal cornetist who couldn't quite make the cut and threatened to quit the band if he didn't get this soloistic part instead.
Three E flat Tenor Horns (Solo, First and Second) often perform as a choir with flugelhorns and baritones. The Solo Horn is a frequent solo voice. Also commonly referred to as the Alto Horn in the United States; it is an upright, three valve instrument, with a lighter sound than the French Horn. Thankfully they are not generally plagued by the water removal problems of French Horns. It is rare to see a tenor horn player systematically remove all the slides and spin their instrument around in an effort to remove moisture buildup within the horn. It also is not necessary for the player to stick their hand in the bell when playing.
Two B flat Baritones are often doubled with Euphoniums but work best as lower extensions of the Tenor Horn section. As separate voices, their ability to blend and add a middle-low voice without heaviness is a unique feature of the brass band. Ideally baritones with upright bells are employed, rather than the bell-front style we played in middle school. A really good baritone player will revel in the unique timbre of their instrument, rather than merely try to sound like another euphonium (which is probably their primary instrument - very few folks actually start out to be baritone specialists).
Two B flat Euphoniums are the predominant solo tenor voices and also function as tutti enforcers with the basses. Perhaps predominant is an understatement. Euphonium players in the brass band must have the range and technical acumen of solo cornet players, if not the SAT scores.
Two B flat Tenor Trombones provide punch and drive because of their cylindrical construction. Other things they provide are volume and edge.
One Bass Trombone is both a low support for the trombone section and an additional weight to the tubas. Think of a chainsaw, but without vibrato.
Two E flat Tubas and two B flat Tubas give composers an extraordinary flexibility in dictating the sound of the bass part. The lighter quality of the E flats can have all the Iyricism of the Euphoniums while the fatter B flat Tuba sound adds weight. In octaves or fifths, the section can give the brass band an incredible richness of tone - especially if trying to emulate the sound of a B-52. They are a plumber's delight.
Three Percussionists will cover the entire spectrum of percussion instruments. Timpani, battery, and mallets are standard for almost all compositions. They also must have proficiency on kazoos, slide whistles, bird calls, sirens, brake drums, chimes, cabasa, guiro, castanets, vibraslap, finger cymbals, suspended cymbals, crash cymbals, bell tree, wind chime, tam tam (that's a gong, for us neophytes), wood blocks, tambourines, cow bell, maracas, claves, timbales, congas, triangle, egg shakers, bongos, and lots of other cool toys. They also carry big bags with lots of sticks, mallets, and other such things.
