SOPRANO CORNET: THE HIDDEN GEM OF THE TRUMPET FAMILY by YANBIN CHEN (Under the Direction of Brandon Craswell) ABSTRACT The E-flat soprano cornet has served an indispensable role in the British brass band; it is commonly considered to be “the hottest seat in the band.”1 Compared to its popularity in Britain and Europe, the soprano cornet is not as familiar to players in North America or other parts of world. This document aims to offer young players who are interested in playing the soprano cornet in a brass band a more complete view of the instrument through the research of its historical roots, its artistic role in the brass band, important solo repertoire, famous players, approach to the instrument, and equipment choices. The existing written material regarding the soprano cornet is relatively limited in comparison to other instruments in the trumpet family. Research for this document largely relies on established online resources, as well as journals, books about the history of the brass band, and questionnaires completed by famous soprano cornet players, prestigious brass band conductors, and composers. 1 Joseph Parisi, Personal Communication, Email with Yanbin Chen, April 15, 2019. In light of the increased interest in the brass band in North America, especially at the collegiate level, I hope this project will encourage more players to appreciate and experience this hidden gem of the trumpet family. INDEX WORDS: Soprano Cornet, Brass Band, Mouthpiece, NABBA SOPRANO CORNET: THE HIDDEN GEM OF THE TRUMPET FAMILY by YANBIN CHEN Bachelor of Music, Shanghai Conservatory of Music, 2011 Master of Music, Peabody Institute of The Johns Hopkins University, 2013 A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS ATHENS, GEORGIA 2019 © 2019 Yanbin Chen All Rights Reserved SOPRANO CORNET: THE HIDDEN GEM OF THE TRUMPET FAMILY by YANBIN CHEN Major Professor: Brandon Craswell Committee: Philip Smith Emily Gertsch Electronic Version Approved: Suzanne Barbour Dean of the Graduate School The University of Georgia August 2019 iv ACKNOWLEDGEMENTS This project would not have become a reality without help from so many people. I would like to take this opportunity to acknowledge and thank my doctoral committee: Dr. Brandon Craswell, Mr. Philip Smith, and Dr. Emily Gertsch. Thank you, Dr. Craswell, for your encouragement, your leadership over the years, and for supervising and guiding this project. Thank you, Mr. Smith, for being a role model for me in every possible way. I could never thank you enough for leading me to find my faith; your gracious help of reaching out to many preeminent musicians in the brass band field made this project more complete. Thank you, Dr. Gertsch, for your council, and for teaching theory in a musical way, which deeply influenced my perspective and understanding of music. Thank you, my wonderful parents, for always supporting me and pushing me to be the best I can. Thank you, numerous world-class soprano players and brass band composers and conductors, for sharing your experience and insight with my project. Thank you, Dr. George Foreman, for sharing your knowledge and personal library for my research. Thank you to all of my friends and fellow UGA trumpet studio members, for the friendship and good times. Thank you to the many great teachers and mentors I have had on this journey, especially Mr. Andrew Balio, Mr. John Hagstrom, and Mr. Edward Hoffman. v TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ............................................................................................... iv LIST OF TABLES ........................................................................................................... viii CHAPTER 1 INTRODUCTION .............................................................................................1 2 THE HISTORY OF THE SOPRANO CORNET ..............................................4 Start of the British Brass Band.....................................................................4 Invention of the Valve System .....................................................................5 The Relation Between the Soprano Cornet and Saxhorns ...........................6 Early Use of the Soprano Cornet ...............................................................10 3 THE SOPRANO CORNET IN THE BRASS BAND .....................................12 Early Writing for the Soprano Cornet ........................................................14 The Revolution of Brass Band Compositional Style .................................16 The Future of Brass Band Compositions ...................................................18 4 SOPRANO CORNET REPERTOIRE .............................................................20 Rhapsody....................................................................................................20 Capriccio ....................................................................................................21 Demelza .....................................................................................................21 Escapade ....................................................................................................22 High Fidelity ..............................................................................................23 vi The Higher Plane .......................................................................................24 Flowerdale..................................................................................................24 Through the Gate of Clos Luce ..................................................................25 Concerto for Soprano Cornet .....................................................................26 5 FAMOUS SOPRANO CORNET PLAYERS .................................................29 Charles Cook ..............................................................................................29 Paul Duffy ..................................................................................................30 Brian Evans ................................................................................................32 Benjamin Richeton.....................................................................................34 Peter Roberts ..............................................................................................35 Steve Stewart .............................................................................................37 6 APPROACH TO THE INSTRUMENT ..........................................................39 The Importance of Listening ......................................................................40 Personal Experiences .................................................................................44 The Importance of Having the Right Mindset ...........................................46 7 EQUIPMENT ..................................................................................................49 The Instrument ...........................................................................................49 Besson ........................................................................................................49 Schilke........................................................................................................50 Stomvi ........................................................................................................53 Yamaha ......................................................................................................55 The Mouthpiece .........................................................................................57 Alliance Brass ............................................................................................57 vii Vincent Bach ..............................................................................................59 Sparx ..........................................................................................................60 Yamaha ......................................................................................................61 Denis Wick.................................................................................................62 The Mutes ..................................................................................................62 My Personal Choice for Instrument and Mouthpiece ................................63 REFERENCES ..................................................................................................................65 APPENDICES A NOTABLE SOPRANO CORNET PLAYERS ...............................................74 B NOTABLE SOPRANO CORNET RECORDINGS ........................................76 C INTERVIEWS .................................................................................................77 viii LIST OF TABLES Page Table 1: Selected Alliance Soprano Cornet Mouthpieces .................................................58 Table 2: Selected Bach Soprano Cornet Mouthpieces .......................................................60 Table 3: Selected Yamaha Soprano Cornet Mouthpieces..................................................62 1 CHAPTER 1 INTRODUCTION The E-flat soprano cornet carries one of the most important roles and color palettes in the British brass band, and as such, cannot easily be replaced by other instruments. However, it is an instrument in the trumpet family that is rarely played by most trumpet players during their career. It is primarily used in the British brass band setting,