• First we want to congratulate Scooter and Star United, who are this year's Mini Corps champions!
• Also, check out the updated logo.  Do you like it?
• Mutes.  Okay, there's seldom a call for the Mellophone to use a mute, but it can be used in the following settings:
  • Some jazz
  • If you're covering trombone parts (like in a pit band)
  • Practicing
• Straight Mutes/Cup Mutes/etc.
  • Chances are your horn does not have a french horn-sided throat. Some traditional Mellophones might, at which point you can easily use french horn mutes. This will take some trial and error.
  • Tenor trombone (or sometimes bass trombone) mutes seem to work extremely well, but not the flared ones. Since you won't use them much, I recommend the Humes and Berg Stone-Lined mutes.
  • To quote Greg Monks: "The straight mute is perhaps the most important of the mutes where the Mellophone is concerned. The moment you place a straight mute in the bell of a Mellophone, especially the “classic”, it is then that you realize the Mellophone is in no way related to the French horn. The instrument automatically sounds like a tenor cornet or trumpet, and there is often the instinctive impulse to play it like one."
  • As for cup mutes, Greg says: "Generally speaking, there are two types of cup mutes. One has a cup with a scalloped edge, and the other has a straight edge that lies closer to the bell. The former has that classic “cup” sound, whilst the latter has a sound often described as “velvety”. Again, these mutes are made for the French horn, but the tenor and bass trombone variety will do."
  • Mark thinks a bubble (or Harmon) mute is also useful, but it's difficult to try on a Mellophone due to the flare of the mute itself. This requires further testing.
• Practice Mutes
  • If you're a city dweller, you need to find a good practice mute.
  • Practice mutes can effect the horn's natural resonance, which effects your breathing and how much you "push" when you play. On the upside, it's not unlike running with ankle weights. Take the mute out and you're suddenly very, very powerful. Another problem with them is that it effects the weight of your horn, as well as your intonation. But, again, if it's between using a practice mute and not practicing at all, I'd grab that puppy.
  • Practice mutes, unlike others, totally seal the bell. The cork surrounds the mute evenly. The result is a total muting of the sound, with the desired effect being as inaudible as possible. I personally recommend trombone mutes in lieu of French Horn mutes as the seal occurs further up the bell.
• Good Practice Mutes
  • Yamaha's Silent Brass works quite well. The alto trombone version should fit the average Mellophone. The down-side is that the Silent Brass mutes are quite heavy and won't stay in the bell. They're also extremely pricey as they include all sorts of electronics that make for a great practice session, but are quite cumbersome.
  • The Denis Wick trombone practice mute also works quite well, but you really should test it on your horn first as it is flared.
  • The Humes & Berg Mannie Klein "Sh! Sh! -- Quiet" (you gotta love the name!) Stone-lined practice mute for Trombone is VERY good.
  • Al's personal favorite and recommendation is the SshhhhMUTE, available online from Bremner Music. According to the website:
    - Helps improve tonal quality
    - Develop & open the throat muscles to give better air supply
    - Enable accurate tuning throughout the range
    - Weigh 13% less than traditional metal practice mutes, making your practice sessions easier
    - Is made from tough ABS plastic; it won't dent if you drop it
    - Enhance pitching and accuracy
    Al's tried both the Trombone and Tenor Horn mute and found for the Mellophone the Trombone mute is the way to go (the only difference is the positioning of the rubber, with the Tenor Horn mute's being a bit lower). Al's been using it for a while and is quite happy with it!
  • Mark has heard of the Best Brass mute, which is small, light and works well.  We haven't tried it, but Al is willing to invest in one and report back.
Granted, there are other mutes out there, but considering the infrequency you'll use them, having a good straight, cup and practice mute (and possibly a bubble mute) in your arsenal should be enough (in our opinions).

• Listening Assignment:  "Nessun Dorma" from Phantom Regiment's 1991 show.
  • It's obvious they're still playing G bugles.
  • The soloist is none other than our friend J.D. Shaw!
  • Al and Mark discuss how Corps shows are more theatrical and thematic then they once were.  Mark sort of misses the old days, but Al likes how they've evolved.
    

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Hosts:  Al Perkins, Mark Taylor, Dr. John Q. Ericson, Tony Vaccaro