A Mello Catechism
A Guide to the World of Mellophones and Marching Horns
HNE 004 © Copyright 2007 Horn Notes Edition 674 East Maria Lane Tempe, AZ 85284 USAInternational Copyright Secured ISBN 978-0-9801030-3-8
John Q. Ericson
�Horn Notes Edition
CONTENTSPreface iii
Section One: About the Instruments 1What is a mellophone? 1Who plays the mellophone today? 4Who owns mellophones? 5Who favors the mellophone? 5Are there alternates to mellophones for horn players in marching groups? 6
Section Two: Playing the Mellophone 7What is a good tone on the mellophone? 7What do mellophone mouthpieces look like? 7What about a using horn mouthpiece with an adapter? 9
What about using a trumpet mouthpiece? 10 Is there a mellophone mouthpiece designed for horn players? 10 Will playing mellophone impact my horn embouchure? 11 What if I am normally a trumpet player and only march with mellophone? 11 What if I am normally a clarinet or flute player? 11 How should I warm-up on the mellophone? 12 Is intonation more of a problem for mellophone than for other brass instruments? 15 Should I practice on the mellophone? 17 It is a problem to hold my instrument level enough for my director. Any solution? 19 My horn teacher says my embouchure looks like I played too much mellophone. What does that mean? 20 What solo works may be performed on mellophone? 20 Is it possible to major in mellophone in college? 21 Historical footnote: mellophones have long been used as a substitute for horns. 22
Section Three: Special Topics for Directors and Arrangers 23Can the mellophone be used to build a horn section? 23Could beginners start on mellophone and switch to horn later? 23What advantage is there to using Bb marching horns? 23Should all players in a section use the same mouthpiece? 24 Who should I have test mellophones before I purchase new instruments for my group? 24How high should mellophones be scored? 25
Final Thoughts 27
Appendix: Fingering Charts 28Mellophone �n F 28Bb March�ng Horn �n F 29
Index 30
���Horn Notes Edition
PrefaceIn the beg�nn�ng, there were a lot of d�fferent brass �nstruments �n the alto range that were
used �n commun�ty and m�l�tary bands. In the late 1950s, a new era dawned �n terms of alternate �nstruments �n the range of the horn that, r�ght or wrong, has come to be dom�nated by one �nstrument: the march�ng mellophone, or “mello,” as �t �s commonly called.
When I marched as an undergraduate at Empor�a State Un�vers�ty �n the early 1980s, we used our concert double horns �n march�ng band, so there was no problem trans�t�on�ng between the march�ng f�eld and the concert hall. It was good chop t�me as a horn player. I also marched w�th a double horn �n h�gh school, but �t �s a d�fferent world today.
Mellophones are a top�c that horn teachers don’t talk about much, espec�ally �n pr�nt. It �s not that we don’t have thoughts on the subject, but rather that our thoughts are not necessar�ly publ�shable. Wh�le march�ng band and drum corps can be great outlets mus�cally and soc�ally for our students, mellophone play�ng �s often v�ewed as be�ng an �ssue that has to be dealt w�th �n such a way as to m�n�m�ze the damage to “real” horn play�ng.
Wh�le there are march�ng band pos�t�ons for horn players other than mellophone (percuss�on, guard, or drum major), a horn�st can st�ll have a strong exper�ence phys�cally and mus�cally on the �nstrument �f �t �s approached correctly. W�th a comfortable mouthp�ece the mellophone �s very respons�ve, has a pleasant sound, and can actually be fun to play. In th�s volume I hope to present �nformat�on that w�ll contr�bute to the most pos�t�ve of march�ng exper�ences.
If you have come to m�ddle (alto) range brass play�ng v�a the mellophone from another �nstrument, cons�der learn�ng the horn as well! We could always use a few more good horn players and we have great l�terature to play. As an alternat�ve, play tenor horn �n a brass band to expand your reperto�re and mus�cal exper�ences. Welcome to the m�ddle range!
John Er�cson
1Horn Notes Edition
Section One:
About the Instruments
Whatisamellophone?
The answer �s not as obv�ous as one m�ght th�nk.
To start off, a mellophone �s not an overgrown trumpet or cornet. It �s an alto range brass �nstrument frequently used �n march�ng ensembles. Its roots are �n the n�neteenth century.
Wh�le at f�rst glance �t m�ght appear to be a precursor to the horn, the most d�rect ancestor at least �n sp�r�t �s what �s commonly referred to today as a “class�c” mellophone. These were manufactured �n large numbers start�ng around the end of the n�neteenth century; many surv�ve today. Typ�cally, they were constructed to lay �n F alto (an octave shorter than a horn) w�th an Eb crook to fac�l�tate read�ng of Eb parts (w�th other crooks �ncluded �n the more deluxe models). They look very much l�ke a small p�ston valve horn but the bell faces to the left and the p�stons are f�ngered w�th the r�ght hand, the oppos�te of horn, and the mouthp�ece �s larger. The rotary valve v�s�ble on the ma�n sl�de of the example above, manufactured by K�ng, connects to a crook used to re-p�tch the �nstrument �n Eb. Wh�le mellophone enthus�asts would argue that th�s �nstrument stands on �ts own mer�ts, hav�ng �ts own un�que vo�ce and some advantage over the horn �n techn�cal passage work, pract�cal real�ty �s that the “class�c”
2 A Mello Catechism
mellophone was, �n �ts era, often used as a subst�tute for the horn �n amateur groups. (For more �nformat�on on th�s top�c, please refer to the h�stor�cal footnote on page 22).
The other major ancestor �s the tenor horn, wh�ch �s also referred to as an alto horn �n the Un�ted States. Th�s Eb �nstrument v�sually looks l�ke a baby Euphon�um. Wh�le uncommon today, �t st�ll rema�ns a standard �nstrument �n Br�t�sh style brass bands. The mouthp�ece of th�s �nstrument �s m�dway �n s�ze between that of a cornet and a bar�tone, roughly the same as the type of mouthp�ece for wh�ch a “class�c” mellophone was also des�gned, but w�th a larger, trumpet s�ze shank. The Eb tenor horn was, �n the Un�ted States, the standard subst�tute for the horn �n march�ng groups pr�or to the �ntroduct�on of the march�ng mellophone and was, from the perspect�ve of a player of the “class�c” mellophone, a very easy �nstrument to double on.
Wh�le the bell po�nts up on the standard concert vers�on of th�s �nstrument (the above example �s by Buescher), bell front models were produced �n large quant�t�es for use �n march�ng bands on the same pattern as “Amer�can-style” bell front Euphon�ums. Solo altos were also constructed �n a bell front shape not unl�ke that of today’s march�ng mellophones.
Depend�ng on the maker, modern mellophones �n the�r �n�t�al forms looked very much l�ke class�c mellophones, but w�th the bell forward, or were more squared off �n the manner of bell forward alto horns w�th a larger bell. Over t�me the des�gn has become more compact and eas�er to hold. The follow�ng �s a typ�cal modern march�ng mellophone, manufactured by Jup�ter.
