Comments ~ 2004: December

Dunaskin Doon - Band of the Year; Lots about the 4BR selections for 2004; Robert Oughton remembered; Persecuted minorities; Callender Works and much, much more as we approach the end of the year.

Dunaskin Doon - Band of the Year (over the years)

It was with some interest and great satisfaction to see that three members of the same band were announced as members of the '4BR Band of the Year'. They were all of course at one time members of the Dunaskin Doon Silver Band.  Eleanor Ferguson, Sheona White and Leslie Howie spent their formative years with the band and the present band members wish them all the very best in their future careers.

Angus Cochrane
Chairman Dunaskin Doon Band  



4BR - Made for Christmas arguing!   
        
Congratulations 4BR and for your great work for the Christmas period. I have thoroughly enjoyed reading (and arguing) with friends over the choices you made for the 4BR Band of the Year and also the awards made through your many readers.

We think 4BR is without doubt the best thing that has happened to the banding world for many years, and once more this Christmas you showed why.

Peter King



Odd choices lads?

Some odd choices lads for you ‘4BR Band of the Year'. Why so many principal players for the positions below the top seats. David Thornton as bumper up to David Childs, and a cornet section that although quite brilliant hasn't one true back row player amongst them. A bit more thought is possibly needed for next year I think. It is supposed to be a ‘Band of the Year' not an American ‘All Star' Band.

Lyndon Powell

Thanks 4BR!

I would just like to thank all at 4barsrest for the following :

(a) a great web site with superb contest comments and alternative crit
(b) width and depth of articles from all aspects of the brass band movement
(c) persistence in pursuing solutions to the current decline in interest in the movement in general

I'm an optimist by nature, so I feel the movement will reverse the current slow decline.   However, I agree with 4BR this will not happen by itself but will require rejuvenated and radical thinking and approach by bands and organisers alike.  

My own disappointment in my area is our failure to bring a steady stream of young players from the local school bands.   As school days come to an end so does their interest in pursuing brass as an adult hobby.     I blame no-one else but ourselves for being too lazy to find a mechanism for introducing and involving the local band with the local schools.  My aim for 2005 will be to see this being established. Thanks again for a great web site,     

Jack Leitch



The Oughton Article - Thank You

The following reply was sent directly to Chris Helme after 4BR published his article on the amazing Oughton family.

Dear Chris

Yesterday, I made my daily trip to the 4Barsrest web site and saw your article on the Oughton family.  It was fabulous.  Thank you and well done.

My name is Alan Boyer and I started playing the cornet (the same day as Steve Sykes) with Mr. Oughton at CMFC Junior Band.  Everyone called him Mr. Oughton, even the "senior" bandsmen at Carlton Main and it's difficult for me even now to think of referring to him as Robert or Bobby.  That's the respect I still have for the man that spent countless hours teaching me how to play the cornet both privately and in a band environment.

I have many many happy memories of Mr. Oughton and a few sad ones too but like your article says, let's focus on the positives because many of us must take some responsibility for the negatives that affected his life.

I moved to Utah, USA in 1998 and in 2000, formed a brass band (Utah Premiere Brass).  They are mid championship section standard now and enjoying a unique opportunity that traces itself back to those early 1970's when Mr. Oughton gave me something to believe in, something that would carry me through the whole of my life.

I was one of the initial kids that made it into the "Senior Band" and had the honour to play along side cornet players like George Dunn, Phenwick Peacock, Irvie Vaines, Kevin Bolton and Alan Exley among many others.  Those opportunities have a very strong link with just about everything I've done since that time and I owe it primarily to Mr.Oughton who had a passion to start the "Junior Band".

Back in those early days, the junior band split up at Christmas to play in the local clubs (plenty of them in South Elmsall, South Kirkby and Upton) on Christmas Eve to raise money for the band funds.  My mother conducted a group and Mr. Oughton gave her a baton to use.  She was thrilled to be given the baton by such a highly respected man and she kept it. 

Many years later, my mum presented the baton to me and told me to look after it.  I kept it for several years and always recalled the many happy memories associated with Mr. Oughton.  A few months ago, my son James (now 17) became Drum Major of his high school marching band. 

This was his second year in the position and for the second year, they won every competition in the state of Utah - no mean feat!  As a reward, I invite the Drum Majors to rehearse Utah Premiere Brass and conduct a piece of music of their choice at a joint concert we do each year with the marching band.  This is James' graduating year and I decided that it was time to pass on the baton.  I did this with great feelings of emotion.  I told a full audience the story and expressed my appreciation to Mr. Oughton.  We dedicated the piece to him and James conducted it.  The piece was 'Buglers Holiday' and was chosen because I had the honor to perform it with Mr. Oughton on many occasions.  This time, my wife Anne (principal cornet) and James' scholl band director (John Jiller) played with me.  I can't begin to tell you how proud I was and watching James conduct took me back many many years.  He has long arms and reminded me so much of the master, Mr. Oughton.  My mother often tells me that I remind her of Mr. Oughton when I'm conducting and I can tell you that there can be no greater compliment paid to me than to hear her say that.

Well, I have many other memories but I wanted to share this one with you and once again thank you for your wonderful article.  Mr. Oughton's legacy lives on throughout the world and it is now firmly established in Utah. 

I'm al;so interested in acquiring some recordings of Mr. Oughton and I got the impression that you might have some available, perhaps transferred to CD?  Please let me know if you're able to help me acquire anything that has him playing, especially solos.  I'd love to have my son hear Mr. Oughton play rather than just listen to me talk about his genius playing of 'el Cumpanchero', 'Carnival of Venice', 'Faries of the Water', 'Cleopatra', and the Mendez stuff.

Chris, thank you for giving to me, a wonderful Christmas gift.  Keep up the great work and don't let us forget the likes of the Oughton's.

Have a wonderful Christmas. Happy Days

Alan Boyer
9844 North 6180 West
Highland
Utah

Leave off the persecuted minority! (trombone players that is)

I must protest at Graham Jones' accusations ("Be careful of trombones this Christmas") levelled at an already persecuted minority.
 
I myself have experimented with a semi-automatic (or "valve") trombone for carol playing this year and sustained only minor injuries not requiring an overnight hospital stay. Trombonists are already banned by custom and practice from using the "sticky valve" excuse, not to mention being presented with undecipherable music written in a secret code known only to a cabal of old-time march arrangers (sometimes referred to as "tenor clef")
 
It's difficult work, but it must be done. We should be left to get on with it.
 
Arthur Sampson
Trombonist
A.W.Parker Drybrook Band
 

Wake up Mr McFadyen!

Wake up James McFadyen, you may find some intellectual stimulation in much of the modern compositions - but ask your self where are the droves of appreciative audiences? You would do well to re-read, pause and consider the comments of  Tom Murray and others who know what challenges  and provides pleasure to players and audiences alike. Do I think all contemporary music is tripe? No. Do I think all the 'old school' is fabulous? No. However in a straight opinion poll amongst the players in our Championship section band there were very few pieces of 'modern music' worthy of any praise. The same players were able to list tens of challenging pieces which are full of beautiful melodies, interesting rhythms and harmonies whilst remaining entertaining to players and audiences alike.
 
Any change is not necessarily a change for the better. A change of style is not always an improvement and sometimes the transition to better things is a painful process - as are some of the 'modern composition's on the minds and ears of audiences (why are so many contest halls so short of an audience) and players. Perhaps the 'painful process' should be conducted in bandrooms away from the contest arena and save the 'fabulous new music' (assuming the transition from caterpillar to butterfly ever takes place) to try and coax back audiences driven for cover to escape some of the 'burnt offerings' of the 'interesting' modern composers? 
 
Gareth Jones

What about these influential people then?

After reading your article about the most influential people in banding I couldn't help but notice that there was no players mentioned.and the majority of people who were mentioned were similar in respect to the way that they have calved huge well paid careers out of a amateur organisation. So I had a little think and thought of a few alternative names for the list.Maybe other readers would be interested in doing the same.
  
Glynn Williams and Morgan Griffiths. Being the most incredibly consistent and charismatic Euph players of the last ten years inspiring a army of younger players to follow in there footsteps.
 
Roger Webster and Richard Marshall. Sheer class. A tribute to the amateur organisation that spawned them.
 
Peter Graham and Phillip Sparke. In an age where composers are blindly heading off like Lemmings down the Damian Hirst/Tracy Emmin road of composition and alienating 95% of listeners and players on the way,these two still endeavour to create Rembrandts not refuse
 
Chris Wormald and Lynda Nicholson  Since the banding movement is presently reaping the whirlwind of the ridicules cut in instrumental lesson funding some years ago, these two have got to be some of the biggest influences around inspiring a whole new generation of quality well taught players. 
 
Toby Hobson

A quick reply...

Reply to Tom Murray. Have a good dose of Soap Box No 3 Tom!
 
Phil Lawrence

Callenders Works - the library is found
 
Ref the article below.  The Haydock Band purchased the library of the Callendars band from BICC Callendars cables band in Prescot when this band closed down.  We have the complete library including the original library book ( which we still use).  When the library was bought there were a small number of documents attached to the library and we would be happy to make these available to help with your readers enquiry. 
 
Mark Quinn
Haydock Band Manager
 


Thanks from the good ol' US of A! 

Thank you so much for your coverage of the US Open, Mike Garasi and the Brass Band Of Central Florida. All of us affiliated are in awe of the feedback and comments.
 
The phones have been ring of the hook here in the states. We are now in a spot light...and under the microscope as well. I guess the pressure is on . But it has all been great for ALL Banding in America.
  
Kevin Cramer
Solo Horn
Treasurer
Contest Facilitator
Brass Band of Central Florida

The rich get richer - the answer

The reason the rich are rich is that the clever buggers realise that throwing their money at brass bands is a total waste of money. There is however a guilty streak in all rich people that charitable acts may get them through the pearly gates.

The brass band movement is dying on its feet and a lot of this is caused by the big silly sponsorships of the guilty over the last couple of decades. It makes me chuckle that you have decided to go full time. Covering the demise of the brass band movement could be your own special way to heaven.

The incestuous way we pretend there's nothing wrong is risible and it is now getting so sad it is positively comedic. To look at the 4barsrest site any outsider would think that the movement is thriving (apart from the editorials. These should be the headlines for Gods sake). We know different.

4barsrest is probably the one medium we have that can do anything about changing the perception. Please get off the fence and get political. We need a kick up the arse. Please start doing it. Merry Christmas and a hopefully happy new year of change.
 
Billy Brook
 

Taking up playing again - 40 years on

Your website article on the Australian Band is very impressive. I have been thinking of taking up playing again, I had my 4 beers rest, sorry 4barsrest. Actually, it probably is more than 4 years. But age should not come into it. The brain only ages, if we let it. Music is a great way of keeping the old cells in shape.
 
Could you send me the email address of John Thomas. I think I saw him or one of the musos in his car recently, but the phone number was too small to read in the back window. Kind regards and a Merry Christmas to all.
 
Dieter R. Fischer
Adelaide
 
PS.   My trumpet is now at least 40 years old from Selmer, Paris. Someone told me, the older they get the better they sound. Did he mean the players or the instrument? Either my Selmer needs trading in or I do.

Was there ever a second Arban?

Can you please let me know if there is a second 'Arban Collection'?
 
Norrie Earl

4BR Comment:
We don't think so Norrie. Old Arban wrote the famous tutor book around 1860 after he was appointed Professor of the Cornet at the Paris Conservatoire. It was adopted by them (including Meyerbeer, Auber and Bazin no less), and so we don' think there was a need for it to be either improved or updated. Arban himself died on the 8th April 1889. To tell you the truth, we have never come across anyone who can actually master every exercise in the whole lot!

4BR Voting

I voted for Potters Bar Town Band. Sarah Groarke is wonderful. I hope this is the way to vote. It was not clear on the page.

Terry Alderson

4BR Comment:
Sorry you couldn't vote in full Terry, but thousands did and followed our instructions. Potters Bar though had a wonderful year and well deserved the votes they got from people from all over the world.

4BR Awards - What about the best baritone section in the world? (tongue firmly in cheek)

Some very good choices made but I would have gone for Peter Roberts on Soprano, but it is only a spin of a coin. But I am suprised at your baritone section and no selection for two players who a few Championship Section Bands would dearly love to have but only play in the First Section.

Solo Baritone: Steve Draycott (Gresley Band)
2nd Baritone : Ian Perks
 
Only joking! But we are two very good players, and we have raised a number of eyebrows in the Midland Area since the partnership as been formed since May. Keep your ears open for us at the 2005 Midlands Area First Section.
 
Ian Perks
Gresley Old Band and fervent Liverpool supporter. 

What about Hathern then?

I think Hathern Band, from Leicestershire should be nominated in your lower section awards. A poor result at the 2003, in spite of Richard Evans at the helm, relegated and then win 5 contests in 2004 including Midland Area and the Finals against all those doubting their ability.

Stuart Morgan

4BR Comment
All you have to do Stuart is vote. Our nominations are only that and you do not have to vote for them. You do have a chocie of whoever you want.


Any information on Callenders Works Band?

Might any 4BR readers have memorabilia or actual memories of the famous Callender's Cableworks Bands of the 1920's and 30's, which they would be kindly willing to share with me?

I have composed a history document based on the available remaining local resources, plus helpful input from 4BR contributor, Chris Helme and Mrs Jill Walsh, the grand daughter of Harold Laycock. However, information about the Callender's "A" Band (of which my father was a member for some ten years) is thin on the ground, as are photos and documents for the period 1939 up to the time of the band's demise in 1960. Is there anyone out there who might be able to add anything?
 
Michael Evans.
Maidstone, Kent.

Hitting a nerve - again! 

Oh dear, oh dear. I've obviously hit a nerve and upset James McFadyen. It would appear that I have committed a hanging offence by having the temerity to criticise modern composers.
 
James, I don't claim that the complete answer to the problem is the modern composer. I was, as you say, expressing a personal opinion on some of the modern compositions, not all. Obviously we disagree to a point but I resent you describing my opinion as "a ramble of personal opinion with ignorance to the 20th Century development of music"
 
I was brought up perhaps in a different era from you. Music was recognisable as such. Some of the modern music is pleasant and melodic and I take my hat off to these composers. Some of it is utter rubbish.
 
I would not for a minute pretend to know anything about musical composition. All I am saying is that my ears tell me what is pleasant and melodic. Everyone's tastes differ and I fully understand that what I might find "listenable to" is perhaps to others not so good.
 
As a matter of interest I had the privilege of listening to a Championship Section Band rehearsing for the Nationals with " Prague". The conductor, a very well known, respected and experienced person in the Brass Band movement today, had a chat with some of us after the rehearsal. He expressed a somewhat similar opinion to mine's and others present regarding this test piece and some of the other modern compositions being commissioned. Is he also expressing "an uneducated and ignorant ramble"?
 
In your reply to my first comments you compared music to the world of art. I would suggest that in your reply there is a distinct touch of the "Emperor's New Clothes" syndrome.
 
You are a composer, James, but as such you should be prepared to accept criticism for what it is and just occasionally, perhaps listen to other peoples' opinions and not discard them with such arrogance. It would appear from your comments that others before me have expressed similar views to mine. Are we all wrong?
 
In conclusion, you seem to think that all I want to listen to is "a rendition of Twinkle Twinkle Little Star or something of similar blandness". Would you then describe Eric Ball's music in a similar vein? Or, what about Berlioz,Rossini etc? With reference to your last sentence, my friend, why don't you try listening instead of just hearing it. You might get a surprise! Or is that too much to hope for? 
 
Tom Murray

Falling Audiences, Gary Player & Daley Thompson! 
 
I couldn't agree more with Nick Walkley and his comments about brass band concerts and their falling audiences and yes, Alan (Morrison) is quite right, it was the great South African golfer Gary Player who, when interviewed after winning consecutive "majors" thirty years ago, reduced an American TV anchorman to a quivering wreck when asked if he felt "lucky" by replying "Not really, it's very strange, the harder I practise, the luckier I get." This has been one of my constant motivational sayings at Smithills for 14 years now together with the great decathlete Daley Thompson quote regarding Christmas Day. Mr Thompson was once asked why he trained twice on Christmas Day to which he replied "Because I know all of my rivals will be training once." Enough said.
 
Returning to falling audiences, we are in the happy position at both Smithills and Hoover of playing to packed halls constantly. I cannot recall a concert that was not sold out in advance of us playing this year (Smithills played to 1,000 people last Friday, December 10th that was sold out on July 8th!). The first year I was at the helm of Hoover (2002) that was certainly not the case, but word of mouth is the most powerful tool and everywhere the band has played for a second (and third) time, we have enjoyed packed halls, great atmospheres and top nights with plenty of audience involvement (if not very dated audience "participation"). As for Smithills, yes, of course any school or youth band enjoys a guaranteed parental element in its audience numbers but not when a band gives as many concerts as Smithills and I do (over forty each year).

Although we change the programme and soloists for every concert we give, there simply isn't time to learn two new marches, a new "finisher" and so on for every other weekend so we, like all adult bands, rely as much on the public as we do on parents. Relatives can only come and watch so many times (although like all youth bands we do have some fanatical parents thankfully who take care of so much behind the scenes work such as the trade stand, CD sales and so on).
 
Having seen many of the very top bands in concert over the past thirty five years, I have enjoyed just as many as I have suffered those who have simply been happy to turn up and go through the motions, often sprinkled with a handful of deps, and just trade on their historic name and take the fee. The energy is often non-existent, the programme is as dated as if the concert was taking place in 1960 or 1970 and as that generation of public has grown older and less in numbers, clearly audience numbers will dwindle in direct correlation.
 
Nick is right, marketing, programming, a sense of fun and enjoyment from everyone on stage are all vital ingredients, yes (from the MD around to bottom 3rd Cornet, 2nd Baritone, 3rd Percussion or whoever) but if bands want to enjoy and play to packed audiences every concert as we seem apparently fortunate to have enjoyed with both Smithills and Hoover for some considerable time now, audiences need considering, younger age groups need attracting (and retaining) and people need to go home at the end of a concert excited and ready to book for next year, feeling uplifted, happy, entertained and wanting to tell their friends what a brilliant night they had. Word gets around very quickly - positively and the reverse!
 
Congratulations to 4BR on the full time news too – a massive step and a huge achievement for all concerned. Bravo!
 
Chris Wormald
(MD Smithills School Senior Brass Band & The Hoover Bolton Band; golf handicap of 12 and hopefully single fugures before I'm 50!)

Be careful of trombones this Christmas!

Applying the same logic that brought us "Guns don't kill people, people do" we conclude: Trombones don't play out of tune, trombone players do.  Come to think of it, there are other similarities as well.  In the wrong hands, a trombone can be a dangerous weapon

Each year thousands are people are killed, maimed or annoyed by trombones. Trombones should be stored out of reach of children. There is currently legislation pending in Congress to restrict the sale of trombones and equip them with child-safety devices.  The powerful trombone lobby is, of course, opposed to this.  There have been various proposals for requiring a so called "trigger lock."

Efforts to enact a mandatory 10 day waiting period to purchase a trombone have been heretofore been thwarted.  This would allow a period of time for law enforcement to cross check the purchaser's name against a national list of registered trombone offenders.

Law enforcement officials are particularly alarmed over the increase in crimes involving use of the "sawed-off" trombone or "sackbut." One response is the increased sentencing for those using a trombone while committing a crime (use a trombone - go to jail).  This has been especially effective when used in conjunction with the new "Three sharps, you're out" laws passed in many states.

The automatic and semi-automatic models are much more dangerous than the traditional single note trombone.  The awesome destructive power of the double trigger bass trombone could never have been imagined by the founding fathers when they granted us the right to keep and arm bears.

Remember:  When trombones are outlawed, only outlaws will play "I'm Gettin' Sentimental Over You".
 
Graham Jones

4BR Comment:
You have been warned!

Players Wanted - Players Available! 

There is small article from  Andrew Wainwright about wanting some players for a concert in Barnet.  Can you forward this on to him.  I'm sure if he needs a few players we may be able to help.
 
Chris Kirk 
Welwyn Garden City Band 
www.wgcband.com

4BR Comment:
We are sure he will be in touch.

Mr Garasi of the USA - the man behind the smile

Don't let the smile fool you. Mr. Garasi is extremely demanding. Not in a negative light, but in the  passion that is visible. He is completely engaged with the Brass Band of Central Florida not just in terms of requiring technique, balance, blend and intonation, but in the MUSIC .
 
Mike is completely engulfed in the Brass Band genre. He will tell that he is absolutely  addicted. He is always seeking, listening and studying whatever he can get into  his hands or on his CD/DVD player. He is always open to feedback and criticism. Not a trait that many conductors share in any medium.
 
Who is Mike Garasi you might ask? Let me  introduce you:
 
Michael J. Garasi, Conductor
In addition to his position as Musical Director for the Brass Band of Central Florida, Mr. Garasi also serves as Music Director of the Florida Symphony Youth Orchestra's Philharmonia Orchestra. He also continues in his second season as Music Director of the Treasure Coast Symphony. Mr. Garasi has also acted as a guest conductor and clinician for numerous high school/middle school bands and orchestras throughout the state of Florida.

While conductor of the Brass Band of Central Florida, Mr. Garasi has conducted such world class solo performers as Philip Smith, Principal Trumpet of the New York Philharmonic, and Euphonium soloists Steven Mead, and Bob and David Childs.

Mr. Garasi attended the Eastman School of Music and the Cleveland Institute of Music receiving his Bachelor and Master Degrees in Music Performance in Percussion. He has appeared as a percussionist with the orchestras of Indianapolis, Youngstown, Canton, Chautauqua, Florida Philharmonic, and the New World Symphony in Miami.

He has continued his conducting studies by attending workshops and seminars led by Pierre Boulez at Carnegie Hall, Dr. Fredrick Fennell at the University of North Carolina Chapel Hill, Dr. Roby George and Allan McMurray at the Florida International University, Michael Jinbo at the Pierre Monteux School for Conductors in Hancock, Maine, and privately with Joseph Kreines. Not bad for a drummer! 
 
Kevin Cramer 
Tampa, FL USA

75 year old thoughts

Nick Walkley is in a privileged position; a fine musician who also sees the best of musical presentations at the place of his employment, Bridgewater Hall, Manchester.  Therefore, he is in a position to make sensible appraisals of pros and cons in performance. Perhaps we should take note of the points he raises in his recent comments. I am 75 years of age, but have had a varied and rich musical life. I have played in championship section bands, conducted choirs, and now still sing in a premier male voice choir. During this time, I have had the privilege of working with and under the very best of conductors and trainers, both brass and vocal, domestic and international, and latterly, with BBC producers with considerable experience. Over a period of many years, I have had the opportunity to absorb and put into practice many of the finer points of presentation and performance, augmenting them with my professional experience as a salesman of capital equipment in the printing industry, where marketing is to a high standard.
 
Not too long ago, I attended as delegate for my choir, the National Association of Choirs' annual conference.  During discussions on falling attendances at choir concerts, I became aware of the amazing lack of information available to choirs (for choirs, read bands?) regarding presentation and marketing.  As a result, I was moved to prepare a seminar on these issues entitled "Presentation and Performance" and am currently awaiting confirmation to present the paper/seminar at a forthcoming conference.
 
Subjects covered include :-  Pre-publicity/Marketing; Rehearsing the Compere/MC to enhance the presentation; Stage protocol: Entering and leaving the stage: Links and Segues; Pacing; Lighting / Colour / Attire / Mood; Building and shaping a programme; Encores and reprises. 
 
All of these subjects are worthy of consideration by any ensemble wanting to attract an enthusiastic audience who will attend again and again.  These are the bare bones of creating a successful concert, be it choir or band, and in my experience are rarely discussed, as "it's the MD who sorts that out!!"   Some MD's are very capable, others can detract.
 
Remember - people who attend concerts these days may subconsciously compare what they see and hear with standards presented regularly on television, and expect the same at local level. Nick is right in his thinking, any band needs to do more than just play well to 'put bums on seats'.   The days of walking on stage, playing a few items, then walking off, are over !!!

Tom Murray also has something to say about 'putting bums on seats' from a different aspect. As a player / singer / performer in any kind of musical production to be performed in public, the challenge for that person is to perform to the very best of their ability. The more challenging the piece to be performed, the greater sense of achievement for the performer when it comes off.  The choir I sing with competes regularly at Llangollen International Eisteddfod and as part of their contesting programme recently sang an 'avante garde' piece which the choir had thoroughly enjoyed rehearsing. We sang it well, and the adjudicators duly gave us much praise. We came second. However, having sung it in that competition, the response to our performance by the 1,500 or so in the audience who heard it was abysmal - in fact, embarrassingly pathetic. We agreed that the enjoyment and challenge of rehearsing and subsequently performing a difficult piece well, did not necessarily guarantee public acclaim or popularity.  Tom Murray, I agree with your 'bums on seats' philosophy.
 
Stan C Wood
Northwich.

Well done 4BR!

Congratulations to everyone at 4barsrest.  It's been great to see the website developing over the years and it's good to see that you are now 'taking the plunge' and going full time.
 
The British Federation of Brass Bands wishes you every success for the future and looks forward to working in 'partnership' with you, helping to develop ideas and projects connected with brass bands.
 
A very Happy Christmas to you all.
 
Robert Morgan
on behalf of The British Federation of Brass Bands

Where have all the crowds gone?

I would just like to add my thoughts to your editorial comment on 'Where have all the crowds gone?', and to say yes you're absolutely right. Where are they all going?

As an employee of Bridgewater Hall in Manchester I get to see a fair few concerts, and by comparison Brass Band concerts are generally speaking some of the dullest, disorganised, badly marketed productions that are available, so it is no wonder that audience numbers are falling. Why is it that some of the best bands around only play to half filled 400 seat auditoriums on Saturday nights, when some other fairly average ensembles pull in around 1500 people on a midweek night? I believe the answer is in the marketing and programming of the night, and making the music more important than the performer (ie advertising the music played, above the band that is playing it. People are more likely to attend a concert if they know that they'll enjoy the music). If more bands paid more attention to the product that they were trying to sell (other than themselves, and contests mean nothing to anyone outside banding) then the movement would benefit as a whole, and perhaps more people would think about coming to listen to a brass band.

My comments don't apply to all bands, as I know of examples of a few that are doing rather well in this respect, despite often not being the best band out there. The Flowers band regularly play to sell out audiences with themed music nights with extra visuals (past performances have included dancers, fireworks, spectacular lighting etc) at the Bacon Theatre in Cheltenham, which I believe is enabling them to become financially self sufficient. It doesn't matter to an audience that the band isn't the greatest in the world (although they are still of a very high standard), what matters to most is that whole evenings entertainment is above all, entertaining. That is something, which a lot of other bands seem to forget, and if all we are doing is playing music on a stage, then the audience might as well sit and relax in their front room with a CD.

Thank you for addressing this issue in a way no one else has yet done, perhaps the team at 4BR could do something about promoting the message further, before there is no one left to listen to us but ourselves.

Nick Walkley

Player not Nicklaus I believe?
                                                             
I believe it was actually Gary Player who said the immortal phrase "the more I practise, the luckier I get" after hitting yet another brilliant shot, from a bunker I think?

A (nearly good) golfer.

Allan Morrison.

4BR Comment:
Quite right! Although perhaps the best golfing quote came from the National Lampoon magazine in 1979: "Golf is not so much a sport as an insult to lawns". Spot on.

US Open - In should know cos' I was there!

Having read Mr Williams comments I can only suggest that whilst he may have been there, his opinion of the arrangements of the American bands what somewhat unfair. What I found from sitting in the auditorium was that the arrangements or compositions were certainly not second class as he seems to think, but the bands in question were struggling to perform them. Even the Avant Garde offering from BB of Illinois could not be said to be of an inferior quality, but the US open wasn't the right place to give it a world premiere.

The next point is whether Mr W considered the Brass Band of Central Florida's new arrangements were sub standard. I must admit that although BB of CF won the best new arrangement for Bolero, it was the 2nd Trombone Chris Sharp, who made a very faithful arrangement of Birdland that stole the show. I think if Joseph Zawinul had been present at Arlington Heights he would have had to do a double take to make sure it wasn't the Maynard Ferguson Big Band on stage.

Does Mr Williams also believe that an information service such as 4BR should be disparaging towards bands on the basis that they may not have played to the standard expected. The effect that this would have on A) 4BR and B)

Brass banding in America would have a negative impact. If this is the case then Mr Williams may well want to go to the NABBA contest only, so that he doesn't have to get offended by the lack of ability from bands that have travelled, up to 1000 miles inside the states, and 3900 miles from the UK, to take part in what I hope will grow into an International contest to rival the British Open.

If there is anything to gain from this, I would suggest that Mr W speaks to Clark Niermeyer with any suggestions on how to improve this contest, otherwise, if it ain't broke, don't fix it.

Thomas Elsom
Attendee at St Vitas High School 6/11/04 or for our American friends 11/6/04

PS It was Renaldo Nehemiah, but what some transliteration between friends.

Fancy a good blow on a bit of Karl Jenkins?

I am a music student at Middlesex University and, along with my friend Duncan Gibbs, am transcribing 'The Armed Man, A Mass for Peace' by Karl Jenkins for brass band, organ and choir, as part of our proposition module. The piece will be performed in full at St John the Baptist Church, Barnet, on the evening of Saturday 9th April. We have been in touch with Karl Jenkins' manager, and are delighted that he has provisionally agreed to come to the concert and be interviewed beforehand.

We are in the process of getting together a composite contesting-sized band and a choir for the event, and although I have in mind who I want on every part (for the band), if anyone is interested in playing in the band I would be pleased to audition them. Please note, however, that because I am a university student, I will be unable to pay expenses to anyone in the band. There will be one rehearsal on a night in the week before the concert, and a dress rehearsal from around midday on the day of the concert.

 Andrew Wainwright

Oh no, not another dig at modern music!

Tom Murray's comments are disturbing to me, blaming the whole ‘bums on seats' thing on the commissioned modern music. Oh my god, no. What is happening here!
 
Tom, I don't think a single person's opinion can claim to be the route of the problem, especially not without a years worth of recorded research carried out by yourself and even then why would composers ditch the theory of writing what they truly believe in and switch to writing music so bands can feel better about playing it, and even I'm sure there would be complaints about music being too old-fashioned and not moving forward. Do you see what kind of a can of worms you have opened here?
 
You say the brass band world should bite the bullet by my vision of that is somewhat different to yours. I believe younger up and coming composers should get a chance to write for the nationals, and to be honest, if the composer wishes to use modern techniques then that is his or her wish to do so, this is the privilege we have as composers, we create worlds, sounds capes and emotions, all you seem to want is a rendition of Twinkle, Twinkle Little Star or something of similar blandness.
 
See, the way I see it, the composers should have the control, simply because every person has their own opinion and favourite style of music, if we open it up to the public, we'll just find out there's no pleasing everyone and again, I must stress the fact that I wrote in a previous comment on here – Composers write for themselves, we write what we want to convey and what we feel passionate about.
 
There is a more aggressive answer, which would go something like: if you can do better, go ahead. A bit argumentative but true nonetheless.
 
The techniques and developments in 20 th century notation, style and form make this an exciting time for music and the problem now is we are in a state of limbo. We've had modernism and post-modernism, where are we now? .............Telling the composer what they should write?
 
In my opinion, I believe the brass band world's energies should be concentrated on harnessing young composing talent, not only that, but to bring an eclectic range of style to the Brass Band idiom. Your suggestion Tom is an uneducated ramble of a personal opinion with ignorance to 20 th century developments in music. If you're going to attack high-profile composers and their music, let's do it with perspective and with an educated judgement.
 
I'm not saying I think all Brass Band music must be full on artistic all the time; all I'm displaying is openness to whatever the composer presents us with. If we personally dislike it, fair enough, composers are not super hero's, all wee hope for is displaying our emotions and feelings in a work of art, it is no different to Van Gogh or even John Keats – the pursuit of personal expression is what art is all about and bands would probably gain great satisfaction to try and bring out the love and beauty within all the music set before them instead of trying to stifle creativity where they have not taken part creating the musical work.
 
The style of the work is merely the clothing for what is underneath, the heart and soul in the music lies a bit deeper than the dots and lines that make up a composition. Try listening to music instead of just hearing it.
 
James McFadyen
Composer

Help needed on the Organ

I'm seeking some information about the piece " Finale From Organ Symphony No. 3" recorded by Black Dyke on their CD, Cathedral Brass.

I've had a hard time trying to find out whether this arrangement by Cosens has been published or not. I'm a Solo Cornet player in a 1st Section Brass Band in Norway, and we have planned to use this piece in a concert in the middle of March, 2005. My efforts up to this point have produced no results, and I'm contacting you hoping that someone "out there" have some information that could help me in my "quest".

Looking forward to hear from anyone!
 
Eivind Roennevik

Bums on seats

With regard to your article bemoaning the lack of "bums on seats" I would suggest that a very large part of the problem is the modern rubbish that is being commissioned for contests, be they for the Nationals or Regionals. Certainly the modern test pieces are difficult and require an extraordinary level of skill to be able to do them justice.
 
I firmly believe that the general feeling in the Brass Band movement today is to stop all this contemporary junk that is being churned out in the name of music. It is not wanted and the quicker the powers that be realise this and start using some of the more traditional test pieces the quicker they might get people to come and listen.
 
I am reluctant to single out any composer but anyone who heard "Prague" must understand what I mean. In my humble opinion it was the biggest piece of nonsense I have heard for a long, long time.
 
Please, please give us music in future and not an indescribable exercise in technicalities. We want to know what we are listening to. It is not difficult to work out what the problem is. Is the Brass Band movement prepared to bite the bullet and do something about it? I hope so, because if they continue to go down the present road they will lose people in droves. 
 
Tom Murray

Scottish Open/Closed

As a long time supporter of Brass Banding in general and Scottish banding in particular, I have to admit that I was absent from the recent Scottish Open in Glasgow.
 
The first reason, and I suspect one I have in common with many of my fellow Salvationists who would normally attend such an event, was the start time of 9.30 on a Sunday morning. This clashed with the start time of my, and probably many other, Sunday morning services. This gave the option of not going at all, or to miss half of the competing bands. This start time would also have proved difficult for anyone travelling from the north of Scotland or the borders.
 
In the light of what I have written already, the prospect of going to listen to half of the bands playing a test piece I have heard more often that I care remember was not an attractive one. I appreciate much could be written about the choice of test piece, I have played Dances and Arias and enjoyed doing so, however I personally would have preferred a more recent work, and dare I say it, a work commissioned for the competition.
 
I am confident that the organisers would be aware that many current and former Salvationists play in contesting bands and regularly support such contests. That being the case why chose a date and time which will preclude this (sizeable?) proportion of an audience from attending the whole event? Could this be considered in future? I am aware that travel and hall availability are major factors, which are taken into consideration, but if some form of accommodation could be reached I'm sure the bands on stage would welcome any increase in attendance.
 
Colin McFarlane 

Getting the facts right

Mr Ernest Lomas needs to do a bit more research before he registers his comments. If he had checked properly, he would have discovered that it is against the rules of the National Bands League of Australia to use a player at a contest that has not been in the country for at least 3 months. Any attempts to get around this rule have resulted in bands being disqualified from the contest. You may be referring to New Zealand and when it does happen over there it is by no means a holiday.
 
Please in future, when ranting about subjects such as this, do your homework. Also accept that it is a fact that most bands at one time or another will need to use a dep at a contest.
 
Mark Fitzpatrick
Hawthorn Band
Australia

Keeping it simple 

I have read Roger Webster's articles several times now and have come to the conclusion that in regard to warm up, what he is really saying is -  "Plenty of gentle, long, low notes before we start the acrobatics". Roger, I'm glad you said in article 2 - "Keep it simple"! Maybe you should have written these words first.

Hugh Brennan

4BR Full time - and carolling too!

What good news in a week that saw the first band carolling in our supermarket and the rush for the areas starting! - 4BR full time!

I am not paid or on a retainer from them (although open to offers) but I am sure am one of thousands of people regularly logging on straight away to find out what's what in banding. I am involved reasonably well in the scene, but enjoy 4BR more than the old fashioned way of writing in other publications and also like being able to have a say about current affairs.

Long may it continue - don't get caught in the trap like others who change from "hobby status" to going full-time pro! - stay alert and fresh. Also why not start a questions and help needed page - I could be the first with a request - Where can I get hold of the band arrangement from the 2003 euro concert of Gabriel's Oboe for EEb Bass as played by Oysten? Silly money waiting.
 
Gordon Eddison

Full time fans!!

Great to see the good news. Those of us at Gresley Band will be for sure well tuned in for the latest news from the number one on line Brass Band Website.

Ian Perks
Gresley Band

What criteria then?

To: John Williams (not the composer) - With reference to your remarks about the standard of arrangments at the recent US Open Brass Band Championships.

What are the criteria you, an admitted non-composer, used to deem the bands' own arrangements at the US Open "second class"?

Ken Norman
(one of the arrangers)

Ireland set for France - and in need of some help

The Ireland Colliery Chesterfield Band have a concert tour to Troyes in France lined up for October next year.  We need as much information as we can on the history of both the Ireland Colliery and Chesterfield bands, especially any old photographs.  Two representatives from the band are being invited to Troyes in January to help promote the tour, and we need to take as much information as possible.  So if anybody can help, please contact Mel Frost on 07929524668 or e-mail melfrost58@hotmail.com  Anyone sending photos will get them returned.

Mel Frost

A Big Thank You - to everyone!!!

Hi there.    Just a few words to say a big thank you to all who contributed to make last nights concert such a magnificent occasion. My father was to say the least, stunned when he arrived at 7.00 to drop off some flowers to find out it was all for him. The Travelsphere Band and David Stowell was the main outfit for the evening and Trev said they were in Flicking good nick , thanks lads. There were many old friends of dads there including John Clough , Alan Exley, Maxie Thornton, and a very old friend in Geoff Witham.

There were presentations galore including one from the Dyke ,The Midlands Area and many other famous bands. The original idea for the evening was Maggie Betts from Raunds Temperance Band , Maggie, the Groom family thank you, and wishes you a peaceful Christmas. Last but not least thanks to all of you out there in the Band World who could not make it last night for sending Trev all of those wonderful letters and messages, and Alan if you read this I think the monies left after paying for the hire of the hall and stuff stand a pretty good chance of going to that famous charity for Bewildered, and beaten Soprano Players.
 
Many thanks to all in the Brass Band family.

Alison Groom and all at Trevors Family

 
Besses put the record straight

As the contest secretary of the Besses o' th' Barn Band I would very much like to respond to the letter of Ernest Lomas and his allegations of cheating made against the band. The rules of the Scottish Open contest clearly state that a band may borrow 2 players from another band without contravening any rules or regulations - this is therefore not cheating by any stretch of the imagination.

I would dearly love to know which band Mr Lomas is associated with as they have obviously never had to borrow players for a contest, which in today's brass band society must be something of a first. Either that or the only contest his band take part in is the areas or the nationals. If you have to get deps in (which unfortunately due to players walking out at short notice, we had to) then it is generally accepted that you get the best in. Bringing a dep in was not our first choice - because of commitments with their own bands, neither could make every rehearsal that the band had set, leaving missing parts at a time when there shouldn't really be missing parts.

However I would like to take this opportunity to thank both Alex and David on behalf of the band - it was a privilege to work with them. They played fantastically, of course, but their attitudes off stage, in rehearsals and at other times, made them a pleasure to work with. They did not by any stretch of the imagination rip us off, they were certainly not given an all- expenses paid holiday, and barely made enough to cover their expenses. Alex was actually a member of the band until not so long ago, working his way through the cornet rank from third to principal, so was helping us out more as a friend than a mercenary. I would recommend either of them to any band who requires a dep!

With regard to the comments about the British Brass Band Registry, I would like to offer sincere thanks to Colin Johnson and his team for the help they gave me in the run up to the contest. I am relatively inexperienced when it comes to the registry side of things, but they helped me at every turn (even on a Saturday morning), going so far as to post things back to us by registered post. I personally think that the Registry do a sterling job, all things considered - they're like the librarians of the band world, no-one appreciates what they do until there's no-one there to do it.

I choose not to reply to Mr Lomas' demand that all 'guest' playing should be banned, not because I do not have an opinion (which like Mr Lomas I am entitled to) but because I think it would be better answered by someone in authority at the Registry or Executive Council.

Marrianne Cliff
Contest Secretary
Besses o' th' Barn Band

Not quite Senior Service

Thanks for your comments on my early entry in the band's performance in your retrospective report of the Scottish Open Championships. It's strange that none of the three adjudicators mentioned it in their remarks, or even yourselves in your live comments.

I blame the fact that during my bars' rests, I was thinking about what you guys were going to say about our performance. Had you been called 6barsrest, I might have come in the right place! Anyway, I would put it down to a senior moment; after all, I'm only two years away from my first SAGA
holiday.

Congratulations to Hepworth on an excellent performance, and keep up the good work at 4BR.

Gordon Jenkins
(Soprano - Scottish Co-op)

4BR Comment:
Isn't nice to hear that even such a top class player as Gordon (who is a former British Open Best Instrumentalist) is able to keep things in just the right perspective – with tongue firmly in the cheek.

Keep a look out for the young composing talent

A new composer's competition has been announced by the Northern Regional Brass Band Trust.
I am glad someone, NRBBT, has taken up my idea expressed in my NZ interview last year on looking locally for budding composers. Let us hope that the South East can do the same, and also do a bit better re: prize money!
 
Phil Lawrence
Elms Studios/Publishing

What Wales needs...

Further to the reply of Val Hughes on the 4BR comments page, I take your point concerning North Wales Bands and in hindsight didn't go far enough to confirm what I think should happen.
 
I should have suggested that the four competitions be held around the country for representation for European qualification. I would suggest venues in:
 
South Wales - Swansea Competition (The Area) West Wales - Aberystwyth / Burry Port / Ammanford North Wales - Rhyl / Wrexham / Bangor  and Mid Wales - Newtown / Builth Wells ( if there's a venue)
 
It's was never my intention to leave out bands from North Wales and as you have confirmed North Wales bands have had their fair share of qualification for the National Finals and may it continue.
 
The point I made did refer to how South Wales used to declare Champion Band of Wales, we've all moved on. However a further change should be implemented for the good of Welsh Banding and yes this includes bands people North of Brecon.  
 
Tim Malpas
Personal View.
 

And what Europe needs...

The decision is now up to the bands. As a matter of fact they will have the choice between the Besson-controlled European contest series and an authentic European Championship organized by the democratically constituted EBBA. By making the EBBA successful they can prove Besson wrong.

Rob Köller
Luxembourg

A Treorchy Geriatric

I had to miss the Treorchy contest this year because I was out of the country and unable to play as usual. On my return I logged onto 4BR to get back up to speed with the latest news. I was truly horrified to see such public views being expressed concerning the Treorchy result in such a personal manner. Comment on the result by all means if you must but don't have a pop at individual bands just because they gained (in some opinions) victory over more "fancied" bands. Having played for less "fancied" bands at times, the prospect of beating the big names on the day was what motivated me and drove me into practice mode. I am sure this is the same for a lot of players, especially the younger more ambitious ones out there. This is the very nourishment that the banding world thrives on and why we have such a high standard of playing in what is essentially an amateur environment.

So let's not knock bands for beating more fancied runners but let the likes of Parc and Dare pick themselves up from the canvas with renewed determination for the next contest. There is nothing better than the underdog having his day and if people think of you as lucky – so what! You create your own luck by giving the adjudicator what he wants to hear whether other bands like it or not. The result is never going to change so after a few moans and groans lets all get our noses back to the grindstone and not belittle the achievements of others.

Jack Nicklaus once said – "the more I practice the luckier I get".

From one who is truly grateful for the "lucky days" and who has accepted his share with heartfelt thanks.

Rob Burnett
(Parc and Dares' very own Geriatric Euph In Residence).
 

Blame it on the Concert Promoters?

I write with further reference to my letter of a few months back, when Brighouse & Rastrick Band gave a concert of serious music for brass band. We have now had a similar venture given recently with the famous Grimethorpe Band, under the scholarly, authoritive direction of Elgar Howarth. In this event, I think it was perhaps in some way, due to the fault of the promoters. If my memory serves me correctly, the promoters were going on about the band's association with the "Brassed Off" film, which would immediately mislead the concertgoers in thinking it would be of a light natured evening. Needless to say, the composers featured were Purcell, Prof. Philip Wilby and Verdi et al. A few people walked out of the concert but the majority stayed behind. Could concert promoters be a bit more careful in advertising concerts in the future, perhaps then, behaviour as such as this would be greatly reduced?

Tim Wheeler
Patcham Silver

Ethical banding?

Two top soloist are helping Besses o' the Barn bid for the Scottish Championships, but is this ethical way to win a contest and if they do, will that result not be meaningless. (they didn't and it didn't - Editor)

In days of yore long before the fathers of the present crop of professional principles in the Brass Band world were even born, Band Contests were suffering from good players, playing openly for several bands at one contest, making the contest a complete farce. The Brass Band Registry was born to regulate the contest scene and in general this system worked well for many years. In those days travel was difficult within UK and the foreign contest were not on the agenda, now we can hop on a plane and be on the other side of the world within a couple of days.

It has not taken the new Brass Band stars long to learn they can play at a Foreign contest, with a foreign band, whilst still being registered with their own English band, they are given an all expense paid holiday to Australia, Europe etc. This makes a complete nonsense of the Brass Band Registry and certainly brings the integrity of contesting into disrepute.

We are now condoning this practice between England and Scotland, so where will it end. When will the Brass Band Registry organisation show some moral fibre and stamp out this insidious practice of "Guest" playing at contests whilst being registered to another band which in plain English is bloody cheating.

Ernest Lomas.

Pont were not the first

In reply to your recent News Item posted on November 24th titled 'Pont on the box' where you state "It's only the second brass band and the first South Wales band to appear on this long running programme............". I would just like to point out that this comment is way off the mark. In recent years I can clearly remember Deiniolen, Trefor, Beaumaris and Llanrug Bands appearing on the programme - and that's just those I can remember! Pontarddulais may well be the first South Wales band to appear on the show though!

Dylan Williams
Deiniolen

And what about North Waels then?

Just a quick response to Tim Malpas' comments about it being time to reintroduce the four contest system in Wales to choose the Welsh representative at the Europeans.  WHAT ABOUT NORTH WALES BANDS??  Other readers may not be aware, but the previous four-contest system was centred in South Wales and the cost for North Wales Bands to attend these contests would be prohibitive.  Of course, this may well suit South Wales bands if you look at the records and see the success of the North Wales bands at the regional in Swansea over recent years and their ratio of qualifications for the national finals!  However, I am confident that the Welsh Association understands its responsibility to be fair and equitable in representing bands across the whole of Wales.  Remember, Wales doesn't start south of the Brecon Beacons!

Val Hughes

How do do get to Scotland like? Just askin...

A question for the organisers of the Scottish Open. How does a band qualify for the Scottish Open?
Is it simply invitation only? Presumably, all the top bands are asked?

Just askin, like...

Bari Thomas

4BR Comment:
We understand the top six bands from the Scottish Regional Championships are automatically invited, plus a selection of bands from the rest of the country and abroad to make the nubers up to 16.

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