Comments ~ 2006: April

Adjudicators; Slings and Arrows; Don't look back in anger - No, not a discourse on 1960's sink top plays, but more letters from the great disgruntled out there....

One Adjudicator or Two?

Some Area Contests rely on one adjudicator per section, while other regions use two. Isn't this unsatisfactory for bands, adjudicators and supporters?

Isn't using one just a 'cheaper way out', leading to increased adjudicator tiredness and more risk of an unreliable result? If this is not the case, why do the stronger regions always use two? Shouldn't there be a written rule for all Area Contests, that at least two adjudicators have to be used for each section?

Where funding is the issue with some regional committees, this fact would then have to be put directly to all of the competing bands in the region, who would be forced to contribute to the extra finance involved, or risk being made ineligible to compete.

After all, more than any other Contest, the annual Area Contest has the most significant effect on the 500+ competing bands. For most bands, this usually means spending many more hours practising the same piece of music than at any other time of the year.

I think this fact alone is enough to justify my point. 

Malcolm Mardle

The slings and arrows of being a composer

It's not just writing the stuff, it's coping with the comments afterwards that can be even more difficult. After hearing a composition of mine played by the ISB I drove home on a cloud of euphoric bliss, as you do.

On arriving home my wife turned to me in the car and said, "Right, Beethoven, get yourself down to the Chinese takeaway". Talk about slings and arrows…..!

Jim Wright
Rotherham

The labours of a composer

I don't use a 2b pencil or a computer to compose (re James McFadyen's recent comments). I use my brain, and sometimes a piano. However I do use a computer to transfer the resulting music to paper - there is a difference. No computer program in the world can compose for you (with the possible exception of Boulez's studio at IRCAM).

However, if we're starting a debate about laborious methods my composition teacher used to advocate writing scores out in ink on sheets of acetate, so that if he made a mistake he had to scratch it out with a scalpel. He said it made him more disciplined and careful about what he actually committed to "paper".
 
Andrew Baker

The 2006 Regionals - Don't look back in anger ...
 
The article by Iwan Fox (4th April) giving an overall retrospective of the 2006 "Areas" was both thought-provoking and encapsulated very well many of the serious issues facing contesting.
 
Yes - the number of bands competing has fallen.  In part this may well be due to the fact that you really need a full band to compete these days.  Without a full band, many of the test pieces are quite simply too much.  Sadly, the reality is that many bands get by with shortages in the various sections and they borrow who they can to do their programme of engagements.  To get 27 "signed up" players is not always easy further down the sections.
 
Yes - there is merit in looking at the imbalance between regions.  However, it has to be remembered that bands will only wish to travel a reasonable distance and the cost of coach hire is rising rapidly.  It may be that such practical factors will work against the perfect idea of getting the same (or almost the same) number of bands per section per region.
 
The test pieces were all demanding of the sections though, by general agreement, Images of the Millennium was probably too much for the 2nd Section.  Whilst the 2004 choice of Kaleidosope seemed ideal for the 2nd section, these bands have had rather a raw deal in 2005 (Variations for Brass Band) and in 2006.  I hope that Anglian Dances is not simply labelled a "test piece" and put away in libraries.  This is, in my view, a common occurrence in banding.  To do that to Anglian Dances would be disastrous and many bands could usefully use the piece (or parts of it) for concerts.  The 1st Section piece (Voyage of Discovery) was a true test but why that soprano Top C?  Am I alone in thinking that it was a note put there just for the sheer hell of it?  How much better to have had a short soprano cadenza linking to the horn cadenza?  Journey to the Centre of the Earth was terrific and I take my hat off to those bands who managed it.  Iwan is right re Gilbert Vinter's music.  His writing was a major step forward in brass band scoring and MDs need to study his style to get the best out of it.
 
In 2006, the major issue for many appeared to be adjudication.  In fact, most bandspeople accept the adjudicator's decision and there are very few formal complaints.  However, Alan Morrison is absolutely right in trying to persuade the NABBA to adopt a more structured approach to the task.  His ideas - published recently in British Bandsman - are an excellent starting point.  I hope that brass bands press their views about this matter.  At least with Alan's scheme you would come away from a contest with a much better idea of why you were placed where you were.  New blood is also needed in the adjudication panel.  There are younger people who would make good adjudicators.  How do they apply?  How do they train?  One final point on adjudication.  Great to have 2 adjudicators in many - though not all - areas but why in the same box?  I heard people saying that one must have more influence than the other - one may dominate etc.  "Justice must not only be done but must be seen to be done."
 
Finally, as Iwan said, the Area Committees do a fantastic job and get little thanks for their sheer hard work.  Without their efforts there would be no contesting at all and we should all be grateful for their dedication.
 
Peter Hargreaves
Stockport, Cheshire  
 

Proliferation of legends

Am getting a bit concerned at the apparent proliforation of legends in the movement. It is possible that my concern is caused by jealousy as the only legendary status I could attain would be for being the most raucus 2nd baritone player of all time...continually honing my skills as a range of colleagues, adjudicators, band masters and proffessional conductors can testify...pehaps that should be notorious rather than legendary!
 
Legend is not a term that should be sprayed around and I feel that it should apply only to the truely greats who have finished their careers...or the truely notorious!
 
Jim Corrigan

Aragorn - not quite the forgotten test piece
 
Just a quick remark on the article on Aragorn.  Although it is not really played much in the brass band world, it is a much appreciated test piece for (our typical Belgian-Dutch) Fanfare Orchestras.
 
Rein Meus

Judgement on Judges

Whilst Judges of the Secret Court is a tremendous piece of music and an excellent arrangement, I can't help feeling it isn't really suitable as a test piece in this day and age - fantastic for inclusion in a concert (and it would be a brave band to include it!), but not for the contest platform.

One specific reason I don't feel it is suitable - imagine you are a percussion player, a committed bandsman, have worked really hard on a difficult percussion part for Journey at the Regionals, your band qualifies (and for some bands and players this might be the very first time at the RAH; for some maybe the only time), and what happens?

You don't get to play at the Finals because the arrangement doesn't require a full set of percussionists. How ticked off would you be at that? I'm not saying the choice of piece should be driven by the need for percussionists, but a little co-ordination between Regionals and Finals test pieces might be useful. Nowadays percussionists are an integral part of bands - to deny them their opportunity to compete at the Finals would be a real slap in the face. What would the outcry be like if the test piece had no part for 3rd cornets or 2nd baritone and they weren't allowed to play?

Judges - great piece of music, poor test piece. Don't pick it, please!

Les Wood (a cornet player!)     

No Judges for London

I sincerely hope that 4barsrest is right on the rumours of the test for the Open ( a new Wilby work) and wrong on the National (Judges of the Secret Court - Berlioz arr Wright). The news story on the London rumour quotes " A great deal of discussion". By whom? Who selects the piece for the London Finals?
 
If "they " have selected Judges of the Secret Court then it is the weakest of the overtures arranged for brass band. Don't take my word for it. This is what 4barsrest's Iwan Fox had to say about it last year: "Judges is really a second rate bit of work......as boring as hell and just lacking anything that could stimulate the taste buds".
 
Should the decision be to go backwards, and brass bands are pretty good at it, and it has to be Berlioz then at least select a new arrangement. The obvious choice is Benvenuto Cellini in the new arrangement by Christian Jenkins. The authoritative voice of Robert Childs describes it as "skilfully transcribed and it includes full orchestral percussion". It is a terrific listen ( Brass Band Classics Volume 2 - Buy As You View Band - Doyen DOY CD155) and it would generate some busines for the publisher.
 
Incidentally, Black Dyke won in 1961 and not CWS (Manchester) as detailed in the news item.
 
Tim Mutum
Ipswich

A question of promotion and relegation

I am an avid band enthusiast who logs on to your site daily for all the latest news. But I have not been able to find Regional Promotions and Relegations anywhere on your site, or a link to an Association or Associations who would list this information.

Would it not be of interest to the Brass Band community to publish this information? I hope you can help me in this matter.

Nick Wills

4BR Reply:
If the Regional Committees sent them to us Nick we would put them up on the site, but it is rather like trying to get a state secret out at times!

Kirky Klick

Any doubts that Kirkintilloch have problems delivering on stage should be blown out of the water after their winning performance at the weekends contest held in Dunfermline. 

Despite the disappointing field of only 2 Championship section bands, Kirkintilloch produced one of the
best short programmes I have heard in many years blowing their only competition, Boness, clean out of the water - in a field of 2, Boness should have been 6th or 7th!!

Stephen Stewart was on top form, and deservedly collected the best instrumentalist prize for his impressive 'screaming' throughout the programme, as well as the more delicate stuff that he is more than capable of delivering.  (Someone should tell him though, that no matter how many times he tries to kick start that invisible motorbike he rides, it's just not going to start!)  The remaining award for the best bass section also went to Kirky, completing their clean sweep.  Other highlights of the programme included a beautiful euphonium solo played by Andy McLean, that showed the control of the band and proved that the art of playing quietly (while still being in tune) is not dead.

A great programme of music that was delightfully directed by Nigel Boddice showed the strength and depth of this 'sleeping giant' of a band was greeted enthusiastically by a reasonably crowded hall.  If Kirky
can reproduce the quality and depth of sound on the bigger 'test piece' arena they will take their long overdue place up there with the big boys of British banding.

Colin Gallagher

Looking for Clear Skies

Sorry of this has been asked before, but I am writing to ask if anyone knows if the same version of Clear Skies that David Daws plays is available in sheet music form.

I purchased this sometime ago for cornet and piano (Publisher S/Army), but the version I received is edited from the version he plays. Predominantly the last, and most technically challenging section is missing.

Would like to have a stab at it anyway :-)

Pete Snelling
South Australia

How much to keep Grimethorpe going?

I happened across a Channel 4 news report today 22nd April 2006 about the loss of sponsorship for Grimethorpe Band. Having been a member of many brass bands over the years I am aware of the benefits of Sponsorship but, it did sound awfully like a winge from the Band Managers.

The plea was for £90,000 per annum.     Now......   There are many bands in the Championship section without a penny of sponsorship. Bands that have also qualified this year for the nationals.

Everyone within the Brass Band World knows the name of Grimethorpe. But to say that it would be the end of the band............        Somehow I don't think so.    

Perhaps it would be an eye opener for the current band (the managers especially) to see how the remainder of the brass band world cope with little or NO sponsorship.

Adrian Snood

Thank you from the uniform maker

 I would like to take this opportunity to thank all of my friends and colleagues in the brass band movement for their good wishes on my recent birthday. Your expressions of goodwill and friendship have been
overwhelming and I feel privileged to be associated with such wonderful people. Thank you all so much.

My best wishes and kind regards go out to you all.

Roger Handley
(Band Uniforms)

Hootenfanny!
 
Dear Fred,
 
I'm sorry to hear that you and your band is seven parts short of a full set! I think the original manuscript still survives in the Munich Music Lodenkrappen Museum, although I think they would be loathed to let one go, especially to an English band!

Many original sets of Hootenfanny have been sadly mutilated I'm sad to report, I fear this might be the trend amongst those musical ones who pervade our banding community today. Shame on those!
 
However, there are several solutions at hand. There are those out there, a brave few, who have contracted and suffered with what we now know to be Hootenfannycoscis (the latin translation eludes me at present), where, earlier in banding life, the playing of Hootenfanny caused a small lesion or tear (especially if sat in front of the trombones) in the left temporal lobe of the brain known as the aural non-receptor, unfortunately in these players the non-receptor failed to work, and the entire part was imprinted into this lesion for life. These players could undoubtedly help by either writing down the missing parts down for you (although a painful act), or indeed coming to play for you.

But there is a side effect amongst some to this musical regurgitation should they play. Three of these players that I know of (who now reside in a musical mental institution in Clacton) that dep'd in/with a band where Hootenfanny came up in the programme unkown to them, the band were only half way through this magnum opus when the second horn leapt up screaming and attacked the MD with such ferocity that amazed the audience (and local Police, and some ducks), all wondering why he wouldn't stop conducting, they really wondered! After he and the attacking horn player made it to the last cadence (out of 24 consecutive) was sounded, several St Johns Ambulance had to take away the MD suffering from several vicious baton insertions, and they never ever found the microphone! But I belive now the band in question always knows what the MD movements are?
 
But Fred, this is a chance you might have to take? But failing this difficult path, I do realise that good quality music like Hootenfanny is hard to come by these days and I do sympathise as I know how hard it is to compose material like this, really, I do! If I might suggest one last alternative to save this contest, and I do realise what an impact Hootenfanny would have had on the man in the box on the day and I can see that you and the band are saddened by the loss of several parts, but; why not play "Instant Concert" now there was a real triumph in the compositional anals of Mr. Walters repertoire!

You know, if this piece is new to your band I bet they will relish the hard work spent over the next four weeks or so on it, it is a musical reward that bands seldom deserve, go on, give it a go; I can see the adjudicator sharpening his pencil now!
 
I know somewhere there is a musical God, if so, please speak to me!!!!!
 
Phil Lawrence

Own Choice fundermentals

Surely the whole argument of own-choice test pieces, or any any chosen test piece, should be judged based on the fundamentals of playing.  For example;

1) how tight is the ensemble?
2) is the balance of sound what it should be?
3) how good is the inntonation?

Having a criteria removes the argument away from the test piece title and more towards the ability of the band to play the test piece. A criteria, which is issued by a central body, will also enable bands to focus their development in the important aspects of playing well.  The criteria could be more detailed and stringently adhered to as you move up the sections.  The criteria above is no way complete.

This way we will develop the ability of the current players as well as attracting/retaining those who maybe perceive us to be the 'thugs in music' (no disrespect intended there!).

For me, transparency on how you are judged is crucial.  Each contest should be approach with the same intentions and with all bands able to enter the competiton with a common understanding of what they need to do to win.

Antony Szafranek

A question of difficulty - a composer's view point

While Alan Morrison is single-handedly and valiantly trying to bring our system of adjudication into the 21st century, there does seem to be one aspect of own-choice contests which needs to be addressed, and has been highlighted in some reports of this year's NABBA contest.
 
The question is: should the difficulty of the piece be taken into consideration when marking a performance, and if not, can a band play a Bach chorale and score 100 points.
 
I personally would have thought this came into Basil Fawlty's category of "bleedin' obvious" but recent conversations have led me to believe we are not all in agreement about this. And as we approach the Europeans, perhaps the most prestigious own-choice, perhaps this should be aired.
 
In my opinion the difficulty of the piece should bare absolutely no relationship to the marks awarded. What judges should be judging is the quality of performance, not the hurdles that have been negotiated. If anyone thinks this is open to abuse and a band could choose a 4th section piece at a premiere contest - that ain't gonna happen.
 
But looking at it the other way round, if more marks are to be awarded to a harder piece, how on Earth would that be calculated? Is Contest Music 4 marks harder than Paganini?? I don't see how that could work at all. The notion also leads bands to chose pieces that are too hard for them, something I've endured in the box and out of it!
 
The whole idea seems preposterous to me, but I know there are those who disagree. Could the European judges make their opinions known befoer the contest? Let's see!
 
Philip Sparke

Are 'oldies' value for money?

A few days ago I happened to see an Advert for  a "new" CD by Black Dyke Mills Band called ' Ivory and Brass' at the price of £12.95. Nothing unusual there then. That is the going rate. Fine, that is okay.

However, as it happens, this is simply a re-issue on CD of a recording originally issued on LP in 1970. I listened to the downloadble sample, and the sound is quite good and all the clicks and crackle appears to have been removed. In keeping with the era of the LP it contains about 42 minutes of music.

Nowadays we are used to getting up to about 75 minutes of music on good quality CDs. At £12.95 each, surely this just has to be a rip-off ?
 
I am not too happy about paying £12.95 for new recordings as I think that they are greatly overpriced, by comparison with the retail price of $19.00 for the same Brass Band CDs in America. That converts to approx £10.63 as of today. ( see Tap Music Sales web site for proof)A saving of £2.32 per CD. Incidentally, the Americans feel that they are being overcharged even at those prices.

So can anybody justify charging £12.95 for a re-issue of a 36 year old recording which they have simply cleaned up and put out on CD. More to the point, how could anyone justify paying that much for such a CD. ( At least SP&S didn't even attempt to go that far when they re-issued some historical stuff on CD at £10.00 a go).

How about a campaign for some consumer rights, especially with regard to prices? After all, if we refuse to buy at these exorbitant prices, the sellers would soon be forced to be much more reasonable in their approach.

Best wishes with the site etc, and I hope that the money does begin to roll in to you,( at least enough to keep it going)

Christy Smith,
Droghede
Ireland           

Looking for old members
 
Not sure if anyone can help here, but I'm trying to trace former members of the Forest of Dean band who were there at the time when Peter Inwood Played for them (I think in the late 60's early 70's).  Peter is currently playing Euphonium for Newport Town Band. 

The reason I ask is because the band had an email enquiry recently asking if our Peter Inwood was the former Forest of Dean man, but unfortunately we have mislaid the email so were unable to respond. 

If there is anyone out there who remembers Peter Inwood he would love to get in touch.  I can even provide you with a dedicated email address to contact us on:- iknowpete@newporttownband.org.uk

Gareth Cook

Brie and Penguins

In reply to James McFadyen's paean for the 2B pencil as a means writing music rather than the computer- I'm sure composition could be made more difficult by many methods not just the use of a pencil.

My personal favourite is to have a wedge of Brie pushed up my nose whilst being flagellated by a penguin. The resulting music is no better but it is significantly more difficult to get the notes onto paper whilst enduring this ordeal. I, for one, feel much better for having found a slower, more painful, medium of composition. It has been suggested to me that I could use a computer and simply input high quality musical material but I feel this simplistic approach misses the point completely. 
 
As for the problem with "the women composers" they could simply wear pink glasses and whichever medium they chose to compose in, would then appear pink. 
 
Dylan Richards
Market Harborough

The responsibility of Youth

Dear Mr Fox, I would just like to congratulate you on a very informative and moving article on the overall regionals perspective.

It would appear banding is in trouble if these trends continue and as a young player I think it is my responsibility and the responsibility of all fellow young musicians to help bring the movement back to life and boost the numbers and standards.

Thank you for a brilliant article

Lee Drew

Gloucester Pride
 
I just wanted to congratulate all those who took part in the competition on Sunday.  The extremely high standard of playing and the wonderfully enthusiastic support all were given, made for a most enjoyable day.

A special well done to the Gloucestershire Youth Band on their first ever contest appearance.
It seems wrong to pick out any one band, or performance, but the Welsh Lullaby played by Gwynedd Mon was magical.  Such control and musical beauty.  Many, more senior, bands would have a hard job to better it.  Thank you.
 
Nigel H Morgan

2B or not 2B?

How many composers still use the trusty 2B pencil and manuscript to write music? I am firmly in the traditional school; composing by hand - NOT by computer. Yes - it is harder, much harder, but composition is hard and takes many years to refine.

So for all you 2B and manuscript people - good on ya! To those who don't, well maybe you have got good excuses like: it saves time; you can produce complex music or perhaps you stopped drawing dots and lines when you left school?

Feel free to comment on your views.... can we have more 2B type people please so we can take over the nation, mwahahahaaa....

James McFadyen
Composer

P.S- There are 2B pencils in the colour pink for the women composers!

National Youth Retrospectives- Schools Section

Turning in, or out for that matter of fact, really does makes a difference especially in an opera theatre such as the one in which this section was held, where the sound would bounce off the walls at the back and then get absorbed in the curtains on its way to your ear. Of course it only

makes a difference if the band plays quiet at the same time- if the band played at the same level the effect would be hardly noticeable- so maybe this is what my band was guilty of on Sunday, playing too loud? (This is definitely not sour grapes as although we were far below par, we still won).

But to suggest turning in makes no difference is almost daft... science, and common sense, tells that it would.. surely? If a person was to face away and talk to you it is quiet(er) than it would be if they stood facing you, because sound travels in direct sound waves that don't spread out exponentially... So, this must apply to the bell of a cornet of trombone facing away from you as the sound comes out of a directing tube, almost the same as your mouth, not from all over the place, or a 180 degree wall of sound. This is why we can use ideas such as antiphonal in music; but that's another story!

YBS displayed this 'turning' so well in the RNCM in January when, half way through a piece of music, I believe Terra Australis, they (the cornet section) turned out to face the audience and immediately the pin-point accuracy of tone hit you (the audience) and I saw many look up, almost in shock! Also at the RNCM that night, Dyke did it but the 'opposite' way, they turned in and the way in which there sound changed was only subtle, but it created a different impression, a gentler feel. Small difference perhaps but small differences make the difference between Champions and not... and not only in banding!

On the other hand though you remarks were very accurate and I support what you provide for us all admirably; to the point where I almost wrote in a few weeks ago after the areas when people were questioning the media's role.

Carry on the Good work!

Matt Ryan (16)

4BR Reply:
Thanks Matt. Turning in would work if everyone did it the same and played at the same volume in doing so. As that is near impossible the effect doesn't work at all, whilst trying to do it on instruments other than cornets or possibly trombones in a brass band is the equivelent of Sunderlands home form this season - nearly pointless.

Loss of Scottish numbers

I am the Scottish Registrar and my Association has stuck to the 35 players because we thought and it came true that when registered players went up to 40 the championship bands would take 5 from the First Section the first would take 10 from the second section and so on down and before you know it bands would be defunct. This for me is what has caused the demise in most areas

Jim Hyslop
Registrar Scottish Brass Band Registry

Pot, Kettle, Black perhaps?

I'd like to respond to Steve Faulkner's contribution to the April 11 "Your Comments" section.  Mr. Faulkner makes a reasonable statement in saying, "At NABBA, the judges should give no consideration to the respective difficulty of the choice pieces performed by the bands. 

The score is based solely on quality of performance.  A choice piece should highlight a band's strengths..." This seems to be an aspect of the system that could potentially be taken advantage of.  What is stopping a band from programming a piece that is easier than they are truly capable? It's a system that runs the risk of being horribly taken advantage of. While some bands program challenging works as their Choice Piece, what would stop a band from programming a Bach Chorale, playing the heck out of it and winning off of it?  Maybe this portion of the NABBA system needs some re-evaluation?

And Mr. Faulkner, in your trashing of Ms. Yeo and her review of the Cincinnati Brass Band's performance, was it a simple oversight that you neglected to include that you are a member of the Cincinnati Brass Band?

Seth Merenbloom
Fountain City Brass Band

Looking for the Beatles

I'm trying to find a copy of an out of print score from Hal Leanord Concert Band series. (I know this is brass bands but many people play in both!)

It's called The Beatles, Echoes of an era, arr J Higgins. Hal Leanord are no use and every shop I've tried just says out of print, computer says no!

If anyone has a score, (not parts) I would like to purchase for a Reasonable price.

Mark (Bobby Crush ) Gillatt
Frickley South Elmsall Shed team

Rhapsody in Blue?

Several years ago we gave several performances of Rhapsody in Blue. We wish to do it again but have the band parts but no score. Can anyone help with the following:- 1) was it Keith Wilkinson or possibly Frank Wright who arranged it? and 2) does anyone have a copy of the score?

I can be contacted on 01775 762006. Many thanks for your help.

Robert Prew
Stamford Brass

Hootenanny?

Parkend Silver Band are going to a contest on Sunday 7 May and are playing a piece called Hootenanny by H L Waters

Ours has definitely seen better days and so we were wondering if any brass band has a complete set of this which we could borrow for the contest. We are in the process of purchasing a complete new set but have only been able to find a supplier in America.

With delivery taking anything up to 6 weeks, it won't be here in time, so could we  kindly ask all our fellow Bandsmen to dig deep in their Music Libraries and see if you have a set that has been forgotten about. 

The address to send it to is as follows could you also enclose the return name and address in the parcel for us to return to you. Thanking you for your help with this.

Mr Fred Pensom
Parkend Silver Band parkendsilverband@hotmail.co.uk

Get Carter! 

I am not sure whether anyone can help, but I am trying to trace Roger Carter, who used to conduct either the Royal Australian Air Force Band, or Royal Australian Army Band. He did a fantastic arrangement that I am trying to get hold of!

Nigel Simmons
Ipswich, Suffolk
Nigel@simmons3354.fsnet.co.uk

Quango in Perpetua
 
They are out there, and they are composing like the proverbial clappers Mike, tis the Quango in Perpetua (Un-illuminate) & their minions from musical Mordor who stop these young (and not so young) and great, and many composers from getting to your ears and everyone else's!
 
Me, paranoid? Nah, it's happening, just no one cares. What is that great saying all time? "For evil to succeed requires good men to stand by and do nothing" Voice up, ask what music is being refused from selection in contest, ask for a list on who has published, composed it, then read it through yourselves, play it, make a representation to them on these composers that are refused for what ever criteria they levy. You are genuinely being starved/withheld of this info, ask. It is your movement, and without you, they wouldn't exist either!
 
Phil Lawrence

Diplomacy is lacking from the States
 
Regarding Linda Yeo's "review" of the 2006 NABBA Honors Section bands, diplomacy is one trait she is lacking.  Qualification as a NABBA reviewer seems to be another trait she is lacking. Linda's blistering review of Princeton Brass Band showed a lack of tact, a trait that is valued and appreciated in reviewing bands' performances.  There is something to be said for honesty.  However, there is something more to be said for politeness, good manners, tact and diplomacy.
 
Her review of Cincinnati Brass band included comments regarding the band "appearing" at times not to follow the conductor.  That is, she thought the conductor appeared (to the eye) to be working hard to get the band to play at a faster tempo, with "the band simply not following suit."  It is of note that the judges at NABBA are behind scrims.  They cannot see the bands.  While this may have seemed apparent to Ms.Yeo's eyes, in the final analysis it was not apparent to the judges' ears. 

This, in the end, is what matters.  Also, her comment that Cincinnati's choice piece "didn't seem up to par with the other band's own choice pieces in difficulty" is a pointless comment, and it is arguable on both sides.  These comments seem to indicate a lack of knowledge of how NABBA competitions really work. At NABBA, the judges should give no consideration to the respective difficulty of the choice pieces performed by the bands.  The score is based solely on quality of performance.  A choice piece should highlight a band's strengths, and by Ms. Yeo's own admission, Cincinnati accomplished that with its choice piece.  Checkmate.
 
As an aside, I also am not aware of many Americans who use the word, "whilst."
 
For NABBA 2007, you might want to consider using a more qualified and more diplomatic reviewer.
 
Steve Faulkner

Wilby omission
 
I'm sure there are lots of reasons or series of coincidences why a Philip Wilby piece is not featuring in Belfast in a few weeks time but not for the life of me do I feel that it is anything to do with the quality of the music.

I believe Revelation (which happens to be my personal favourite) to be as fine a composition for brass band as anything written since and certainly more testing than most written since... ahh, perhaps there we have the answer!!
 
Ian Brownbill

Never mind the quality – feel the width
 
Ref: Images of the Millennium. Colin Swaep (Hello – we've not met)  – your letter is spot on.
 
The performance I conducted didn't deserve a prize at the Yorkshire Area – so what follows is not sour grapes – just in case I get the "bitter and twisted" treatment from another reader.
 
We drew late on at the area – and I managed to hear the first few – the others I got glimpses of backstage over monitor speakers and through cracks in doors.
 
Before we played (7/10) – I confided in our chairman (Solo Euph) and secretary (Bass Trom) that we'd been out manoeuvred. I heard the tempi of eight of the ten bands – and it felt as if all the bands I heard were stood in a line - and they'd taken three paces back – leaving only my band to try and face the actual test without moving the goal posts.
 
OK I could be in for some nasty comments here – but I'll go for it:- That - Ladies, Gentlemen and Kids, is… cheating – BIG TIME.
 
I'm not criticising the winners at our area -  (Grange Moor) – I  made a point of talking to Duncan Beckley (and some of the players) and telling them I thought they had done a superb job and used exceptional management skills – (their overall band sound was really high quality too) -that was before I mounted the platform – and it was during that conversation that I realized if we didn't play to our absolute best, we were sunk.
 
But let me ask this question – (If  "Circa" indeed means "Around") –
 
Is 132 dotted crotchets generally regarded as "circa" 174?.. wow – I need to forget everything my tutors taught me and all the books I ever read - Both of my conducting teachers - Dave James and Bill Lippeatt taught me that you're OK to about 10% tolerence. but 132/174 is a real laugh. - can you imagine (say, one you know) a suitable test played at three quarters speed?
 
How many section two bands therefore could have done well in section one? – Or section one bands done well in the top section playing at a tempo ratio of 132/174 – doddle! – what will happen to them next?!
 
Even in the proposed new adjudication system (this could still be a very serious problem if not sorted out) – say if 10% of the marks are allotted to tempo – a band could design their performance to give away all of that 10% to play everything very slowly and get better marks in the other categories (Doesn't matter how slowly if only 10% is riding on it!)
 
What happens if a hurdler runs around the hurdles instead of jumping them?
What happens if a vaulter walks to the horse, and climbs across it?
What happens if a painter takes too long on TV's "Star Portraits"?
What happens if you run out of time on Mastermind?
What happens if a dancer tries to stay in the air too long?
... And what happens if you play a test at about 75% of the required tempo?
 
So errrr…, well done everyone, good, that's OK then? And  - in summary:
 
1. H Snell – Superb music – you did OK. 
2. Judges – you were up against the wall – you did OK. 
3. Conductors and bands – we too were up against the wall – we did OK. 
4. Audience – thanks for trying it! – you did OK too. 
5. Test Piece panel – come and actually meet us and find out what we do –  visit us– try some real life - you're all on another planet! -  and you are totally inept! – in fact you are damaging our movement beyond belief… and, I'd like a "quiet" word with you if you'd like to get in touch with me….

K Wardle
Edwinstowe

The need for young composers

I started playing over 40 years ago and have tried to keep an open mind on new testpieces selected for various competitions.  One major problem keeps rearing it's head - where are the new Vinters, Heatons and Wilbys to come from?  Without new composers writing for us we will slowly stagnate.
 
There are now more people taking brass related degrees then ever before.  We have better qualified players then ever before so why does the BFBB or Musicians Union not have an annual competition for young composers.  The competition should have a minimum life of 5 years guaranteed at outset, prizes being publication and use at National contests. Revolutionary suggestion, let these organisations get together to run the competition and involve the music publishers.
 
No doubt I will be shot down in flames, just another heretic!!!
 
Mike Hughes

Uncomfortable Editor?

Does the editor of 4BarsRest feel at all uncomfortable that an article that he wrote (2006 Regional Championships - An Overall Retrospective) appeared in a rival magazine before it appeared in his own columns?
 
Jim Yelland
Hinckley, Leicestershire

4BR Reply:
No Jim. Iwan has been contributing to British Bandsman for some time now with his articles.  We have a good working relationship with the magazine, although we are totally independent of each other, so we think it is beneficial to everyone concerned in the movement that this continues.

Outbreak of common sense?

I have read with gret interest the letters in the recent edition of the BB regarding contesting in general, and specifically the regional contests. Are we in danger of experiencing an outbreak of common sense within the movement?

One writer refers to the incurred costs to catch a "pot" and eloquently rationalises the arguments for competition, and goes on to balance the argument with a balanced view of the traditionalist view of "improvement, new music" etc

Iwan Fox in his article, refers more pointedly and accurately to the state of play around the nation in the Brass band world. I have very vivid memories of being drawn No 26 in the Yorkshire Area 4th Section some 30+ years ago, and have programmes that give testament to more bands than that performing. With the demise of the Coal and Steel Industry in South Yorkshire, and the Mills of West Yorkshire, it was inevitable that the community and social scene around these industries would decline also.

The Yorkshire Miners Gala was regualrly attended by 14+ Bands from Doncaster alone, so it shouldnt come as any surprise to anybody that the number of Bands will dwindle as social and economic support to such Bands dwindles and is withdrawn or lost.

Certainly from a learning perspective, there were enough "clues" around in Scotland and Durham during the 60s & 70s as to what was likely to happen within these industries.

Has the Brass Band movement responded to these environmental impacts upon their movement? or does traditional practice continue unabated. Do we have to have an area called "Yorkshire" or "London" or any other traditional name. Please wake up and smell the coffee.

Continue what we are doing, and we will only get what we have got. We have an ideal opportunity to address the major issues facing the band community, structure, frequency, system, geography, adjudication.etc etc

It is within the wherewithall of the National bodies to redress the inbalance in areas, sort out the structures and systems, and finally take notice and act on the adjudication proposals so intelligently presented by Alan Morrison.
 
Alan Needham 
MD Market Rasen (PRC) Band

Musical abandon?

After competing in the Second Section on Saturday the 18th March at the London and Southern counties area, I feel (after a couple of weeks) I can't let that weekend pass without making some comment.

I am not accustomed to voicing my views publicly but, and there is always a but, I feel some of the comments made by the adjudicator with regard tempo markings etc were unsympathetic to say the least to those bands that made a determined effort to do the piece justice musically, in or around the composers metronome markings/ indications of tempo, the key word being around, which is rather vague in its self (almost sitting on the fence)

The word circa was mentioned, which was used in my opinion too broadly by many conductors, along with the Italian term prestissimo, this unfortunately was not adhered to by the majority of bands including the band that came 2nd.

I asked myself the question; did we work hard as a band and, individually to advance our over all playing ability, improve our technical capability and general broadening of our musical horizons or did we assume the approach of, if we can't play it at that tempo or around that tempo then we'll play it at a comfortable pace that's good for us disregarding any indication of tempo, either by metronome marking or by Italian term under the umbrella of circa.

Or as some bands did; take the slow fast slow approach, for example in the third movement, after starting the prestissimo at around crotchet equals 192, observing the Molto meno mosso and the rall after letter U, but ignoring the A tempo at V completely.

Maybe this section was not as much of a challenge technically, thus played at around dotted minim equals 138.  One would hope that such musical abandon would be reflected in the adjudicators' remarks or even in the final placing of bands.

I can here you say that this sounds like someone crying over spilt milk. Maybe that is the case; however the clue is in the title of Test piece, if we omit the test by taking out the challenges then the whole aim of a test piece is lost. My Band has definitely grown musically whilst rehearsing Images Of The Millennium and the challenges that it set us. 
 
Colin Swaep

Remember Dictator Maximus

Keith J Wilkinson's letter concerning the demise of the Regionals reminds me - what, if anything, happened following the great debate some time ago on 4BR 'Dictator Maximus' I think it was called which engendered much positive comment about how the movement might go forward? I recall Richard Evans and the Childs brothers names being prominent.

In most if not all successful organisations, if anyone leaves, a no holds barred exit interview is conducted to find out why, so, if there is a recurrent problem, it can be addressed. Has anyone asked one or more of the 150 bands who have withdrawn from the regionals why they no longer participate, assuming the band is still in existence? I would suggest that until there is a clear picture of the reasons, and more importantly someone does something to correct it, the exodus will continue unabated.

Maybe the Dictator Maximus idea should be resurrected.

Roger Lincoln

Report required on Regional numbers

You raise a valid point with the number of entries and perhaps the BFBB should consider commissioning a report covering all the Regional Areas and the Registries to see where the problem lies and putting forward ideas to change.  I recall that Colin Johnson gave a report last year and proposed some ideas to help bands contest.
 
It is possible that the reduced numbers in the some sections this year was the choice of music but I doubt if this would account for 150 bands.  Perhaps some lower section bands are still very active in their community but do not care for Area contests but will support their local association.  Interestingly the Harrogate band site shows there are over 900 bands so what is the true state of affairs.
 
There is certainly an unbalanced make up of sections between the Regions.  Should there be a revision of the boundaries as well as the size of the sections.  I think that the last boundaries changes were in 1993 and the last section review was in 1992 when the first section was introduced so there is a need to look at this. 
 
The problem will still exist unless bands are prepared to change and this is perhaps the hardest hurdle to clear.  Through this and other forums we can put forward our views and solutions but unless we as a body are prepared to listen and act then some Regions may stagnate. 
 
Our Region appears to be vibrant with 26 bands in the Fourth section at Torquay and 80 bands entered but I recall there were 29 in 1986 and there were occasions of over 30 in the fourth section so no Region can be complacent.
 
Nigel Tiller
Bournemouth

Own Choice problems

The problem of own choice really is that of only being able to choose what is known/been before/done to death. Meaning, that players/bands of most ilk will only look at their fave top 40 of Ball to Wilby! In other words, repetition my friends. How many bands are willing to choose a work that has not been written yet (hard concept), or not heard before (slightly different concept)?
 
The other problem that arises is that new music for contests only arrives by via a minority body/Quango/faceless few that chooses what they like for you!
 
Two points! How, are you, players/bands ever to know what music is lying about gathering dust out there by who ever for you to choose from? You don't! But it is not impossible to research this. Don't forget your main forced diet/repertoire consists of the Ball to Wilby fayre (all great composers mind you), that is all you're allowed (but also happy to take?). Want to change this?
 
And secondly, if you are so willing to let the minority/faceless few choose all the time, why argue the toss when some one takes the initiative to sort a new work to play at own choice, even though it might well be one of those very composers from Ball to Wilby. At least it is new, and, this action itself is a demonstration (in a way) against having to choose from used/old repertoire and chosen by someone else (but not in own choice of course)!
 
If you want new, and different, one has to get off one's arse to formulate a plan to get out of the force fed bander situ! All one does is sit around waiting for the choice upon high, which on occasion might be different (thanks Mr. Hindmarsh for Eden), but eight out of ten, not.
 
And then what do we do on the contest choice? Moan about it! Too hard, too old, inappropriate, arrangements (Enigma/Rienzi, pah!). Why bother composing new for band when the faceless few start tossing orchestral arrangements about.
 
Have you any idea how many new scores are sent to the Quango in Perpetua every year and how many are discarded for probable reasons like, it's too long, too short, too much percussion, and, who the hell is he/she, notes don't make a nice pattern, we don't understand it? No, I wouldn't think the general mob would. But, it's in the hundreds all round! But more importantly, do you/we care? And wouldn't you like to see some of that stuff that's binned? I would, as it includes some of my etchings as well!
 
I suppose you see which side of the argument I'm on? The composer's side! I thank you.
 
Phil Lawrence

The Woodfall soprano hot spot

Thanks to Sammy Easterbrook for his homage to Woodfalls Band soprano players and to the compliment. I'm never happy with my playing, but I'm glad that it brings some people pleasure.
 
There has been a strong tradition of soprano playing in Woodfalls, and it wasn't until Sammy mentioned it that I realised that there was a 100 yard radius hot-spot (SP5 2LT) in Woodfalls. Maybe there is something in the water - heavy metal poisoning probably.
 
I think the notion of soprano quartets being conducted over the garden fence is a little romantic but Sammy's letter, however, brought back a lot of memories.
 
As far as I know Jack Green set the precedent. I never heard him play soprano but to all accounts he was a brave and powerful player. Jack and his family ran a timber and saw mill (wood - falls...see?..) which lay in between my Mum and Dad's and the Green family house. Apparently, on one occassion, days before a contest, Jack had his cheek pierced by a huge splinter of wood but still played a stormer ("The Frogs of Aristophanes") with several stitches in his cheek and bloody bubbles spraying out over the flugel player next to him.
 
The saw mill was a big employer in Woodfalls and in those days there was no Health and Safety at Work Act. As kids my mates and I used to play in the sawdust like it was snow whilst huge circular and band saws buzzed about. I honestly thought that it was perfectly normal for most adults to be missing limbs and fingers.
 
Jack's son, Keith (who now plays Eb bass at Woodies) took over the soprano chair from his Dad and is probably responsible for my obsession with the soprano. I'm sure Keith won't mind me saying this: In those days (1970s) Keith was more like a charismatic rock star than your average bandsman. Looking something like Clint Eastwood and playing like an angel; Keith was idolised by the local banding fraternity. You always felt a bit voyeristic watching him play. He was so passionately in love with playing his soprano sometimes it was hardly decent. Keith had a characteristic style of playing, he was a great player to listen to but it was also entertaining to watch him play. He often used to lose himself completely in the music and rock his chair back onto two legs playing huge chunks of music with his eyes closed.

Thanks to Keith I was passively introduced to soprano playing as a child years before I started playing. He would often come back from the pub and start practicing at around 11.00pm and continue well into the small hours with the windows wide open - great stuff. It was so good that the neighbours never complained. I've no doubt that Mark Pye, who lived on the other side of the Green household, had similar experiences.
 
In the early '80s, as I recall, Keith was involved in a nasty road accident which left him seriously injured and spelled an early end to his soprano career. At about that time I started playing soprano and Keith gave me loads of advice and free lessons (well, I might have bought him a beer or few in return) for which I've always been grateful. That enabled me to step in on Soprano at Woodies for a bit, before disappearing to uni and handing over to Mark.
 
James Cooper
Soprano Cornet
Bournemouth Concert Brass.

Back to the shed building now....

John, Lucy, Gordon et al...

My innocent question on the number of Scottish titles held by the Scottish Coop spurred interest far in excess of what I expected. I will now continue my shed building activities, safe in the knowledge
that history has been preserved, communicated and documented for generations to come!

Thanks and Amen. :-)

Olav M Skår

What's the difference between a musical loan and a donation then?

You may well be right concerning the end of an era with the news that for the second consecutive year no band at the European Championships will play a piece by Philip Wilby.

There has for some time been the feeling that the European has become something of a unlevel playing field with regards to the music chosen by some bands to play as their own choice selections.

Having bands commission works by leading composers for them to ‘premiere' at the contest may well be within the rules but is as morally correct as the difference between a ‘loan' and a ‘donation' when it comes to political parties.

Pieces that have not been released on general sale for at least a period of six months prior to the contest should not be allowed to be performed at the contest  (with the exception of the test piece). This would level things out somewhat and possible make bands think again about trying to gain an advatntage by having works written especially for them.

Maybe then the great Wilby works (and even those of Gilbert Vinter) may well return

Dr. Liam Bates
London

End of an era?

If we is so concerned about the end of the Wilby era then we only have ourselves to blame. Why can't bands play brass band music, written by brass band composers who know the medium and what appeals to performers and audiences alike?

Why do they think they have to sound like an orchestral brass ensemble – ever harder and louder?

To stop the problem get the organisers to once more pick the own choice selections for the bands as they did at the Europeans in London in 1997. At least then it will be fairer to all the competing bands and we may even get to hear some proper traditional brass band music!

Charles King
Hereford

The demise of the Regionals

The demise of the Regional Championships has been reported on time and time again in the brass band media, but whereas we have chosen to ignore the warning signs in the past (most notably after the Miners Strike) the time has now come to act, and act fast.

Now we are close to less than 500 bands taking part across the entire country and as 4BR has pointed out that has meant the loss in the past 15 years or so of 150 bands. How many more bands must disappear before the likes of the BFBB start waking up and realising that we are dying through inaction. Well done 4BR for pointing out what has become our most pressing problem.

Keith J. Wilkinson 

The role of the Press!

In respect to your editorial concerning the role of the press in the banding movement.

Love the site and all that you do. Please continue!

Roger Robinson

An interesting but inaccurate retrospective 

Thanks for the interesting retrospectives. Please note however, that St Albans City Band finished 11th not 7th, so perhaps you could amend your text?

"7th place seemed rather generous"

Pete Scrowther
Soprano Cornet

4BR Reply:
Well spotted Pete - we will amend things appropriately 

Best of the rest perhaps?
 
I had a thought after the area this year – yet another 4th prize for us…  nearly but not quite – again!!!  So I turned my thoughts to how we may have a fair way to get another chance to get to London.
 
What about a ‘Best of the Rest' qualifier (my interest is really only for the Championship section but there's no reason why it couldn't be turned into something for all sections).  Maybe the first weekend in April could become the date when the ‘nearly but not quites' from the various area contests get together for a final chance to win a place at the National Finals.  Maybe an extra 2 places could be offered here?
 
My idea is that the highest 2 non-qualifying bands from each area could compete on the area test piece.  Obviously extra rehearsal costs may make this idea unattractive and can the calendar really take another contest?  The location of this contest may well affect whether bands would take part or not as some bands would incur overnight hotel costs and this may make attendance prohibitive, so would a fixed venue or a roving venue be fairest?
 
This is only an idea so I thought I'd put it forward to see how much interest there would be.  You've only got to glance down the list of bands in Yorkshire – what a phenomenal line up that is for an area contest!  I suspect that my idea would be well received in Yorkshire.  I compete in the North West these days where we don't have the same strength in depth as Yorkshire, but I am confident we'd still be able to provide top quality competition.  Other areas also have great bands who regularly miss out on getting to London due to the run away strength of the best bands in their respective areas,
 
I don't intent any criticism of the current system and would accept the ‘aint broke so don't fix it' arguments.  There's also the logistical difficulty of increasing the number of bands competing in the finals, however I have a sneaking feeling that such a Spring Festival event as this could become very popular!
 
What do you reckon?    Maybe one of the representatives of the Nationals organisers could comment as to whether they'd consider this more closely if this idea receives a positive response?
 
Andy Wyatt

4BR Reply:
It has in fact been muted before Andy back in 1997, when the National organisers did fly the flag on the idea of inviting the third placed bands from the Championship Section from around the regions into a 'play off' to get back to London. After some initial interest from disappointed non qualifiers, nothing ever came of it.

More positive reporting
 
I read the recent retrospective of the Tameside Contest, and was pleased to find that in general there was a much more positive attitude and tone to the reporting, and encouraging comments for bands, rather than the scathing comments in the recent area retrospectives.

It is good to see that 4 Bars Rest has listened to the views of its readers, and given them the respect they deserve. I work with young brass players on a daily basis, and constantly strive to keep brass banding alive for future generations. I believe that it is important to offer encouragement to players, both young and old, and to make them feel as if their efforts are worthwhile, even if their band didn't figure in the top few at a contest.
 
Helen Minshall

The 4BR April Fool

Can I apply please...

I tried to enter on line by the email address you left in the article but for some reason it's been returned.  Hope this is OK.
 
I really fancy a go at this.  Since I retired from the LSO I've had an awful lot of time on my hands and this would really fill a hole in my diary as well as reconnect me with my roots in the brass band world.
 
I'm only interested if I'm sat on the top seat though. Don't think I could play under that Webster fellow.
 
Please get in touch soon. I've already got my Cornet out and am plying through the Arban in preparation.
 
Yours in anticipation
 
Maurice

(aka) David Warren
 
PS Had a phone call from Denis Wick last night about his new silent mouthpiece and he may be worth a phone call if you need a decent 2nd Trombone.

Nearly had me...

Can I just say congratulations on the April Fools joke. Having deliberately avoided seeing anyone until at least 12 yesterday, I entered 4Barsrest a few minutes ago without a care in the world. I saw the article on Best of Brass and immediately read it, spellbound that such good fortune should fall upon the movement.
 
Of course, thoughts began to run in my head, thinking that I should inform my parents that my teacher will be on TV; but then I started thinking perhaps this was all too good to be true. Then, just before I read the email address (so you didn't quite have to tell me yourself) it dawned upon me that it was too good to be true. Things like this always happen on April Fools Day, but it brought a smile to my face. You have to be caught by something every year, even if it was over 24 hours late!

Dave Smith
Euph
Hade Edge

Great gag

Love the April fools gag. Keep up the good work

Mark Tarry
Ratby Co-op Leicester

Frank in the flesh...

With regard to your recent info on Bands back on prime time television.  I think people will be a bit concerned or even astonished when they see Frank Renton in the flesh not a bit like the photo of him in your article - has he not given an up to date one, aren't you supposed to have up to date information.?

Anne Luxton
Secretary SBB
Tavistock

What a spoof

I read your "Bands on prime time television" spoof and was almost taken in. The final paragraph asking interested persons to send a photo to see if the would look good on TV gave it away. Given that some of the section leaders arn't the most photogenic people around (no offence guys and lady) it suddenly dawned on me that I'd been had.

Seemed like a really good idea - it would show the public the incredible amount of talent and hard work that goes into becoming a top bandsman/bandswoman. 

Tony Knowles

Great wind up...

Well done everyone that was fantastic. You had me hook line a sinker, until that is I saw Phil's name mentioned then I thought surely not, the British public wouldn't understand a word he said!!

Great wind-up

Toby Hobson

Rough with the smooth

As a fairly pragmatic individual regarding our area Championships (you have to be if you have been involved for 35 + years) I agree with the remarks about taking the rough with the smooth and in my time would admit to a few surprises both ways.

This year, in particular, I felt really deflated after what I thought was a solid performance on the day, reflecting a heck a lot of hard work that was not rewarded with a better placing. Thoughts of retirement from this mad "sport" did enter my head however after 3 weeks of rather intense work which meant I was away from the band, I played in a concert last night to a full and appreciative audience, I was reminded that banding can also be a great therapy away from the stresses of the normal working day and extremely rewarding.

So having reflected and only now able to catch up with the comments from the region my take is that those responsible for managing the area championships do have a great deal of responsibility and care of duty.
Bands in some cases can live or die based on results, it happened to the band that I belonged to before my present band and I left, almost, as the last man standing.

Months of individual and band rehearsal will have been put in and in some cases, I'm sure, significant expense preparing for this annual showdown that defines a bands destiny.

Then of course there are the finals and in particular the Albert Hall. There is no doubt that this contest is a real showcase and attendance vary depending on the bands competing - as well as the piece chosen. I am wholly comfortable with a system where a band can have its day however, if and note I do say if, poor quality adjudication leads to the best bands not competing at the finals then this is disservice to banding and risking the scenario as described in a previous posting that a new elite group will be created, to ensure a full house, making the contest an effective closed shop.

So what happens next?

We have all taken our medicine, but what of those that dispensed it? Is there a system in place to review the performance or shall we simply see the same faces next year?

Anyway well done to all those that have reached the finals - enjoy your day.

Graham Rix

What a pair of sops...

Soprano players, Mark Pye and James Cooper both received lavish praise for their outstanding performances in the championship section at Torquay by 4barsrest author Malcolm Wood.

About Mark Pye of SWT Woodfalls Malcolm wrote…"a soprano player that stood out for us as one of the best of the day" and about James Cooper of Bournemouth Concert Brass he wrote…" the soprano was fabulous throughout"

What many of your readers might be interested to know is that James is a Woodfalls old-boy! James started his soprano career in Woodfalls Junior Band before being promoted to the then Woodfalls B Band (now Woodfalls Concert Brass). Later, for a short while, James played soprano with the Woodfalls senior band before leaving for university where he played with Ratby and Nottingham. On his return from university, and there not being a vacancy in our senior band, James again played soprano with Woodfalls Concert Brass and also conducted the Woodfalls Junior Band. Possibly frustrated by the lack of championship playing opportunities, James accepted an invitation to join Bournemouth Concert Brass.

Interestingly enough, both Mark and James lived little more than 200yds from the band hall in Vale Rd, where, for as long as anyone can remember, all our soprano players have lived - there must be something in the water! It is said by James's father Sam, that…."at one time, a quartet of soprano home-practice could be heard over the garden fence with Keith Green, (Mark's predecessor) and Keith's father Jack (Keith's predecessor) all blowing away at the same time". Congratulations to Mark and James, two players that really are the tops!

Brian Easterbrook

Having the missus on your side

Just to say that the paragraph relating to Aldbourne's basses and" some of the best bass playing on the day" was in fact my husband Mr Gareth Jones and not as you stated Lyndon Baglin.

My husband played the solo part and deserves the recognition for all his efforts. Perhaps the author Malcolm Wood should try to get the facts and players correct when publishing names.

Carol Jones
Swindon Crown Court

4BR talking Pinnocks!

I have read the above 'report' following this year's area qualifiers held at Torquay and am motivated to write to you born out of disappointment and frustration as a St. Pinnock Band participant.

I wish to say at the outset that your narrative relating to the above WINNING band appears to me as bland and uninformed and leads me to doubt whether you even heard us play! You start off in negative fashion pointing out that we had "a lowly finish twelve months ago".

There is no mention of the band's excellent soloists - 'some nice cornet work in the Elegy' was as near as you got to doing so. No mention of the superior solo euphonium player (Andrew) who was the only solo euph' to completely master his part; no mention of the silky musicality of our solo cornet (Norman), particularly in the Elegy; no mention of the quality of tonal sound of the soprano player (Mike, some 64 years young); no mention of the solo E flat bass player (Rachael, just 13 years old) who led the bass section with a quality of sound belying her young age; no mention of the incredible dexterity of our percussionist (John) who was 'note' perfect throughout.

Yes, you did give credit to our MD with which I wholeheartedly concur. Compare this with your coverage of the Camborne B band stating that they were unlucky to be placed fifth, detailing the names of their soloists before adding that 'the draw didn't help'. I wonder if your prediction of their anticipated success had anything to do with your infinitely more comprehensive and 'disappointing sounding undercurrent' appraisal?

Likewise, your reporting of the Launceston band when you enthuse that their rendering of the Elegy movement 'featured what was some of the best cornet playing of the day'. Finally you seemed to have completely overlooked the comment made by Geoffrey Whitham in his summary before the results were announced that "there was only ONE band, the WINNING band that met the challenge and difficulties presented by this most difficult 3rd section test piece".

The St. Pinnock band and our very able Musical Director (Peter Minear) are very proud of our performance that day and are proud, too of our achievement to be able to represent the South West at Harrogate. We feel honoured to have merited this opportunity and will be doing our absolute utmost to give our very best performance on that occasion.

A pity, though that you do not appear to share our pride and endeavour and I remain doubtful that you even heard our performance (especially when I consider that you had not given us a mention in your pre-contest assessments).  I must stress that I am writing to you at a personal level and that I am NOT, in any way representing the St. Pinnock Band organisation.

Michael Bunt

The Scottish Regional mystery finally solved

My SBBA colleague, John Martin, has confirmed that Scottish Co-op have indeed won 17 Scottish 'Area' titles (not including the 2nd section title they won in 1978). 

John is also correct in saying that we Scots tend to think only of the 'Scottish', which just so happens to incorporate the 'Area' title, and the 'Co' have to date won 28 Scottish Championship titles (again, not including the lower section title won in 1978).  So well done Lucy (Forbes, see earlier comment) for counting up correctly.  Maybe one day your counting will be good enough to become a shed-builder like me and Olav!
 
However, a source of great mystery to many is this idea that ONE performance can win TWO such important titles, as happens in Scotland each February/March, but it hasn't always been thus so let me elaborate (as best I can from the documentary evidence available and discussions with various SBBA officials).
 
· The first Scottish Championship was held in 1895 so it actually pre-dates the 'National' (first held in 1900).  Allowing for the war years, last year (2005) saw the 100th staging of the Championship.

· There were 40 Scottish Championships before the onset of World War II, 8 of them won by Scottish CWS.

· Regional contests were introduced throughout Britain in 1945 (sponsored by a major daily newspaper) and Scotland initially 'fell into line' by staging a Scottish Regional contest from 1945 until 1950 whilst the Scottish Championship continued as a separate event.  During this 6-year period, the 'Co' band won 3 more 'Scottish' titles and 2 'Area' titles.

· Towards the end of the 1940s, there was increasing grumbling from us traditionally parsimonious Scots about the need to attend two major contests each year and the associated requirement to pay separate registration fees!  Bands voted with their feet and continued to support the 'Scottish' whereas the number of competing bands at the 'Area' contest plummeted.  The eventual outcome was that the Scottish Association elected not to stage the 'Area' contest from 1951-1958!

· The 'Scottish' continued each year from 1951 until 1957 (the last being won by the 'Co'), with the top bands serving as Scottish qualifiers for the following year's National Finals (NB during the 1950s, the 'Scottish' was held in November/December).

· The somewhat unsatisfactory 'stand-off' ended in 1958 when the decision was taken to cancel that year's Scottish Championship and instead stage the inaugural joint 'Scottish' and 'Area' contest in the spring of 1959.  The winners, Scottish CWS, were declared both Scottish Champions and Scottish Regional Champions and went on to represent Scotland at the 1959 National Finals.

· The 'joint' nature of the 'Scottish and 'Area' has continued ever since, with the exception of 1965, 1969 and 1970 when once again separate 'Area' contests were staged.

· CWS won further 'Scottish' (and simultaneous 'Area') titles in 1960, 1964 and 1971, plus a separate 'Scottish' title in 1965 (Tullis Russell won the 'Area'), before embarking on the most successful period in their history from 1988 with a further 11 'Scottish' (and 'Area') titles.

Hopefully that makes things just a little bit clearer.

Gordon Simpson
SBBA Statistician

Bias reporting in London

I have just read through the London and Southern Counties Retrospective for the Championship section, and was disappointed in the somewhat bias write up. 

I find it bizarre that the 4th place band got a more committed write up than the 1st placed. Surely this should be the other way around – regardless of your opinion? Is it not your duty to give a balanced and fair report to all those people who could not travel to hear for themselves?

Whilst unfortunate, Redbridge didn't win because they weren't good enough and surely a little more enthusiasm for Aveley's achievement would not go amiss – rather than the continuous lamenting for Redbridge's 4th place throughout your article. 

Yes, I do play for Aveley, but so what? We have waited a long time to regain the crown and rehearsed really, really hard for it!

Kelly Ann

Where was the percussion in the Journey?

Having noticed on the music that ‘Journey to the Centre of the Earth' was billed as a piece for Brass and Percussion I was looking forward to some comments on the percussion playing. With four percussionists required surely the adjudicator would at least scan down and see what was happening at the bottom of the score.

Sadly this was not to be. All we had was ‘good vibraphone', for our performance the other weekend at Stevenage. We have been lucky enough to attend two national 1st section finals over the past two years and there again not a single comment was made on percussion. So come on adjudicators, don't forget us.

Kevin Clark
Clacton Cooperative Brass Band

Something for the French please?

Please let me first tell you that your site is absolutely the best about brass band (I must not be the first to tell you that)!

 I just wanted to make little major suggestion : on your "results archive" page, why don't you add the "National Brass Band Championship of France" ?

This championship takes place each year the first or second Sunday of November and this year, the set test-piece is Eric Ball's arrangement of "Enigma Variations" for the "Division Élite" (Championship Section).
It would be great for the French to be part of the 4BarsRest.com preview+live coverage!
Please let me know what you at 4BarsRest.com think of this idea.

Benjamin Richeton, sop from Brass Band Sagona,
France (visit our website! www.brassband70.free.fr).

4BR Reply:
We will try and get it included as soon as we can Benjamin

Ranking enquiry

I have got a enquiry about the rankings that you publish every so often of the website. Since our inception back in August 2004, the band has won the North West Area twice, The Brass at The Guild twice, Pontins and also came 2nd at Uppermill - how many points does this give the band using your scoring system and how far are we off breaking into the top 200?
 
The only reason I ask is that the band seems to have been completely overlooked, with the likes of Blackpool and Timperley joining the top 200 after the latest round of Area contests. I have tried to figure it out for myself from your notes on the website, but with no luck!

Andy Robinson
Secretary & Eb Bass - The Oldham Band (Lees)

4BR Reply:
Our man will have a look and will tell us where you are in the great scheme of things Andy.
Oldham is in 226th position, just one good result away from a place in the top 200.

Victors Returned?

According to our database we have a copy of the March "Victors Return" by W. Rimmer in our archives.  Unfortunately there are no notes on the spreadsheet but there may well be on the parts.  If "Thomas" wants me to find the parts in our vault then he should contact me via our website (www.besses.co.uk).

Chris Harrison
(Webmaster for Besses o' th' Barn)
P.S. Perhaps in view of recent contest results we should rename it to "The Vanquished Return"!

Ask Wright and Round

Further to the query posted by Thomas, regarding the Rimmer march Victor's Return, maybe Wright and Round can help? It's certainly listed in their online catalogue as the publisher of it.

Dave Payn
Conductor Arran Brass

Premiership banding

I appreciate Ian Wilkinson was being a little tongue in cheek but could I point out that we (the players) at Reg Vardy do not receive a penny from the band either in expenses or any sort of wages.

We do it because we love it not for money and there is no coincidence that we have had fewer changes in players than any other band ranked in the top ten over the last three years or so. In terms of transfers with financial incentives again I think it is an insult to those players who want to move to improve their playing or move because of their own ambition or even for geographical reasons.

We are currently ranked 10 and we are also fortunate to a have a good sponsorship deal with Reg Vardy so would probably qualify for this ‘champions league of brass'. To be honest I don't think many in our band would want to stop competing with bands ranked below us or bands that have less money. The British Open or the Europeans Championships are our Champions league and like the football equivalent everyone has a chance to be in on merit not the size of your bank balance.

The suggestion of an exclusive club for the tops bands would not work. Perhaps realistically what might happen is that the Championship section nationally gets reduced down to a smaller number in the future although again I think as long as there are enough bands there is no reason to change the way things are in the present. Everyone should have their chance to win and the public love to see (or hear) the underdogs win.

There again, it's all about your own perspective.

Dave Long
Reg Vardy Band

What are the Proms?

I'm not a musician, so I don't know what "The Proms" is. Nevertheless, I do volunteer publicity work for a local brass band, and our next concert theme is "Last Night of the Proms."

Nobody here knows what that means. Can you help? About the only thing I can figure out is that people stand through the concert. Have you an archived article that explains the concept? or any kind of primer you can direct me to?

We are very eager to have people come hear our fine band, but it's difficult to explain what they're going to hear.
Barbara McIntyre
Ohio, USA
www.wrbrassband.org

4BR Reply:
There is a whole mass of information about the Henry Wood Promenade Concert season that takes place each year based around a season long series of concerts from many of the worlds leading performers and orchestras. The 'Last Night' though is a very 'English' affair and we would suggest you really do get someone to explain its particular brand of xenephobic patriotism to you before you try to out an American twist on it!

Blow to banding

What a blow for us all to hear that GMR Brass is to be taken off the air and that all the hard work of John Maines over the years has not been appreciated by Local Radio Management in Manchester.

The decision does not seem to tie up with comments in the BBC In House Newspaper, Ariel, which in an article on the changes states: " Under new editor John Ryan, Radio Manchester (GMR's new name) will strengthen its coverage of culture, news and entertainment and there will be a higher profile for community programmes in peak time"
 
If the progrmmes listed for the chop are not culture and entertainment, particularly brass bands which spring from the community, I wonder what is.

Phillip Hunt

(Kenneth) Wayne Cook, 19th April 1950 – 21st December 2005

Wayne was a personal friend. We had shared interests in music although our backgrounds radiated different colours of that great spectrum. He and I first met when his playing days were already over yet, nevertheless, we had much to discuss, reflect upon and laugh about. But I didn't know him in his heyday and so, in this respect, I am grateful for the input of Mr Terry Sleeman and Mr Keith Curtis, both of whom have knowledge, memories and reminiscences that go back much further than do mine.

I must put on record that, although I come from the north-east of England (which, of course, has its own fine band traditions) my knowledge of the brass-band world was limited. Wayne would tell me many hilarious stories of tours and contests and the other (to an outsider) esoteric goings-on that are the regular currency of the bandsman. These involved false teeth, hotel rooms and, sometimes, even the music.

In return, I introduced him to aspects of the music that captivates me. I recall his wonderment at hearing Mozart's horn concertos played on a natural horn ("no valves", I assured him) and, while the Royal Albert Hall was a familiar venue to him, I was able to take him to the Proms there for his first time. He was always interested in expanding his musical experience and Ravel's Pavane pour une Infante défunte made a strong impression on him (and also solved my Christmas present problem that year).

Wayne's playing days really began with the Lewis Merthyr Band in his native south Wales. He was there under the baton of Oliver Jones and one of his contemporaries was Jim Davies whose name often cropped up in our conversations. But he was probably most closely associated with the Cory Band where, as Solo Horn, he took part in the Bicentennial Tour in 1976, and was one of the European Championship-winners in 1980. What gave him particular pleasure, though, was being a member of the hat-trick winning band at the National Championships in 1982-3-4. And while he would proudly recount working with distinguished conductors such as Denzil Stephens, Elgar Howarth and others, pride of place was reserved for "the Major", Arthur Kenney.

As a top-class player he would, in time, become linked with other organisations – Black Dyke, Sun Life, Leyland, not to mention the All Star Brass Band of Great Britain – but, in addition to his time in Wales with the Cory Band, he had associations with a number of bands in Cornwall. He played briefly with Redruth and Mount Charles but his main contribution was with St Dennis. It was during his time with them that the band regained promotion back to Championship Class and, moreover, achieved a great win in 1994 when it won the Royal Trophy at the Bugle Festival for the first time in many years.

On that occasion Wayne was given the award for Best Tenor Horn Soloist. That could have been something of an understatement. As I said earlier, despite my other musical forays, I'm something of an outsider, brass-bandwise, and am happy to take on board other people's advice and views. I'd always known that Wayne was a good player. He never bragged about it but it was clear, from what he told me about his background and experiences, that he was no run-of-the-mill executant. The truth of the matter really came home to me a few years ago when I was teaching a summer school for the Open University. One of the students in my group was a brass-band musician, a tenor horn-player, who seemed surprised that I, a mere academic, should know about the BB world. I explained that I had a friend who had been a part of it but was no longer playing. When he asked me who it was I told him about Wayne. "Wayne Cook," he said, "I used to idolise him; I listened to all the recordings he was on! He was one of the only two players that were worth listening to." As I said at Wayne's funeral, I can't comment with any authority; but it's a pretty good epitaph by anybody's standards.

(Dr) Brian Collins
March 2006

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