I write songs (and other music) in my spare time. I always have. Some are OK to perform, others not. When not, sometimes it's because they're bad songs. Other times it's because the format in which I first concieved them turned out not to fit. I have one such song which, on much reflection, I am fairly sure would do really well (minus the words) in a Brass/Silver Band arrangement - I can hear it in my head (not dissimilar to the Hawaii 5-0 theme) and it works! The problem is I know zip about brass band music: I'm a pianist/guitarist/bassist/singer/songwriter.

I have Sibelius to write with but where can I go to find out about how to arrange for a brass band?

Do yoy mean what instrumentation will you need - or something more complicated?
I think sibelius has a brass band format, but if not its as follows:
Soprano cornet (Eb)
4 Solo cornets (Bb)
Repiano cornet (Bb)
2 2nd cornets (Bb)
2 3rd cornets (Bb)
1 Flugel horn (Bb)
Solo horn (Eb)
1st horn (Eb)
2nd horn (Eb)
1st Baritone (Bb)
2nd Baritone (Bb)
2 Euphoniums (Bb)
Solo trombone (Bb)
2nd Trombone (Bb)
Bass trombone ©
1st Eb Bass (Eb)
2nd Eb Bass (Eb)
1st Bb Bass (Bb)
2nd Bb Bass (Bb)

Actually I needn't have typed all that, see http://www.brassbandstuff.co.uk/instruments/ !!!

Edit: oops, forgot percussion!!

It's more complicated: I pulled up the Sibelius brass band score and I'm fine with it: I just don't know what works - where to put the lead tune, what instruments swamp others, where is too high (even though technically in the range), etc. I put etc. because my ignorance on the subject is sufficiently vast as to preclude my even asking the right questions!

I have two ideas (or three, or . . . amongst my ideas, Cardinal Fang, and pass the comfy chair):

1) Find a music library and borrow the brass band score for Hawaii 5-0 (and some other pieces) with the idea of coopying the general shape but adapting to my own ideas: Does anyone know where I could do this (I live just south of Preston, Lancs)? Do people think this would work? Any recommendation for pieces?

2) find a theory book on how to write for a brass band: Does anyone know such a book and where to find it?

3) find a brass band and ask the band leader for help: This one I already have in hand - he is the brass peri at my sons school: A known and noted arranger and a whizz on Sibleius, allegedly. I've been given his name but not contacted him yet.

4) Go to sibelius.com and see if I can download some free brass band music to get the idea. The problem with this is I know some of the arrangments there are considered . . . shall we say "less than skillful"

Right... the idots guide...for a clever person...

the easiest way is to divide the band in to four parts - Soprano Alto Tenor and Bass - just like a choir...
so for the soprano line you would use:
Soprano cornet, solo cornet, repiano cornet and flugel horn (flug can work well as an alto instrument)
For alto line use: Second and third cornets, all the Eb horns and 1st trombone (can be a tenor instrument)
Tenor instruments: Baritones, Trombone 2,
Bass: Eb and Bb basses, Bass trombone (check which cleff they read!)

Euphoniums, work well as both a soprano (well doubling the solo line in a comfortable octave) and also as a bass instrument.

Practice arranging hymn tunes, and use the same rules that you would for writing bach chorals, or choir pieces.

Of course, when you want more of a spread in a chord you can expand out the cornet parts - and the horns. Writing for each of the solo cornets individually or in two pairs works particularly well.

Treat percussion as you would in an orchestra or wind band situation, although most brass bands tend to own a drum kit - so don't be afraid to lay down a heavy rock beat!!

The best advice is to give you parts to players - get things played and people can tell you whats hard and whats not. - Bear in mind the standard of the band you are writing for - the is an exceptionally large range of standards!

good luck! and have fun!!

That is one of the most helpful posts I've read on a bulletin board - thankyou. Now for "Abide with me" . . .

Just one other thing: Are there any keys that work better for Brass band (or should be avoided) or are all keys in the frame?

Yes; the brass band instruments are built in Bb and Eb (i.e. the notes they probuce with all valves up, or in first slide position, are in the harmonic series of Bb or Eb), and all but trombones and Eb basses play from transposing parts so that their harmonic series is notated in C. In British brass bands, tenor trombones often play from Bb (treble clef) transposing parts, sounding a major ninth lower, but in the orchestra they always have concert pitch parts in bass, tenor or, sometimes, alto clef; Eb basses usually have a bass clef concert pitch part but if they have transferred from another brass band instrument they know the trick of adding three sharps and playing the part as though it were treble clef. The best keys for a brass band are therefore from Eb to G.

One comment on jonscott's excellent advice: a top brass band will have 4 good solo cornets and if you write individual parts for them in a soli passage (everyone else tacet) they will make it sound stunning. In the majority of bands, the solo cornets need to take rests, because they are playing the most tiring part on the second most tiring instrument (the Eb soprano is more tiring, but its parts usually have lots of rests to compensate), so the extra numbers are to allow for that. A small band may not have as many as four solo cornets.

If you do have a nearby brass band that will play your arrangement, find out how many players they have and, if possible, who are the best ones. You should be able to rely on two good solo cornets, a good solo tenor horn, euphonium, 1st trombone and one bass. Then you can make your harmony or counterpoint complete on these parts and double them on the others. Note that the tenor saxhorn is called alto horn in the US and plays in a similar register to the second cornets. This sort of overlapping continues lower down the band also.

"A good score should have lots of holes in it." Rest some of your players to vary the texture, and save the tutti for climaxes.

What a lot of useful advice! Thank you both very much. I think I need to talk to the brass band man I've located, and have an extended play with sibelius.

Expanding on Kenm's comments about players: 2nd and 3rd cornets in lower section/standard bands tend to sound best between low C and C one 8ve up. Notes lower than this, whilst in range can be difficult to obtain whilst keeping the tone constant. The repiano cornet is also a great tool for filling in extra notes in chords and most players in this position are strong and technically proficient - some bands often put a player with "power" in this position as this is one of the few non doubling positions in the band - so don't be afraid to write for a moderate to high ability (in relation to the overall standard of the band) for the rep.

Some composers also choose to assign the rep and flugel to a single part, this has advantages as well as disadvantages:
Can produce a good blend of sound - often used in hymn tune books
By writing seperately you have more freedom - and you can alway write in unison for the parts anyway.
writing seperately makes writing for players of different standards easier.

Soprano cornet: much more difficult to play than Bb cornet, although most players tend to be of a good standard in relation to the band as a whole. Carries melodies particularly well, although stamina can be an issue, particularly on long phrases.

Trombones find technical writting easier the higher it is, as notes of the harmonic scale are closer, creating more possible slide positions - requiring less slide movement and so allowing notes to be played quicker.

I hope this helps some more and awnsers a few an awnsered+unasked questions. A good - and very detailed reference is Alfred Blatters "Instrumentation and Orchestration".