Comments ~ 2003: February

Comments from February 2003

The Cheating Debate

As someone who takes very little interest in contesting, and having ploughed through the reams of letters on the subject of cheating, can someone help me? In a quick trawl through the websites of the first three band associations I could find which publish their contest rules, I was unable to find any regulation forbidding any of the allegedly unfair practices, such as the use of beertowels as sound dampers or the playing of one bandsman's part by another player.

Are the associations I happened on in a minority? Is it in fact the case that the majority of band contest rules do expressly forbid such practices? Can somebody quote chapter and verse on this matter? I only ask because, if no rules are being broken, it isn't really cheating at all, is it?

Alec Gallagher

And even Harry did it!

Well done Mr Littlemore (Senior), I bet that ALL bands at ALL levels have 'cheated' at a contest at sometime or another, and if a part hasn't actually been given to another player/instrument, I bet the conductor has re-written/re-scored parts to create the correct 'sound' - try policing that!! At the end of the day all music (including contest pieces) is written for effect (by volume, tempo, style etc) and how that effect is achieved will make one band stand out above the others and win, hopefully.

And yes HM did play a top C for the Soprano in 1923 when the Luton Red Cross Band became National Champions. If it's OK for HM then it's OK for everyone else - me included.

Julia Crask
Luton Band

A view from Willebroek

I think there are two possibilities:

Maybe there is no such thing as "cheating", the only thing a band & conductor can do is: give a musical performance, using every possible means they know.

The goal: to convince the judges that they are the best band, or that they give the best interpretation of the piece (sometimes this is the same, sometimes this isn't) This means that sometimes they will do strange things, like: splitting or changing parts, playing some fragments faster or slower to deal with some technical problems (or because it is more exciting), using mutes where it isn't marked, using very small mouthpieces to get some high notes, turn away from the audience to play softer (or the opposite), letting the percussion play fff to hide some details you can't master ... (We once even used 4 conductors on the same time to get trough the first part of "Albion", imagine that!).

Then, it is up to the adjudicators to decide how to deal with all this: some judges will interpret some of these actions as cheating, some won't. That's their job: it will always be up to the adjudicators to decide what's right or wrong.

Maybe there is such a thing as cheating: but then it should be very clear to everyone (in advance) what the exact rules are, so everyone knows what you are risking if you cheat!

No complains afterwards! This means a lot more rules, and very complicated ones: don't underestimate the creativity of bands and conductors, because they will always find some trick you never dreamed of when you were making the rules!

Both viewpoints seem to provide good arguments for open adjudication: indeed the adjudicators can judge all this better when they actually see what is happening. But at this point, I hesitate to step in: we shouldn't forget the main reason why to keep the adjudicators in the (closed) box: it is the most unbiased way to judge the performances. It is only human to be influenced by knowing who is playing - even if you really try not to be (and I believe this is especially the case when judging soloists!).

To illustrate this: there is an excellent program on the Belgian radio, where a panel of 3 specialists have to compare a few recordings of the same piece of classical music. You should hear their reactions when they are told that they just "threw away" the 'standard' version, and marked some 'supermarket edition' recording as "CD-of-the-week". Very interesting!

So, to conclude: if they (the judges, I mean) can't hear it is cheating, it isn't. If they can hear something 'strange' is happening, they should decide how much they care. This might not be the best way to deal with it, but it is probably the only realistic way using closed adjudication. And, in my opinion, this closed adjudication is exactly what makes brass band contesting so great!

Stef Pillaert, euph., Willebroek (Yes, I know, we cheat every now and then...)

This subject just never goes away.

Surely the idea is to play the music as written by the composer/arranger which ever way possible. Taking in to account a musical directors "poetic licence" this should allow the odd part swapping / flat cap being used.

Obviously if a band intends to "stack" themselves with solo cornet players for contests and the rest of the year for concerts have a ropy "normal team" then what difference is there to play a struggling 3rd cornet part on the front row? Or placing a cap or cloth over the bell to produce a more haunting effect. If this is how the music is achieved by the MD then so be it.

There is a bigger problem within the movement of "rigging" contests, starting with these bands that bring in "ringers" or better players for contests, who are never seen again until 2 weeks before the next contest, or recording, or trip to Europe. These band abuse the registry system and abuse the registry team, who work very hard to ensure that registration of players is kept up to date. But still late transfers for players, using the cancellation method is abused. appeals to being transferred more than the allowed number "due to personal reasons" is abused.

Open adjudication leads to the possibility of rigged contests, and the reputation of our hard working adjudicators being tarnished. Let us all look at the major issues concerning the BB movement at present. Let us sort out these problems and the minor issues will sort themselves.

David Pilkington

Artificially Improved?

I have been following with interest the theme on 'cheating' in recent letters - and I too have lost count of the number of times I have played in performances when things have been done to try to 'artificially improve' the end product.

Since almost without exception these 'cheats' have been instigated by some of the best known conductors and adjudicators of the last 25 years in the banding movement, I would suggest they would be on dodgy ground to pick bands up for such behaviour. Yet they no doubt do. Is this a case of 'don't do as I do, do as I say'?

Enough of controversy (to which I'm no stranger...). Surely we're all missing the point here. The big problem with band contests - and the reason why no end of excellent players turn their backs on banding - is exactly this sort of nonsense. What ever happened to making music? To my mind any adjudicator that penalises a band for so called cheating - even though the net effect is to enhance the musical experience is frequently guilty of displaying a stunning lack of musicianship. They are merely seeking justification for what otherwise would be an irrational and unjustifiable ranking order for their results.

Surely we should make music first, last and all things in between? So what if we knock a player out here, bring one in there, swap a part somewhere else - as long as it helps the conductor to make the best possible performance with the collection of players at his disposal? Incidentally this type of behaviour is rightly derided by our brethren on the orchestral side of the fence, yet we keep lining ourselves up for more.

In conclusion I'll cite and example at the area championships some years ago - the North West area, then in Preston on the transcription of the Berlioz Waverley Overture' by Howard Snell. Faries won (under Major Peter Parkes) with what was a truly note perfect, well balanced, in tune, together and above all DULL performance, Leyland were second with a typical Richard Evans style exuberant, few clips here and there but generally stunning performance. I know who I would have put first (OK so I played for Leyland that day - but I know my views were shared by an awful lot of people).

Do we want to be entertained and excited by players who are obviously enjoying themselves, or bored rigid by automatons?

Andy Wyatt

Music with Tunes!

May I enter the debate re "Music with tunes" ?
Firstly, may I quote from the Oxford Concise Dictionary.
"MUSIC" Art of combining sounds with a view to beauty of form & expression of emotion.

I would like to reply to the comments made by Mr. Conor Harron regarding his concern about Mr Richard Evans openly wanting to return to pieces with TUNES in them to be used for TEST PIECES.

May I be as bold as to defend the views of a very well respected Mr. Evans.

FACT: Mr Evans fills halls
FACT: Bands book Mr Evans,for this reason.
FACT: Mr Evans understands, and is capable of doing very well with "new music"
hence British Open wins on "Fireworks" and "Salamanda"
FACT: Mr Evans ENTERTAINS and brings important(sometimes life saving) revenue
into many bands nationwide.
FACT: Untuneful music does NOT fill halls.
FACT: Untuneful music bores the back legs off of 90% of Bandspeople.
FACT: Any band can CHOOSE to play untuneful music whenever they wish.
FACT: For competitions bands have no such choice.
FACT: If as many people speak of Mr. Conor Harron in 40 years time, with as much regard as they do and have done for years of Mr Evans, I will take my flat cap
off to him.

Please find attached "MY" entry for the "TEST PIECE" for 2004 Championships at RAH. This is my first composition, and very possibly my last.

It will test ANY band in the world. Its only 2 minutes long.(So bands can have a good weekend) The contest can start at 11am, be over for 12, and everyone down at the "Queens" or the "Goat" by 10 past. Judges won't have a long day, no one will care who wins, and "My piece" will never see the light of day again. Apologies to any composers out there, but this type of "music" is, in my opinion, not clever, not entertaining, but has its place.................................. NOT AT CONTESTS.

Alan Wycherley, Disley.

Prague - the errors!

Oh dear! Here we go again. Complaints about poorly edited music. And who do we blame??

The answer is we are all to blame.

I don't wish to sound to self-righteous here, but I have been copying, editing and proofing brass band music for over 25 years now. Being an arch anorak, I've always been very fussy about proofing, making sure every last dot is in the right place. I'm sure this is true of all our brass band publishers.

The fact is, it is very difficult to ensure there are absolutely no errors in a publication - difficult in that it takes experience and effort to do it properly. Brass bands have historically paid far too little for their music. A championship test piece (which will keep most bands occupied for 4-6 weeks) is cheap at, say, £60-80 (I don't know what Prague cost). I'm sure more will be spent by most bands in the 'local' during that period. For this reason and others like rampant photocopying, publishers do NOT make a fortune out of selling band music - especially top section test pieces. If we were to get used to paying a reasonable amount, then perhaps more proofing would go on. I pride myself that most of my pieces are relatively error-free, but it's almost impossible to claim to be 100% accurate.

The publisher in question should never have done that!

Who is almost certainly NOT to blame is Paul Hindmarsh and other members of the selection panel. It is not their job to proof these pieces. They have to rely on the publishers. The answer?? If a particular publisher seems to be doing the job properly, stick with them. Try Anglo Music press, for example!!!!

Philip Sparke


Any money back?

I promised I would not comment any further on this thorny subject,but I am in total agreement with your suggestion that bands should get a refund for this inferior work of the publishers. Do I have any support for this idea ,other than the boys at 4bars Rest??

We should collectively seek a refund immediately!!! or boycott the contest until "whoever" can get it right.

Dave Lea


Don't use unreliable publishers!

Once again, bands that constantly struggle hand to mouth fork out their hard earned cash to buy music at the insistence of the BFBB Panel, only to find that these goods are flawed, wrong, incorrect, not worth the paper they are printed on. Harsh I know, but harsh words are what are required to bring this matter to a head.

Hats off to Paul Hindmarsh to having the guts to stand up and inform bands, that six days before they go to one of the most important qualification contests in our Movement, that there are problems with the parts and here's the errata. Bizarre, and downright ridiculous. Not his fault I know, but certainly I am sure he will think twice before standing up and being counted and informing the Movement that this piece will be error free.

Equally ridiculous is his statement that this is not the first time that they have had this problem with the publishers. So why do we continue to use them!!!
Surely in the Sale of Goods Act there is something that states that goods that are not fit for purpose, a FULL refund can be expected. Lawyers who read this please advise me if I am wrong or clarify the point of law. What is more wrong in a piece of music than incorrectly written notation. Quite remarkable really when looking at it. And 4bars rest have already raised the point, can we expect a refund from the publishers. I suspect we already know the answer to that one.

So what lessons can be learnt from this. Don't use unreliable publishers. Only use tried and tested music. Get in a qualified set of auditors to scour the parts before they go to print. Get a panel that listens. Or do we do what we always do, lie down and roll over, and wait for the next kicking that will come along to surprise us. I suspect it will only last forever I say cynically.

To my colleagues in the Top section who are playing on Sunday. Best of luck, usual post match review will be held in the bar I'm sure

Richard Walker
Carlton Main Frickley Colliery Band

I think that Prague is an awesome piece of music, capturing so many of the elements of a city full of history, and a lot of good, fresh musical ideas. Furthermore, I believe there are three reasons why people say they don't like it:

1. They are stick-in-the-muds not interested in music developing full stop. Ok.
2. They like fresh musical ideas, but find it hard to get ANY handle on Prague because very little is like what we know. There is a fine line musically between Cloudcatcher Fells and Prague, but a great deal more
people seem to like the former because of a handful of moments where a tonal tune appears.
3. They haven't listened properly. The herding mentality is strong in football and bands.

So Prague is a bad choice for the areas because it won't do us good musically and financially? Prague could be a resounding success for both if the likes of the BFBB, or any other musical group or figure championed this piece and helped the rest of us through it. Music such as Prague is complicated and difficult to get into. But once you have found or been shown a way into it, I believe that the majority can find it as fascinating, moving and rewarding as they do Wilby or Sparke.

I appreciate Paul Hindmarsh's commentary on the piece on 4BR, but how can Jim Gourlay and other big figures in the movement, or at the very least the original selection committee, stand by silently as the majority express their disgust and inability to understand it?

David Read (not the adjudicator)
Trombone, Travelsphere

Where's the fun anymore?

I've being reading this page for a while,but to add to the music Selection woes I feel the need to comment .For over 25 to 30 years music has been chosen mainly to please the publishing companies not the listeners [Will the audience be listening to every performance of
Prague!].

Beacuse obviously a newly commissioned work is going to mean that bands [who are losing Sponsorships] need to buy new music, be it first class and pushing brass bands forwards or rubbish.Rather than an uprising from bandspeople and supporters you are seeing an abandonment of the movement ,and to me that is of highest concern to which in the extreem may render this online magazine extinct!

Only just this week,a top championship bandsman friend of mine said if this is the way music is going I,m packing it in! [Prague!!].[I'm sorry to pick on Prague but it is the one of many dubious selections].Contest selection panels please ask for the players' and listeners' opinions , it is vital the movement survives .Don't forget this way of life was first created for people to have fun after a daily grind at work!!!!

Tony -Stalybridge
Band P.S.We are going to the area and we are
playing Passacaglia...thank you!


Abstract Noise!

Here we are once again entering the season of time-consuming rehearsals for our individual regional finals for the national brass band championships of Great Britain.

We have waited with baited breath to see our individual area test pieces, hoping and praying that some day it will contain in a single test piece, a reasonable amount of melodic, technical and musical content that we can get our teeth into, unlike some fairly recent latter day area test pieces, that appear know to be the norm. Well once again we are perplexed and bewildered at what can only be described, for want of a better word as rubbish being composed in the name of music, namely the area test piece Prague.

It is beyond the realms of patience for myself, and I feel many of my fellow Brass Band colleagues to have to suffer the humility, and technical embaracement of six long weeks rehearsing this particular test piece.
Undoughtedly this composition is the laughing stock of many brass band rehearsal rooms throughout the length and breadth of the country.

Having been a Brass Band musician for 45 yrs, and having the privilege of playing many exciting and challenging test pieces composed by great composers such as Eric Ball, Gilbert Vinter and Philip Sparks amongst many others, I dread to think where our shrinking Brass Band movement is heading.

How can we as a Brass Band movement, sustain the interest of existing musicians as well as trying to interest young potential musicians to join the movement if they are subjected to this type of abstract noise.

Ray Cole

It just doesn't work

I thought I would add my thoughts to a few issues being raised at the moment. I would like to add to a lot of other people's voice by expressing my discontent about the choice of Prague. Whilst we should only voice our opinions about the style, I think we should look at the style for the brass band medium. It quite clearly does not work, and is proving to be generally unpopular.

However, I (like many others I believe) think it has been chosen for all the wrong reasons. Also, with all the errors emerging, I think it has become apparent that was a wrong decision from whomever actually made the choice. But whilst we are on the topic of bad test pieces, I wonder if anyone made any comment about the second section regional piece Symphony for Brass last year? Having studied the score, and played it many times, I came to the conclusion that the piece was musically uninteresting.

Plus the new arrangement was shockingly terrible. I think it was totally unsuitable, especially for lower section use, where the writing/arranging should be top notch. Yet no one said anything. Perhaps the folks in charge need to look at all the sections' test pieces, as I seem to remember quite a few not-so-good lower section test pieces whilst the higher sections get real stonkers. Having said that, Lydian Pictures is very good, and Celestial Prospect is in my opinion the best of the regionals pieces. So as to not end of a bad note, I would like to give my congratulations on a most excellent site. Keep up the good work. (I'll get off my podium now, I've had my rant!)

Thomas Morgan


Never mind Prague what about the judges?

Now that we're heading into the contest season again, I wonder if any of our adjudicators will be regaling us with their thoughts from the stage this year.

I feel that informing the audience about why they have arrived at a particular decision is particularly important this year, as Prague can be quite an opaque piece.

I understand that the usual suspects are in their respective boxes this year and I am particularly interested if Mr. Read, one of our most experienced
adjudicators, will pluck up the courage to approach the microphone.

While on the subject of 'Prague', I think that it is a good piece and an insprired choice. I'm going to Yorkshire just to find out how the big bands intend to post their 'calling cards' in music that is decidedly 'calling card-less'!

Trevor Jefferies

Why no comments?

I had already read Paul hindmarsh`s comments on the piece.Unfortunately,Paul and his fellow panel members have chosen not to respond to the ongoing debate.
I wonder why??

Dave Lea

Norwegian Championship Coverage

After reading your latest editorial about the Norwegian Championships some thoughts came to my mind.

First of all I would like to congratulate all the winners in the contest and say that I am not discussing the results but the future of brass banding.

For me Eikanger gave a superb perfomance in the ownchoice section. The piece were played so good that it almost sounded to easy. And its your comments on that piece that worries me a little.

You write that you accept the use of organ as an special instrument, use of a CD player, synthesiser (quote: "should be maintained if it is integral to a brass band composition") and you even accept the use of Eb-trumpet on sopranoparts, but when it comes to Bb-trumpet you say a huge NO! I belive you are arguing against yourself as long as your arguments on specialinstruments are "should be maintained if it is integral to a brass band composition". In Edward Gregson's "The Trumpets of the Angels" the trumpets are exactly that.

The piece has written trumpetparts and requires 7 trumpets. It also requires that six of the trumpeters during the piece are to sit down in the band to continue on cornet, which Eikanger did. The seventh trumpet has got his own part through the piece.

So according to your own argumentation it is quite clear to me that the use of trumpets was totally legitimate on this occasion. And if organ should be allowed why shouldn't trumpets? Another thing you bring up is:
"...was this a brass band performance or a brass ensemble performance?"

When you get to a certain level on playing you are able to produce a good quality tone, a good register, good tuning, good ensemble and good rythms. In other words you get more and more into the playing of classical brass ensembles. Is it just the use of trumpets or is it just the ability and level of the players?

I feel to ask, what in our opinion, is the difference between a brassband and a brassensemble performance?

Viggo Vea, freelance trombonist, Bergen


Cloth Cap Coverage?

"to maintain it's unique appeal and characteristic on a contest stage, a brass band must remain a brass band and not a brass ensemble - however brilliant the result may be."

I've never heard anything more ridiculous, boys. You are wary of bands producing brilliant results...um...because we may lose our "appeal"? So we should stay deeply routed in our musical backwater while the human
race develops and finds music which is more relevant?

You'll be campaigning for bringing back cloth caps next.

Brass bands can stay unique and appealing by giving them the freedom to innovate and encourage them to risk it on the bleeding edge of performance and audience communication. Not by slapping on new rules to try and stop change.

David Read (not the adjudicator)
Trombone, Travelsphere

4BR Yeovil Coverage

A bit more thought please

I would just like to make a few comments about your report at the Yeovil contest on the 1st February. Firstly I would like to say that I think your web site is a very good site indeed, but sometimes I think your comments do occasionally get carried away.

I agree that the overall standard of playing at the contest was far from great, but the comments especially made at Bodmin Band, I feel were a little rude. Your comments state that the band are 'clearly rebuilding'
and that a 'performance like that will not help them at all'. I would like to say that a band that has more or less re-built from scratch does not expect to perform aswell as they have done so in the past, so giving the band comments like that is not exactly going to give them much confidence is it? I think for a band to re-build itself within three weeks of the contest, it's a credit for them to even turn up. The band did not expect to do wonders and win the contest, they just wanted to get on the stage and play regardless of the result. I am sure the band
have read this and felt they have been insulted a little.

Please continue to report on contests and say what you think, but with just a little bit more thought.

Sue Cobbett, Cornwall

"Pantomime" Review

It is often that I leave a 4BR review of a brass band contest feeling disappointed and this was such an occasion.

I'll come out and say it straight away - the overall standard of reviewing that was on show in your Retrospective on Yeovil 2003 was downright awful. The quality of the analysis for reviewers with supposed genuine pretensions of competing at the highest level was a huge let down.

There were glimpses of talent (the almost accurate reporting of David Read's comments and the praise for the organisers being two examples) but the evidence
suggests you are incapable of steering clear of "pantomime" reviews. Perhaps you were playing to your strengths but it is a very sad state of affairs that you did not really bother to even try and provide insightful analysis of much of the playing. (Recognise any of this yet ?).

It really is for connoisseurs of irony that you opened your review by querying why on earth bands spent so much time on the visual aspects of their performance
rather than the playing, and then proceeded to spend several thousand words reviewing.............er........the visual aspects of the performances ! Believe it or not, many of your readers have no interest in comments about a soloist's trousers or their (alleged) nattering with the audience (both crucial aspects of a closed adjudication performance, I'm sure you'll agree). They would much rather hear more about the playing.

A final point - call up a copy of your review of Tredegar's performance at Pontins 2002, look at yourselves long and hard in the mirror, and answer me this: - just what would any of the bands at Yeovil have to have done to earn a write-up like that (you know what I mean - praise which isn't qualified by rubbishing the standard of the opposition or irrelevant musings about visual aspects) ?

I look forward to your review of the Area.

Richard Knight

Miserable old Git!

I must say that having read the comments made by 4barsrest about last Saturday's ENTERTAINMENT contest I can only assume that whoever wrote the article either had a huge chip on their shoulder about something or is just a miserable old git.

The comments that have been made are in general downright rude and destructive, rather than helpful and constructive. When choosing music for an entertainment contest surely it is important to consider the views of the paying (sold out) audience as well as the adjudicator. After all, it is Joe Public who keeps events like this in business - which as you said yourselves was incredibly well run, and I'm sure we'd all like to thank the organisers.

If it's true that the bands themselves opted for closed adjudication I'm a bit in the dark and have to admit that I'm don't entirely see why, however as a player in an entertainment contest I make no apologies for giving the audience something to look at as well as listen to during what could otherwise be a long, boring day for several hundred spectators. As a competing band at a contest you are obviously trying to play with as much clarity and accuracy as possible at all times and I'm sure that we will be the first ones to admit that at times the performance could have been a little tighter, more in tune, etc. but personally I see the role of an entertainment contest to be an opportunity to entertain, not necessarily to stick rigidly to the idealisms or modern brass band playing which will win the National Finals.

In a world that is full of so much evil and hatred at the moment, I find it narrow-minded and unnecessary to degrade a day of fun with such unhelpful comments.

Ewan Parker
Redbridge Brass

The Guild Hall Contest

More Entertainment please!

Having just played at the Guild Hall Contest and sat through five or six old test pieces before the results were announced I would like to make a case for more entertainment contests. While the standard of the championship section was good I have to say, unless you are a mad brass bandy, then the entertainment value was nil.

I've been in brass banding for over 20 years and like brass band music like most of you but I witnessed at least three people asleep in the hall which was filled(well half filled), as usual, with brass bands and their followers
only. Surely if we want to market the brass band world a bit better we should be asking bands to entertain the audience. Why can't we have a Regional and National Championship format where the best entertaining band
may end up not necessarily being a championship section band?? This would also bring out the artistic flair of young conductors and soloists. I know there are a few entertainment contests around but these seem to be reducing.

I recognise the need to test musicians and the Area Championships and numerous other contests are the vehicle for this. All I'm asking is that we start enhancing our image. If we bring in the crowds, and the money, then perhaps we can attract larger corporate sponsorship etc. leading ultimately to more money being given over to prize money!

Will Marshall

Controversy!!!!

Well what a day of controversy. This is the first time I have witnessed a contest like this. Please don't think this is sour grapes because it isn't. I'm just trying to make sure that this kind of debacle doesn't happen again.

The controversy began when the last band of the day played the famous Gregson piece Dances and Arias. This music was written with a flugel duet in mind. What happened after the band came off stage was disgraceful. Either a member of the public or more likely, a member of a rival band put in a complaint about the use of two flugels in the piece suggesting that it was used to enhance the performance of the piece. As the band came off stage it was announced " Would the conductor of the last band on, Dobcross Silver, please come to the back of the stage". This was made as the adjudicator was still in his box!

This should never have been aloud to happen as it may have had a significant difference in the final placing. I'm not saying it did, I'm saying it could have! This should have been done behind the scenes and the bands name should definitely NOT have been read out especially as once were bad enough but twice? I can understand that if a complaint is brought up, you should investigate but to do it in public and with the adjudicator still in his box is so wrong.

I hope that the people involved realise how stupid they look. I realise that nothing can be done about it now and that people should just get on with things for the next contest but what do people think should happen if this sort of scenario was to come to light again? I know you wouldn't like your respective bands to have to face this sort of garbage. What would you do? Please give me your opinions?

Alan Hodkinson

Well done the Organisers and Flixton

Congratulations to the organisers and bands, for a great day of entertainment at the Brass at the Guild Contest.
The Championship Section was of a tremendously high standard, and with the exception of Wingates, who were very classy on the day, could have featured many of bands in the frame. One story which I was particularly impressed with from the bar, concerns the Flixton Band.

Apparently, the band had been struggling for players, and had not competed for a few years. Less than a year ago, the band consisted of 5 players who refused to give up and fold. Instead, the group started an almost impossible task of recruiting a conductor and players. They now have a full band of players, a Conductor who shares their ambition, and although not in the prizes, gave a very creditable performance of Paganini Variations on the day.

I think that this is the type of story which is often overshadowed by the endless tales of top bands looking for a sponsor to give them thousands of pounds in order to survive. This is one of many examples showing that with a core of dedicated members, a band can recover from an almost impossible situation, and flourish. It just requires everyone working together inside, and outside the bandroom.

From the obvious team spirit I observed, this band can go a lot further, and is definitely one to watch for the future. Surely this is what banding is all about. Well Done Flixton !!

Ted Rishton
Band Enthusiast

Was there an intonation problem?

In your review of the third section at Preston you state that Mr Halliwell criticised intonation and then stated that this was not the case for the winning band. Mr Halliwell actually stated that only 1 band did not get criticized in their remarks. If this is true then the winning band were criticized,as the remarks for the second placed band did not include any mention of intonation or tuning at all.

Steve Gardner

The Frisian Open

In reply to the review of the last held Frisian Open Championships, I would like to add some comment.
It is clearly needed, because the author of this article askes himself the question why the Frisian top-
section brass bands didn't give acte de presence in Leeuwarden.

The Frisian Championships, also known as the 'Parkkerk Festival', goes way back in time, organised by Frisian brassband conductor Folkert Fennema. His tireless devotion to the brassband movement in the
Netherlands has brought us many fine performances by mainly Dutch bands, but also (for instance) former
European Champion band Willebroek visited Leeuwarden a few times. Therefore, Mr. Fennema is highly
respected and diserves no unfounded critical comment.

The festival itselfs has been an event of great importance for the Dutch Brassband movement, but I'm afraid I have to say that it's heydays are long gone. The public interest is steadily running low for at least 10 years now, and keeps on going down. That in it's self is a sad thing to happen, especially when you know that, aside from the Dutch Championships and the Eurobrass Festival, there are no specific contest for brassbands in Holland.

I also have to mention the 'Gouden Spiker' festival, organised for the lower section bands. The 'Gouden Spiker' festival, that is relatively new, has proven to be a
very atractive event. The formula is not very different in comparison to the Frisian Open, but the list of
competing bands say's it all.

Mind you, I'm not saying that the Frisian Open has no right to exist anymore, but someting has to be done to attract more brassbands to it in the future. Personally,I don't think the top-bands are the ones to blame for not showing up. After all: who likes to perform a concert program for an audience of 40 or 50 people?. Be honest, you know it.

Erwin Dijkstra
Grou, the Netherlands

No to Private Enterprise

When my band became Fourth Section National Champions in 1950 the event was run by the "Daily Herald". The "People" newspaper followed with Vaughan Morris, Robert Alexander, and other individuals before Boosey and Hawkes took over.

So, for over 50 years our major contest have been owned and organised by commercial companies, unlike many European competitions. Why?

I appreciate that B/H have the support of the bands in mind, but financial gain is not far behind. Now yet another commercial company is to take over our movements major competitions, with the probability that the present owners may soon be sold or even broken up! What a golden opportunity Boosey & Hawkes had to
give the Championships Title back to the movement. They could still sponsor the event to advertise their name if they had wished.

I believe the time has come for the movement to own its Championships and the rules that govern most of our competitions, with any surplus finance being returned to our bank account but not for commercial gain, as at present. I suspect that 90% of our bands are hard up.

If 17,000 musicians who enjoy contesting, as a reward for the time spent each week rehearsing music, have any concern about the future of their movement we have to do something about it. It won't survive by itself, or
the odd few lines to 4 Bars Rest or Brass Band World.

How many bands enter local contests with guest players? When was the last time your band had a full rehearsal?

If we wanted, we could set up a new National Body - "The British Association Of Brass Bands" (who could compete with B/H and Kapitol tomorrow, as BFBB are contracted to B/H until July 2005).

Extend an invitation to all bands in the British Isles. Also invite members from the Adjudicators Assoc., the Conductors Assoc., Phillip Biggs, Martin Mortimer and any other interested persons professional or not. 4 Bars Rest, BBW and the representatives of our top bands who carry the torch for our movement at home and abroad.

Convene a meeting, use the first hour to seek the thoughts and desires of what is expected of such an association then decide if an organisation could proceed, with the usual National and Area committees.

Finance, if I personally talked to Yamaha, Courtois or JJB Sports, I would possibly get enough for a mute, if a National Organisation could justify it's claims to represent 500 bands we could get 25/30,000 per annum,
together with local sponsors for the Area Competitions.

Set up 9 Areas, including South Midlands to even out the London / Midlands Areas with excess of 90 Bands in each. Subscription could be £100 to include Area Competition entry with all proceeds retained in the movement. Re-introduction of the Youth Section and sponsor all expenses to their competitions.

The main aim of the Association to promote and encourage the Musical Education of its members and to offer support to all its member bands whatever their needs. Within 5 years include other major Competitions to determine an annual grading, but in the mean time adopt a two up / two down system and cut out appeals.

Promote our own set of guidelines (sometimes called rules) that are correct in what they say and are acceptable to all. Offer support to the registry and the BFBB as within three years they could be invited to join us.

These are some of my views, I hope you will express yours, we do not have many options and I believe the officials of our 500 plus contesting bands should show leadership and support to work to promote our movement.

Please voice your opinions and if interested leave your contact details with 4BarsRest.

Ted Smith
Leicestershire

Rowland Jones Remembered - fondly

Last night, as I usually do, I 'phoned my 88 year old father (Jack Bowen). My father now lives on his own since his wife died two years ago. We reminisced again, as we usually do, about old times (usually Rugby League), dad played for Llanelli RU before the war and signed for Wigan Rugby League Club in 1938, on a 10 year contract.

We also reminisced about the time he married in 1941, in those tough war time days. The subject of his best man usually crops up on these occasions, his best man was Rowland Jones. Wigan had a number of Welsh players and was a rendezvous for other Welsh exiles, notably Rowland who was working in close by Bickershaw. Hermus Llewellyn, (I think he was an electrician) who also came from Gwaun-Cae-Gurwen (his parents ran the local pub). Hermus was advised not to change digs since this would result in an immediate "call up" for the forces. Unfortunately this happened and Hermus was killed 60 years ago on February 15th 1943, aged 29 but not before he had been awarded the Military Medal. He is buried at the Tripoli War Cemetery.

Dad recollects Rowland standing up in one of the many hosteleries in Wigan and bringing the place to a standstill as he sang. Neither myself nor my father are at all musically gifted but the deep impression that Rowland left has always remained with dad. He said that you could hear a pin drop in the crowded pub as Rowland sang forth.

Dad also mentioned that he knew Rowland had made at least one record and in fact remembers it being played on the radio with the announcer praising it very highly indeed. It was this memory that prompted me to say to him that I would try to find the record, since I know that the internet is a wonderful vehicle for such a search. I've also got to say that my hopes were not that high, imagine my delight and amazement after trying many combinations of requests I simply typed in Rowlands name - what a delight! and such a superb article.

I'm so pleased that I'm writing to you now before I've been able to contact dad with the news (it's no use 'phoning him during the week after 7.30pm since he'll be out at his local club playing snooker. He may be 88 years of age but his professional competiveness has never left him and he still plays a mean game of snooker. He'll be absolutely delighted at my news. We hope to spend a few days in Llanelli at Easter, if possible we'll perhaps try to visit Rowlands remaining sister in Gwaum-Cae-Gurwen.

I'm still trying to recover from finding your wonderful article and I can't wait to 'phone dad tonight (it'll have to be after 10pm by which time he'll be back). Many many thanks - keep up the good work.

Keith Bowen

And again!

I have just read the article on the tenor Rowland Jones, a favourite of mine from Sadlers Wells I have recently acquired a 'Live "recording of him singing in the opera Marta at Sadlers Wells circa 1957. What a lovely voice! I had no idea that he had another career in brass bands Incredible! Many Thanks.

Ken Caswell.

And JSVB

Congratulations to Chris Helme on his interesting and comprehensive article on the JSVB. The photograph of the group in Australia in 1978 brought back particular memories for me because I had David Moore and Colin Aspinall billeted at my house during their weekend in Melbourne on that tour.

They played to packed audiences on their two concerts here in Melboune and I went to both. What an exprience! They were just brilliant, but more importantly, they were all wonderful, down-to-earth blokes who just loved a beer (of which we had one or ten afterwards) and we all had a great time.

In the average brass band player's carreer spanning 30-40 years, there very few instances that really stand out amongst all the playouts, concerts, contests etc. That marvellous weekend was one I have never, and will never forget.

Roy Taylor
Principal Euphonium
City Of Greater Dandenong Band
Melbourne Australia.

Brass at the Proms

When I first heard whispers that Grimethorpe had acepted an invitation to take part in the proms I thought that here at last was some kind of recognition of the status of brass bands as a part of the serious musical
tapestry in this country. I was present many years ago when Grimethorpe and Black Dyke shared a concert presenting major works, including if I remember
correctly the premiere of Willam Walton's The First Shoot, and we also had a notable contribution from the NYBBGB a year or so back.

Imagine, therefore, my disappointment to read today that they are actually due to participate in one of the Proms in the Park events instead. I realise that there is a place for such involvement but, having attended the
first one held in Hyde Park, largely at the urging of my daughter, I found it very disappointing, focussing on mostly very popularist material and playing to an audience who are only really biding their time until they can join in the second half items via the big screen.

I fail to see what benefit there will be either to Grimethorps themselves of to the brass band movement as a whole as a result of this participation, which seems to me simply to reinforce the public perception of bands as belonging on the park bandstand.

Peter M. Bale

Dyke were there

Black Dyke played at the Proms in 1987. Can't remember the exact programme but I think they played Severn Suite, Variations for Brass Band and Kenilworth.

Black Dyke and Grimethope played in 1981 when one of the pieces was The First Shoot by Walton.

Ken Loughan

And the NYBBGB

We cannot have 4BR getting a reputation for inaccurate reporting now can we? You report that it is 20 years since a brass band appeared in the Proms at the Royal Albert Hall...WRONG...the National Youth Brass Band of Great
Britain appeared in two Proms in the 2000 season. Well done Grimey and the NYBBGB, any thing that gives Brass Bands a wider audience has got to be good
news.

Bob Crawshaw
Hawk Green (Marple)

Thanks all Raund

I'm a new (ish) reader to 4 Bars rest and having a long 4 generation link with banding am interested in many of the articles, especially letters. Recently I fell and smashed up my face, as a cornet player this has caused
much upset over the last 6 weeks. I have found strength in my wonderful band and would like everyone to think about my comment:

What makes a band?

Being the principal cornet of any band I consider a great honour but there is more to banding than meets the eye! Having had a bad fall at the beginning of January both hospital and dentist have assured me I will
recover (eventually) but with the area looming things still look doubtful. My band are unique in their support of such problems. We are not only a brass band but a caring group of friends and musicians. We respect everyone else and appreciate being respected.

Our emotions both on and off stage are greater than I have ever experienced in 25 years of banding of all levels. For anyone out there with any problems, not just musical look to your band for support and friendship as well as something to do every week, twice a week.
You may well find what I and my banding colleagues have found - a fantastic way of life! Thanks RTB

Kay Hollingsworth
Raunds Temperance Band

Top 10 Flugels - when you are ready!

As you are going to be putting together the top 10 flugel players of all time, I thought I would give my individual opinion on this matter.

1) Mark Walters - Grimethorpe (always stunning on his day, has a lazy streak though)
2) Iwan Williams - YBS (fabulous performer)
3) Stan Lippeatt - Grimethorpe (highly entertaining)
4) Simon Stonehouse - Williams Fairey
5) Dave Pogson - Black Dyke (a class player in his day)
6) Shelley Ball - Fodens (should have stayed on flugel with Fodens, great tone)
7) John Doyle - Black Dyke
8) Ian Brownbill - Black Dyke (when they won everything)
9) Helen Fox - Fodens (she was an even better cornet player though)
10) Gary Lord - Leyland (BNFL days)

Not many from days of old because I don't know any. The instrument has only really been a major feature of the band since the 70's. The best players in my opinion have emerged in the last decade or two, due to the likes of Wilby, Gregson and Sparke. Keep up the good work folks!

James Chamberlain
Flugel - Whitburn.

Expert troubleshooter?

Allan Littlemore wrote: "I read on your website that Graham Catherall, the conductor of Cockerton Prize Silver Band, has volunteered to 'troubleshoot' for what he believes are mistakes and errors in published
music. This is an interesting offer but I ask 'what qualifications does he have to make him believe he is such an expert?'"

First of all I don't claim to be an expert. My first e-mail was in response (and agreeing) to Alan Wycherley's complaint about numerous errors in new test pieces. I certainly do not guarantee to spot any mistakes. However, I care passionately about the music we are asked to perform and, if sent the file(s) as mentioned in an earlier e-mail, I do guarantee that I will take a
look at every single bar. I then might notice some errors.

Allan Littlemore went on to state this about Danceries, by Kenneth Hesketh " Leyland Band had the opportunity to record this work on a CD, which was released in September 2001 to wide favourable review. We worked very closely with the publishers, Faber Music, and with the composer. For him to use words such as 'shabby', 'glaring errors and possible mistakes' is offensive to all those who were involved in this superb creation and who took great pride in the integrity of the recording.
The composer, the editor, the conductor and the Leyland Band spent sufficient time on this piece to have weeded out any such things."

If Allan would like to look at the first movement. In the fourth bar after "A" the solo cornet has a dotted crotchet, while the score has three moving quavers - I call that a glaring error.

Graham Catherall
Conductor, Cockerton band.

Bits and Bobs

Not enough players

Looking through your new section, Classified Ads, there seems to be lots of Bands requiring players and yet not enough players going around. Shouldn't someone, somewhere be doing something about this?

Ian Moffett

Peter Roberts Remembers!

I did a lot of work with Desford around late ' 87 early ' 88. Even doing a tour of Holland.The Friday night before Yeovil, Desford had a concert in Bournemouth, and decided, while they were in the area, to play at the Yeovil
contest. They won, Steven Mead picked up the soloist award, and was conducted by Robert Watson.

PETER ROBERTS

Happy Flautist

I was delighted to see the great review on your website and I was pleased with the result too! Would you be so kind as to let me know the name of the person who reviewed the CD as I would very much like to use some of the quotes about the Chaminade on my future publicity. I freelance with orchestras and do regular ensemble work and chamber music so this would be very useful to me.

Rachel Smith

Pleased with yourselves eh?

Interesting list of under-utilised gems, and perhaps you can congratulate yourselves now that Pontin's have chosen 'Festival Music'!

'Benvenuto' is an admirable inclusin, and as this year sees not only the centenary of Eric Ball, but the bicentenary of Hector Berlioz, what about 'Les Francs Juges' for the Open? Excellent site, keep it up.

Roger Norish
Staffs Band.

Arban's Fantasie Brillante

Hi. Just thought I'd respond to the request from Rhys Keegan regarding a score for Arban's Fantaisie Brillante. I work for the PRS (or theMCPS-PRS Alliance as it's now called) as well as being a 'bander' and our databases can sometimes come up with some useful nuggets of info regarding 'difficult to find' music and/or recordings.

With regard to Fantaisie Brillante, all I've been able to come up with on the brass band front is an arrangement made by an A Baker and published by Amadeus Music (possibly; details on our database are sketchy) which was recorded by the Northop Silver Band for their
centenary back in 1992. It was released on the Sain label (and apparently only on cassette) no. SAINC 497. Northop Band have a website, (www.northopsilverband.org.uk) but I got no answer from any of the contact numbers listed. Still, may well be worth a try.

However, if Mr Keegan isn't insistent on (a) a brass band version or (b) a full score, then he may find a cornet album called 'Carnaval' of some use. Carnaval was an album released in the 1980s by Wynton Marsalis with
the Eastman Wind Ensemble conducted by Donald Hunsberger (which, I believe, is still available). A cornet and piano reduction of the album's tracks (which includes the Arban Fantaisie Brillante) should still be available from most good sheet music shops (Boosey and Hawkes, Chappells of Bond Street, etc. all of which have websites to order music from)

Dave Payn
East London Brass

Looking for an old LP

Whilst browsing I came accross your website and the page on old LP's.........

For many years I've been trying to get details of a Trumpet Concerto (one movement) that was played on a Sounds of Brass/Yorkshire Imps LP of the early 70's. I used to own the LP as a young teenager but sold it to raise much needed dosh at some stage of a wayward adolescence! I remember the concerto well and have never heard it in any form since despite being a keen musician and ClassicFM addict.

Any help or links/leads you may be able to point me at (better still someone who is prepared to sell their dusty old copy!) would be more than appreciated!


Keith Barnett.



What ever happened to Yorkley Onward?

I have recently obtained a 10" LP, recorded at a contest in 1972, by MSR (Midland Sound Recordings), serial M69 by Yorkley Onward Band.

The items are: Side A) Diadem of Gold. Side B) Sinfonietta. I believe the band was in the Gloucestershire area and may still be in existence, possibly under another name?

Information about the band and the recording would be greatly appreciated - particularly from players at the contest and on the record.

Keith Quinn
Sunderland

Is there still a Point?

I wonder if you could help?

For a long time in the 80's I played percussion for Point of Ayr Collery Band in Wales and also played in The National Brass Band of Wales. After going to college I eventually stopped playing altogether. Where I work now I have been joined with a Longridge player so I've been
surfing on 4bars rest and was wondering were are Point of Ayr now. There seems to be no sign of them anywhere. I was there when Denzil Stephens and Ray Farr where conducting. Please does anyone know?


Jude Oakley

Tuba Enquiry?

As the proud owner of a shiny new Meinl & Weston EEb Tuba - I was wondering if there are any rules preventing the use of this instrument under national rules in brass band contests? This instrument has 4 rotary valves inline and the bell faces left. Incidentally it really is a wonderful instrument to play and I wonder why I banged my head against a wall all these years on my old Sovereign. Admittedly a change of mouthpiece has also helped immeasurably - but not as much as the change of instrument.

I know a degree of furore surrounded the use of a couple of Miraphone BBbs at Foden OTS in the 80s (was it really that long ago?) and have heard a rumour that a rule was introduced banning such instruments.

Can anyone confirm or deny the truth of this rumour? I know that some continental bands use rotary, left facing instruments in the European - so it would seem odd and inconsistent if such a rule did exist. At the end of the day the player still needs to play the part and needs to blend with the rest of the band so I can see no justification for such a rule to exist.

Andy Wyatt

Coming Soon?

I just wanted to say you are doing a great job, but....

the "coming soon" items how long are we going to wait for them? I know that you are busy people, but still.... the review Courtois against Prestige has been promised to us for quite while. When will you do the "top ten Eb-Bass players of all time"? Keep up the good work!!

Martin Thorup
Thisted FDF Brass Band

A recent Volcano in Belgium

First of all, and I bet you hear this a LOT, great site.
I was browsing your article section, and read the article about the 10 'forgotten' test pieces.

Just for the record, I find it my brass band duty to inform you that Volcano was used as set piece in the Champions section for the Belgian nationals in 2000.
Midden-Brabant won the title (also the highest mark on Volcano), although I have to add that Willebroek didn't compete that year... BTW, I also think this is a great piece.

Pieter Vandenberghe, Belgium

Thanks John

I have just spent the past weekend at the reunion of the Guildhall Brass Band with John Clark,John Miller and Spencer Down. As the parent of a current student and being a brass player of a few years, I have heard many stories of John Clark. Was he really the magical man in these stories? After seeing him at work with the current band and then with the reunion band he certainly has something! My daughter hasn't stopped talking about him since he started the first rehearsal on Saturday morning.

I would just like to thank everybody involved in making the weekend happen especially Spencer who has worked hard to get all the 'old' gang back together.It was a special weekend which finished with a concert that was more than special for all of those lucky enough to attend.

D Williams, Parent of a fortunate student

And some extras for luck

Anyone seen the comments page?

I'm in Canning City brass band in Perth, just wondering if you know where I could find the adjudicators comments on Desford colliery playing Ray Steadman Allens-seascapes, I have a recording of them playing it in 1988, we are playing this piece for nationals this year.
I have found a few interpretational differences between what is written and what was played, I would like to know if they lost points, or if comments were made about these parts.

As I also realise this will not be as important to you as it is to me, if you could simply reply with a yes or no, that would be appreciated greatly.

Michael Jupp

Percussion two penneth!

Having read David Morgan's comments about percussion players, I'd like to throw in my two pennorth.

Having witnessed "silence" in percussion driven sections of test pieces generally, and seen bands resorting to tuba/sop/Flugel playing the tambourine in Bruce Fraser's Seafarers, I wonder something.

How many fourth section bands AREN'T coming because of the percussion solo/duet at the start of the last movement of Lydian Pictures? The piece itself is growing on me, (notwithstanding potential claims of larceny from Malvern Suite and My Fair Lady) but overall I don't think it encourages bands to attend. (Imagine.... the second movement ends and the conductor turns around and says, "Would the audience please count 7 bars rest for me?")

And as a side opinion on "cheating" Lydian Pictures poses other problems. I think some bands will have to cue Bb Bass pedals to an Eb bass, because not
all bands have Bb Basses with 4 valves. The pedals always seem to be in places where they can't be left out, lest the balance of a movement suffer, so such bands are left with little choice but to cue.

This kind of part swapping I have no objection to; playing 2nd trombone on a cross between a baritone and a Euph (in Tintagel), using a cloth cap for the Flugel solos (also in Tintagel), and (by far the most obvious but unpenalised) the Euph playing the ostinato Eb Bass line in the Sabbath Calm of Sinfonietta Pastorale I totally object to, especially as the bands concerned were all fully complemented. (You know who you are...)

William Elsom

Can we have an extra player?

Firstly I'd like to compliment you all on the website - I think it's fantastic!

I'm a fairly new Secretary at Pontypool Band, S Wales, I have a 'query' regarding the new rules regarding late registration for the Area Competition in Swansea on 15 March.

Now that the date has passed for 'normal' transfer/reg our last option would be to use the new system for late new registrations. Having the possibility of more than 1 extra player (quite an achievement for our Band!) I was
speaking to the registrar who informed me that the new rule only applies to 1 player per band?? I was somewhat disappointed to hear this and indeed for clarification spoke to Philip Morris for clarification. He seemed to
say that we would have to go along with the Registrar?? No-one else I have spoken to in the banding world seems to be aware of this and indeed it is not stated in the rules of how many players can use the late registration option.

Can you throw any light on this - has anyone else raised the question??

If the new rule was intended to help and encourage Bands to take part in the Area competition, surely restricting the rule to 1 player would defeat the
object - what a shame!

Carrie Hook
Secretary Pontypool Brass

Any good baritone solos?

I'm sure there must be many (surely!!!). Has anyone got any suggestions for either melodic or technical solos for the Baritone?

Andy Wood



What about "Song of Courage" for the Nationals?

Further to your comments regarding the rumoured choice of test-piece(s?), it occurs to me that, if a piece is needed that is, a) testing enough for even the best bands, yet, b) has not suffered the same degree of over-exposure that certain other "standards" have, one could do worse than set Eric Ball's SA masterpiece "Song of Courage" for the National Finals...........

Gareth J. Green
Musical Director
The Egham Band

Are we in the top 100?

A bit of a long shot, but, what's our chances of being in the top 100 bands? we've had a good run since 1999 with a slip up last year with 7th at the regionals. However, a 3rd at pontins (last year was the first year in the 1st section). We have beaten Cinderford, Lydmet Lydney even Flowers All bands above us (allegedly!!!) ! I know we are in a bit of a 'slow' area but our results are nothing to be sneezed at.

See them at our website www.cobbb.co.uk and goto the results section.

Mark Bodenham
City of Bristol Brass band


Self Promotion?

Is there ever going to be a chance of getting a mention for success when it happens for Poulton le Fylde Brass Band?

In the 2002 summary of the North West 2nd section, there isn't a mention of Poulton being promoted to the First section, admittedly the contest results for the '01 - ' 02 season were not stellar (1st at Fleetwood, 6th Preston, 4th Blackpool, 7th(?) Tameside.) but it would have been nice to have gained some recognition for our hard work over the past three years in the second section (count back at National qualifiers 4th, 2nd 4th, which put us top of the table by quite a long way), especially in a transitional year where we passed through the hands of three conductors!

Then at Preston Guildhall on Sunday we came 2nd, which gave our conductor Steve Tarry his first major placing in his comeback to conducting after all those years of success at Morecambe (as well as us our first place result for a little while), there isn't any comment about how this could be a sign that Poulton did well, just that Morecambe were hard done by, having heard a reasonable number (but not all!) of the bands on the day I would have placed them 4th, so I can't see 6th place being much of a kick in the teeth for them based on their performance. If comments are going to be made on sections without being able to report from live observations, wouldn't it be better to state "just the facts" like you did with the third section, rather than indulging in conjecture, which almost suggests that the writer felt Morecambe should be 1st in all the contests it enters and that any other result is down to unfair adjudication, which can be seen to undermine the hard work of the bands that did play better on the day.

I hope I've not come over as rude, but Poulton have been working very hard to become a better band, and it is irritating for us bands that are trying to improve (after all we were third section nationally less than 5 years ago!) when we don't get any recognition and support from the brass banding world outside our local area.
Ok if the result was just a flash in the pan I'll be left with some egg in my face, I'm going to be working hard to make sure that doesn't happen, but I think that there are too many bands doing well which find themselves being unmentioned, when other bands in their area are being 'praised' on purely historical evidence -

Morecambe have been the band to aim at for a while in the North West second section and they are a very good band, but hopefully Sundays result was the start of Poulton, Eagley, Old Silkstone and (if they don't get promoted out of the section) Wire making their bids to take that position from them. There are more good bands in the North West than just Morecambe, it just seems to me that no one seems to be going out of their way to let the rest of the banding world know that fact. I can only comment on the area I play in, but this is probably true around the country, basically it's a kick in the teeth to work hard over a long period of time to build as a band so that you can beat the local "big boys" and when you finally achieve it, no one seems to want to notice, comment, or do anything other than suggest that it was down to the more famous bands being treated unfairly by adjudicators and not that the other bands are trying to improve their game.

Please give us less well known bands some recognition when we do well, and don't just concentrate on giving excuses for the more well known names under performing.

James Glendinning BEng (Hons)
Solo Cornet, Poulton le Fylde Brass Band

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