Comments ~ 2002: December

Comments from December 2002

The Regionals - more of the same

Prague – so little musical reward

I read Dave Lea's letter with interest and have the same opinion regarding the test piece 'Prague'. My band, a village band in the New Forest, Hampshire are really disappointed to have to spend so much time rehearsing this ''music'' for so little musical reward. We have listened to the CD. and still have no enthusiasm to commence work. It has taken 10 years of hard work to win our way from the 4th Section to the Championship Section, and having played 'Jazz' and 'Whitsun Wakes' at our first two appearances we were looking forward to more musical challenges and now we are faced with 'Prague'.

The Brass Band movement will shoot itself in the foot soon, as the paying audience will vote with its feet and not pay. The bandsmen do not listen anyway as they are mostly in the bar. There are many composers who write audience/bandsmen friendly music, to quote just a few Kenneth Downie, Peter Graham, Philip Sparke, Phillip Wilby and Michael Ball, who write for all sections. Dave you are not a lone voice, there are many more who don't write to the brass band press, and if they did there would not be enough space to publish all the mail..Peter Wise..Milton Abbas..Dorset.

p.s. I think your website is excellent, even if I do not agree with some of your comments.

Peter Wise

Shabby dress spoils a top "Prospect"

I totally agree with Alan Wycherley on the accuracy of scores and parts. I presume that all publishers have them proof-read before sending them out. After that, as a simple check, (and with software like Sibelius readily available), why not listen to each piece using a decent soundcard and query anything that sounds dodgy?

It now seems that all the test pieces for the National qualifiers and finals are recorded by a top band. Why not pay each band a little more so that the conductor can spend more time on the score and report anything dubious?

This year's 2nd section piece in Torquay was Danceries, by Kenneth Hesketh. After the contest one adjudicator, Melvin White, said that he knew the piece very well as he had rehearsed it with a band. In which case it should have been apparent, even with a minimum of rehearsal, that there were some truly glaring errors in the piece, as well as a lot of "possible" mistakes. Why didn't he report this straight back to the publishers?

I spent a lot of unnecessary time deciding whether some of the notes were correct and I know at least one other band did xactly the same. This was a superb piece of music dressed very shabbily.

I cannot wait to get stuck in to Celestial Prospect, if only I could read this photocopy of a photocopy :-)

Graham Catherall.
Conductor, Cockerton band.

4BR Reply:
A good idea Graham, although we would hope that it would not have to come to that in this day and age. Why not pay someone with good compositional knowledge to go over the arts and score with the composer or publishers before it finally goes into print. Wouldn't that save a lot of hassle?

The Selection Debate

No Scots, or Welsh please!!

Just a comment about the England squad. A SCOT to conduct???? I don't think so. Nothing against Russell, he can conduct the Scots. Two WELSHMEN???? No way, let them play for Wales. No Iwan Williams or Sheona White or Stuart
Lingard. Doesn't anyone listen with their ears anymore?

Peter Roberts

4BR Reply:
Thanks Peter – we did say we were a bit liberal with the selection process and went along the same route as the rugby. Perhaps that was not the right thing to do, but our selectors (not Iwan or Anthony for the Home Unions teams) picked who they thought were the best in 2002. Maybe that made it appear a little unfair, but where would the New Zealand "All Blacks", Australia and England themselves be without a bit of extra help? Still, we take the point and perhaps next year we may have to be a bit stricter in our selection.


Scots in a pig sty!!!!

Did you know there are 3 Scots in the English band too? Jim Leggat, Lesley Howie and Robert Richardson all 'Thoroughbreds living in a pig sty' as we say north of the border.

Bob Burns

4BR Reply:
All great teams need a bit of help Bob. As we have said, where would the "All Blacks" be without their "friends" from the South Seas or even the Scottish football team with their German manager – although we don't think that may be the best example we could have used.

A Weak Welsh team.

Unfortunately there will always be people like me who will disagree with your choices for gaining Welsh caps for the 2002 season. A majority of your choices are clear cut however I must point out to you that last year you stated that only principle players are eligible to be included into the band of the year category.

Thus, why do we see back row cornet players in the frame namely Dai Carey (Tredegar) and Phil Harris (BAYV Cory). They are both excellent back row cornet players in there own right but why include them this year?

Anyway here are my choices which differ from yours.

Sop: Stephen Barnsley (BAYV Cory) no apologies Mr Fox, you are an excellent player and very modest about your achievements just like I, however, Steve is sheer class at the minute.

Cornet: There should be a place for Kevin Jones ( Tylorstown)
Cornet: The principle from Pontardulais can't remember his name, used to play for Cory.

Flugel: Very difficult, a toss up between Jo Dean and Andrea Lewis. Close call, I'd give Jo the nod (BAYV Cory)

2nd Horn: As you know I' ve retired / freelance when I can be bothered. I' ve only played in two contests this year and don't deserve a mention. Nia from Beaumaris band is my choice, a player I've always admired. We shared the same excellent teacher. Listen to her in Swansea.

2nd Bari: Steve Stonelake (Cwmaman Band) is well worthy of a place in this baritone section. A very strong player, a tongue made for tonguing and very under estimated - although he does blow too loud on occasions.

Bass Trom: Muppet from (BAYV Cory) no need to say WHY!!!!!!! so Julian!!!

Eb Flat: Jeremy Rugman (Cwmaman Band) he is a class act as you know, he's helped out Tredegar many a time of late. As so called experts you must be able to agree with me, if not, at least he should have had a mention.

Not many differences Mr. Fox and Mr. Banwell, however, I can't for the life in me believe that if do insist to include players that are not principles for their respective bands, the only Welsh Band for 2002 and be very proud to gain their caps should be the BAYV Cory in their entirety.

Well Done BAYV CORY on a very successful year and may your reign as the main Welsh representatives, last forever. Thank you for your time and I hope to see my comments on your comments page very soon.

Before you state your reply, please don't say I'm biased towards Cwmaman Band and lose your creditablity. This website usally only promotes your band where you can and that can't be fair, be impartial.

If you wish to discuss my comments further, I'll see you in Swansea. No need to bring muskets, samurai swords will be just fine. Only Joking.

Tim Malpas

4BR Reply:
Thanks Tim. You were going so well until the last few bits!! We did make it clear that neither Anthony or Iwan were part of the selection process for the "Home Unions" so the inclusion of Mr Fox was not of his making (or the fact that he is the editor!) and he does feel a bit embarrassed as he is only a part time player these days, although he did screw it on to some effect in Swansea, Brussels and Pontins! Iwan and Anthony only had the choice of the "All Star" band, so the Welsh selection wasn't anything to do with them. As for the process for selection for 2002, we did make this clear in the article – it wasn't just a question of only Principals this year.

We agree with your comments on Steve Barnsley who is a fabulous player and the others you mention we are sure came into serious consideration from the judges, although as you know not everyone agrees with selectors – just look at the Welsh rugby team! BAYV Cory are a brilliant band at the moment but not the only band to have done the Principality proud in 2002. Cwmaman have been superb and there is no shame in being a bit biased as you say in mentioning that! Other players throughout Wales more than deserve their place in the line up - and that included your good self!

Pay to Play - more views and ideas

Howard Snell replies

Amanda Jarret's letter calls me alarmist, re the Government's proposed legislation for the Licensing of Music (Etc) Performance. Yes, I am, because I am alarmed. Very! Her main concern seems to be for Local Authorities having to administer the laws, and goes on to say that as the present laws are obviously bad, because they cannot be applied, it is right that they should be replaced. You mean, by even more repressive and unnecessary taxation? After that I must admit to being unable to follow any thread in her letter .... for example her comment, that we don't do 'our cause' any good by being inaccurate, confused me even more. What is 'our cause' except self-defence? 'Music' is not threatening anyone. Where is Amanda coming from? When she followed that with some stuff about democracy .... in UK circa 2002?? .... and how we can all take part like Ring-a-Ring-a-Roses, I thought I had died and gone to Heaven in the arms of Alice in Wonderland. You couldn't dream it up.

Seriously, folks, the Musicians Union has now entered the fray with comments that are even more alarmists than mine, although as paraphrased by dear old Auntie Daily Telegraph, who hasn't got a clue about such as banders, the report is somewhat out of focus. It reported that the Government itself has become alarmed by opposition from 'The Church' and may exempt churches. I assume this means -- beyond basic services. Friends in High Places, no doubt!

WHY SHOULD THEY TAX MUSICAL PERFORMANCES AT ALL? If there is any reason beyond .... 'because we'll tax any one we like and don't answer to anyone least of all you great unwashed elecorate' please tell a grateful nation. I, for one, would love to know. WHY?

Howard Snell

Post to your MP!

I am just forwarding another online petition in reaction to the proposed regulations for live music:
http://www.PetitionOnline.com/2inabar/

Robert Vallance

4BR Reply:
Thanks Robert. We hope everyone will take the opportunity to contact their MP. The response so far has been great and with this kind of continual pressure we may even get something of Government "U turn" – you never know.

The 4BR Voting 2002

What about a Woolston vote?

I write this letter to say how much I and every one I speak to over here in New Zealand enjoys your website. I was reading your awards page today and totally agree with your
recommendations of the 4 bands in the band of the year section, and as I read down the page you also mentioned Kensington and Norwood from Australia and Dalewool from New Zealand. The champion band of New Zealand at this moment is in fact the Woolston Brass from Christchurch, and has been for the last 3 years running. This hat-trick has only been achieved 3 or 4 times in the history of N.Z. banding, so with this in mind I recorded my vote on your official form for Woolston Brass.

Keep up the great work and Merry Christmas
Brent Hoy,
Christchurch N.Z.

4BR Reply:
Thanks Brent for pointing out our mistake (we do make plenty though!) and pointing pout the continued success of Woolston Brass. They seem to be one heck of a band in their homeland and they did put in a very fine performance of merit the last time they came over to the UK for the British Open in 2000. They came 13th in a very strong field of the best bands in Britain and that was a fine achievement. Wouldn't it be great though if the band could come over more often to compete, then we would really know how good they are?

Well done Frank

Congratulations to Frank Hodges and well done to you for recognising him as the recipient of your 4barsrest Special Award for 2002. As an ex contest secretary for a North West area band I have come across Frank so many times and I agree with everything you have to say about him.

He works tirelessly and professionally and is always willing to help anyone with a problem whatever the size. I had to speak to him occasionally on the phone over registration problems etc which had worried me for days but always came away from conversations with Frank knowing that my problem was sorted.

I have also attended many contest 'draws' and can say that the ones officiated by Mr Hodges were always the most informative and smoothly run. Well done, we're lucky to have you and wish there were more of you.

Heather Smyth

4BR Reply:
We agree with you totally Heather. Frank deserved our award for the quality and quantity of the work he does for the movement and we are sure there are many more people out there who will congratulate him with his favourite pint of bitter the next time they see him.

We demand the vote!

This is just to pass on a observation in view to the fact that only one person can vote from a IP address. Our household has 4 Brass players who have very different ideas of which band/player/music is better.

Makes for interesting discussions at the dinner table I can tell you. Is there anyway that we can all vote for our respective Bands etc without having to go off to a Internet cafe?

Mick Wheeler

4BR Reply:
Sorry Mick, but we had to make the voting process, as it was to stop multiple voting for one candidate from one IP address. Last year we had great problems with people voting up to 100 times from the same address and it took us ages to sort it all out. Sorry for that and next year we will try and make it easier for others to vote – still nearly 10,000 did so we can't complain!

Tickled by a small Sparx

Just read the review on Sparx mouth pieces.

I must say although I agree with your sentiment about having the best one for the job, the comment about being told "You must never change your mouthpiece tickled me. I know what you mean. Over the years I've made a little side hobby out of looking at and trying mouthpieces. It has cost me quite a chunk of money (experimenting.) Especially as I still play on the same Sop mouthpiece I eventually chose after a year or two playing Sop. (DW S) I have tried numerous brands on the borrow and some bought. VB, Yam King, even Schilke. I still stick with DW for tone quality. With some of these others you could possibly drill holes in glass on a top Z at fff from across the street! But, the sound is not there for me. For other players perhaps yes. Every pair of lips in ratio to teeth is different.

You mentioned Warburton mouthpieces. They come in sections. Who has about a month to spend trying all the different rims, cups, shanks and back bores. Find the combination which suits you. You would fiddle about for ages and still come up with something similar to the one you have already for about £80.00 Is it worth the effort?

Putting it in a nutshell. When it comes to choice of the "Ultimate mouthpiece." Everyone is looking for the best tone, easy high and low register "WITHOUT HAVING TO PRACTICE!" If Sparx have one of these I'll have one .If not leave them in Canada!

Tom Johnson

4BR Reply:
Thanks Tom. People talk so much tripe about mouthpieces (including us some would say), but the old adage of "one for life" is absurd isn't it. We agree that cost implications must be taken into consideration, but if you go to a manufacturer with a good idea of what you want from the mouthpiece we are sure they will try as best as possible to help. As for the ultimate mouthpiece – well wouldn't that be worth a few bob if someone actually invented it!

No poaching from First City

Thanks for the recent press release coverage - however one fairly major incorrect statement in your article following - John Laing Hendon had folded 6 months before the formation of FCB - there was therefore no poaching as the band had ceased to exist. What was left of the Hendon Band - 3 players - had in fact merged with the Denham band to take the name Denham Hendon sometime before the formation of FCB in January 1997.

Jeremy Wise

4BR Reply:
Thanks Jeremy. We mentioned the details about Hendon because at the time when First City were making their first contesting appearances there were a lot of "allegations" that many of the band had come from Hendon and other local bands in a manner that upset many. Nice to put the matter straight though, although it is even sadder to have to report the demise of yet another top section band. It seems that the economic realities of life are starting to bite into the core of the movement even harder than we imagined. Who's next?

Help!?

Some Magic help required

Dear Brass Band Friends,
My name is Philippe Schartz, I am a trumpet player and I am looking for a solo piece or arrangement with a connection to the word "magic". Can anyone help?
Thank you for your attention and Merry Xmas to all of you.

Philippe Schartz
Section Principal Trumpet BBC National Orchestra of Wales
www.philippeschartz.net
philippe@schartz.freeserve.co.uk

4BR Reply:
Anyone out there help? "Black Magic Woman", "The Sorcerer's Apprentice", even "Magic Moments" by Max Bygraves spring to mind, but we are sure there are more. Phillipe will be releasing a further CD in 2003 to follow up the excellent last release we reviewed, "Cool Lips and Hot Fingers" so any help will be greatly appreciated we are sure.

Trombones to the Fore?
Please can you help me! i would like to obtain a recording of "trombones to the fore"

Eric Welburn

4BR Reply:
Anyone help? Contact us if you can find this lost masterpiece in your library.

Pay to Play - more support

From the Man at the Beeb!

I'm sure you know about this, but I for one agree that the proposed new Music licensing laws are simply outrageous and could well spell the end of a lot of amateur and professional music making. I have been sent this web petition and have signed it. You might like to do the same.

I'm going to send a copy to as many people as I have in my address book. It's clearly something that needs to be addressed on a national scale and we ought to be acting as NOW before it's too late.

Paul Hindmarsh
Senior Producer
Room 1117
BBC Radio 3-Production
New Broadcasting House,
Oxford Road,
Manchester, M60 1SJ
Tel: 0161-244 4216
Fax: 0161-244 4211
e-mail: paul.hindmarsh@bbc.co.uk

Please read the message below, access the website and, if you agree, please sign the petition and then forward to as many people as possible.

Dear Friends
You may be interested in the following item. Please feel free to circulate this a widely as possible.

If you are concerned that the new licensing proposals are a threat to Live Music in England and Wales then please read the statement below and sign the petition that you will find set up on the following site:

http://www.musiclovers.ukart.com

This is an E petition set up by and to be submitted on the 15 March 2003 to Number 10 Downing Street.

We, the undersigned, are concerned that the Licensing Bill proposals to make the performance of live music licensable in pubs and clubs, in places where alcohol is served, in churches, synagogues, mosques and other places
of worship, in schools and colleges, in community centres and village and parish halls, and in private homes and gardens where private parties and weddings may be held will have an enormously detrimental effect on musicians and live music performances; fears that the raising of money for charities by musicians will be seriously compromised; consider it will seriously impinge on the folk community including folk music and traditional folk activities such as morris dancing, wassailing, etc; believe that the penalties for breaking the law of a six month jail sentence of a £20,000 fine are far too draconian; consider it grossly unfair and inconsistent that live music will not be licensable in Scotland but will be in England and Wales; regret that the Government has decided to replace the anomalous two in a bar rule with a none in a bar rule which will catch all live music performances; believes that the requirement for the provision of entertainment facilities to become licensable which will ensnare music shops, music and dance studios and teachers, represents a totally unacceptable regulatory intrusion into mainstream activities; and calls on the Government to amend the relevant parts of bill in order to remove the iniquities faced by musicians and the music industry as a whole.

The UK government do recognise E Petitions Read their policy. http://www.number-10.gov.uk/output/page598.asp It explains why you need to enter a valid postal address.

Please add your name to this and take the opportunity to possibly make a difference.

4BR Reply:
We can only hope people take the advice given here and get the e mails off as soon as possible. The news of the Governments intentions has created great debate in amateur and professional music circles and brass bands must play their part.

We understand that a further BBC programme entitled "You and Yours" will cover the topic on Monday 23rd December at 12.00 midday, whilst you can also air your opinions by contacting Norman Le Brecht's programme on Radio 3 or by sending a letter of protest in support of an article written by Keith Waterhouse in the Daily Mail (and we never thought we would be saying that!)

Alarmist Snell

Howard Snell's article is undoubtedly alarmist in that licences are, and have been, required for many years for many of the kinds of public entertainment he mentions (and infers are to be licensable for the first time). The real question is whether making local authorities responsible for all licensing (rather than magistrates) and removing some of the ludicrous exceptions and anomalies which make the CURRENT licensing system a prime example of the law being an ass - no bad thing in principle - will mean that the owners of premises or organisers of events who are currently breaking the law ALREADY are more likely to be stung for a licence fee and hence less inclined to put on the events.

I think it depends entirely on how heavy handed the local authority wants to be. It will still have to prove to the court, as the licensing authority has to now, (to use Mr Snell's example) that rather than being a group of mates having a sing song in the pub you were providing public entertainment.

I don't think we advance our cause if we are inaccurate in our arguments - but of course there are serious issues here - issues which have been the subject of debate in parliament (and if you look at the debates you'll see that the issues have been raised) and public consultation (did the Federation know?) for nearly three years now. Governing - including law-making - isn't a thing which is only "done to" us. If we don't participate in the democratic process then we get the laws we deserve.

Just last week an early day motion (you can see it at www.publications.parliament.uk/pa/cm/amedm/cmedm.htm, it is number 331 of 10 December 2002) was tabled by a group of MPs which identifies accurately some of the issues for amateur music makers - it is open to other MPs to sign up to it and support it. An easy way to ask your MP
to support it is to use the (free) service on www.faxyourmp.com: you need only put in your postcode, write your message and your MP will be faxed!

Amanda Jarret

4BR Reply:
Thank you Amanda for making the issue clearer and explaining what could be the likely consequences. We agree we have to be accurate in our argument, but one of the great problems with Government legislation is the difference between the good intention of the proposal and the final bureaucratic legislation it invariably becomes. We can see this becoming one heck of a fudge with the final "dirty work" of implementing it falling on the doorstep of the Local Authorities, who are invariably understaffed and ill prepared to administer it properly.

Great job!

In response to David Lightbody's comment last month about your coverage of the lower sections. I think you do a great job. You are the first banding site to take any interest beyond the world of the elite bands and this is a big step forward. You have got band profiles and contest news for all sections. It would be nice to see some sort of ranking system for all bands eventually but keep up the good work. You are doing a great job.
Rachel Langridge

4BR Reply:
Thanks Rachel – the fiver is in the post! We do try and if bands send us the information we will put it up on the site. What we would say though, and we did find this put when trying to give as much information about the bands in the Lower Section National Finals, is that the websites for nearly every band was way out of date, and so much of the information we had to go on was not the best. We will however try to improve our coverage of the lower sections even more next year – it''s our New Year's resolution!

Insulting 4BR!

I am writing to you after reading your latest comments page, in particular the letter from 'David Lightbody'.
I think your website is very good and informative and enjoy reading the comments page but it seems to me you can't take any sort of criticism, especially from lower section players. Is this not a site for ALL brass players or just for the 'elite?'

As far as Mr Lightbody's letter, I felt he made a good point. You do seem to concentrate on Championship Bands. I understand they are probably more newsworthy but he is right when he says the majority of people reading your site will be from the lower sections. To them (and me!) their banding is just as important to them as to the best principal cornet in the best Championship Section band.

I realise you haven't got loads of spare time to please everyone but I do feel you could perhaps think a little before adding your own comments at the bottom of letters. Your answer regarding Mr Lightbodys spelling was, I felt, insulting.

Heather Smyth.

4BR Reply:
Thanks Heather. You are right. We don't like criticism – but then who does? We just felt Mr Lighbody was being a little too unfair on us and wasn't too polite into the bargain either – so we had a go back. We try and cover the lower sections as best we can, and we feel we do give rather better coverage of events involving those bands than other areas of the banding press. We did for example listen to all the bands at the Lower Section National Finals, plus gave pre and post match analysis on the contest, plus gave details of all the competing bands and their performances! We also did extended coverage for Pontins and the Regionals, plus we have had articles on bands from all around the country from the Fourth to the First Section. Not too bad, but we agree we can do better. We will try harder in 2003 for sure! If the bands send us the info then we will print it, but if they don't then don't blame us for the lack of coverage.

A bit more (or less) Prague

I have read with great interest the comments made on the emerging "Prague" debate and I must say, I do agree with the opinions made by Dave Lea and Stuart Macaulay, that Bingham's "Prague" is not the most suitable choice of work for the 2003 Championship contest. As a young composer up here in Glasgow, I have been doing a great deal of research of late into the difficult issue of contemporary music and accessibility. I must admit, I think "Prague" is an excellent work, full of original ideas and very gestural writing, characteristic of Bingham's work, yet I don't think we as amateur musicians are ready for this "leap of faith" in musical style, as this style of work needs to be approached in a totally different way than more tonal works.

For example, I've recently written pieces for contempory concerts at the RSAMD and the arches in Glasgow but also commissions for the West Lothian and Bon-Accord bands, yet I had to approach these in totally different ways, writing for what the players would be looking for, with very avont garde music for the contempory scene and more tonally based writing for the bands. Both styles were equally rewarding to write in, but I feel it is the composers duty to tink of who the music is for. In the world of brass bands in particular, what is the purpose of writing something which will merely be panned and despised despite it's musical merit?

Alan Duguid
aduguid@rsamd.ac.uk
http://members.sibeliusmusic.com/aduguid

4BR Reply:
Thanks Alan. The great debate rages on, but we agree with you that there is such a difference in what composers are asked to write for bands at the top most level, due top the fact that most extended pieces are wanted for use as contest rather than concert works. We don't think it is a question of whether or not we are ready for "Prague" – it isn't that too contemporary at all. It's just that many believe that it not to be an ideal test for bands. But what is? As more people hear it and play in preparation, we think attitudes may change on it. It may not be popular, but was "Images", "Fireworks", "Volcano" or "Spectrum" - and we don't hear an eyebrow batted about these pieces now.

Er.Er.Er. Unbelievable…….

I have no connection to the promoter, band or any other performer, nor indeed was I present at the concert given by Fodens (and others) as recently reviewed on your site. The review was astonishing.

Whilst your reviewer was delighted with the opening of the programme; March - Overture - Solo - Novelty (which I'm sure would have been followed by 'Selection' if not interrupted) we were then subjected to the reviewer's incomprehension of an alternative form of music. Whilst I can understand percussion/performance being less than impressive to a dyed-in-the-wool band follower, and this reaction being perfectly acceptable within a review (particularly as personal prejudice was clearly stated), the standard of critical thought left a lot to be desired.

The reason for this became abundantly clear in the concluding section of the review. Commenting on a performance of the 'Little Russian', we got "One suspects that there is an orchestral version." On first reading I assumed this to be ironic, but the tone of the whole review surely points to a serious lack of a wide knowledge of music other than brass bands. The final nail-in-the-coffin moment arrived with the closing comment "Whenever I see the words 'World Premiere', I for one, will stay away". Well, good news for music then :- as long as everybody takes this attitude, nothing new will be composed or performed and we can all sleep safely in the knowledge that nothing exciting or innovative will ever happen. (Now that's what I call irony).

Please do not allow the interesting and informative content of your website to be dragged down to this level. Judicious editing would have paid great dividends. As another David Coleman once said "er.er.er.unbelievable'

Andrew Elliott
Belgium

4BR Reply:
Thanks Andrew, and we do take your points on board. We like to think that we remain an independent voice on matters, and that includes our correspondents who cover events such as the Fodens concert. We ourselves may or may not agree with the reviewer, but we won't take the red pen to their views to make them appear more palatable. If our reviewer doesn't like what they hear then so be it – as long as it isn't libellous of course.

We think the strength of 4BR is that we give this independent voice a chance to be heard and so sometimes we print articles etc that take a view point that we may not agree with personally. It would be a boring life if everything was so good it couldn't be criticised. We take your point on editing, but free speech and opinions is what makes our movement so interesting.

The GUS 4 found!

I read the letter from Dave Wicks of The Egham Band regarding the record "Quartets For Brass" recorded by G.U.S. in 1969 on the Polyphonic label, serial PRL003. I have it in stock, and the details are on my website under the Brass Band Records section, my reference GUS11, as follows: -
www.euph9.freeserve.co.uk/quinn.htm
Keith Quinn
KEITH@quinnk37.freeserve.co.uk

4BR Reply:
We hope Dave reads this and gets in contact with you.

Thanks for the mention!

Thanks for your kind comments about my arrangements on this CD. (Someting 2 Celebrate - The Staffordshire Band) I do agree that more should be heard of the likes of David Morgan and myself (but then, I would, wouldn't I?), however, getting that to happen is a singularly difficult task, given the head-in-sand attitude of the publishing houses, who will not, I have found, show any interest unless you already have a 'name'. How you are supposed to achieve that without their help is beyond me. Would you believe that Studio Music had a portfolio with a tape containing several of the pieces on the CD for over a year without replying to me? When they finally did, it was to send the music back. I dont believe they even looked at it. I have had similar experiences with others.

I have now taken to publishing my own website, www.falnamusic.com, on which anyone interested can find a complete list of my stuff, (some of which has audio samples in mp3 format which can be downloaded to listen to), together with details of how to obtain it.. The website is up and running, and is being continually improved. When it is fully finished I intend to advertise it in the banding press.
Thanks for reading this rant, Seasons greetings to all at 4barsrest.

Wesley Kendrick

4BR Reply:
Hopefully more people will now hear your work Wesley and you can look forward to perhaps a bit more coverage and interest from the publishers as a result. We hope so!

Culshaw apology

Firstly, my apologies for sending to your personal address and not the comments page, but I thought you may check this address daily and the comments address possibly monthly. I wish to thank you for including my letter "Unregistered banding?" on your excellent page where you suggest that people may contact me directly.

Unfortunately, I failed to include my address on the letter itself so, if it's not too late, could you please add culshaw58@hotmail.com to my signature so that I may be contacted?

Andy Culshaw

4BR Reply:
Now everyone knows!

Your so called wonderful website

I'm a Soprano cornet player with a newly promoted 3rd section band and I have been brouzing through the pages of your so called wonderful web site and I am, for the want of a better word thats printable, disheartened at the lack of lower section news that is to be found. Surely information such as league tables for the rest of the sections in the UK would make far better reading for your followers than boasting about league tables from the champ section of other Euro countries, after all the majority of players in the UK do come from the forrgotten lower leagues.

David Lightbody. Jedforest Inst.

4BR Reply:
Just as we thought. You can't please all the people all the time can we – including those who spell worse than us!

And we thought we had tried to do our best as well.

Pay to play article

Well Done Mr Snell!

Howard Snell is quite right concerning the Governments attempts to stupidly legislate against voluntary organisations by penalising venues who wish to promote amateur music making. What is it with these people? Don't they realise that bringing in these charges for venues, they will be stopping groups of people doing something that they enjoy, and more importantly stop them bringing enjoyment to hundreds of listeners. I can only hope hundreds of bandsmen take the opportunity to bombard their MP's with letters of complaint. If we don't then yet another worthwhile tradition form of music making will be lost. Get writing!

Peter Wakeham

4BR Reply:
We hope lots of bandsmen and women will take the opportunity to write to their MP's Peter. This is perhaps one of the silliest pieces of ill though out legislation we have ever come across and could mean many bands being denied the opportunity to give small impromptu concerts to people all because the Government what to raise a few extra pennies. And where will the money go we ask?

Were are the others?

Many thanks to Howard Snell for his article outlining the stupidity of the Government and their zeal to penalise brass bands through requiring venues to pay a charge for allowing "live" music to be performed. Well done to 4BR as well – although I am amazed that neither of our printed press have even mentioned it in passing. Don't they think it's important or what! My band performs each Xmas in a variety of Old People's Homes and we thoroughly enjoy bringing some cheer to people who cannot get out to listen to concerts in so called "proper venues". Now it seems this pleasure will be denied them as the Government squeeze even more tax out of us to pay for another "Millennium Dome" or two. I've already written and hope others follow suit. This is simply idiotic and must be stopped.

Ian Albiston
Wareham

4BR Reply:
We hope others will follow suit Ian. Print off the Howard Snell article and send it to your MP with a nice letter demanding that they do something about this silly bit of rule making. As for the rest of the banding press – we hope they pick up the baton and run with it as well. We need all the help we can get with this one.

Get your pens out!

Having listened to Dr Kim Howells giving an absurd performance in supporting his Governments ill thought out proposals for charging school halls, old age pensioner centres and Community Centres for putting on small carol services or concerts, I can only hope someone in the banding world will support Howard Snell and 4BR and write and write and write to their MP's demanding that this stupid legislation is dropped. Many lower section bands provide small concerts at such venues to support local organisations for heaven's sake. Why worry about crime, poor local services, the trains etc when all this Government can do is penalise good hard working people doing something they love. Thank you 4BR for letting me know about this – and get writing to your MP's.

Paul Illingworth
Port Talbot

4BR Reply:
This could mean really difficulties for many bands in the future if the legislation goes through Paul. People need to fight this one, so lets hope they follow your example.

Why tax us?

Another typical stupid idea from a Government who just love to interfere with working class pleasures. Well done Howard Snell, why don't you stand for Parliament so we can vote for someone with sensible ideas and an intelligent point of view. You will get my vote!

Pauline Stanford
Newcastle

4BR Reply:
Mr Snell we understand is flattered by you suggestion, but feels he has a bit more work to do in the music world before he considers a career in politics.

Defeat this silly idea!

Who's silly idea was this then? Taxing us for playing and giving a bit of pleasure is perhaps the most stupid and idiotic idea I have ever heard. Well done 4BR for letting us know about this and well done Howard Snell. Will the BFBB be doing something about this. I don't seem to have heard anything from them as yet, whilst both the Bandsman and BBW have been silent. Don't let apathy defeat us this time, so follow Howard Snell's example and write to your MP.

Jonathan Hargest
Morestone

4BR Reply:
Thanks Jonathan. We have received plenty of support for Howard Snell's views, lets hope people will act upon them and get things stopped. The brass band world is famous for it's apathy, so with a bit of luck this will be a challenge we will rise to – and that includes the BFBB!

A nice Thank You!

I was browsing your pages recently and came across a write up of the Fleetwood contest. As I was reading through the 3rd section write up I was very pleased to see that you had commented on how the tenor horn section of Thornton Cleveleys band gave "an excellent account of themselves" in the contest. I would like to thank you very much for that small comment as it has given our horn section an enormous boost as we were very worried about the contest as many bands are. I am the section leader of the horns in the band and as we are a very young section (I'm 16, 1st 30, 2nd 15, flugel 14) people don't have as much faith in our performances very often..............this just proves them wrong. Thank you very much

Nicola Swann
Thornton-Cleveleys Band

4BR Reply:
We recognise talent when we hear it, even though we tend to get most of our dodgy predictions wrong!

Humbug – the Kibworth variety

"Humbug!" said Mr Scrooge. Well, "Humbug!" was certainly my reaction to the comments of the Midlands Band Association on the Kibworth Band grading fiasco reported in the band press this week.

An adjudicator at a recent contest I attended asked the audience - "Who heard all the bands?" His was the only hand to be raised. So, as a member of the team to represent the band at the BFBB arbitration hearing between the Midlands Association and the Kibworth band, I can raise my hand and speak. I heard every word of that appeal. The only officers of the Midlands Association who can also raise their hands and speak have so far been silent, to my knowledge. I have until now kept silent on the grounds that the band wished to speak collectively. Now that the band has decided to close the matter, I feel at liberty to air my personal view.

So, no, it is far from being a "victory for common sense".

It is a resounding defeat for the reputation of the Midlands Association. Its credibility amongst the people it is supposed to represent is greatly diminished by this sorry affair. In seven happy and successful years with the Kibworth Band, I have yet to see an officer of the Midlands Association make an appearance at the band's premises to keep in touch with what the grass roots of banding is thinking.

It is also a defeat for the banding movement. Any national movement needs a strong and credible structure to sustain itself into the future. "A house divided against itself will fall". Recent events appear to have wounded the BFBB, possibly fatally. The Midlands Association's defiance of the BFBB decision will have contributed to that damage. This is very sad for all those who put so much time and effort into trying to make the BFBB what the banding movement needs – a national body to provide leadership and cohesion.

As for "competing under the rules", the application of the rules was never in dispute. The band has made this clear on numerous occasions. The band appealed on the basis on its track record and its desire to move forward. We tried to conduct the appeal with dignity and composure. A "rules is rules" response from an Association that attends an arbitration hearing but refuses to accept its ruling is a bit rich!

This is my first and last foray into band politics. After a playing career of 36 years I probably should have had more sense. When my playing days are over, I will put my energy into something else. Mr Scrooge will probably mutter "Good!" He is the poorer for it.

Meanwhile, I'm delighted to report that the band is in a very good state both musically and socially. The recent contributions in skill and musicianship by Mr John Berryman and before him Mr Ian Scott have made my time with the band some of the most enjoyable of my playing career. We're now going to work hard to build on recent success and produce some high quality concert and competition performances with our focus very much on the Area and Grand Shield. . Visit us at www.kibworthband.co.uk or at 20 Halford Rd, Kibworth, Leics (Mon & Thurs 8pm). You will always be assured of a warm welcome and the ultimate challenge – a mug of Ted's tea at half time!

Bob Stradling

4BR Reply:
It seems the Kibworth debacle has left a lot of people with a lot to answer for Bob. Why can't such simple things be sorted out in a simple manner. Hopefully this will be the last time the banding movement gets itself into such a state.

Unregistered banding?

As current conductor of the "Birmingham Conservatoire Brass Band", I am very keen to find any competitions available to my students. Presently we are able to offer a repertoire class exploring test pieces for the band, both traditional and modern, as well as a performance class which deals with the
rehearsal and execution of contemporary concert music.

However, it has up to now been impossible to locate a contest on the mainland which allows entry by a "non-registered" band (with the exception of "Whit Fridays" where we have been pretty successful over the last few years). If I could, this would go some way to completing their brass band experience, bearing in mind that most of our members have little or no knowledge of banding whatsoever.

Obviously, those with a keen interest have already found and joined local bands since their move to Birmingham and I would be loathed to recall them for fear of upsetting the infrastructure of midlands banding. I have noticed through 4bars rest results service that the "Leicester Contest" seems to include an unregistered section. Any information or contact numbers for this (or likewise) events will be much appreciated. My thanks in advance,

Andy Culshaw.

4BR Reply:

We understand that there are a few contests that are open to "Unregistered Bands", but they are few and far between. Perhaps some contest organisers can read this and contact you direct. It would seem to be a good idea to create interest.

The Prague Debate

One Prague and his dog!

Thank you for your interesting reply to my email. I have noted your points and should perhaps clarify that I too have no quarrel with the choices of regional testpieces in previous years for all sections. In fact I have no argument with the choices for sections 1-4 for 2003, (I shall be conducting one of them), just the piece chosen for the championship section.

I entirely agree with you as regards "oldies". My point is "Prague" will do nothing for bands/audiences despite you describing it as "brave". The choices for the other sections for 2003 are excellent. I think the comments of the "New Music Panel" on the selection of "Prague" would be interesting!!!
Your point re "one man and his dog" is confirming my point entirely as regards Prague. This choice will not market our product-certainly not at the regionals anyway!!.
Thanks for the discussion.

Dave Lea

"Trendy" Prague – "allegedly awful"

I have been reading with some interest the comments about the selection for the Area Test Piece for next year and in particular noted Dave Lea's comments and could not agree more with him.

I have not heard the piece selected so cannot comment on it's content. However, if all the different reports I see and hear to be believed it surely begs the question "when are the individuals responsible for this selection going to talk to the Band's who have to play these pieces?" Surely if we are to be subjected to spending hours playing these pieces in rehearsal we, the players, should have some say as to what we are to play.

The selection of the test pieces in recent years has been excellent. Jazz, Montage, Variations on an Enigma, Blitz to name just a few. These have been real challenges to say the least for all the Bands. So why are we going to be subjected to a piece that is allegedly awful to play and to listen to? What about pieces like Harmony Music, Alderley Edge, The Devil and the Deep Blue Sea, Year of the Dragon? These are pieces that Bands want to play and audiences want to listen to.

Have we not learned from this years Open. The piece was not the best ever written, people made their feelings heard beforehand and the audience stayed away in their numbers. What do you think is it going to be like in say the London Area where the Bands struggle to get an audience to come and listen to the contest? If there is nothing to listen to, and word will get around very quickly, then inevitably the audience will stay away. It is hard enough for areas like London to raise enough revenue to make ends meet; surely carrying on like this will make it even harder.

Unfortunately in my opinion this smacks of the old, old story of a few trendies picking something they think is modern that everyone else thinks is garbage. However, as usual the few speak for the many and the many have to suffer.

When is this ever going to change?????????

These are my own personal views and opinions and not that of The Leyland Band.

Brendan J. Rayner
Lead Percussionist
The Leyland Band

Does anyone want to go to Prague?

Having listened to [and now played] Prague, and with no disrespect to Judith Bingham, I believe that her test piece is entirely unsuitable for the Championship Section Area Competitions. We have already had one player refuse to join our band at the moment because of this selection, and many of the parts are not a test of ability at this level.

The movement does not need to "self inflict" harm by driving audiences and players away. The fact is that the halls will be emptier than usual.

Here I offer some alternatives that could be used instead:

On Alderley Edge, Peter Graham
Harmony Music, Philip Sparke
Seascapes, Ray Steadman Allen
The Devil & the Deep Blue Sea, Derek Bourgeoius
Between the Moon & Mexico, Peter Graham

Its not difficult to choose a piece that audiences want to listen to and players want to play - unfortunately, "Prague" caters for neither! To the powers that be - change it!

Peter Bansford, Manchester

Prague Poll?

I contribute to your excellent comments section to support Dave Leas views on Pague and to assure him he is certainly not a "lonely voice" with regards to his opinions of Prague.

I am sure the lady who composed Prague is very talented (far more talented than I will ever be)but in my view and like Dave Leas, the composition is the wrong choice for a competition that involves more bands and potential audience figures across the whole country than any other competition in the world. This contest is a vehicle for attracting young players to stay with the movement, particularly from the lower sections, who after the strain of rehearsing their own sections work for months can come and support the Championship section to see and learn how the better bands go about their business. When they hear Prague next year, will this inspire them to try harder and come back next year???? I fear the opposite. They might just say "is this what I will need to play when I progress???"

Reams and reams of notes and views on what a piece depicts means nothing to me if the music sounds un-tuneful, strident and at times aimless. To me it is similar to art programmes on TV where you are shown a piece of work at an exhibition that is a piece of white canvas with a black dot in the middle with an "expert" on art then spending 10 mins trying to convince the TV audience what the picture really means and what it depicts. Sorry not convinced! As an amateur, I do not have the luxury to sit for hours each day "trying to find each layer of the piece " etc,etc. Our conductor, also an amateur ,also does not have that luxury. What we have, like most other championships bands, are 28 players who work hard during the day for 8 hours, go to rehearsal at night and try to enjoy making music. Prague has certainly taken away this enjoyment from me.

I disagree with your response to Dave Lea about regionals last 25 years. I remember halls being fill during this time awaiting on a big cornet, euph, horn solo or cadenza, with the loud sighs of relief seconds after it was executed or unfortunately sighs of despair when players slipped up. Compositions like this totally take away this kind of atmosphere and thrill.

I realise everyone has their own favourites, and I realise the movement must progress, but this kind of choice I think will eventually have a major impact on our beloved movement. I hope no-one responds to have a go as this is not a personal criticism of the composer, just the choice of this music for this event, which might have been better suited for some other event. I do not think many Granny's will be asked to come along and support their off-spring at next years regionals, even if they do need hearing aids!!!(or muffs)

Your magazine is excellent, and I would like to thank you for giving me the opportunity and means to express an opinion. I have noticed the site is becoming more advanced now by the week, so I was wondering that due to the fact this is not a stand alone competition like the Open or Master but is in fact a competition that will involve every championship band, would it be possible for you to set of a voting poll with a simple E-mail response of YES or NO to the question "Do you think Prague is the right choice for next years regionals? You could perhaps close the vote by the 31st December and publish results of survey early in the New Year. I am sure it would generate great interest to your site.

Stuart Macaulay

And the others for 2003?

Not quite a Celestial Prospect!

With respect to the recent letter from John Pacey and the reply from Trevor Cafull, I feel that as a publisher I must add my thoughts into the melting pot.

In his original letter JP comments on the notation errors in the parts. Well we're all human aren't we and mistakes happen, but from a publishers point of view unless bands contact us about possible errors how are we to know as I'm sure that the majority of us aren't psychic!!!

Trevor's point about "Celestial Prospect" being "out of print" music then this begs the question why did SP&S submit the piece or conversely agree to the selection when approached by the music panel if it is out of print. The answer obviously from a commercial point of view is MONEY!!!

If the SA's music department is unable to offer a fresh printing then maybe they should have outsourced a new typesetting. With the advent of music printing packages such as 'Sibelius' and 'Finale' this could have been done relatively quickly and cheaply. For example a piece such as "Celestial Prospect" could have been presented to SP&S (by myself - MMI Music) on disc and hard copy (suitable for photocopying!) within 2-3 weeks of the score being received for £300-400.

Given that 8 Regions multiplied by an average of 15 bands multiplied by £39.95 gives a healthy profit. All SP&S have done is put a fancy cover on the score. This really doesn't help us smaller publishers as bands then feel, like Mr Pacey, that they are being ripped off.

Finally on the subject of Percussion, I kind of agree with Trevor that this is how Wilfred Heaton wanted it but it didn't stop contest organisers getting Philip Wilby to a Timpani part to Herbert Howells' Pageantry did it? Why not approach someone of the stature of Howard Snell (a good friend of Wilfred Heaton) to enhance this piece.

In closing, as a conductor of a 2nd section band I have to say that I am really looking forward to
working on this fine piece of music.

Best wishes

Nigel Hall
MMI Music PO Box 6141 Brackley Northants NN13 6YS
(07751) 622780 www.mmi-music.co.uk email:
mmi_music@yahoo.co.uk

Celestial Prospect not Crystal clear

I have to agree with John Pacey from Harborough band re: Celestial Prospects score and parts. As librarian of Crystal Palace Band since 1987, I've encountered the same problems that he describes.

I am starting to tire of publishers who expect bands to pay c.£40 for a set of music that is obviously photocopied and has squashed up parts. We encountered similar problems with William Alwin's The Moor of Venice for the 2001 areas, which we complained about at the time, via The Bandsman letter pages.

With tools like Sibelius now widely available to publishers, there is no excuse for this rip-off to continue. Although I don't expect larger parts to be forthcoming (ie. spread over 2 pages rather than crammed into one), I will be writing to the appropriate parties to express our dissatisfaction.

Richard Lovett, Music Librarian, Crystal Palace Band

Heaton Earache!

It looks like I've stirred up a few things about celestial prospect, next years second section area piece.
Firstly I'm not complaining about the standard of music, having played many of Heaton's compositions in 20 years of top section banding I've enjoyed them all, and I think this will be a good test, especially the front rows eyesight sorting out the split parts. I just think that there is enough for the cornets to work on without worrying about deciphering the parts.

In response to comments about salvation army bands reading this type of printing for years, yes I agree but 2nd section bands don't come across this much in my experience and I suppose at the end of the day it's an extra test.

As for my comment about the music being worth 39p, I did mean the parts and not the content!!! Our band would willingly pay 39 pounds for a decent set.

As for the percussion content, (or lack of) I'm sure you will understand my concern as two of my daughters are the percussion section and I could do without the earache at home abut boring rehearsals for them!!

John Pacey (flugel) Harborough Band.

4BR Reply:

We take on board your points gents and agree with much you say, but to be fair to SP&S they haven't really made a bloomer the size as the "Moor of Venice" have they? There are some problems with the score, but as a whole the music production is pretty good. Last year was a different kettle of fish altogether wasn't it? The technology is there, and hopefully it will be used more in the future. As for changing the work of Mr Heaton, NO! The decision to butcher "Pageantry" and also "Epic Symphony" were crass decisions – brainless, grubby money making ideas which had no musical value what so ever. Those responsible (and we know who they are) should we hope, be totally ashamed of themselves



Boring Brahms Listz's me off!

Any thoughts on the 1st Section Area piece, "Passacaglia"?

It is certainly a very grand and imposing piece of writing, and certainly has some limited technical challenges for some sections, (Basses get off lightly - their part is one notch up from boring !) It's early days yet, but I reckon it might be a good idea to give out free anti depressants to any of the public who may accidentally wander in off the street mistaking the event to be an undertakers sit in !!!!!!!

Don't get me wrong - as a piece of music I think it is a tremendous achievement and a fine example of AB's undoubted compositional skills - but as a test piece - I just don't know.

Arthur Butterworth has composed some tremendous atmospheric pieces, but most err on the side of morbidity - In "Passacaglia" he has surpassed himself, in both musical genius and depressive depths. I anticipate several weeks of depression ahead !!!!

I note in last months "Comments" Colin Stevens wrote to the effect that you had to play music written for the lower sections to experience fun and humour! Colin - "Passacaglia" will have you chortling for weeks - rolling in the aisles !!!

4BR Reply:
Can't agree with you at all on this one mate. Having played the "Passacaglia" on a number of occasions (and Iwan was the sop player with Dyke on the actual recording) we think it is a tremendous piece. Technically it is more than difficult enough, whilst it has some of the best big tunes you can imagine. We agree it won't have you rolling in the aisles but it will leave even the most jaded player musically satisfied.

Northern Landscapes – a medley perhaps?

I must take issue with your reply regarding Northern Landscapes. You wrote to the correspondent as follows:

"Interesting thought Nigel, but we can't quite see Greenfield getting any sort of advantage from it really. The piece was in fact originally written as a quintet for the Ulster Orchestra Brass and then commissioned by the band – that it is now being used as a set work seems to have no relevance to them at all."

According to the write up on the inner sleeve - it was written with the 2003 Regionals in mind. (Written by Paul Hindmarsh). However I would not really call it a new composition – if you listen to the piece it is possible to hear "Essence of Time" and "Windows to the World" quite clearly. Maybe it should be called a Medley like many other "new" compositions that seem to be "penned" these days.

Karl Pettit

4BR Reply:
Bleeding heck mate! We've listened again and you very well may have a point! Not quite the same, but certainly of the same family tree – but then as all three are written by Mr Graham that isn't too odd is it?

Northern Landscapes – get it right!

Northern Landscapes by Peter Graham was recently adapted for the Boarshurst (Greenfield) Silver Band. However, in a recent contribution by somebody called Nigel Howard, it was stated that the Greenfield (Boarshurst) Silver band were the recipients of this piece (wrong). Greenfield Band were referred to (wrongly!!) for the remainder of the article. Furthermore, Nigel suggested that the band might have an unfair advantage in next years 3rd Section regional championships because Northern Landscapes was the set testpiece.

It must be clearly understood that it is the Boarshurst (Greenfield) Silver Band for whom Northern Landscapes was adapted in its brass band format. The 'Greenfield Band', which has its headquarters less than 100 yards away, have no connection with this piece (apologies to them).

Boarshurst (Greenfield) Silver Band have been very busy this year with numerous concert, contest and recording engagements, including a very enjoyable and successful participation in the French Open Championships. We are a very hard working group of players, and, under the guidance of our very able musical director, performances continue to flourish. We have a very full pre-Christmas concert schedule, and are currently celebrating the launch of the bands first CD, Northern Landscapes. In addition to some very fine playing from the Boarshurst Band, the CD features a first class lineup of guest soloists. A great deal of hard work has been done by a lot of people without whom this busy schedule would not have been possible.

Northern Landscapes is the 3rd section regional qualifying piece for 2003. Boarshurst (Greenfield) Silver Band are very proud to be associated with the piece. However, this certainly does not give the band any significant advantage over the rest of the field. Having been a player for 32 years, I understand one or two things about performance. There are a lot of very good bands out there led by some very respected and knowledgeable conductors. The preparation for the 'area' will begin in earnest after Christmas as usual. May the best band win, and may all who listen to the piece have a wonderful experience thanks to Peter Graham.

John Whittle.

4BR Reply:
We have all been told.

Adjudicators!!

Are they qualified to judge?

As we (players) strive, through hours of home practice and band rehearsal, to reach the dizzy heights demanded of us by the test pieces chosen for our competitions, is it not unreasonable to expect to be judged by someone qualified for the job.

Don't get me wrong, there are no sour grapes hidden within this statement. I merely wish to be assured that those who adjudicate a 10 – 15 minute performance, after all my hard work in preparing for this, have a certain level of qualification and experience that equips them for the job. Correct me if I'm wrong but isn't it the case that anybody can call themselves an adjudicator and place an ad in the bandsman. Surely we should be setting a minimum standard of musicianship that all adjudicators have to reach before they can be selected by one of our revered contest committees.

And who judges the judges? A system of peer review would ensure standards are maintained and judging performance enhanced as adjudicators are kept on their toes. Those who fail should not be chosen. Maybe I'm wrong; maybe a system already exists for the selection of suitable adjudicators. Perhaps you or your readers could enlighten me?

Andrew Richards
Abergavenny

4BR Reply:
We understand that it is true that just about anyone (including Australian con men) could set themselves up as "bone fide" brass band judges, but they would have a pretty hard time getting an invite to judge a brass band contest of note in the UK at least. The Association of Brass Band Adjudicators (ABBA) do run seminars and at their meetings run through quite stern exercises for members in the mechanics of judging. Non members can also get jobs at contests, but that tends to be based on reputation rather than experience.

However, having new faces in the box is something we would all welcome, wouldn't it? W hy not apply to join?

Don't open up the Mines!

First may I say that I'm writing this letter purely with my own views [but I feel it is shared by the majority who attend this excellent contest]. The Miners contest always sparks the debate about open and closed adjudication. Personally I wish, just wish the organisers would listen to the majority and have the guts to try closed adjudication for once. Grimethorpe are a splendid band but even they would admit they have not always played the winning performances.

Now before you say open adjudication is the way forward, yes it may be at certain contests that it is but here I feel it is not simply in that the judges do not need to see the performance merely hear it. Because Grimey have won it so many times bands going to the contest go with the feeling that if they come second they have actually won. Surely this can't be right. Bands with a rich mining heritage simply don't bother going because they feel it is a foregone conclusion and why waste time attending. It would be such a shame to see this proud and historic contest go down the pan if bands stop coming all because of stubborn polices. Finally I have been going since 1977 when I was 6 and have had some brilliant times so I plead with the organisers once more for the sake of this contest please just give closed adjudication a try and don't let it end up like mining, part of our history.

Nick Harris.

4BR Reply:
We are sure there have been a couple of occasions when Grimey could count themselves a touch lucky, but the question really is about whether or not you feel that the adjudicators have the necessary integrity to make a decision in the "open".

We think that the vast majority have and are "brave" enough to make that decision, but there will always be some who do not wish to upset "the apple cart". These people should be drummed out of being employed as judges – simple as that. The question of whether the decision is made in the open or closed doesn't then come into it.

Thanks for the memories

Thanks to Richard Evans and David Read for confirming the unusual result of the 1958 Open in Belle Vue when a "play-off" resulted in the win for Carlton Main & Frickley Colliery Band. The bandsman who told me the story about 30 years' ago was Mr. Richard (Dick) Stevens, who played soprano for
Carlton on that day. He is now in his 90s and sadly not very well. Older bandsmen may recall Dick as a fine player.

Recalling older legendary players I have just read a very good article by Chris Helm in the December issue of a glossy magazine called Country Quest. In case anyone is interested it is about Welshman Rowland Jones, a "super" euphonium player with Black Dyke (and the old Bickershaw Colliery Band) in the 30s. While with Dyke he was the company's "gasman"....but became a soloist with the Sadlers Wells Opera Company ! Its an extraordinary story. I don't think he ever went to a music college. Which brings me to another subject. How many young bandsmen ever make it to a symphony orchestra etc. after attending a music college.

In 50 years I have only ever known one. Is the main prospect of employment to become a self-employed peripatetic brass teacher (if lucky).......or work with instrument suppliers ? What really are the prospects today for young exceptional brass players of earning a living from their talents ?

Maybe it would be better to learn the trade of plumber, joiner, bricklayer, etc......much in demand these days......and just enjoy playing. I suppose it bothers me when I read in a paper that some young baritone player, for instance, has been accepted by a college of music. Will they ever earn enough to keep themselves, a family, buy a house ? Good luck to them; I am not trying to dampen their enthusiam just to be realistic.

(Just the musings of an old expelled wind bandsman, I suppose). Keep up the good work. Its very interesting !.

Dave Williams.

4BR Reply:
Thanks Dave. In fact, 4BR was told of this unique fact about Carlton Main's win by David Read himself. It certainly takes some doing, and we are quite sure the experiment will not be repeated again! Think of the outcry if one band gave a stormer in the qualifiers only to make a few mistakes second time around! Carlton Main must have been very special indeed that day.

Climbing the Pennine Way

I wish to make an enquiry regarding the 4BR rankings system, I have regularly visited this site over the past few months hoping to see Pennine Brass making an appearance on there, however this is not so.

Is this because of how young the band are (not even four years old yet) or are the smaller contests entered just overlooked? I was also wondering how bands positioned as high as 39th in the rankings have recently been placed below Pennine Brass at the Northern Open yet Pennine still don't get a look in on the rankings. I hope to hear from you soon,

Chris Sanders

4BR Reply:
Ah! That old chestnut again!! Pennine are number 76 in the rankings and climbing! There is a reason why the band has yet to make it into the top 75, but if you take the time to read the rankings explanation given by J. Casey perhaps things will be a bit clearer for you. As they stand though, we think the BR rankings are pretty damn accurate – keep on doing well and your bands ranking will go through the roof. No contest is overlooked and all count. Keep on winning!

Helping youngsters through someone else's mistakes

I would like to know your views on the following proposal.
So many times at contests now, we have new music. This is a healthy situation. But when we get the music, it is littered with mistakes, either parts or score. Several errata sheets have to be sent out, sometimes only days before the contest. This in my opinion is just down to lack of care, something that if the competing bands show, is punished by the judge. I would like to propose for next year, that when any band orders a test piece, the cheque is made payable to the National Youth Brass Band of Great Britain. I have no doubt someone from NYBB is capable of administering this.

When ALL the parts and the SCORE are correct, the money is then passed on to the publishing company concerned. In the mean time the interest raised on any said amount of money held, will benefit the young players of tomorrow.(Something I am not, but do care about very much)

Alan Wycherley (Disley Cheshire)

4BR Reply:
Great idea Alan, but one we think won't get much support from the publishers. If they did agree, then last year they wouldn't have got a penny from anyone! All the test pieces from last year included at least two mistakes, whilst the infamous "Moor" would have meant the publishers never receiving a penny for about 60 years.

Why we put up with the worse examples though is beyond us. The simple answer is that before the pieces selected are actually accepted formally, a score and set of parts are sent to the music panel to check thoroughly through. If they are not up to scratch then they simply don't get used. Do this a few times and perhaps the publishers will get off their backsides and raise their game. You can also under current legislation ask for a refund as the goods you have purchased are not up to the quality they should be.

Can You Help?

Looking for a Principal

I wonder if you can help? I wish to acquire a copy of the CD "Principals Play New York" I think the Cat. No. is EGN-CD-109. I recently had my portable CD player stolen - and that recording was in it!!!! I look forward to hearing from you

Roger Darby.

4BR Reply:
Anyone help – we've had a look around elsewhere but have come up with nothing as yet, but if we find out more we'll let everyone know.

Anyone seen the King?

Has anyone out there got the soloists part for a cornet solo by J.A.Greenwood called 'Cornet King'? I would love to obtain a copy. E.Mail. baz1@b24hen.freeserve.co.uk

Barry Bleasdale

4BR Reply:
If anyone knows the "Kings" whereabouts, please let Barry know.

And what about Mr Bach?

Bravissimi and congratulations for your site. I had heard a few years ago the J.-S. Bach's "Toccata and Fugue in D-moll" performed live by a brass band (massed band ?). It was a gala concert at the Royal Albert Hall. It was a "vinyl" disk.

I would like to know if this version has been recorded by a brass band last years, or where could I find a copy of the version that I have heard. I search it for many years, and ...
I precise that it is not the Ray Farr's arrangement and it was the COMPLETE piece, not only the introduction, and not "disco" .

Thank you for your answer (and excuse my english) !!!
Sébastien Conus
Switzerland
sebastien.conus@micarna.ch

4BR Reply:
Same applies here as well. Anyone know anything, please contact Sebastioan direct.

What about a bit of as Vinter foursome?

Do you know of any plans for a CD release of the Vinter Quartets: Elegy & Rondo, Fancy's Knell & Alla Burlesca?

Many years ago a friend lent me the fabulous GUS recording on LP (John Berryman, David Read, John Cobbley & Trevor Groom) but I can't remember who released it.

If this cannot be recovered maybe its time for a new recording of these 'lost' treasures.Do you agree?

Dave Wicks
The Egham Band

4BR Reply:
We understand that this famous quartet of players and pieces was released as an album many years ago, but as such we do not know of any plans to re release it on a CD. A pity really, but the financial people who now make all these type of decisions would want to be guaranteed that they could sell enough to cover their costs and make a profit. If anyone can help, by making some sort of copy (not that we are encouraging illegal copying – we have to say that) then let us know.

How many of us are there then?

I am making a short presentation on how much money the brass band movement receives from the Arts Council and wondered if you could give me an estimation of how many brass bands there are in the country and how many people the movement involves. My argument will be based on how much money the Arts Council give to the various Opera companies and how many people are involved in opera, in relation to how much the brass band movement receives, considering that there must be thousands of people who follow or play in brass bands.

David Hunt

4BR Reply:
We think the best people to ask David are in fact the British Federation of Brass Bands based at Unit 12, Maple Estate, tocks Lane, Barnsley, S75 2BL. You can contact them by telephone on 01226 771015 or fax 01226 732630

Looking for a Star this Xmas

A desperate plea to everyone! My search for an original Besson 3 Star Bb Cornet Mouthpiece has been going on for about 4 years now. I would love to be able to find one of these. Surely there must be one knocking around somewhere!!! I would be grateful for any assistance or suggestions.

Steven Symonds
Tel: 0780 316 27 39
Email: steven@barnardcastleband.co.uk

4BR Reply:
Anyone knows anything about this little Star then please contact Steven direct.

When is it coming then?

Thank you for the very informative article, how to make a CD part 1. When is part 2 coming? Have a great Xmas.

Ken MacDonald
kma@balwynhs.vic.edu.au

4BR Reply:
It's on it's way Ken. Perhaps we'll have it up for some light reading over the Xmas period.

Spelling Boys!

Hello, my name is Cory Marion and I am a euphonium player in highschool. I just want to let you know that Steven Mead is not spelled with a "ph". It is Steven. Just thought I would share. I like the article. Your website is great!

Cory Marion

4BR Reply:
Thanks for pointing it out Cory – with a Christian name like that though, we should have known you would be involved in brass bands.

Yamaha the best?

Whilst doing a great effort in comparing the Prestige and Coutois euphs against each other. Why not also try the Yamaha YEP-842S (or perhaps the YEP-642S). I play the latter (with a trigger mounted on the 1st and 3rd slides) myself. Having tried both the others at several occasions, i find that Yamaha has a far better instrument if you consider its overall abilities. YEP-842S has not been on the market for long compared to the others. Still I believe that it is a question of time only, before Yamaha take over the stage.

I would love to see the results of a test.

Asger

4BR Reply:
We should have the results of our test in the next week or so. We would love to try out other makes, but it is very difficult, as the makers are not always too keen on lending us an instrument if they feel we are going to criticise it! If anyone can help us with this, we would be delighted.

Student Praise!!

After playing with Rochdale youth band on principle cornet for 6 years, I came home from uni at the weekend to listen to them play at the Manchester and District contest held at Warde High School. They played Tritico, a really challenging piece for them. But they more than pulled it off after a lot of hard work and they were fantastic! Just wanted to let them know I'm really proud of them! Especially Richard Golding... new principle cornet, he was excellent. Well done everyone!!

4BR Reply:
Well done from 4BR as well.

The original Sanchez

I don't know what brass band has recorded an arrangement of the Jazz Flugelist - Chuck Mangione's 'Children of Sanchez', but I do know that the original can be still be purchased: A&M Records - CD No.6700.I've still got the double album on vinyl and one of the pictures looks a bit like Richard Franklin of All England Masters fame, who could blow a mean flugel himself.

That reminds me, are we due a Top Ten Flugel Players article, or have I missed it? Or indeed, how about some brass band 'lookalikes?????

Colin Stevens

It's coming soon!

Mr Moffet may not have to wait long for a recording of Children of Sanchez, as Faireys recorded it last weekend (Neil Hewson being the soloist in question). Unfortunately I'm not sure when the CD will be out or what the title will be as I was only depping. Hope that helps!

Chris Doran

4BR Reply:
Thanks Chris. We look forward to hearing Neil Hewson in his cuban heels. Fine player, so something to keep an eye out for.

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