Comments ~ 2006: January

Wrong titles of compositions and championships; Podcasts; Butlins; Uniforms and much much more as January comes to an end...

Getting the title wrong - the composer speaks

First off, this is in no way a dig at the 4bars guys (you've been great), it's simply me using the most efficient way to get my point across.

Just sitting, skimming through the most recent news pages and I noticed an article about Brighouse and Rastrick's programme for the RNCM concert and noticed a bit of promo for my work, which has been described as the 'intriguingly titled', 'Taliesin and Cauldron'.

Did anyone not look at this and think.....perhaps there should be a 'the' in there. Of course it's 'intriguingly titled' because whoever first published its title did so incorrectly, it is 'intriguingly titled' by the design of someone other than the person who actually entitled it.

The piece is called 'Taliesin and the Cauldron'. I think it's getting a little much to have nearly every detail about my works and performances repeatedly quoted incorrectly. This does not seem to happen to other brass band composers so why should it keep happening to me.

Could whoever wrote the original report or whatever (in the bandsman I think) tell me why the glaringly obvious mistake got through the net. This performance is a pretty big deal for me, and the title of my first top-flight premiere being hailed as 'intriguingly titled' because it's quoted wrongly is just embarrassing and disappointing. Anyway now I've had my rant I'm off to bed.

Simon Dobson

4BR Reply:
Sorry to disappoint you further Simon, but the official programme for the RNCM Festival has made the same mistake as well.

Shameful error

Well done 4BR for pointing out the error in history that accompanied Black Dyke's biography notes in this year's RNCM Festival programme.

Who on earth was responsible for such an over sight: The Band – Let's hope note. The organisers – probably. Who ever it was should place a written apology on 4BR to explain how this happened and to apologise to the Leyland Band for the offence it caused.

You were right to point out that history is invariably written by the winners. Lets us hope it wasn't rewritten by bad losers.

Ian Davies

Chalk and cheese on the Podcast

Thanks for the excellent Podcast from Skegness, which was both interesting and a little contentious.
My only gripe continues to be the lack of music though – although the new theme tune was great. Can't you somehow get recordings of the winning bands to help illustrate the points your correspondents are putting over? I know this must be hard but it would make an otherwise excellent programme better.

Nice to hear William Relton getting chalk and cheese mixed up though!

Judith Cable

A fine weekend in Skegness

Please pass on my congratulations to the organisers of a fine weekend of music at Skeggy. Myself and three chums from the Bournemouth area had a great time listening and enjoying some fine music.

What really impressed me was the amount of young players filling the ranks of the lower section bands, an example was Shirland Welfare band (think that's the name) although they had a lowly placing they showed real ability, well done to those who are training them. Also nice to see our 'local' rivals Mount Charles and Polysteel on form, should be fun at Torquay in March!

My only slight gripe, why put microphones (ill placed one's at that) around Ransomes band during their concert on Friday night? It distorted the sound and detracted from an otherwise good concert, certain sections of the band were at a real disadvantage, notably the solo cornets and the stand up soloists. The lack of decent real ale was a shame but we managed!
 
Great evening entertainment was provided to suit all tastes, NYJO were the highlight for me, good comradeship between bands and great value for money. Here's to next year!

Steve Rowland
Bournemouth Concert Brass.

Restored faith in the movement

How very pleasant to read the kind words from the Dinnington Band Chairman.

Thank you Nigel it was a pleasure to help you. There have been a number of times in the past few years that I have helped bands by playing and conducting and have not been thanked at all. This has restored a little faith in the movement.

Ken Vernon.

Do we still need uniforms?

I have been banding for most of my life, well over 30 years, contesting and on the concert platform. Most of that time I, like thousands of others, have been trussed up in a uniform that constricts and causes discomfort. At contest time in particular, when being comfortable would certainly be a priority, we as bandsmen and women add pressure to our already nervous state by donning the traditional fitted shirt with collar with bow tie and ill fitted jacket, restricting movement and airflow and causing over-heating.
 
I am interested to know what others make of this, as some good top section bands seem to be opting for a more comfortable approach with open neck shirts and waistcoats. Wouldn't we be doing ourselves a favour by copying this? Being more comfortable and less stressed should help both the quality and consistency of playing to every-bodies benefit. Good deportment doesn't have to mean traditional tailored uniforms.

Bandsmen can still look smart and alike without the bulging necks, skew-wiff ties and ill fitting hand-me-down jackets.
 
What do you think?

Janeen Burrows 
Mansfield

Didn't we do well?

I watch your website on a daily basis for news updates, contest results, reviews etc, etc, after all it is the only mainstream website of any note for the serious bandsmen.

I particularly watch with interest after each contest for the rankings table as I think it is a good way to see where the current level of performance is with my band (Reg Vardy) against the other top bands in the country. I was disappointed by your remarks and your placing of my band in the "bands that didn't do well" in 2005.

We were not outside of the top 10 in any contest last year, and whilst we did not better or equal our fantastic achievements in 2004 we still consolidated our position and actually still managed to move up a place in the rankings, something that gets all the more difficult to do the higher you are, all of the bands in the same grouping as ourselves actually went down in the rankings.

I believe that although we did not do as well as we would have liked, by virtue of the fact that we did move up a place we should still have been in the "bands that did well in 2005".  I rest my case.
             
Gordon Mcgeorge
(Reg Vardy Band)

Brass composing - not a dangerous sport!

The brass band movement is not well known for giving new composers a good start in life. Just have a dip into all tests chosen for all sections over the last ten years and see what you come up with?

Some of us at 39+ something are still trying to establish a career in composing music for band and just might give up after 10 years or so, why deny this age group?  How would you like it if you were told you couldn't join a band or participate because you were under 25. Or, how would you like it if you were asked to leave a band or be excluded because you had reached the age of 46?

The World seems bent on new, young trendy, design only for those 19-29, TV progs, food stuffs. We, the 36 to 70 year olds control basically most of the planet, why not recognise those that still struggle to establish within that age group before they decide to perhaps give up @ say 51, these have clearly been trying for longer to establish themselves and who knows or is bothered to find these middle age band composers? No, it's lets get the younger ones in, those who have time to sort their lives out tut sol!

How about those who are 70 or 80 and been composing for say 43/55 years but never written a piece for brass band, think about what you might be missing. I think that would be either wow, or ouch! Or, could you tell the difference between a score composed by a 34 year old and a 56 year old?

You see, composition is not just a young mans/lasses game, it's completely cerebral, so why restrict the age of the mind, unless you have real reason to inspire composers of a young nature to compose for brass bands and thus send them on a penniless journey for the rest of their compositional life, unless setting a president with prize money of £25k!

Composition should not have an age limit, it's not a dangerous sport! 

Phil Lawrence

Age limits for composers?

Thank you to Paul McGhee for his polite reply to my thought provoking comment.  I agree with what you said Paul about encouraging young composers to write for brass band.  It is true that it would be unfair to put Stockport Schools or Smithills against YBS or Black Dyke.  As far as I am aware, a youth ensemble has an upper age limit of 19, not 29.  A young composers competition is to be encouraged, but under 30?, should it not maybe be under 20?

My mention of Edward Elgar was misleading, what I meant was, as far as I know (and I stand to be corrected), Elgar was over 30 before his music was taken seriously and the publisher Novello took him onboard.

Composing is a mental process, and usually peaks later than physical activities like playing a musical instrument or singing.  I mentioned a young 17 year old composer, Ben Tubb.  I have heard his latest composition, an excellent piece of work, which deserves a wider audience.  My comment to Ben was, I wish I could have written music like that when I was 17.  May I reiterate that when he is over 30 his music will be even better.

 There are many examples of the importance of age in composing, here are just three.  Beethoven, Tchaikovsky and Dvorak were all young composers once, I wonder how many people have heard Beethoven's 1st, 2nd or 4th Symphonies.  What about Tchaikovsky's 2nd and 3rd?  Dvorak?  You can here Symphonies 7, 8 and 9 regularly, but what about 1 to 6?

Tim Paton
TP Music

Getting the dates right

Looking at the events calender both yourselves and the BBW website still have the above listed for 12/2/06.  The date has been changed to 19/2/06.  I was just concerned that perhaps spectators who are not connected with any youth bands will look to see what date it is on, and unfortunately turn up on the wrong Sunday. 

If you want clarification of this date please contact Gary Walzack - I'm sure you have his number.  The other thing is that some people will have just written down the date that was in the programme from last year and they will be none the wiser.  We only found out when the information pack arrived with the 19/2/06 on it.

Julie Mills

4BR Reply:
Thanks for the reminder. The date is the 19th - don't forget!!

Welsh brass artists 

I have just read your list of Brass Players of the Year.  Whilst I agree that the players you name are great artistes, I feel that a couple of players in the band with which I am involved, the Buy as You View Band, could well be considered.

Ian Williams on Principal Cornet, who follows in the traditions of great cornet players in the band,  and Joanne Deane, a flugelhorn player with a beautiful tone, and a mastery of technique.

Selwyn Protheroe

Encouragement needed

As an ex-bandsperson I often have a look at your site for contest comments etc and I did so for the recent mineworkers contest too.

I realise that you are completely entitled to your opinions of performances and this is an important section of the website, but I do feel that I would like to comment on this.

I feel that younger players deserve encouragement, especially when daunted by a solo at such a large event. Your comment regarding the soloist of Mount Charles I felt was very negative. I understand and agree that all players need constructive criticism but the comment posted I felt was quite harsh compared to the others and would be quite demoralising to the player concerned. I think that for a young player to play such a hard solo on a xylophone deserves praise, and to be quite honest it can't have been that bad if you had Mount Charles down for winning!

If we don't support young bandspeople where will the movement be in years to come?!

Jane Rowe.

4BR Reply:
We appreciate the point Jane, but if an MD believes a player, regardless of age is good enough to play a stand up solo in a serious Championship Section contest, then they must have their performance assessed as you would any player at that level. On this occassion it wasn't a performance that was 100% and we said so, and as for the idea of the socks... 

Highs and lows of Butlins

Can't wait for your Butlins coverage...why? Because the photo you are using to promote the retrospective and podcast is of my 8 year old daughter Rowan, a member of Thoresby Colliery Youth band who won section 4 on Saturday. 

Rowan is a member of the beginners group, and her big sister Megan (12) played 2nd baritone for the band on their successful outing.  We had a fab weekend (even though their Dad who plays for Ransome only got 4th this year!) 

We thoroughly enjoyed the whole weekend.  Highs? - Obviously the section 4 result where all the kids piled on stage to collect the trophy (isn't that what banding is all about?), the fab concert by Ransome on Friday night (perhaps they'd have fared better in the entertainments contest if they'd played some of Friday's programme???), the warm welcome from Butlins staff and old friends that you only see at national competitions, the sunny weather, and riding the flumes in the pool. 

The lows?  No Sunday lunch left in the Pub in the afternoon, being like 2 chips that pass in the gravy with my husband over the weekend, what with concerts, rehearsals and contests all over the resort, the pub calling last orders early on Friday night, and the inevitable tractor convention on the A158 on the journey home.
 
Will we do it all again next year.... you bet!  Try stopping us!  Any chance of a good copy of the photo? - I've downloaded it for proud grand parents, but its a bit grainy.  
 
Nicola Hughes

4BR Reply:
We hope you have now enjoyed our post contest coverage Nicola, and the pictures will be sent by e -mail as soon as we can..

Were you there 4BR?

Were any 4barsrest people fellow members of the audience for the First Section competition at Butlins on Saturday? If so you will realise your predictions were not so accurate!

Haverhill Silver came 2nd last year and gave a fantastic performance of Purcell Variants to do even better and win the section this year. They played 12th but it was certainly a case of saving the best 'til last.

They are not a band to blow their own trumpet(!) so I would like to say that I thought they sounded brilliant and well deserve the placing.

Congratulations to all the bandsmen and woman of Haverhill, congratulations to Mark.

Well done Haverhill!

Linda Read 

4BR Reply:
Thanks Linda, but just for the record we did listen to all the bands on the weekend. As for our tips? Our Championships tips came 1st, 4th, 7th, 6th, 3rd and 2nd. First Section: 2nd, 8th, 11th, 3rd, 9th and 4th. Second Section: 5th, 3rd, 8th, 1st, 11th and 12th. Third Section: 8th, 1st, 11th, 7th, 2nd and 4th. Fourth Section: 4th, 6th, 5th, 3rd, 6th and 2nd. Not too bad, don't you think?

What can I say?

Well what can I say about Butlins? It was another great weekend with some fantastic bands and music on offer. It's a terrific weekend for groups and families alike and I would recommend it to anyone.

It beats the pants off Pontin's in almost every aspect. However there are 3 gripes that I have about the weekend and I would like to bring these to the attention of the organisers. I'm sure that we were not the only band who came across these little problems.

1) The prices in the bar were scandalous. At £3 a pint, it's a bit extreme don't you think? 

My other 2 gripes are towards the Championship section .For the most part the organisation of the contest is great but:

2) It would really help the band's if we knew what sort of time we should be reporting to the warm-up room. Trying to second guess what time we should report was a total nightmare on our part. It's already a pretty stressful job for the contest secretary and the band trip organisers without having the extra pressure of trying to decide on what time we should be meeting up to go to register. This was made harder by the fact that we didn't know what time the contest was even going to start!

3)  There was no directions really as to where the band were meant to go to the warm-up room. My band (Dobcross) were wandering up and down the main entrance for about 20 minutes looking for the warm-up room. We went to the room that was used last year but when we got there we were told that they didn't know where we were meant to go. It was just lucky that one of our members saw Carlton Main disappear into a tent outside.

Otherwise we could have been looking for the room for considerably longer and it could have turned in to a disaster for us!

This was the second time that Dobcross did this contest and unfortunately, this was the second time that these problems occured. Please let us see improvements to these areas, because if we do, that will surely mean that this contest would surely be ranked as one of the best contests in the banding calendar! Finally, I would just like to thank Stan Lippeat, Brian Eggleshaw and Steve Walker for all the hard work that they have put into this fine weekend. Long may it continue!!!!

Alan Hodgkinson
Dobcross Silver Band.

Blatant ageism - from a youthful point of view

In reply to Mr Tim Paton.  In response to the comment he made about blatant ageism in the brass band movement, since when has setting the definition of rules for a competition been such a contentious issue. 

Of course Janacek and Elgar (if in their 70's) couldn't enter a competition for young composers.  I'm sure that members of Youth Brass 2000, Stockport Schools and other YOUTH bands would be upset if they entered a youth band contest to be facing YBS and Black Dyke Mills.

A 'young composers competition' is there to give young composers the opportunity for their music to be heard and also, more importantly, to encourage young composers to write for the brass band idiom.  I think you will agree that this is vital to the movement for as many composers as possible to be performed so that the brass band movement can go from strength to strength in the future.

There are outlets for composers of all ages (The spnm's annual call for works for one) which give composers of all ages the chance to have an outlet for their music.

Paul McGhee
(young composer)

Regional coverage

Type in 'Regional Contest 2006' 'Area Contest' 'NE Area' or any other such variation into the 4barsrest search bar and it is impossible to get any information (other than about a CD) on this years area contests/ venues/ test pieces.
 
As a 'non participating' ex bandsman, 4barsrest is my only connection with the premier UK contesting events, so I thought at least at the end of January, this would start to crop up....Any chance of a better search engine?
 
John Holland 

4BR Reply:
We will get it sorted out as soon as we can. The North East is on the 18th and 19th of March though John.

Keep League tables

Although Dai Francis argues a decent case for the end to league tables, I would strongly counter argue.

Firstly, I think it is very, very wrong that a band should be promoted / demoted on the basis of 1 contest only – as Dai knows, adjudication can sometimes (due to the very nature of it being the personal view of an individual) give what may be regarded as some strange results. If you take the case of my current band, Langley, given Dai's argument, we should have been promoted to Championship section in 2004, when the band was nowhere near good enough.

In the case of relegation, what would happen if a band were disqualified for breach of rules? This at the moment I believe would have them placed last and so using Dai's argument be immediately relegated?
There is no comfort zone once a band is promoted. Yes, they are given average points for previous two years, but this does not mean that they cannot go back down immediately. Quite often you will see a band promoted from first to top section and then be relegated the following year.

In recent years, the Midlands have seen bands such as Kibworth, Riddings and Jackfield all have only a single year in the top section.

I accept that there is no perfect or ideal method to determine promotion / relegation. It has been suggested that it should be based on more than the area contest, but for bands such as Langley where the main focus is on revenue generating concerts rather than contests, this would mean that we would be forced to compete more – something that we do not wish to do.

Why should local associations be involved in promotion / relegation – is this not already well managed by the regional committees that we, the bands, elect?

Finally, remember that the British Federation asked all bands this question in their recent survey (http://www.bfbb.co.uk/survey.htm) 58% wanted the present system of promotion / relegation retained !
 
As regards venue for the Midlands area, in defence of Brian and his team, please remember that the Midlands Area covers a large geographic area. From personal experience, finding a venue central to the majority of bands that can facilitate a contest, at a reasonable cost, and within the timeframe available (March / April) is not an easy thing to do.

I personally do not like Burton town hall – it is cramped with no catering facilities, but it is convenient for the majority of bands to travel to. If people know of alternative venues that can be hired at a reasonable cost, then perhaps they could pass on the details to Brian and his team for consideration.

Gary Jones

Mount Charles mystery

Can anyone tell me why the Mount Charles Band didn't come anywhere near the top prizes at Butlins at the weekend.

I sat and listened to nearly every band in both sections of the Championship contest and I am sure I was not alone in putting them up there in the top three places and possibly as winners. What did they do wrong? It left me puzzled to say the least, as they were very good on both days.

Jeff Thomas

Prometheus still a true test piece
 
Having listened to the bands play in the Second Section at Butlins on the weekend, it appears that once more a good old test piece is still more than a match for modern day brass bands.

Not one band got anywhere near to playing ‘Prometheus Unbound' in a musical manner – all approached it in the wrong way with over blowing, hard sounds and terrible tuning in the middle of the band. I bet many players and conductors thought this was going to be an easy piece for them to play, but if they did, I bet they don't think so now.

Lets hear more of these pieces and make bands try and play as they should.

Peter Stanley

A question of points at Butlins
 
Just writing to let you know how much I enjoyed the weekend at Butlins and the band... Waterbeach brass have already booked a place for next year.

I would like you to tell all bands how great this weekend is for brass enthusiasts of all levels and please thank the organisers.

Two things I would like to mention maybe to help in the future for the organisers...
1.  Playing in the Crazy Horse bar is fine but there is need for a warm up room...
2. Officials need to double check band positions and placings before announcements are made.  I know my band only came 2nd but we were waiting for the announcement...band played..No 7...     NOT band played No 2 Waterbeach brass...

The confusion lead to a member of another band being awarded the cheque and photos taken on stage before this could be sorted out...  felt we missed out...although the £800 is great. Again the contest is great... looking forward to next year...

James Utting
MD Waterbeach Brass

4BR Reply:
Thanks James. We are sure the organizers will look into the question of a warm up room. The confusion over the announcement of the second placed band in the Fourth Section was unfortunate, but was a simply mistake that does sometimes occur and to be fair to the organizers they did rectify it quickly and made sure the band got its cheque and photo for 4BR! 

Form is temporary, guessing is something else?
 
Not contacted you before or been on your web site.

Your comments are normally mentioned in band practice so not felt the need.....but times change.
The reason for the e mail is having read your article regarding the possible position of the bands prior to the contest where and with what info do you make your judgements and assessments to determine possible placings?

Richard Campbell

4BR Reply:
A bit like horse racing Richard, we look at the form displayed in the past year at contests, ask a few questions of people in the know and leave the rest to luck! It is a bit of a mix of homework and inspired guesswork at times, but it shouldn't be taken as a literal guide, even though we don't have too bad a tipping record.   

The end to league tables
 
I believe that the idea of having league tables in all sections in order to decide promotions and relegations has run its course.

Time and time again we see the ludicrous situation of bands, who have never won a contest in its own section being promoted to a higher section as a result of reasonable contest results over three years.

They arrive in their new section and after being in a comfort zone for the first year, face harsh reality and usually face a struggle to remain in the higher section. Whereas, an up and coming band can win the area, represent it at the national finals, finish in the first three positions apart from 1st position, and still has to remain in that section. The fact that at the time it is the best band in its section at area level is put aside, as inferior bands are promoted ahead of them. They can do the same thing the following year, and depending on the result two years previously, they may still miss out on promotion.

I strongly believe that the bands that should be promoted are the bands that finish 1st and 2nd in their section at area level at that particular contest, and the bands who are demoted are the last two bands in their section.

At least in this way you get a true reflection of the standard of the bands at that time. If they are in the first two places they are promoted and if, the following year they are the last two bands, then they are demoted. There will be no cushioned existence in the higher section, because all that does is to lower the general standard of that higher section.

This is a situation that needs to be addressed as I have spoken to bandsmen who have said that they were hoping not to be in the first six positions in the area contest because it would mean promotion, and their band was not good enough to compete in the higher section. Yet at the same time their section has been won by a band with no pedigree, but was obviously of a far superior standard to the bands who were going to be promoted as a result of past performances.

I feel sure that the time has now arrived for a re-think on promotions and relegations.

We should only be concerned with current standards and not a false position acquired over three years.

Local Associations should have a big say in this scenario of promotions etc. In addition, local Associations should be involved in the organising of the area contest. Each Association has a responsibility to its members to ensure that venues which are chosen for contests are more than adequate for the bands. I am very surprised, having heard a torrent of criticism about the venue for the third and fourth section at the Midland area that the Belvedere Club was chosen as a suitable venue for a contest.

I will not make any comment about the venue because I have had no experience of the place. However, everyone that I have spoken to has heaped criticism on the choice of venue because they say that there are no proper facilities, as would normally be expected at a contest venue. Parking is virtually non-existent, access by coach is virtually impossible, requiring players to walk some distance with their kit, and the hall itself has been described as lifeless, being further compounded by the lack of changing facilities back stage (or from some accounts back-temporary-platform)

I hasten to add that these criticisms are not mine as I have never been there, but they are pretty prevalent from the bandsmen who have played there.

If the hall is only a quarter as bad as has been described to me, why has there been no criticism of the venue from the various Association committees?

I am sure that the Associations will have reasons for accepting inferior halls, if this can be described as a hall, and probably the reason will be financial. If this is the reason then perhaps member bands of Associations ought to start taking a far greater interest in the running of their own association and the running of the Regionals.

Dai Francis

Blatant ageism!

It seems that "ageism" has now become part of the brass band movement.  Competitions for young conposers under thirty or born after 1st January 1971.  So, Leos Janacek, famous for his Sinfonietta, wouldn't have been able to enter, he was over seventy before his major works were being written.  Edward Elgar was certainly over the age limit as well. 

Poor Eric Satie was dead before his Gymnopodie was heard.  Then there is Modeste Mussorgsky, another composer who managed "Pictures at an Exhibition" as a piano piece before he kicked the bucket.  I am not knocking young composers, I was one once.  Benjamin Tubb is seventeen, and writing remarkable music.  Just think what he will be writing when he is thirty seven, mind you, if he hasn't managed to get a wider audience by then, he will be over the age limit.
 
Tim Paton
TP Music

Wrong end of the stick?
 
With referance to the letter by Stave Anker and your reply (below) I do feel you have grasped the wrong end of the proverbial stick. It appears to me that Steve was asking of you could get hold of and publish the annual grading tables from the relevant area committees and publish them in one place for all to see, as they are not the easiest things to get hold of.

Nick Willmott

4BR Reply:
Thanks Nick – you are quite right. We will try and get in touch and find out if we can publish them. 

Give Mr Hindmarsh some moral support!
 
I think the majority of brass band enthusiasts in the UK would agree with you! I'm not sure if you mean radio or television; on TV there was a programme called "Best of Brass" which ran from the late 70s to mid 80s (I think); each week there would be two bands playing an "entertainment" programme.

On radio I particularly remember "Bandstand" which used to air from 6.30pm till 7pm every Wednesday on Radio 3. Bandstand concentrated on "serious" music i.e. testpieces and major original compositions, and regularly featured broadcasts from the Nationals and the Open. Each year the BBC would name their "Band of the Year" based on the TV and radio performances in the past 12 months. Bandstand was axed by the then controller John Drummond amidst a storm of protest in about 1989.

At that time I was about your age and used to listen to it religiously; I wrote to the BBC to protest and was told that they would be providing "other outlets" for brass music. For a few years subsequently the BBC ran the Festival of Brass before they abandoned that as well - it is now run in January by the RNCM. Just to rub salt in the wound they reduced "Listen to the Band" from an hour to 30 minutes as well!

Each time the Beeb has reduced it's coverage of bands there has been protests, to no avail. It's great to see someone carrying the fight to them and I applaud and support you in this. It may be worth you contacting a BBC Producer called Paul Hindmarsh who has persistently campaigned to get brass bands back on the air and has recently succeeded in getting the BBC to cover the RNCM Festival of Brass.

As far as I know he works at New Broadcasting House, Oxford Road, Manchester, M60. If you need "moral support" or any other help let me know.

Andrew Baker

Remembering the bass end boys
 
Referring to Mr Paul Jones ARCM's comments regarding Roy Newsome's book on the 150 Glorious Years of Black Dyke. 

I would like to say that it is almost impossible to comment on all players that have passed through this great band, however I can recommend that if he purchases John Clay's book Black Dyke and Inside Story he will find lots of letters, comments and anecdotes from players over the last 150 years and you get a 1 hour long DVD to boot with footage of the band never seen before along with 20 mins of memorabilia with a running commentary.

A. Clark
West Yorkshire

The reviewers reply

What a surprise to learn that Mr C Griffiths formed the opinion that I "glossed over short comings just to laud young players with the platitude - didn't they do well,"  in my recent review of the Annual New Year Greater Gwent Brass Band Concert, as published in the British Bandsman.
 
Players and musical colleagues who have worked with me during my career will be shocked to learn of this alleged sudden and  newly acquired empathetic streak in my character!
 
Perhaps my experience has taught me how to benchmark progress realistically, since this was really the thrust of my review.  I totally agree with Mr C Griffiths that "just because youngsters are performing, it doesn't mean that what they play is always that good."  It is how the phrase "that good" is defined and benchmarked that is the crux of the matter.
 
I remain firmly of the opinion that the progress made by the Intermediate Band in the "3 day timescale" allotted to the course that preceded this Concert was impressive.  A significant proportion of the Band were newcomers to this size of ensemble - I understand their average age was circa 13 years, (this can be checked with Greater Gwent Music Support Service). 

It was obvious to me that the Tutors and Conductor - Sean O'Neill had, in that short time, instilled the basic requirements of motivation, teamwork, enthusiasm and enjoyment in these young people.  These are all essential building blocks to enable future progress to be made as players.  I simply reported that the Band gave a well received performance of Queen Rules!  That was a comment on the audience reaction to the Band's performance.  You were there Mr C Griffiths, so you will know that the ovation was both full and prolonged - so my comments were simply factual.

C. Brian Buckley 

Looking for the Magnus Man
 
Am trying to find a contact e-mail address for Ken Downie and wondered if you could redirect my enquiry to an appropriate office.
 
I think it is the same Ken Downie I met back in 1967 (whilst living in Southport) and if so, it would be intriguing to catch up with mutual news of individual projects over the years.
 
Many thanks if you are able to help me with my enquiry.  I am most obliged.
 
Hazel Speed
 
4BR Reply:
If Mr Downie reads this he can contact us and we will pass the details on. That being the right Mr Downie that is... 

Florida's Ego???
 
In response to Mr. Hillinger's comments concerning the " Central Band of Florida" there are many inaccuracies in his opinions. The Band's name is the BBCF which does not stand for the Bad boys of Central Florida. Quite the opposite!
 
This group of ladies and gentleman has been, and will continue  to be,  a very professional
organization. All you would have to do is ask other bands in America, the British Open ,  The NABBA organizers and the US Open Committee. The BBCF has done so much for banding in the US. They do not have any presumptions of being "too good " for any stage that would help the cause of the brass band genre.
 
In fact Mr. Hillinger, they are promoting the "greater good" of what is right with Banding in this country and abroad. They are humbled in their accomplishments and are very approachable to the community from which they hail. They give many free concerts and maintain a commitment to growing the movement in the Orlando area. Perhaps the very reason they play to such large audiences is that they are just plain good people that volunteer their time and talents and are very passionate about music.
 
I am sure they would even invite you, Mr. Hillinger, to take part in the Brass Band of Central Florida's fund raising drive. Check out their web site You can make a check payable to the BBCF.
 
Keith Oakly 
Sarasota
Florida

Hillinger's cheap shot

I think what is unhealthy for banding in North America is Mr. Hillinger's cheap shot's at the Central Florida band.
 
To say they have "no interest in the greater good of the brass band movement in the USA" is absurd.  First of all, by accepting an invitation to the British Open they have kept the door open for other North American bands to travel abroad to that prestigous contest.  Secondly, through there performances they have helped increase a creativity in programming that is now gradually spreading to other North American bands.
 
It is my understanding that Central Florida plans to return to the North American Championships in 2007 and after the trips to Birmingham and Chicago last Autumn just needs to recoup some finances and probably take a break from contesting for a bit.  Name one other North American band that did three contests last year (or has done three contests in any year for that matter and you'd certainly deserve a prize).
 
I have met many of their band members in person and they have come across as very humble.  Perhaps you happened to meet the 'one bad egg' (if one does indeed exists) that does have a large ego....or perhaps you are just jealous of their achievements.
 
I'll be one of the first to admit it is easy to be jealous of the attention they have received, but ultimately they have earned it.  I also have a lot of sympathy for them because about ten years ago the BB of Columbus was the subject of such pointed attacks for not attending NABBA every year.  Attending the North American Championships is not like playing at the areas in Great Britain every year where most bands don't need to reserve hotel rooms, and can hop on a coach, be at the venue in anywhere from 30 minutes to 2 hours and return home in the same day.  In fact the 300 mile difference in traveling from to this years contests from Orlando (BBCF) and from Kansas (where you are from) is more than many British bands would travel to their own Nationals. 
 
I would say "true", it is important to get as many bands to attend NABBA every year as possible.  However, it is not always financially feasible. Be careful though, if people like you keep getting their way and any band that doesn't attend every single year is ridiculed, it won't be long before there won't many bands left to compete.
 
Pat Herak
Columbus
Ohio

Errors of the Millennium?

I am surprised and very disappointed at the number of errors in the score of this piece; it was not exactly cheap and with today's technology should be correct before it is sold.

Also as it has been chosen as a national test piece time is very important and all mistakes need to be corrected quickly, am I the first to write in about this, surely not?
 
Jon Griffin
Bristol

4BR Reply:
The publishers have taken notice Jon and a new score without the errors will be sent to each competing band in the next week or so.

150 years and still the basses are forgotten

I dare say that like so many keen brass band fans and players alike,they no doubt received a copy of Roy Newsomes' book outlaying the last 150 years of one of Britains' top bands at Christmas.

I received mine with absolute trepidation and excitement,looking forward to the delights held within its pages. But on reading was a little bit disappointed to find information on certain players missing, if not completely bypassed.

Being a tuba player should give some indication to which section/players I feel have been wrongly omitted. I'm just a little bemused as to why Mr Newsome should omit Messrs Blair, Harrop, Jackson and Nesbitt from his publication. In my mind this is one of the best bass sections ever to assembled, as can be pertained by the fact what the band achieved in 1985 and Complete Champions is still one of the best records ever made.

Even when Mr Goodwin joined the noble ranks, it was still a section to be revered. Anyone who can remember their 1986 performance at the British Open will hold with the fact that the band were untouchable( I had the privilege of sitting behind the band that day at the then Free Trade Hall). So why has Mr Newsome omitted to mention these wonderful players?

I'm just wondering if anyone else feels the same. Any thoughts?

Paul Jones A.R.C.M
Ex Principal tuba
Band of the Grenadier Guards

Second hand Sparke
 
In respect to your recent news item concerning Stephen Mead performing the premiere of Philip Sparke's new Euphonium Concerto: (Mead to set off new Sparke) 
 
The Principal Euphonium player of Brass Band Willebroek, Stef Pillaert, has already recorded it last year with the symphonic wind band of the lemmens conservatory - conducted by Jan Van der Roost
 
Bert Van Thienen

4BR Reply:
Thanks for putting us right Bert, and congratulations to Stef

Getting coverage on the BBC
 
Got to say I've been reading with interest in all that everyone has said about the BBC Radio 2 show (re: Black Dyke 15th Anniversary).

About a month ago I wrote a letter to the BBC asking about the possibility of re establish the programme they used to air concerning Brass Bands. Being 17 I never actually witnessed the programme they aired and I believe with the growing numbers of 'brass fans' and more and more children picking up instrument the media needs to be involved on a larger scale, as I am sorry but if I didn't actually play in a band and somebody hadn't told me about 4barsrest or the bandsman I would be non the wiser of it's existence.

I also believe that the amount of time and dedication that goes into banding deserves some recognition, not just on the radio. In response from the BBC, they did tell me that if I could collate enough information, facts and figures about the brass band movements, and also about the show they used to air (which I don't even know the name of, but know it existed) they would consider it. Surly it is worth it..but tell me if I'm wrong.
 
If anybody has any information for me, or is strongly opposed to the idea, or for the idea. Please contact me.
 
Cathy Desmond

Rankings - Get the geography right 4BR!

Re: rankings – I don't think St.Keverne are in the North West.
 
Should be West of England!

Tom

4BR Reply:
Quite right Tom me old matey - shame on 4BR, especially as one of our Dads was a Geography teacher.

Rankings: Sections and Areas?
 
With your considerable contacts around the banding world are you able to get hold of the ranking tables for all areas and all sections?

It would be another interesting piece of info available on your site. I know L&SC publish tables on their own website but I don't think any other areas even have a website! - what are we, some kind of hang over from the 19th Century?

Steve Anker

4BR Reply:
We try to make our rankings as complete as possible Steve and we do break them down into regions, but putting them into sections would be nigh on impossible! 

One from the green ink brigade...

I thought that 4Barsrest was the voice of the brass band players, but it seems that you do not want to print anything that doesn't fit into the "nice" category. I sent you an e mail before Christmas complaining about the choice of venue for the Midland areas in March, but you have not even acknowledged my e mail.

Is it because it is having a go at the establishment or just that you would not print anything controversial?

I would respectfully request a reply     

Mr G Riseley

4BR Reply:
As we have already replied to you twice Mr Riseley we will point out to our readers that we did in fact print your comments in December. Perhaps you should have checked a bit more closely before firing off another green ink broadside. As for being controversial - please read on...

Yorkshire rumours

There are strong rumours going around at the moment that at least 3 bands have dropped out of the 2nd section Yorkshire areas and another 6 are thinking about pulling out.

Would the contest still go ahead if this happened? ( I think only leave 3~4 bands would still be entered to contest ).

Test pieces are exactly what they are supposed to be - tests. However, this test piece is far too difficult for this section. I have played with many Yorkshire championship section bands over the years so I can speak from experience when I say this.

It is going to be a 'damage limitation' exercise on many stages this year. This piece is bound to put many players off contesting and will obviously cause bands to fold due to the shortage of players that already exists. I guess this scenario is also happening around most if not all of the other areas.

I hope the panel that picked these pieces can live with the fact that they will probably cause irreparable damage to the banding movement.

Simon Sanderson

4BR Reply:
Given the information we have Simon, we understand that in fact Yorkshire will see an increase on entries this year once more, with 61 bands registered to compete in March. That we are told includes 2 new bands in the Fourth Section and another returnee in the Third. We will have to wait and see on this one.

Enjoyable judges

Just a note to say how much we enjoyed the open meeting at Gawthorpe band room this afternoon of the ABBA.

The lecture given by Alan Morrison was very enlightening. It was a pity more band representatives were not present. We were able to openly see and hear from many of our top and well respected judges what criteria they use when adjudicating.

Mr & Mrs J.Clay.

Is it good to have wind then?

So having wind may be good for you then? (Ref: Wind Assistance news item of 4th January). I have tried telling my wife for many years that my impressive wind control is in fact a product of my (not so impressive) abilities as a baritone player, but she still opts for the belief that it is more to do with the fact that I drink gassy lager and enjoy the odd lentil curry.

Thank you for providing me with the chance to impress her with science.

David Long
Staffordshire

4BR Reply:
All part of the service David - although we still think your wife won't believe you somehow.

Benefits for children - first hand experience

Your news item concerning the benefits of playing a wind (and brass instrument) has confirmed my own first hand evidence on this matter with our two children.

Some years ago both were troubled with asthma related problems and our GP (who played in a brass band himself) suggested they try taking up playing the cornet. Both did, and within 3 months they started to improve. Both went on to enjoy over 20 years each playing for various bands and the asthma never gave them a problem during that time again.

Now both have introduced their own children to brass playing and both of them enjoy it and don't suffer from any breathing difficulties. I would urge any parent to give it a go. It works!

Trisha Hunt

Highlights and lowlights

Your highlights and lowlights of 2005 in the December Editorial really did pick out the two examples that for me were also the best and the worse of the year.

I was lucky enough to be at Bridgewater Hall to hear James Morrison and he was astounding, whilst I was also unfortunate enough to be on hand to listen to the unbelievable Rika Dijkstra at the European Championships in Groningen. What an embarrassment she was.

Keep up the good work and keep informing us of what is good and what is not in our beloved movement.

M. Linton

Realistic review

Your recent review of the Annual Greater Gwent Brass Band Concert featuring the main Greater Gwent and the Intermediate Band made for interesting reading especially as I also take the British Bandsman newspaper and read the review given there by Brian Buckley.

He seemed rather more impressed than Iwan Fox was with the standard of playing on show, but after being at the concert myself, I tend to agree more with the more realistic review of 4BR than that found in the British Bandsman.

It is very easy for people just to laud young players with the platitude ‘Didn't they do well' as an easy option to gloss over short comings and at times poor choices of music from tutors and conductors. This was a case in point here with the younger Intermediate Band which even given their age and experience were asked to play a programme that perhaps extended their ambitions too far.

It is always great to encourage young players, but it must be done realistically as well and on this occasion 4BR had it right (although you don't all the time). Just because youngsters are performing doesn't mean that what they play is always that good.

Mr C. Griffiths  

Looking forward to the DVD

Could  you please tell me when the DVD will be out for Brass in Concert 2005 at the Sage, Gateshead, Tyne & Wear.

Janet Thompson

4BR Reply:
We understand that it is due to be made available around the beginning of March and the Regional Championships.

The Keys to Florida's ego

The news that the Central Band of Florida will not compete at the North American Brass Band Championships should come as no surprise to those who have long thought that they have little interest in the greater good of the brass band movement in the USA.

They have been pandered to by the British media (4BR included) and have had their heads turned by their one off appearance at the British Open Championships. They now believe their own hype and as a result they think they are too good to any longer compete in their own National Championships.

They are no loss to the US banding movement and Britain is welcome to them and their inflated egos.

Kurt Hillinger
Kansas

Not quite the first Baritune

I'm afraid Lee Baker's "Baritunes" is definitely NOT the first or only duet composd for baritones. I composed and premiered Double Take several years ago, and this has been available ever since.

Sorry Leigh.

Steven Booth 

One from a Welsh Stormtrooper

I can't help but agree with Mr. Peter Jackson of Manchester, regarding 4barsrest and their continual bias towards Welsh bands and Welsh players. I agree with Mr. Jackson in that it is absolutely unacceptable that you actually counted those people that actually voted for Welsh bands, how dare you!!! I just feel that it is all completely innap..........who am I kidding?

OK, I admit I am Welsh, and I feel that it is time for all of the Welsh people on here to admit the truth......that we are intent on taking over the Brass Band World....Ha!Ha!Ha!....we shall be victorious in the end!!!! We have infiltrated all of your so-called "top bands" and we will win!!!!

We have a tactic in place, and it is as follows:
Welsh Habitants Against Those Against Numero Uno Master Plan This Year: W.H.A.T.A.N.U.M.P.T.Y.

You are all powerless to our charms!!! Long live Senator Fox and all he stands for!!

Yours in humble allegiance,
Stormtrooper Gavin White
Northern Division
Wrexham

4BR Reply:
Today brass banding, tomorrow...the World!

Jackson's *ollocks! 

What one earth is Peter Jackson spouting on about? The reason why the likes of Nicholas Childs has won a number of awards for both himself and his band is that over the past year he and Black Dyke have been the best in the banding world.

This has been recognised by people in the 4BR Awards and they have deservedly won the awards that they have. As for Mr Fox being a joke – all I can say is thank goodness for him and 4BR, without them the likes of Mr Jackson wouldn't have the brilliant coverage of the banding movement that he seems to think is so biased!

Colin Evans
Birmingham

Pathetic BBC

I must agree with Stan Wood and the pathetic programme aired on Radio 2 concerning Black Dyke. I have through the iternet listened to the programme a second time on the BBC playback feature and I must say that even a second time it comes across as patronising and badly researched.

Getting basic facts wrong is unpardonable (but then the BBC has been doing this for years) but to compound it with such lazy presentation based on old stories and ‘voiced over' snippets just went to prove what many have thought for a long time – the BBC is no friend of the brass band movement.

Arthur Lambert
Hull

Is this really the best?

Is this really the best 4BR Band of the Year that 4BR can come up with for 2005? Some of the choices seem to be put there just because they play for the so called ‘big bands' whilst you pander to Europe, Australia and New Zealand with a couple of choices that smack of desperation.

Come on 4BR – give next year's a bit more thought!

Lesley Paddington  

Wrong calculations

Your ranking calculations are wrong. West of England is now above Midlands in your aggregate system

Jim Slade

4BR Reply:
We will check this out Jim

Welsh bias - again

Having just read your 2005 winners of your categories for the 4BR Awards I once again wonder if you only count the votes that come from Wales and those who vote for the Welsh.

The bias on 4BR towards your fellow countrymen has become so noticeable that it has become nothing short of laughable. Band of the Year; Conductor of the Year; Player of the Year; Performance of the Year – even CD of the Year ( Doyen recorded) and performed by a band who are conducted at major events by a Welshman. 

Add to that your Band of the Year with its bias towards players from bands conducted by Welshmen and it becomes complete.

4BR has become a laughing stock, and Mr Fox nothing short of a joke.

Peter Jackson
Manchester 

4BR Reply:
Thanks for that ringing vote of confidence Peter, but we think you really do need to start getting out more and stop watching those conspiracy programmes on Sky Television. 

The demise of Besson

I read you most recent Editorial concerning the demise of the Besson Company with interest.

I too believe that it is a very sad day that they have gone into administration and believe that overall they have been rather taken for granted over the years by the brass band movement.

They did indeed come to the movements rescue when Robert Alexander almost destroyed the National Championships and Europeans single handedly with his mismanagement, and they sunk a great deal of money into them both to keep them afloat over the years when nobody else was even looking to gain any sponsorship or more importantly trying to make them into true democratic organisations run for the benefit of the movement. No. We just stood there with our hands out and took the money year after year thinking it would never end.

Now that has all changed and we are panicking once again. The real sadness is perhaps not for Besson (although I feel sad for their employees) but for the brass band movement which once more has shown itself incapable of anticipating change.

Leslie Graham
Portsmouth

The BBC and Black Dyke

Perhaps we shouldn't complain, BBC Radio 2 gave us an hour's programme  (Well, 55 minutes, really) of reminiscences on Black Dyke attaining 150 years of successful banding.  

Did they set out to broadcast a magazine type programme for the casual listener, or a more serious programme of memories for those of us who hoped to hear some unique recordings, perhaps never issued on disc, etc?   If it was the latter, they failed, miserably.    To sit there and listen to Peter Skellern repeatedly mis-pronouncing Geoff Whittam's name (he kept saying 'White-am') and hearing Phil Goodwin referred to as a euphonium player would get up any 'pondasher's' nose !!!   (Who are 'pondashers', anyway, they never told us).  

These inaccuracies by the BBC were indicative of casual research and made one wonder what other inaccuracies are transmitted in other broadcasts.   There were lost opportunities to delve into the archives and produce gems of sound.

For instance, where was that unforgettable moment when Dyke walked onto the platform at the BBC Proms and promenaders shouted, "Wheers thi flat 'ats, then?"    Dyke responded by stunning them into ecstasy with a scintillating performance of Berlioz's Overture, "Le Corsaire" thereby stamping musical quality on a broader audience.   I could have given the BBC a copy of that recording, if needed.   During the programme, not one musical item was played without 'voice-over' of some kind.  Not one piece was uninterrupted.   

OK, I suppose, if you are only casually interested, but not, as a band fan, listening to something you have waited a long time for.   One thing I shall remember, though, must be Geoff Whittam's recollection of his father's remarks after the unforgettable, mind-blowing performance by Dyke of Lalo's Overture "Le Roi D' Iys", at the Nationals.   According to Geoff, his father spoke to him as they put their instruments away - "That were a fair do, that were, lad."    I was there, and heard that performance, and that must be the understatement of all time !!!

Sorry, BBC, nice try, but must do better next time!!

Stan C Wood
Northwich

Lazy contempt - What the BBC thinks of brass bands

If you ever wanted to know what the BBC's attitude to brass bands is then you only had to listen to the Radio 2 programme about 150 years of the Back Dyke Band to realise that they now treat a us with a lazy contempt that beggars belief.

Doesn't anyone there do any research anymore? It was bad enough stating that that the ubiquitous, pompous and smug Michael Parkinson was to introduce it when he didn't, but to allow such blatant rubbish to be spouted by Peter Skellern in mispronouncing Geoff Whitham's name wrong and calling Phil Goodwin a euphonium player was beyond belief.

Add that to the trite story of the ‘Judges' win which was then followed by an excerpt from ‘Benvenuto Cellini' (as if mere brass band folks couldn't tell the difference) was such lazy shoddy production that you wonder why the BBC is in such a parlous state.

This summed them all up to a tee: Middle class, middle England, middle management not interested in anything other than what goes on in the London media back yard. It was a disgrace.

Oliver Hunt
Carlisle

The subject of swing and the differences required

The subject of writing and playing in a swing/jazz/popular style is vast, and I am not about to bore you all with a long essay about it's history or methods.  I have both played and written in this genre, which has included professional big bands and other non-classical combinations.  When writing for these, I have of course used the accepted and traditional notation which is the correct standard, ie, not dotted quaver semiquaver. 

However, when writing for other ensembles. which will contain a variety of players, (many of which do it as a hobby), I use another method.  I would not use compound rhythm, (6/8 for example), but I do use a combination of dotted quaver semiquaver and straight quaver.  For example, what would be written as four quavers/quaver rest/three quavers in a big band, I would write as dotted quaver semiquaver/two quavers/quaver rest/three quavers. 

The result?  The player who can swing knows what it means, and the less experienced player produces a reaonably accurate performance.  It works.  I am not attempting to be an expert or an authority on this by the way, just sharing a few thoughts on the subject.
 
Tim Paton
TP Music

Sad death of Joe Ireland

As I have not seen an official press release as yet, may I take the liberty of announcing to the brass band fraternity the sad death of Joe Ireland. His funeral is to take place today 30th Dec 2005 at the Dearham Primitive Methodist Church at 10.30 am, when Dearham Band will lead the cortege to the Chapel from the band room. The band is meeting at approx 10.00 am and will play in the Chapel and at the graveside.

Joe was a leading light in brass band music in the Cumbria and Northern Region for many years. His main band for most of this time was the Dearham Band which saw rise to the Championship Section in the early seventies. During this time he became a first class interpretor of the music of Eric Ball and Gilbert Vinter in particular. The band recieved plaudits from many top musicians at the time, Geoff Whitham even referred to the band as a mini "Black Dyke".... praise indeed!

He was a great influence on me in my early musical education, and I will miss him greatly. He taught me at the tender age of 13 how to be musical and how to communicate with the audience. He was a former "Shiner", that is to say a former bandsman from the 10th Royal Hussars and it was his influence which eventually persuaded me to join the cavalry myself as a musician.

 The world has lost a wonderfully understated and modest human being, who always let his music do the talking. He will be remembered as a man who put alot into the brass band movement and taught many youngsters at one time or other. Amongst his pupils were Ian Porthouse, who's father Jim was his Principal Cornet at Dearham. Dennis and Peter Hadfield and Peter Younghusband while he was conducting Workington Youth Band. I was also his solo trombone (aged 15 - 19) during the glory days at Dearham.

 In a county very short of bands and bandsman, he helped nurture some first class players and musicians, who have gone on to make great contributions to the brass band movement.To my knowledge he never took any credit for this and those of us in the "Cumbrian Mafia" as we are sometimes referred to, salute him.
 My favourite musical moment under Joe's direction (and they were many), was seeing the effect on the audience of the band playing the Prayer in Notre Dame, 2nd movement from Leon Boellman's Suite Gothique, when the band won the old 2nd section contest at Bede Grammer School in Sunderland, gaining promotion to the Championship Section. The then adjudicator William Scholes admitted to having been moved to tears. Rare indeed! It was my first contest and really a seminal moment in my life, helping me aspire to greater things!

We shall not see Joe's like again, for the unique blend that was Joe Ireland is no more. May I pass my heartfelt and deeply respectful condolences on to his wife Marjorie and his son Craig. 

May his soul rest in peace.

Stephen Tighe
 

The player drain - test pieces to blame?

Your September editorial talked about the "Player drain" stating that there is hardly a band in the country not in need of players. Are the people who matter in this movement thinking of why? Most forward thinking Band's have a Training Section where they train their local youngsters in the hope that they will stay with the Band into the future. So why do Band's find it an impossible task in retaining players? It seems to me that the choice of Test piece has something to do with this situation.

The annual contests – The Regional's in March, The Mineworkers, and Pontins, should be events to look forward to, - a challenge to each Band to play as well as it can on whatever piece is chosen. Its definitely "fingers crossed" time when the test pieces are announced though, - will it be something to capture interest (With a tune – now there's a novelty!), or will it be the kind of piece that empties the Bandroom, and causes players to discover other long lost interests more worthy of their time.

Sadly, in the last few contests the latter seems to have prevailed, - the latest being "Images of the Millennium".

How can Band's retain players through the months and years, when they have to put hour after hour into working with pieces such as these? Whoever chose ‘Prometheous Unbound' for example, (Section 2 – Mineworkers) got it almost right, It's relatively short, is achievable, and will still produce a result – One Band will win,  the rest wont, - but in rehearsing it, it wont drive people away!

Please, take note, - the future of Banding depends on people wanting to do it, it's as simple as that, no more no less. Do I really want to do it if this is what my nights are going to be filled with in the coming months?

So when people question why Band's have empty seats, it's possibly because of the Catch-22 of the Test piece choices. Please give us something worth putting our time and effort into, - and we may stay around a little longer. More pieces like "Images of the Millennium" and I'm not so sure.

Nigel Butler
Dinnington Colliery Band

If you thought you had it bad carolling at Christmas...
 
Part of my duties here in the USA is the conducting of the Phoenix Citadel Salvation Army Band.
 
I thought it might be encouraging to those UK bandsmen who have laboured through the hardships of the Christmas Caroling Season to know that life here is also hard.
 
On Christmas eve we had to endure temperatures of 27 degrees centigrade.  As a result players had to removed their tunics.
 
Be aware that life can be tough everywhere.
 
Happy New Year
 
Ralph Pearce
Divisional Music Director
Phoenix Arizona USA

Glyn Williams - Virtuoso indeed!
 
I have just received a copy of the new disc of Glynn Williams, clearly demonstrating that he is not a jack of all trades but a master of many instruments! When I looked at the contents of the cd I was more than a bit surprised at the difficulty of the pieces chosen and the range of instruments played.

Listen to it! I have been fortunate enough to play in Top section bands for many years and have experienced the sounds of John Clough,Geoff Whitham,  Stephen Thornton, Graham Walker, Billy Rushworth, Harry Wilkinson, "Evo", Kirsty Abbotts and many other iconic players and accept that Glynn would not pretend to be such a "Maestro" on each and every instrument he performs on this disc, but he does not fall that far short! His euphonium playing is technically brilliant and his sound sublime. The accompaniment was of the highest order too with Fodens at their best.

What a feat, brilliant. Can anyone match it?
 
Gordon Eddison

Wayne Cook - friendship and respect

I cannot express enough the shock of the news to me of the sudden death of Wayne Cook. Wayne and I became good friends during his tenure as Solo Horn of the Cory Band whilst I held a similar position with the Sun Life Stanshawe Band which I would like to think that it was out of mutual respect for each other.

Not only did we share the stage together on several occasions but we also shared a few beers after the various contests at which our bands were competing. Although I had not seen Wayne for a number of years now the memory of his friendship and camaraderie will live with me forever. I send my sincerest condolences to his family.

David Williams

Rank us all!!
 
Can you publish an all UK Rankings list so some of us very lowly placed bands.
 
I like the world rankings but I will never reach the dizzy heights of the big boys but would like to see how the lesser bands fair in a UK listing.
 
Merry Christmas and Cheerful New Year
 
Philip Loveday

4BR Reply:
We will have a word with our rankings man to see what we can do, but ranking to the n'th degree seems a little pointless don't you think?

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