Comments ~ 2005: October

The first responses from the London weekend including booing, less than entertaining Dyke, and no thanks to 4BR; Swiss roles and lots of fun with plastic as we head into October.

Swiss Roles and one off bands

One can perfectly agree with your comments and one can indeed say there is nothing wrong indeed in allowing such a band as Wallberg Band to participate at the contest.

I always voted for such an approach and if the well-established bands are not able to compete and win against such project bands, their workstream is not sufficient and should be overlooked. Furthermore, if 5 foreign players should make such a difference, Swiss banding would be on a low level (and it is not, believe me, I played with English championship section bands and Swiss championship section bands as well, I am well able to compare).

There is one negative point however which has to be named: Wallberg band was not the only band that has been recruited this way (you call them "one-off bands"). Therefore they do not bring many supporters and listeners as they mainly play for the good fun of it and for themselves (which is not a bad thing per se). Nevertheless, as we can see in football and elsewhere, it is mainly the name and the tradition behind a club that attracts the people to watch the game. What would you say to a National where many bands are "one-off bands" which you don't know?!

Stephan Weibel
Master of Law (Bern)

Ferodo lost and found

I read Marjorie Mourne's letter in which she mentioned that she is looking for recordings by the Ferodo Works Band.

If she would care to contact me either by email on KEITH@quinnk37.freeserve.co.uk or via my memorabilia website www.euph9.freeserve.co.uk/quinn.htm  I have some recordings that she may be interested in.

Keith Quinn

And some more help on the Ferodo case

In response to Marjorie Mourne's request for recordings of Ferodo Works Band, I have an LP dating from around 1956.  

The quality isn't great - apparently it was recorded from a "Brass Band Parade" broadcast, complete with clipped 1950's announcer!  I've cleaned it up a bit and tranfered it to CD, and you'd be welcome to a copy if it is of interest.

You don't mention your stepfather's name but he may have known my father (Ernie Wedgwood) who was the soprano player at the time.

Feel free to contact me at owedgwood@yahoo.com

Owen Wedgwood

Plastic is fun - but beware the limitations

In response to the recommendation of a Kelly mouthpiece, I myself bought one recently (more for fun and outdoor and not serious playing). Be warned that it does have a different feel when playing.

You have to work a lot harder at producing notes as the response is quite different to a "proper" mouthpiece! It is after all nothing more than playing plastic so any resonance is lost and as I tuba player I found playing anything over forte seemed to loose all roundness of sound and also a strange buzzing developed from the mouthpiece.

However they are fun humorous mouthpieces that look good and certainly brighten up a band!

Damian Wileman

You can't beat the feel of Gold though...

Another suggestion for Kerry Bowden.

Have you tried gold plating, you can plate the mouthpiece you've already got and it will probably cost around £30 (don't quote me on the price). Allergic Intolerance for nickel/silver etc. can be cultivated over time but this is far less likely in the case of Gold.

Martin Britt
Desford

Remember Volcano

How about the 1979 Black Dyke victory, playing Volcano, by Robert Simpson. Winning by 5 points from Cory and Denzil Stephens, who were themselves 10-15 points clear of the third band, Birmingham School of Music directed by Roy Curran.

Also, whilst I wasn't there in 1974 to hear Cory winning on Fantasy for Brass Band, but their performance of Contest Music in 1982 was something special. Playing last but one, with Black Dyke surely having the contest in the bag, the middle movement was given so much space and time. The rest as they say is history.

Just something for you to think about.

Rob Gowing

4BR Reply:
You wax lyrical Rob and it is a pretty good choice - although not quite there in the top 10 for us. For the record though Black Dyke won by 5 points from Cory, who were 5 points ahead of Birmingham School of Music. Carlton Main were fourth, Brighouse fifth and Tredegar and Hammonds Sause tied for sixth.

And what about Desford's four in a row?

What about any of the four Desford wins then? All four were outstanding performances and surely they were better than Cory's rather limp effort on ‘Fantasy for Brass Band'.

Not bad with the others though I must say.

Paul Hughes

Keeping an anorak happy

Well done 4BR for your coverage of the forthcoming National Finals. An anorak like me must be kept happy, and all the stats (especially about the draw) should be essential reading to those who still believe getting an early number isn't a handicap. Just look at the number of bands who have won from the first three out of the hat. 

Edward Linton
West Midlands

A review or an advert?
 
I read with interest your feature between two tenor horns. Some of the article, as most probably may agree, is personal taste but overall quite detailed.

It does, however, ask one question. Was this an article or an advertisement? With 4barsrest being an independent body would it not have been better to have asked suppliers for such instruments and not a retailer?

In fact would it not be a good idea for 4barsrest to run a blind test series on brass instruments from those suppliers willing to take part?

Mark Selwood

4BR Reply:
In defence Mark, that is why we asked the retailer and not the makers themselves to send us the instruments. The retailer in question for this article had both instruments in stock and had no bias to either. That is why were were grateful to them for sending them to us to test. The makers do not tend to do this and some are loath to send their instruments to us to be tested.

Mouthpieces for delicate lips

I have heard that Kelly mouthpieces are bringing out plastic tenor horn mouthpieces before the end of the year. Check out www.kellymouthpieces.com for further details.

Alex Kerwin

And again...

With regard to the young lady who was having a problem with a metal mouth piece.

I thought that Kelly do one for tenor horn and so do Josef Klier (JK) - try Rosetti, Harlow for the Kelly and a search engine for the JK. Or if that fails try coating the rim and cup in nail varnish (it will require topping up) and see if that helps.

Julia Crask

And finally...

Kerry Bowden asked for help regarding a non-allergenic mouthpiece for a tenor horn. May I suggest that she try a Kelly lexan mouthpiece. http://www.kellymouthpieces.com/.  I have used one on my Eb Bass for a little while now and I wouldn't want to change back to a metal one - I'm sure it has improved my playing. I bought mine direct from Kelly on the internet and it arrived in about 4 days - I finally did this after having one on order through my local music shop for 6 weeks and then finding out that Rosetti who are the main importers only place an order with Kelly once every two or three months.

John Packer
http://www.johnpacker.co.uk/shop/accessories/mouthpieces/tenor%20horn/default.htm
has these mouthpieces listed on his website but I think I would check that the one you fancy is actually in stock before you order one!

I have no ties with either company mentioned - I just like my purple plastic mouthpiece (I think I might buy a blue one next!!)

Ian W. Wright

Why the delay in the rankings?

Recently Gordon McGeorge wrote and asked 4barsrest why it took so long to update the rankings (this was after The Open).  Your reply was that with The Open being so close to the Lower Section Finals you  were waiting until after then to update.  However, it has been over 3 weeks since the Finals and still the rankings are not updated.  Are you now waiting until after The Championship Finals? Will you then be waiting until after Pontins?

Bands are interested in their rankings, it gives them a buzz if they move up, and something to aim for if they move down.  We are now in October and the rankings were last updated in July.  Obviously we do not know the work that goes into updating the rankings but does it really have to take this long?

Susan Pratt
Hatfield Band

4BR Reply:
Apologies Susan. The rankings have been delayed due to reasons beyond our control. They will be up as soon as possible after this weekend.

Self appointed spokesperson for the back row union at Desford
 
As self-appointed spokesperson for the back row of the Desford Colliery Band, I would like to thank Mr Jones for his well researched and valuable comments.

I mean, you only have to scratch the surface to realise that the boys on our row have a combined service of over 75 years with the band (pathetic I know!!) and indeed just to clear up the "Pro" tag, please allow me confirm that we are all pro's.......... a pro Kitchen Fitter, Salesman, Teacher, Personnel Officer, IT consultant and Banker.

Sorry about grammar and spelling, I was up at 4.30am this morning to ensure I finished work in Chesterfield in time to travel back to my hometown of Coalville in time for our 7pm rehearsal.

Darren Pearce
Desford Colliery Band

Remembering Ferodo Works

Does anyone out there remember Ferodo Works Band and the Buxton Spa Orchestra?
 
My stepfather played the trombone in both, and I can remember Ferodo Band going to the Isle of Man TT races every June for a week - they always seemed to have had a great time on returning!
 
I would love to listen to Ferodo Band again, does anyone have any tapes for purchasing?  Even though I was only in my early teens at the time my love of brass bands has never died.  I went everywhere with my mum and stepfather except the TT races (Ferodo were not paying for a week's holiday for all the families).
 
Looking forward to a glimmer of hope.
 
Mrs Marjorie Mourne

4BR Reply:
Can anyone help out there with such a great old band. 

Looking for Harry and his World of Music

I am trying to obtain a possible copy of an old BBC TV recording of Harry Mortimer's World of Music. I played on this particular programme but never actually was able to view it. Any help in locating a copy would be greatly appreciated.

Alan Duxbury

4BR Reply:
Anyone shed any light on this one?

Doing a Desford

I'd like to reply to Martin Jones' comment re. "Doing a Desford".

Dedication? Dedication!!! I can't let you get away with that Martin..... I'm offended. I don't know Mr Jones, which suggests he doesn't know Desford very well, having played with the band for the past 10 years. It's a simple case of a little knowledge/rumour being dangerous.

Martin needs to understand that the secret of a solid band, making the right noise, is playing together... a lot. We either do it or we do not, you can't fake it with a couple of superstars and some Monoploy money. I have a lot of fun playing with the band and I work hard for it. Tell me I'm not dedicated when you've sat in the Repiano chair for 2 hours. Or even better, once you've driven me back the 120 miles to Reigate after the rehearsal.

Martin Britt
Soprano, Desford

And one from the Principal as well....

Just a little response to Mr.Jones for the comments page on the subject of 'Doing a Desford'.

It's nice of him to think that we have a band full of paid professionals and we take this as a compliment. If he wants to talk about dedication, then why doesn't he come and talk to the players in the band that travel from as far as Manchester, London, Cardiff, Sheffield just for a 2 hour rehearsal for free (not even petrol money). Or why doesn't he come and talk to the management that spend hours and hours making sure the 100+ year history of the band is preserved.

Maybe he should look at our registration information and find out that the majority of the band have been loyal members for the past10+ years. Maybe he should come on tour with us in October to Asia and see that we are all close friends. Mr Jones, there's a pint waiting for you any time at the Desford bandroom, come and see for yourself...be nice to see you!

David Smith
Principal Cornet (Desford)

And who was that man talking about the Imps?

With regards to John Gilberts comments regarding Yorkshire Imps, I think he should provide a copy of his 'CV '.

Mark Evans

The Grim Reapers in the box

Not being one for controversy I have thought long and hard before putting finger to keyboard, so (deep breath) here goes!

Much has been written lately of the "Grim Reaper" attitude of certain adjudicators at high profile contests. Before scything their way through the hopes and aspirations (or even just simple enjoyment) of bands who do not compete in the cauldron of Championship they would do well to remember that:

1. These players generally are not on ‘retainers' or generous travelling expenses – love of playing is their sole motivation – and often make huge financial and personal sacrifices just to get to contests. Having made these sacrifices, played to the best of their ability and enjoyed the camaraderie of fellow bandsmen they are ready to accept constructive criticism allied to some encouragement to strive towards the next level.

What they do not want is some anal retentive adjudicator with a charisma bypass telling them they are no hopers and might as well throw their instruments in the nearest canal along with any hopes of reaching the hallowed Championship Section.

2. Not everyone has the natural talent and desire or the necessary intense focus needed to be a ‘Superstar'. However, most people given the opportunity and encouragement would like to improve their playing ability and to do this adjudicators really should learn about ‘man management'.

A little praise and encouragement, then a little constructive criticism finished off with a little more praise and optimism. This simple ‘sandwich' technique is the basis of all good management – we want players to leave the contest hall thinking "we'll do better next time" not looking for the nearest band coach to throw themselves under!This simple approach could mean the difference between that 15year old lad in the venue becoming the next Alan Morrison or playing trumpet in "Shady Sam's All Star Soul Band"!

3. Smile! – we don't expect you all to be like Richard Evans but a sense of humour goes a long way (old I may be but I'm not ready for the last rites).

4. Finally, as one who is regarded locally as something of a dinosaur who is always going on about traditional values and Euphonium players sounding like F Tubas blah blah blah, I am fed up with the attitude that because you have played this classic test piece 100's of time there is a certain way it should be played and anything that deviates from this is heresy!

You do not get this attitude in classical (or even pop) circles, so keep an open mind and accept a different musical point of view for what it is – different! Otherwise conductors will be too afraid to adopt a fresh approach and we will end up with stereotypical performances that all sound the same apart from the split note quota. 

‘Superstar' Player/Adjudicators you may be but remember you are only big fish in a little pond and we need to keep as many little fish as we can to survive and that responsibility lies with all of us.

Adjudicators generally do a great job in thankless circumstances but I hope that if the cap fits you will accept this constructive criticism  - God knows I've had to take enough in my time!
 
Rob Burnett 

Help required for a horn player

I am writing in the hope that you or one of your many readers may be able to help with a mouth-piece problem one of our learners at Cross Keys is experiencing.

We have quite a talented young lady who is learning to play the tenor horn, unfortunately, every now and then her lips break out in unsightly sores, this has only started since she took up playing a brass instrument, so I wondered if any one knew of a company who could produce and supply a mouthpiece made of plastic or any other synthetic material which would fit a tenor horn, we have tried both brass and silver plated models, neither of which seem to alleviate the problem.

I have tried one or two suppliers, including Trevada who I always find very helpful, but up to now I've drawn a blank, can anyone help? It would be such a shame to lose such a talented young player because of this problem.

Kerry Bowden

Budding composers, send in your works

MMI Music is always willing to look at new scores with a view to publication. Please pass on my details to Mr Jardine. We accept scores by email to the address below (in either pdf format or Sibelius) or by post.

Nigel Hall
Owner/Music Editor
MMI Music
PO Box 6141
Brackley
Northants
NN13 6YS
scores@mmi-music.co.uk
Tel: 07751 622780

Excellent review

I'd just like to thank Chris Thomas for his excellent review of the Vienna Horns CD. After reading his review I splashed out on the CD and has not disappointed by the quality of playing and magnificent sound of these seldom used horns. The review was spot on in every respect and I thank Chris for expanding my musical horizons.

Chris Satterley

West is best... nearly anyway

David Bishop Rowe gives an interesting perspective on the Regional performances at the Nationals.
As a member of the West of England contingent I was really proud of our Region's showing and using the table David produced shows that the West is 2nd overall.  The picture may well change after the Championship section but perhaps the Northern bias in the banding press towards the lower sections is not as well founded as they seem.

On another point, I too think it a bit much to ask to use mutes from a trade stand and it's a bit unfair to castigate Trevada for their stance.  However it does raise a point and perhaps as contest organisers now provide percussion there could be provision of mutes for those times when these are forgotten.  There would need to be a deposit/hire fee to ensure return(!) but it may help as a safety net.  

Thank you for your coverage – it made interesting reading when we got home.

Nigel Tiller

500 - Are you sure?

I am sure this number (Black Dyke/ISB York Minster review) would be wishful thinking for the Salvation Army. With the average size of and UK SA Band at 11 players and decreasing by the year not likely to be 500 ever again.

Brian Lawrence
Hendon SA, Soprano

Asking for a freebie. This may be the answer you get back...

I was walking across the prom at Weston-super-Mare the other Sunday morning and it started to rain. So, thinking quickly I nipped into a shop where they sold raincoats and asked the proprietor if I could borrow one for five minutes. Do you know what he said! He said f-f-f-f-orget it mate!. How inconsiderate is that!

Kev Robbins

Two judges lead to Muddy Waters - no, not the R&B singer...

I cannot understand this need for having two judges for contests. To my mind all it will do will be to muddy the waters even more.

If you have them in separate boxes can you imagine the chaos that will occur when their individual placings are compared. Picking the first six in the same order is unlikely so what will happen to bands who finish somewhere between 7th and 15th?

I find it ludicrous to ask a judge to place as many as fifteen bands in order of merit. It is impossibility, yet it is done with great aplomb contest after contest and the competing bands somehow accept it.

If you have two judges then to save confusion and great embarrassment they must be placed together. They can then settle their differences about the winning performance amicably, or make a compromise by selecting a winner, which neither of them selected.

Of course, the stronger personality will have his way, in all probability, so we end up really with one judge effectively. The weaker judge will have his way in selecting the order of merit for the rest of the pack.

By way of an aside, I think that league tables should be scrapped and we should revert to the old system of first two promoted and last two relegated at each area contest. At the moment bands , who have never been in the first three places in any contest, are being promoted and are finding themselves out of their depth.

Dai Francis

Not all Swiss Tony's are the same...

I found the comments in your editorial piece "Swiss Roles" about the Swiss being a precise and regulated people who don't have a sense of ironic humour to be a bit off. Having lived in Switzerland I can assure you that the Swiss aren't all so stereotypically straight-laced and they do have a sense of humour, and are not just stiff, Germanic clock-makers!

I think a few comments seem to have highlighted why some people felt Wallberg's success was unwarranted. Some of our Swiss colleagues have been labouring under the misguided idea that Wallberg was a band of paid professionals, when in fact this couldn't be further from the truth.

Chris Satterley

Doing a Desford?

Midlands' Bandsmen will empathise with the Swiss. "Doing a Desford" robs the dedicated players.

Martin Jones

4BR Reply:
Is this some sort of Midlands rhyming slang or are you taking the gypsies?

No sympathy for Trevada

I would just like to respond to Andy Steele from the United Co-op 2000 Band (Crewe) and sympathise with him as it seemed a little harsh that Trevada did not want to earn themselves some brownie points and possible future trade by lending him a mute.

I would like to tell him that not all suppliers are like this, as about 3 years ago before a Pontins contest our flugel player got lost on the way, missed the contest, also had the bass trombone and 2nd baritone's instruments in the back of his car! Normans graciously lent us a Bass trom and baritone we went on stage without a flugel and came 5th! So, please do not give up on all suppliers and always ensure that flugel players have clear and precise directions!

James Pearson
Jackfield Elcock Reisen Band

But plenty of sympathy here for them...

In response to Andy Steele and his lack of co-operation from Trevada Music.  I think in asking to borrow a mute is going a bit too far - despite offering some form of remuneration/deposit. Even if the mute was just used for 2 bars there would be some wear on the corks and as a result the mute could then NOT be sold as 'new'.

From Trevada's point of view if they did agree a loan then this would set some sort of precedent - every one would do it and no one would buy anything!!! OK, I realise that that would be in the extreme but Trevada IS a business and not a charity. You wouldn't go to a 'high street' shop and ask to borrow something would you?

Whilst writing - I notice that 'Band Jackets' keep cropping up on the site and I therefore feel it is worth reminding EVERYONE of the luscious PINK jackets that Hanwell wore about 20 years ago and the wolf whistles they had to endure at Watford Town Hall!! Happy days!!!

Julia Crask.
PS - thanks for the up to the minute coverage of the Harrogate finals.

4BR Reply:
Thanks for reminding us about those hideous creations Julia. They did make it into our top 10 of the worse brass band uniforms of all time on 4BR, which can still be found on the site.

4BR's political allegiences and the Queen
 
You start in your editorial by saying ".. whatever your political allegiances..."  Clearly you don't mean this and clearly you have very particular political allegiances.

You say it is time to look elsewhere for someone who has a genuine interest in the brass band movement - I say that there is probably no one except, if properly organised, the members of the movement itself. 

Unfortunately there appears to be no real organisation to which we can belong and that has real leadership and our needs and wants at heart.  I would like to say that the BFBB is, but it has not yet got the support of the masses and is constantly being attacked by those who have other selfish agendas.  It could be what we need if we gave it real support.

There have been in the past many "saviours" paraded in front of us purporting to speak for the movement, including, especially now including, yourselves at 4BR.  But you and all the others are there only to get out of the movement what they can.  I used to think that 4BR was trying to help the members speak, but now I know that you have also become part of the vultures around the table.

Raising the patronage of the Queen has nothing to do with the urgent and important issues facing the movement - it merely shows how much, at best, you are influenced by "gutter press" tactics to make your site "interesting".  I have been in the movement for 43 years and we are still being fleeced and dictated to by people who make money out of our movement. Making money for services rendered could be fine, but there are many who are doing it for avaricious ends and constantly turn round and say "surely you can't mean me?"

The majority of the movement turn up regularly to rehearsals, train young people at no cost, play in the parks and community centres, play at old peoples homes and for charity, have fun and provide a unique musical and social pastime, because they love it.  They give and give and give because they love it.

 To 4BR, and the rest of you who would like to be our "masters" I would like to say to you - "and what did you do for the brass band movement today?" rather than "how much did you get out of the movement today?".

4BR your editorial was the pits and at this time does nothing to strengthen the movement, quite the opposite!  I would have said that the Queen's patronage gave the movement some sense of pride in our brass band heritage - you would have us sell everything to the highest bidder.

Nigel Morgan

We all wish we were a bit younger...

Just a quick correction on your review of our performance - Chris Musgrave (2nd cornet) is eleven, not seven as you guessed! However he is our youngest player (only just, John Bromiley on 2nd Baritone is 12).
Mind you, some other members of the band have said they wish they could have some years knocked off as easily.........

Andy Pullin
Eccleston Band

You lucky, lucky, Imps...

Before I start, can I say that I was not competing, nor did I have any allegiance to any band that was competing in the 1st section nationals in Harrogate.

I decided to go up on the day for a listen because Pageantry was a good piece and I had a totally open mind. I'm sure that by the time I've finished people will say 'what does he/she/ know? - or 'who are they'? I am not going to qualify my comments with a CV (although I could do).

I listened to all but 3 bands in the section. Yorkshire Imps were the first band that I heard. I sat in the same place (in front of the adjudicators box) for every performance and I was not drinking during the day. They were absolutely awful.

The opening was harsh and overblown (on the front row) and the end of the first movement was like listening to a school band. The second movement was ok but the horn was nervous and ordinary, and the tuning was poor. The 'jousting' cornet was quite frankly 'a pussycat'. By the time they had finished I was convinced that they would not be in the top ten - far too many errors.

The standard was pretty poor overall which surprised me, and when the adjudicators came on and spoke, I found myself thinking that I was in full agreement with them. 'Conductors should research the piece and capture the style, concentrate on the basics etc etc....'
 
The best band on the day was without any doubt, Staines Brass - they were the first band to actually sound like a band. Tuning and basic band discipline was really good. They were so superior to any other band that day that I was absolutely convinced that they would win. This was the first time I had ever heard them and even heard of them.  

I waited for a better performance but it did not come and when I decided my top three it looked like this:
1. Staines
2. Freckleton
3. Ashton

I could accept that the 2nd 3rd and beyond would, and could be different, but there was no way that anyone else came near to Staines. Furthermore, there was no way (by ten points) that Imps were in the frame.

The adjudicators stood up and said that they had an open mind and had no preconceived ideas about interpretation, and so I thought that it was just a case of the 'best band wins'. Not so.

When the countdown was made and Staines were announced 2nd, I thought, 'well maybe Freckleton have won, although they don't deserve it'. Imps were appalling. They do not deserve their first place. I did not speak to any person that day that thought they would even be in the top five. They were really bad.

I have not heard Yorkshire Imps for a few years until Sunday's contest and I do not hold anything against them. Win they did; but play well they didn't; and I'm sure they know it. Welcome back to the big time. Good luck. You'll need it.

John Gilbert.

4BR Reply:
Thanks John for your opinion, which for those who have just read it, was initially written without the benefit of capital letters and most probably in the computer equivelent of green ink. Strange....

Changing your opinion 4BR?

The National Finals was a first time ever experience for our band. We didn't expect a top place, in fact 18th from 19 was, we felt, an achievement. Contesting for us is about constructive criticism and advice, usually from the Adjudicator, and on an occasion like this, from organisations such as 4barsrest to help us improve. We found it interesting that the Adjudicators (2 on this occasion) didn't always agree in their view of our performance, indeed one of them felt that the ending of one movement was ‘poorly produced', whilst the other found it to be 'a very good finish'

These are the situations and views that Bandsmen discover and must live with at contests, however, there is always 4barsrest for another independent view. Your comments on our performance, downloaded on Sunday morning and read out as we sat quietly recovering from Saturday night, seemed to be a fair reflection of our performance the previous day.

Your correspondent even identified a change in the seating arrangements in the horn section for the second movement (to enable our 1st Bari to sit next to the Flugel for the opening, and hopefully assist their togetherness). You even noted the reshuffle for the 3rd movement and said the effect is good. Overall a fair and constructive review or so we thought.

Looking at your postcard from Harrogate yesterday the format of the reporting is completely changed, no problem with this, however it seems your assessment of our performance last week has changed with it. In particular the reference to the reshuffling in the horn section for two of the movements didn't really work and may have affected the composure of a few players. My question is " Why change your view?

Clearly both statements can't be right. Is this the work of one observer who has changed his mind, or does 4barsrest also have 2 adjudicators in the same room who do not perceive things in the same way. I guess it just goes to show that enjoyment of any performance comes down to personal expectation and preference.
The other benefit to be gained at a contest is the opportunity to listen to the other competing bands and to compare their interpretations of the piece your own band has worked so hard to present.

How unfortunate that Kapitol decided this is also a good way to make money. Sadly it resulted in smaller audiences for the bands and a queue at the bar. It seems that many people decided to spend their money here.

All in all, however, we found the entire experience one we really want to repeat.

Tony Saunders
Bletchington Silver Band

4BR Reply:
Thanks Tony. First of all, Malcolm was in the hall for every performance both sections he covered. He worked like a Trojan. Secondly, it wasn't a change of opinion as such, just a further reflection of what we initially thought of the performance on the day. Simple as that.

Another go at Mr Wood and 4BR's poor journalism...

At Wantage we try not to respond to adverse adjudications or press comment, whatever our private feelings, because life is simply too short for that kind of thing. However, occasionally a misrepresentation is such that it demands correction. I must emphasise that what follows is my personal view, and not necessarily that of the Wantage Band organisation.

In your retrospective on Section 1 at Harrogate, Malcolm Wood suggests that Phil Harper found conducting Wantage like ‘pulling a spoon through treacle'. How odd. Odd, firstly because neither your reporter on the day, nor the adjudicators, nor any of the bandsmen we have spoken to, felt it necessary to criticise the band for any such fault. Odd, secondly because our performance on stage was thirty seconds faster than had been measured, and approved of, in rehearsal. And odd, chiefly because so much at variance with our impression of Phil on the day, and of Phil's expressed appreciation to us on our performance.

We have no problem with informed comment by those in the hall at the time, including your correspondent on the day. We may not agree with what they say, but they are implicitly invited to say it, and we hope to take their comments on board. My suspicion, however, is that Malcolm Wood was not in the hall for our performance; and that his opinions are gleaned second-hand from someone with an axe to grind. (I invite your correction if I am mistaken in this.)

You don't need me to tell you that that is very poor journalism indeed. Can I ask you to do better in future, please?

Martin Taylor
Eb Bass, Wantage Band

Ps.  You wrote: "Perhaps Malcolm was closer to the action than you may have thought!
Martin Taylor writes: Perhaps Katy Hudson was closer to the action than you have any idea of...

4BR Reply:
Thanks Martin. We would draw your attention to our reply above. Malcolm was in the hall for every performance and is a well respected critic and observer whose opinion we value greatly. Whatever you may think of what we write, we do it from the point of view that we listen to every performance at the contests we attend. As for the comments - we also sometimes write metaphorically to describe a performance, although we did detect a real bead or two of moisture on Mr Harper's brow both on the stage and afterwards in the foyer. As for Katy getting that close to him ..... we will draw a veil over commenting further...

The registration question

I read with interest your editorial looking at the possible need for change in the way players are registered.

Whereas I would agree with several of the points made, I would disagree with your comment about loyalty to individual bands having 'gone out of the window' ages ago. The Wantage Band, for example (yes, it's us again - the band that Malcolm Wood took exception to) has not only a full regular band but extra players - and that's just in the 'A' Band (if my maths is correct we have six bands on the go). The vast majority of these players have been with the band for a considerable length of time - for many it is the only band they have been registered with. There are a number of families with 2 or 3 generations of players within the band and loyalty  is strong, even though we do not currently have a band hall!

Of course there are times when due to other commitments or illness we are without a key player and some change in the rules to allow for this might be welcome. However, if bands are continually without a full complement of players, perhaps it could be time for them to consider joining forces with another local band. Your suggestion of players being registered with, say, three bands could lead in theory to four local bands running with the same pool of players where they might be better off with two or three bands with a full and regular membership. If there really are 'only a handful of bands who are not in need of reinforcements to their playing ranks' it seems to me that something is wrong somewhere. Are we trying to maintain too many bands perhaps?

One point I have been concerned with for some time. Our band have several members who play both a brass instrument and percussion. Within the organisation they will regularly play with two bands, one on each. Which is fine until it comes to contest time and they can only be registered with one band. I would welcome a change in the rules allowing such players to register separately for brass and percussion, particularly within the same organisation.

I often think that brass bands are rather like football teams with the Championship and lower sections and the movement between them.It seems a shame when this similarity extends to the 'buying' of players (the mercenaries you refer to!) leading to some bands being not a team making music but a bunch of individuals intent on out-playing everyone else and not really having very much local about them at all.

Nicola Johnstone

Looking for another Millennium

I'm looking for another recording of ‘Images of the Millennium.' different to the one released for the Nationals – which frankly does not do the piece justice.

Does anyone know of one?
 
Jeremy Lewis

4BR Reply:
Sorry Jeremy but we don't know of another one at present. Can anyone help?

Is someone actually listening at the Beeb?

On the 8th September on a phone in on Radio 3 with Nicholas Kenyon, BBC Director of the Proms I got a very positive admission from him re the lack of Brass bands in the Prom Concerts!! He said it was something that needed serious thought and putting right!

He talked about the extensive Brass band repertoire-Live on Radio 3, and I think the time may be right for the grand and good of the brass band world to get onto the BBC. Who knows we may have Black Dyke, Grimethorpe, Buy as you View and YBS to look forward in the RA Hall next summer!!

How about a new commission from James Macmillan-the UK's leading composer!!

Tom Stone 

4BR Reply:
We hope you are right Tom. We will keep an eye out to see if the BBC are going to do something about it. 

Albert Hall runners and riders?

I have tried searching your website for the line up of bands at the Albert Hall this year.  I can't seem to find it anywhere.

Can you tell me where I can get hold of it please?

Brian Wareham

4BR Reply:
They will be posted up on the site as soon as possible, along with the rest of our comprehensive Nationals coverage.

Help getting published
 
I wonder if you can help -  I have arranged a couple of pieces for Brass Band and wonder if you could supply me with the names of publishers of Brass Band music where I could send samples of my scores with a view to publication.

Your help will be greatly appreciated.

George Jardine

4BR Reply:
Can any experienced composers out there give a helpful bit of advice?

Slightly different rankings....

Have always enjoyed the ranking system that you produce and have always wondered how the regions stack up against each other. Therefore purely as a  ‘discussion' starter I have used a very crude method of looking at the results from Harrogate.

Intentionally the results appear in no rank order but are purely as a ‘crude guide'.

The system is to give a score to two bands from each region based on the position their representatives were placed at Harrogate (I have used the top 2 as many regions only send two).

You can interpret the data in a number of ways but interestingly the final scores reflect to some extent the ‘Regional Rankings' in the more sophisticated rankings on 4barsrest.

David Bishop Rowe

Section 1, 2, 3, 4, = Total
Region:      
Yorshire:  8,  23,  25,  5, = 61
London & SC:  14, 15, 14, 21, = 64
North West:  11, 6, 13, 5, = 35
West of England:  20, 4, 15, 19, = 58
Wales:  15, 28, 23, 21, = 87
Scotland:  15, 21, 27, 16, = 79
North of England:  25, 15, 33, 29, = 102
Midlands:  30, 24, 6, 29, = 89

The mystery of the badly behaved conductor?

This weekend one of the ‘very well known' conductors/adjudicators behaved disgracefully at a contest whereby through his own Secretary's error, he shouted and verbally abused a long serving and hard working brass band Officer in the presence of other Officers. 

It is one thing being in the face of someone and ranting and raving but to do it from a distance whereby bandpersons, members of the public, hall staff etc are in full hearing and more importantly where young bandpersons, our players, conductors and adjudicators of the future, are in full sight and hearing beggars belief.

Mr. *****, you should receive the red card.

Without those hard working people who you chose to abuse there would not be a brass band movement for you to earn your (well paid) crust.  Remember they get out of bed for nothing for you to earn that crust.  They are Volunteers.  This is the Year of the Volunteer – no respect there then from you.

I pray that you keep to your word and you won't ever bring a band to that particular contest again.  The Contest will be the richer for not having your type, but remember you will be the poorer.

Perhaps you should stop and think that this is anti social behaviour and is precisely why the government brought in the Anti Social Behaviour Act.

A fine stunning impressive performance.

Marc Hall

4BR Reply:
We fully agree with you Marc. The conductor in question should hold his head in shame, and our regional mole will be on the look out to see that they don't step out of line again or they will be named and shamed and put on a banding ASBO.

No sweat on Harper

I am writing in reply to Malcolm Wood's comments about Wantage's performance at the National Finals, Harrogate, last weekend. I find it hard to work out how he knew that Philip Harper had sweat visible, and that he was finding it hard to get the band to respond. I heard that he was very pleased with their performance, and even shared a moment with them after the 1st movement, that proved this.

I heard that they all enjoyed playing the piece, and felt they had given a good performance.

Yours, very disappointed
 
Katy Hudson

4BR Reply:
Perhaps Malcolm was closer to the action than you may have thought…

Fork out for Stella but not for tickets

When will the organisers appreciate that the majority of band personnel will not fork out money for non consesional tickets for Harrogate. After months of fund raising, practice after practice, the last thing we should be asked to do is subsidise the event. The organisers should realise that they would be better getting something rather than nothing from the vast majority of bandsmen......and ladies!

As we played last, I can vouch for the fact that the audience turned up for the results!.........maybe next year they will sell tickets for that?

Me, well I invested my £7.50 in 3 pints of Stella

Mike Carter

Thanks from Jersey

We have just got home from the National Finals. I would very much like to pass on my thanks to the organisers for the most professional and well run contest I have ever attended. Everything from the suberb venue to the back stage team, who could not do enough to help, added to a special day. Even if we hadn't got a result my praise for the contest would still be just as glowing.

Thanks to all envolved, and a pat on the back to Anthony and the 4BR team who all add a little something extra to contests these days!
 
Tim Pritchard
Jersey Premier Brass

A sad advert on an unsuccesful trip to Harrogate

Following our (less than successful) trip to Harrogate at the weekend I felt the need to voice my opinion on what I considered to be a sad advert for one of our leading suppliers of band supplies.

I approached the Trevada Music stand requesting to borrow a tin-straight bass trombone mute immediately before our performance of A Galimaufrey Suite on Sunday morning as I had unfortunately left mine safe and sound back in Crewe! I know this IS my fault but we all make mistakes don't we? As I'm sure you're aware, the mute was needed for a grand total of two and a half bars at the end of the first movement.

My initial request to borrow the mute was met with an immediate ‘'No'', maybe understandably as it is a quite valuable item. However I subsequently offered to leave a deposit or personal item as security against the mute to ensure I would return it. Again the answer came ‘'No sorry, we don't do that''.

Finally I offered to buy the mute, use it, and return it following the performance for a refund subject to THEIR inspection! Any offers on the answer? You've guessed it ‘‘No sorry, we don't do that''.

Now I know the obvious thing to say is ‘'don't forget your mute Softlad'' but surely it would have been more in the spirit of the thing and much better press for Trevada Music if they could have co-operated in some way?? Maybe Trevada could comment here themselves??

Finally can I offer my personal thanks and also on behalf of my band to the Trinity Girls Band who where good enough to subject their mute to an extra performance!! Thank you.

Andy Steele
United Co-op 2000 Band (Crewe) 

Thanks for not tipping us....

When I saw your predictions of the Lower Section National Finals I was a little surprised that you hadn't predicted a single West of England band to be placed, or even as a Dark Horse, in any section.  Our guys (and gals) surely had to be made of better stuff than this . . . . Brass Band super-league we are not yet, but in the lower sections we are definitely more than capable of holding our own, and somebody else's! 

Previous year's results have frequently proved this. However, this is where the surprises ended as weekend progressed and the prizes rolled-in. 

Congratulations to St Keverne on their super victory, as well as Woodfalls Concert, Aldbourne, Portishead, and Verwood Concert for getting up there in the prizes.  Good performances across all sections, and definitely not unexpected, knowing many of the Bands involved. Oh, and congratulations to all other prize winners, performers, and anyone else I haven't mentioned who could have come in the frame.

But without criticising too much what must be a very hard job (more combinations than the National Lottery), many thanks for the continued coverage – it is the most comprehensive in the Brass Band "World" – we wouldn't be without you.

Paul
Launceston 

Nice to listen - but why not with an active player involved?

It was interesting to read that Kapitol have said that the adjudicator's comments about the Test Pieces at Harrogate being too difficult for the bands will be taken on board.  Would it not be a good idea for the Test Piece selection panel to incorporate someone who is an active PLAYER in each of the 5 sections?

It seems that the selectors are rather out of touch with bands lower down the sections.  There is a lot of emphasis on the top few bands comprising almost professional / semi-professional players who have an abundance of talent.  There appears to be little or no recognition of the realities of banding lower down where bands struggle for players etc.  Many of the players they have are there as a hobby and little more.

Pieces are being chosen today which were originally quite testing for the best of our bands - Ralph Vaughan Williams' "Variation for Brass Bands" springs to mind.  At Blackpool in this year's 2nd Section, I did not hear a single band pull off an inspiring performance of the work.  Yet, in the Championship Section we had "Rienzi" which was probably not a stern enough test for the best of the bands at that level though, quite frankly, some made heavy weather of it.

I would also like to know what the adjudicators meant when the say that they found the "musical approach" lacking.  If a band has not overcome the technical aspects it is very difficult to offer a performance, which will truly reflect the best that is in the music even if a few players stand out from the rest.
 
Peter Hargreaves

Is there a fair play award?

I wondered if you would be able to help me?  I came to watch the Section 4 finals on Saturday morning and sat through 7 performances out of the 19.  I was supporting Fulham as my husband had returned to competition with them after a break of 20 years. 

I however have never been to a championship, or indeed to any band competition.  I was amazed to discover that even though the numbers in each section of the band are checked and verified, and that the judges mark the performances against the instructions given by the composer, it does not appear to matter if the solo parts are played by the correct person or not.  I was told that the band whose first cornet played three solo's were able to get away with that because the judges couldn't see and so they judge just on the sound.

I would therefore like to nominate Fulham Brass for a special award of Fair Play Band, as each section in the band played what they were supposed to, and no one ducked out of their solo to let someone better play for them.  How could I arrange that?

It seems to me that the winning sound can sometimes be attributed to one or two gifted players in a band rather than all the members. I look forward to hearing your views on this practice.

Clare Mellor

4BR Reply:
Welcome to the world of brass band contesting!

Thanks for not mentioning us - it is a good omen!

I was a little disappointed when back in April this year we were not even mentioned in the top 6 predictions for the South West area. But we won that area so we thought oh well, we surprised the 4barsrest team, all good!!

Then, we start to get excited about the national finals, only to find that yet again, we are not predicted to be in the top 6 or even the dark horse. Now don't get me wrong, after the area result, I figured this to be a good omen as it seems whatever you say, the opposite happens!! Anyway, we won, so it's all good!

Thanks 4barsrest for all your excellent scientific predictions! You've been great! A very happy band member!!

Claire Retallack

The right identity?

I'm not really sure whether this is a "comment" but I thought it worth mentioning. On your live coverage of the National Finals at Harrogate for the 4th section, whoever wrote the article seems to have confused Garforth Brass, drawn 10th supposedly conducted by Derek Hoyle and Gawthorpe Band, drawn 19th was supposedly conducted by Steven Bailey.

Also, I am unsure whether the reports are for the right bands - as Garforth Brass do not have a flugel player called Ben Walker.

Dan Kirby.

4BR Reply:
Thanks Dan. We did have a case of mistaken identity at the time but we did get it fixed. Well done to both bands though.

Judging in the Midlands - Torvill and Dean style

Following the decision of the Midland Area Committee to appoint two adjudicators for the Area Contest, how about this radical suggestion, once mentioned to me in conversation by a band conductor and adjudicator whose opinions I respect.

Place the two adjudicators in separate boxes. Get them to post their markings after each performance, as is done in ice skating. Then the points could be shown to the audience as a running log on front stage creating an extra tension as the contest develops.

I've often thought, as it's only human nature, that when two or three people are together a dominant persons opinion will come to the fore. So it must be in an adjudication box, a dominant one would influence the thoughts of the less forceful. Separate boxes would take away this intimidation whether you think it's real or hidden.

Now that's a radical suggestion. Would adjudicators be courageous enough to give it a try? What are they afraid of - not coming up with the same decision? It would be interesting to know the thoughts of adjudicators.

Stuart Morgan

Milking the Open crowds - its getting tedious!

Each year I return from the Open and read the letters commenting on the state of the score, the nature of the test piece, the milking of crowds by certain bands and their conductors and to be frank it gets tediously repetitive.

Lets first of all take the point about the study scores. Since when did a piece of music for an audience member become essential for an individual to understand a piece of music? Conductors learn the score, breaking it up to its essential ingredients so that they can highlight problems and build an impression of an interpretation that they hope will transmit its meaning to the audience, adjudicators and critics.

Players may or may not need to see the score to undestand where their part is placed in the whole band sound (that is if they cannot hear this during rehearsals). Critics may need to see the score so that they can pick mistakes in every performance so that they can get paid by their publications. So, why do general audience members need to have a score in front of them? Is it a need to feel a part of the contest day event? Is it because there is a problem in using ears instead of eyes to interpret a message that begins with the composer and is transmitted to the audience through the performers and conductor? Or is it that everyone wants to be an armchair adjudicator picking which bands will win? In which case the organisers should give prizes for the audience members who get the official results correct!!

Wasn't one of the first informal contests held during the coronation of George IV and instigated by the bandmaster of the Besses band to entertain the bandsmen and onlookers? If the Ladies Chichester had not been entertained by a contest in France, would the contest at Burton Constable have been started and the modern day contest have developed? If the reading of a score is essential in understanding a piece of music why do audiences in concerts not buy a study score?

Am I being shortsighted here or isn't the understanding of music achieved through listening to the performance? Would a person without a score understand the message in the music any less than a person who has it an inch from their face with a pencil or highlighter in hand marking mistakes?    

Entertainment and enjoyment is also a key issue in milking the audience. I appreciate that over the top is en vogue in banding today and there may be an argument for dumbing it down. However, people in the audience (whether in concerts or contest) sit there wanting to be entertained, including the virtuosic and not so virtuosic performances or slow or fast music. Lets get this right, the players are a central part of this whole experience.

Admittedly without an audience it would be pointless, however isn't it also true that players and conductors spend weeks if not months rehearsing the pieces and people complain that they want some celebration of that achievement of effort. As for a time to become professional with these things? Professional in comparison to what? The Symphony orchestra concert? In the next contest perhaps the principle cornet should come in after all the players to a set of applause, ditto the conductor. At the end of a symphony concert don't the principle players and then the sections get stood up?

If that is what is meant by professionalism then bands are following the model to the finest detail. Players get a buzz from playing well and entertaining an audience, to recieve the adulation of the audience is an ego trip, but it is part of the performance experience. If players received no appreciation from the audience why go through the stress of contesting! People in the audience should know that players appreciate the existence of an audience. Conversely the audience must appreciate that without the players they might as well listen to the performances on their iPods whilst doing the garden!

All this leads to my own point on the Open. Was the number of people in attendance at the contest this year lower than ever? The piece was technically challenging to the players and perhaps also to the listeners. If the contest in its present state is the peak of banding entertainment then the turn out on the weekend is a pretty daming statement. After all do contest pieces get the same reception when included in a concert programme? I don't think so!

When B+R played Journey into Freedom in Huddersfield Town Hall members of the audience said it was too heavy, so in reality the borders of music that are being pushed in contest do not really influence the normal concert programmes of bands and encourage more audiences to go to contests. If you don't believe me ask audiences at your next concert and see how many of them have been to a major contest in the last few years. Last year should have been a sign post to encourage event organisers to make them own choice contests, like the European, hard as it might be for the adjudicators, they get paid and after all, every contest result is musically subjective so what's the difference if its one piece or fifteen!

Rant over...

Richard Jones

YBS and the Euros - 2007 not 2006

News about YBS not being allowed to take part in the 2006 Contest.

If they win the English National Championships 2006 they will be nominated for EBBA 2007 not 2006 as stated in your article.
 
Derek Atkinson

One for the shed builders

In reply to Dave Cosens over his search for sticks one of the most convenient sources is Bell Percussion in London. They have a website www.bellperc.com that is easy to use.

The online ordering is not so good, but the phone number on the site to ring them direct puts you through to a person (as opposed to one of those "press 1 if you want to blow your nose" type things..!) who actually know what they are talking about. They have a huge range of stock, including instruments, and send it to you direct. Must admit, have found it very convenient when it can be a pain to find a place that is well-stocked and easy to get to. Before anyone asks, I'm not on the payroll!!
 
On another point, is anyone else in the shed building world a little annoyed with the perc parts for "Eden"?

It seems to me that not too much thought has gone into either the layout of the parts or the practicality of trying to play it. All too often it seems that the perc is an afterthought and that dumping it onto two staves means it is a "two-player" part. I am aware that the rules state that you can have "percussion to suit", but when the part is written for 2 players it would make sense for it to be physically possible to get to all the instruments.

For example, if you look at the "suggested layout" picture in the score you can quite clearly see that the Bass Drum is nowhere near the Anvil. This is a problem because according to the part these two instruments have to be played simultaneously by one player! Or again according to the part perc 2 has to play Bass drum with chains, run to the Tom-toms play them, run back to the bass drum, remove the chains (quietly!) then play that again. I suppose if you shove a broom up your backside you could sweep the bandroom floor as well !! There is nothing in the part that is that difficult to play, the errors will creep in when faced with unfamiliar instruments on the Albert Hall stage that may not be set exactly enough where you need them to actually reach them (assuming you've picked up the right sticks on the way past the vibes or something anyway!!)
 
This brings me to the "suggested layout". Is this going to be set in stone at the Albert hall? This layout is from the proof reading session at the Guildhall School of Music and seems to have been set out for more than just a Timpanist and two perc. Anyway as I mentioned, it really is just not practical.

Finally (sorry, I know I go on..!) the notation on the parts is very shoddy. Whoever copied out the parts has been very lazy and, with the exception of the tom-toms, every instrument is notated on the same line. This is a pain when, for example, you have snare and cymbals following each other. Instead of being able to see the shape on the stave you have to read a line of the same note and read the typed instruction above to know what instrument you require. It doesn't take much to allocate different notes to specific instruments and makes it an awful lot easier to read. (basic percussion writing lesson 1...!)
 
These gripes aside, I really like the piece though. I just wish a little more thought had gone into what we have to do at the back. I am thinking of starting a book on who will be the first drummer to drop something or trip over... I believe the sensible money is on me though!! (well, the last time I played at the Nationals the tubular bells at the end of Harrisons Dream did fall apart on me!)
 
Good luck to all the other sheddies, now where did I put that broom....
 
Jon Kitchen.

If you want some new sticks - go to....

In reply to Dave Cosens - try Jam Percussion or Bell Percussion, both have websites with their product ranges on.  I recently ordered things for my band from Bell and the man on the phone was really helpful.
 
Sarah Lewis

I recommend you give JaM Percussion a call and ask to speak to Graham Johns. He'll be able to sort you out with exactly what you're after:
 
0151 7099709
 
If you want any further advice, please let me know:
 
Dave Danford
dave@davedanford.co.uk

 
With regards to Mr Dave Cosins interest in ‘upgrading' his choice of percussion mallets I would like to pass on the following recommendations to him as well as any other percussionists who wish to buy some new mallets.
 
Unfortunately, not many high street music stores stock a good range of sticks suitable for tuned instruments & timpani etc, although many of them do sell a good selection of both Vic Firth and Vator drum sticks. These two manufacturers of sticks make a large selection with different weights and thicknesses, wood & nylon tips etc which would suit most players. I recommend these two manufacturers in particular.
 
As for obtaining mallets for xylophone, glock, vibes & marimba etc I recommend that you contact Graham Johns or Tony Lucas at Jam Percussion on 0151 7099709 or mail@jampercussion.com  Their offices are based in Liverpool and you may be able to visit them to view the large display of mallets that they have. JamPercussion also have a website (jampercussion .com) where you can view the various makes of mallets available. Also, Bell Percussion (based in London) offer a range of mallets and have a informative website with graphics of all their range of mallets available.  www.bellperc.com
 
 Buying percussion mallets can be costly affair and naturally there are mallets available to suit everyone's budget. Paul Chalklin makes a large selection of good sticks for most percussion instruments with glock, xylophone,vibe, marimba and timpani sticks available from around £15 - £25 a pair. If looking for a wonderful selection of beaters for Triangle I recommend his brass ended triangle beaters, which are available in a pack of 3 pairs (small, medium, large).

Jam Percussion also sell wonderful mallets made by Mike Balter, & Malletech which are more expensive but are the choice of many professionals.
 
As for timpani sticks, apart from Chalklin sticks (as mentioned above) which sell for around £15 a pair, there are sticks made by David Morbey. Used by many professionals, David's sticks are masterfully made and his range is extensive. His sticks are sold by ‘Jam' and he also has a website – www.timpanisticks.com
My personal choice of timpani sticks however, are made to order by Sean Hooper.
 
Gauger as well as Chalklin make a sound selection of Bass Drum mallets.
 
I hope that this list of manufacturers and suggestions will help in your endeavour to ‘upgrade' your collection of mallets. Happy shopping!
 
Dave Griffiths

Help on Newcastle required - the band, not the football team.

I emailed you a couple of weeks ago, but as I failed to say what the subject was you probably thought it was spam and deleted it, so I am trying again. This is what I wrote:
 
As I was mentioning to you on the telephone this afternoon, I am acting on behalf of Jack Greaves who is the Historical Research Officer for the Band Association of New South Wales.

Jack is now at the point of publishing a history of the Newcastle Steel Works Brass Band of N.S.W. who visited England in 1924. Along with the book he was hoping to release a set of CDs of the recordings the band made while they were here, thinking he had a complete set in 78 rpm form. Unfortunately, Jack now realises that he is one recording short, and this is how he describes the missing disc:
 
78 rpm disc record by Australian Newcastle Steelworks Band
"Imperial" label (blue) catalogue no. 1348 recorded 1924
"Torch Dance" (from "Henry V111") (Edward German)
Coupled with "The Wee Grenadier", played by the Crystal Palace Band.
 
I have agreed to act as UK contact for Jack as my grandfather was in the Steelworks Band and Jack has been helping me with family history research. My contact details are as follows:
 
Alan Hall,         
5, The Terrace,
Kirby Hill,
Boroughbridge,
North Yorkshire,
YO51 9DQ
 
Phone: 01423 322396 (Mobile 079018 34017)
Email: hallmardon@aol.com 
 
Jack informs me that he only requires an audio tape or CD recording of the original disc, and not the record itself, though I am sure he would love to purchase a copy if one was available.
 
If you can be of any help to us in our efforts to track down this recording, both Jack and I sholud be most grateful. 
                                                                                          
Alan Hall

Romanian weight lifting walking out jackets!

In response to Dave Aston's comments regarding the old Besses stage uniforms. Spare a thought for us at BTM who have to wear those grey checked jackets all day as our walking outs!!!!

Suz Cherrington

Mouthpieces wanted - Anyone help?

I am a primary school teacher, and also run the school brass band. I have been given 2 tenor horns but they have come with no mouthpieces. Could you possibly put this out so that any old horn players who have spare/old mouthpieces could come forward and solve my dilemma.

My pupils were so desparate to start that they are currently playing on cornet mouthpieces - not ideal. I could stretch to paying up to £7 each. The size really doesn't matter as these are absolute beginners.

Rachel Woollam
member@woollam.fsworld.co.uk 

Iwan Williams - hidden identity revealed

Iwan is playing a YAMAHA YFH631G Model.

Timo Hamburg

Iwan Williams - a question of length

I have taken a snippet of text from your review on 'Mellow Moments'. I am letting you know in advance that I copied from 4barsrest and pasted onto a blank email the snippet- I'll give you time to think on this one why I have just wrote what I have.

You (Iwan) write : 'No, this is the real thing; a true flugel horn voice, played by a true flugel horn player at the top of his form'. 

I totally agree without a shadow of a doubt, but.......... please review it again, this time listen to track 14,  'A Gaelic Blessing'.  When I purchase a cd of any sort I notice EVERYTHING, since been employed by a cd & dvd company I notice these things. 

SO I won't dribble & drabble on,.....  Iwan, that's Iwan Williams plays 'A Gaelic Blessing' on 'Mellow Moments', I assume this in 3, as in 3/4 time (I was counting).  He counts his bars rest and comes in on the 3 full bar, fine ok.  Now review if you can Polyphonic QPRL096D (Vitae Lux) release of the then Yorkshire Building Society Band now YBS band and track no. 5 under the same piece by the same arranger. 

There is a difference in the following,... (A) time of the piece by 7 seconds.  Mellow been 2.13 in time and the recording of QPRL in time of 2.20.  The difference is Iwan starts on the 5 full bar on the Vitae Lux cd.  Why is this do you know ?

Have you spotted this or am I just been difficult, honestly Iwan.  I rang SP&S and I asked to speak to Trevor, as always I'm told "he cannot come to the phone"  so I got a Mr. Kevin Coates.  

He was the head on this recording, full title Recording projects manager.  I asked the same question to him and he did not have an answer, but would check with the man himself Mr. Flugelhorn player Iwan Williams on Saturday at the British Open.  My mate who wrote on you comments page Christy Smith also coped this and will seek why a difference on Saturday at the Open.  I think Iwan is signing copies.

Could you please find out or maybe give to one of your "moles" on the day to sniff away at, why a difference. Again let me state that I'm not complaining or giving out or moaning, I just noticed a difference.  So again I think what you thought of this release.  ABSOLUTELY BRILLIANT.

Gareth. McDonnell

4BR Reply:
Can anyone shed anything more on this forensic examination?

Fixed percussion - you are kidding!

"Fixed percussion positions are needed"?  You've got to be kidding!  The Open test piece was a nightmare for percussion layout with some horrible changes of instrument and sticks.  We were chatting to Dyke's drummers back stage and they expressed surprise that we were even trying to play the part as written - they'd re-arranged it (something many bands, including Grimey, did too). 

You also have the problem of skill sets, as all four parts required a tuned percussionist.  If any of the team couldn't do tuned, then the parts needed rewriting.  When bands are struggling to find percussion teams to play the parts, flexibility is needed, not more problems.

I'd much prefer the system they use at the Swiss Open.  Bands have specific times to start playing, and percussion set up is very relaxed.  Less pressure means a better performance (or in our case last Saturday, not forgetting that you need a tambourine!).

Tim Sawyer

Granada Band of the Year

The Want...
 
Further to Dave Weston's question about availability of Granada and BBC Best of Brass on DVD's I wondered if he had any success from Carina Halliwell's suggestion.  If he or someone else has been able to secure any of these I would be grateful for contact details.   I wrote to both Granada and BBC a couple of years ago with exactly the same question and whilst the BBC replied that they were unable to help due to copyright and ownership issues (what??),  Granada did not even bother to reply.
 
The Rant...
 
I keep hoping that one of the Sky channels will pick up and re-run them, after all they repeat nearly everything else but as yet no joy.  You'd think that when such dross as nude darts, celebrity poker and snail racing warrants airtime something as popular as our movement would justify coverage, even if it is only repeats of programmes we all enjoyed a few years ago. 
 
Additionally somewhere in an archive there is all the stuff that was edited out of the aired programmes - a veritable gold mine!
 
How about 4BR on Sky!! - works for Classic FM.  Its got to be your next step in world domination...
 
This is what happens when you let a percussionist have an opinion!
 
Andy Tellam
Cornwall 
 

The Swiss Open - not quite in the spirit of contesting

 
For the past two months my band Ensemble de cuivres de Mélodia has been rehearsing religiously so that we could give a great performance at the Swiss Open Contest in Lucerne and hopefully equal or better our 2004 result of 5 out of 10.
 
I find it very disheartening and disappointing that a group of paid professionals (Wallberg Brass - see fourbarsrest article http://www.4barsrest.com/news/detail.asp?id=1648) came to the contest and competed against talented but amateur Swiss musicians. 
 
Most of my band's players come from the French speaking region of Vaud and Valais (with the odd exception) and we are all amateur musicians who enjoy competing in the Swiss Championship Section.  How on earth, and in fact, why should we be asked to compete against professional musicians, mostly from the UK and Scandinavia?
 
If musicians wish to take up such an initiative, then I feel it would be more appropriate to enter a regional entertainment contest, certainly not the Swiss Open.
 
I went home from Saturday very disappointed, not only with the poor result which I felt was awarded unjustly to Mélodia, but mostly due to identity of the winning band.  I do not feel this is in the spirit of fair play and would be most interested to hear anyone else's comments on this.
 
Helen Stewart
Ensemble de Cuivres Mélodia
Former member of Houghton Brass, UK 

Wychavon Contest

The information about this years Wychavon Brass Festival on your Classifieds: Events column is wrong.
The contest this year is being held on Sunday 2nd October at Pershore.   At The High School and No 8 Theatre.

The contest rotates between Evesham and Pershore alternate years.Your info relates to last years contest.
I hope not too many people go to the wrong venue.
 
Doug Alcock
Evesham

4BR Reply:
Sorry about that, but we are sure everyone will get to the right venue and enjoy a great day out.

Why the wait with the rankings?

I play for one of the top 11 bands in the country at the moment and whilst I don't always agree with your comments, I think it's a great web site that was much needed for a lot of years.

I would like to know though why is it that it takes so long for you to update the rankings, especially after a major contest. It's one of the things that we all look at to see if we have moved up or down?

Gordon Mcgeorge
(Reg Vardy)

4BR Reply:
Patience Gordon. We do try and get them sorted as quick as we can, but with the Lower Section Nationals coming so soon after the Open it would be better to wait until they took place to put up the latest list. Keep your eyes peeled though.

Your horn review - why not the Wilson?

I have a question about your Besson vs Yamaha review (Eb tenor horns), and some comments:
 
Why weren't the other top horns included? The Willson is said to be a very good instrument, though I haven't yet tried one myself, and I personally prefer the Courtois 180 "Symphonie" series horn; it's as good a horn as the Besson Sovereign.
 
I've played a good many tenor horns over the years, and must say that most horns are a disappointment. I'm guessing that the popularity of an instrument is directly responsible for r & d money put into improving quality, and quite frankly, there isn't a tenor horn on the market that approaches the quality of the top trumpets, cornets, trombones, euphoniums, tubas, "French" horns, Wagner tubas . . . in fact, most other brasswinds.
 
I've not yet played a tenor horn that had perfect intonation, and there can be no excuse for that in this day and age, considering the level of instrument-building expertise and analysis available. As players, we seem to have convinced ourselves that it's our lot in life to accept the woes of the 5th partial, when in reality such acceptance flies in the face of simple logic. If trumpets, cornets, Horns, trombones, etc., are not likewise plagued, then something is obviously wrong with the present state of design.
 
Viewed that way, the top tenor horn is really the best of a bad job, no matter who makes it or how much it costs or if it gets that much-vaunted "British" sound.
 
A good player can "play through" even a junk horn and make it play in tune, but even the best horns aren't perfect- which makes me feel that we should challenge the notion of a "best" horn. If none of them are perfect, then there is no "best". That's the same as comparing vice-grips to decide which one is best for turning frozen nuts. There is no "best" pair of vice-grips for that purpose- you use a wrench. In the tenor horn world, this means a horn no one is making yet.
 
I don't know the answer to the 5th partial problem; whether a compensating model would allay this blemish, or adding a 4th valve to correct the pitch (which would be a major nuisance), but as players we should have an option- a top instrument with near-flawless intonation, regardless the cost.
 
Whichever instrument gets the top rating, until more r & d goes into the making of tenor horns, my opinion is that they're all second best.
 
GS Monks
Saskatoon, Saskatchewan

4BR Reply:
If we could get out hands on one we would have tested them against each other. Unfortunatley we couldn't get one so it was just the two this time. We will try again though.

Opinions of a ringer

I could almost be called a 'ringer' I suppose. I haven't played in a brass band for 25 years.  A guy I play in an orchestra with asked me if I could help out when someone unexpectedly left his band. He asked me to fill in, so, registration duly completed, I did. The banding experience in the interim has been going along to a couple of rehearsals (again, because I was asked if I'd like to people I was playing in orchestral groups with) So why did I leave it 25 years, and why haven't I signed up 'full-time'?

Ask any club or group and the same phenomenon is being observed - people are joining more, yet going to less.

Golf club membership is going up (in number) but the rounds played are going down. Fitness clubs didn't really exist 10 years ago - but they all have lots of members now. Even football clubs are starting to notice that they can't assume people will turn up willy-nilly.

Playing in a band is a leisure activity that competes with all my other leisure activities which are in turn squeezed by my commitment to work.

The reasons I've played with orchestras rather than bands.

1) 1 rehearsal a week. The bands Ive been along to all rehearse 2x a week (or more). I just am not prepared to commit regularly to that. Perhaps I should sign up and then be ‘busy' when other things demand my time (eg going with my kids to cubs/swimming/music lessons/school activities etc etc).  I didn't because it wasn't fair on those who gave it higher priority and would notice my absence, and I wasn't going to take a place from someone who was prepared to turn up 2x/wk.

2) Bands do 'loud' and they do 'fast'. The challenges of playing in an orchestra and doing 'quiet, high and in tune' all at the same time doesn't seem to occur, or isn't picked up on, when I've played before with bands. I play an alto trombone as well - what's the band equivalent of learning alto clef on an alto trombone?
Perhaps limited horizons for a band is part of the problem when the people coming up from school music are also exposed to more and varied things?

Am I keen to play in a band again – certainly?
Am I prepared to go along 2X/wk indefinitely – no.

Do I want to broaden my playing beyond what seems to be available with a band environment – yes.
So if you want the likes of me to join up, what's on offer? But there again you might not because I'm not dedicated enough

PS If anyone wants a trombone for a brass quintet I'm interested. Id love to play the Malcolmarnold quintet again!

P. Cooper

England belongs in Salford not Manchester

Next years English Championships will be staged in Salford and not Manchester as has been repeatedly reported on 4barsrest and in the brass band press. 'The Lowry' has been the main catalyst for a remarkable transformation of Salford's dockland area and its success has demonstrated how the arts (across all disciplines) has a leading role to play in the relentless programme of regeneration ongoing in most of our major cities.

So let's give the movers and shakers in Salford all due credit for having the vision and then the determination to build The Lowry and to establish it as such a hugely successful venue.

Manchester I've no doubt, will think it has enough already to crow about!

Ian
Salford

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