Comments ~ 2006: May

Essex blonds; Silent mutes; Can't speak, won't speak and much more as we head for Cambridge and more contesting...

Can't Speak …Won't Speak?

I read with interest your report on the EBBA forum. From what I can remember this is held every year, as a platform for European organizations to tell us how things are progressing in each of the member country's.

How sad then, that the "British Federation" can't do at least a little homework to tell Europe what the British Federation of Brass Bands plans for Birmingham 2007 does the "Fed" in federation stand for Fed Up?

Why, when we have a paid development officer in Philip Watson does he have nothing to say about how the BFBB are developing brass bands in this country? If he has nothing to offer then I suggest someone does an employment review and tells him to get his act together. Then again the people at the top of the BFBB should take a long hard look at themselves. This is a shambles.

I would suggest that EBBA  re-think the choice of organisational body (BFBB) and award the 2007 European to a country that can be bothered.

Simon Gresswell
Hove Edge

Silent Mutes - a different view 

In regard to the comments concerning the use of silent brass mutes, I would like to further a different view.  Brass players have for many, many years experimented with mutes.

We have used everything from the felt bag that a bottle of Crown Royal comes in, to mutes made of cardboard, and wood. In an orchestral setting, it is not unusual for the trumpets to use "practice" type mutes on things like the fanfare from the "Fetes" by Debussy.

The orchestra pit at Bayreuth has a partial covering over it that serves as a rather large mute.  Do the singers complain that the orchestra is "cheating"?

The use of the Silent Brass mute, in my view, is simply another example of creative use of new products. In addition, as any "Silent Brass" user can attest, the mute is not completely silent. Should we look askance at writers who use modern language, artists who use computers, or athletes who use modern shoes?

Jay Cohen
Chicago, USA

Looking for help with nerves
 
I am a hypnotherapist and am doing some research into Contesting and how people react and deal with the pressure of performance. 

Please, if you would like to tell me your individual stories / feelings /methods of coping. I would love to hear from you.  I am interested in all levels from 4th to Championship and  anything you might have to say (about brass banding of course!) would be appreciated. wendy.johnson@hotmail.co.uk

Wensy Johnson

4BR Reply:
Anyone out there would like to help Wendy then get in touch and let us know how it went.

Working with Children

In reply to Helen Cutting I would advise her to get the certificate, if she approaches her local authority she will be able to apply under their "umbrella" so saving quite a few pounds!

I was involved with a Junior Band and several of us took the check, it's no problem and in this day and age it's better to be safe than sorry.
 
Barbara Robinson.
Hirwaun.

Essex blondes rather than Pearly Kings
 
In the past you have accepted that you cannot be right with everything and yet again, you refer to Aveley & Newham as a London band although it competes at the London & Southern Counties Regional of the Nationals, unfortunately your geography has let you down. AVELEY - once a small village in the countryside and now a small town - is situated in the County of ESSEX (blond bimbos with white stiletto heels dancing round their handbags country) .

The only London aspect in their being is the other half of their now title NEWHAM which is a London Borough.

Aveley itself is situated within a mile of the M25, the Lakeside Shopping Centre Complex and the QE2 Bridge/Dartford Crossing and the band rehearses in it's headquarters, the Aveley Village Hall which they manage and also look after it's upkeep.  So you will see that in view of Aveley's location, you will be far away from hearing any true cockney lingo, you will not be able to sit in a pie & mash/jellied eel cafe and you will certainly be miles away from the Pearly Kings and Queens of Sar'f London round
Lambeth Way.

Having myself debuted at the Spring Belle Vue back in the seventies (Cyril Suckling conducting Aveley Band), it has been a long and finally rewarding slog for the bands goal to be achieved and congratulations on this win are well deserved also, their persistence in obtaining their goal. I look forward to seeing them take their place in Birmingham and wish them well in the process.

How do I know about Aveley, I was born and raised their for most of my early years so in this instance, I think you will find my geography is spot on.

Congratulations on your web site and informative articles - keep it up.

Norman Jones.
Norwich.

Londoners take no prisoners

"Would you Adam and Eve it. Gawd luv a duck, slap me boat race and let's crack open a tub of jellied eels down the local pie and mash shop. A band south of the Watford Gap winning a major brass band contest?"
 
Now that made me chuckle, but sometimes I wonder if you get a little defensive or PC? I, for one, was not in Blackpool on the 13th (I was pre-disposed with other band activities, much to my annoyance!), so when I checked the results on this site I was, yes, a little surprised at Aveley winning, but no more than that. I think we can all tell from the last year or so, particularly 2006, that this is a band on very good form, and I haven't come across anyone who seems to have a problem with this.
 
So cut us some slack please, no one is going to critise them for winning because they're a "London" band, yes stereotypes may still exist but there is strength and depth in banding across the UK and world now, so your little ramble about regional heritage in your Grand Shield retro wasn't really necessary other than serving to make me feel guilty when I had nothing to feel guilty about in the first place.
 
I still remember Brass at the Guild last year when, as a newly promoted top section band we were soundly beaten (in other words: slaughtered) by Alliance Brass on the same test piece.
 
London bands are taking no prisoners ...

Dave Smith
Hade Edge

Just because I'm a Londoner...

Just wanted to say how pleased I am with the result of the Grand Shield contest yesterday.

I was given the news by an over excited repiano player somewhere on the M6 on my long trek back to Suffolk. Out of the competing bands, we were ranked 13th in the 4BR rankings. For a mere southern band to finish above the "name" bands is a tremendous achievement of which we are very proud.  I am now looking forward to playing at the Open for the first time since 2001 when I played for Brighouse on Les Preludes.

The only disappointment of the day was that there was hardly anybody in the hall to hear the winning performance. Although we have a certain amount of respect in the Southern area, we appear to be a "let's go to the bar band" when we compete on the National stage. Maybe this result will go some way to changing that attitude?

The overall event itself was quite enjoyable and I took the opportunity to listen to bands in all three sections. I haven't a clue who the bands were but just went to listen to the music. You get a different perspective and appreciation when you listen to the music and not the name of the band.

Thanks for the great coverage and for the unusually kind comments for Aveley & Newham!

Andrew Bannister
Soprano Cornet
Aveley & Newham

Grand Shield lottery

What a lottery the Grand Shield has become. The standard was so poor this year that by the time the best bands came on you wondered whether or not there was any point in having 18 bands at the contest at all. Then to make matters worse the judges couldn't even pick the best performances out!

Why not just award the places at the Open in alphabetical order from now on. 

James King

4BR benefits

Nice to see 4BR getting back to picking the bands out correctly. Followed your live coverage all day and felt that you seemed to agree with the men in the box. Your meeting with Derek Broadbent must have had its benefits after all.

Paul Collins
Wigan

Absolutely stupefied!

Just got home from Blackpool where I listened to all bar one of the bands competing in the Grand Shield competition. While waiting for my kettle to boil I logged on to 4BR to find out what your guy on the spot thought of the event as it unfolded.   

 I have to say that I don't think your reporter had his mind entirely on his job. Some of his comments lead me to believe he must've been listening to the FA Cup on an earpiece whilst eating a black pudding cheeseburger and flicking through yesterday's Daily Sport (compare his reports with the adjudicator's placings).

C'mon mun! Is it too much to ask that we get a considered commentary that is competent and consistent? A slap on the wrist, 4BR! This was shoddy work!
                                                                                                                                                
Alyn James
Port Talbot.

Podcast delight

Well done 4BR on the latest podcast from Blackpool. Both Malcolm Wood and Iwan Fox seemed to sum up the three contests accurately and there was a consistent approach too with the live comments made from all three sections on the day. You were even nice to London bands for a change!

Keep up the good work. We may not agree with you but at least you keep us all reading and listening.

Helen Crayshaw
Wimbledon
London

Silent Brass cheats

Iwan Fox makes very interesting comment about the use of ‘Silent Brass' mutes in his retrospective of the Grand Shield. I for one totally agree with his assumption that the conductors should be ashamed of themselves for doing it.

PolySteel put in a fine performance, but why they had to use the mutes was beyond me, as it brought no musical value to what they did. I agree with Iwan when he said it just made their quiet playing seem artificial, and they were not alone. I listened to a number of bands in each of the sections, and about 80% of them all at some stage tried to play with these types of practice mutes. Can't top section players play quietly anymore? I agree totally that it is a rather sly form of cheating.

Mr Lyndon Harris

Checks for working with children

I  am a youth worker as well as play in brass bands and was wondering if the new Criminal Records Bureau checks apply to brass band people working with children and young people.

ie. Do they have to be officially police checked and the forms completed before working with them.
 
I am not sure what the procedure is but I know that things are tightening up in this area and am unsure if it applies to brass bands.
 
Anyone throw any light on it.
 
Helen Cutting

4BR Reply:
We know the BFBB has done some excellent work on this subject Helen and we suggest you contact them direct on 01226 771015.

That age old bias again

I wonder if the panel for the Swiss composing competition could answer this for me?
 
Can you tell my why there is an age restriction to this Swiss Composing composition competition of 35 years?  "QUOTE": "With the objective of promoting the creation of serious concert music for brass bands"
 
Surely if one wants to create as much serious concert music as possible for this movement, which lets face it we are a little shy of, one would think that one would not want to restrict the flow of this incoming creative material, but no! Only as many composers as possible under the age of 35 that is!
 
Why do you want to hold a competition to those who MIGHT have a limited compositional experience by making the age limit of 35? Why not 33 to make sure its young enough, or why not 38 for the dash of the extra three years of experience. Or, if Adrian Mole is entering, why not 36 and 7.5 months to get the best of both sides of 33 & 38? 

Composition, like good wine, is only known to mature with age.  
 
Stop doing this to us and that includes all composer competitions of a professional nature that have cash prizes. I need the cash just as much as any other under 35 year old composer. If you want to encourage the young/younger, engineer such a competition in a completely different way. If want ideas then ask me!
 
I don't think you are helping the movement as much as you could. Cuck-coo + nil points pour vous!
 
Phil Lawrence

Tidy up bands!

Just an observation I have made, by both viewing photo galleries and as I wander the bandstands of England.

Stunning performances can actually be spoiled by simple things - i.e. the plethora of opened and closed cases strewn around the bandstands and playing areas by some bands. Young players in unsuitable, uncleaned shoes and ill-fitting uniform trousers, short ties - believe it or not the public spot it all.

They possess in their midst some really outstanding musicians, who when performing publicly forget we still have a cloth cap image to dispel.

A number of years ago we had a fine Flugel player named John Smith who was always insistent that players looked smart, and cases were all neatly stacked. The result of Mr. Smith's efforts was that Shipston Town Band, which whilst having a reputation within only the 3rd section for fine music and quality performances, always presented the public with a professional approach, and not only played the part  - but looked it as well.

Whilst most of us are now attired in new uniforms and possessing new instruments courtesy of the Lottery, we must remember to live up to the expectations placed upon us by delivering a smart, slick and sound performance when performing publicly.

Many bands have as I have mentioned fine new uniforms - show 'em off with pride.

I have been playing now in a variety of brass bands for over 44 years and long since tired of the oomph gags and remarks, let us not allow the knockers and cynics to get in and have another go. Boys and girls - let's play smart and look smart - we might not all be Black Dyke, but we still ought to look like them!

Band Secretaries, I'm sure your players will not be offended by the odd constructive remark about their appearance - after all it is in their interest as well as the bands.

Gordon Sharp

The rankings ....again

Is there any reason why Tylorstown Arriva Trains Wales Band is not in the top 200?

They did get demoted in last years National Championships but got promoted to the Championship Section in Wales where they came fourth in Ebbw Vale and second in the National Championship.

On another note why is Point of Ayr still there when they haven't competed for several years now?

Anthony Howard

4BR Reply:
Please refer to the 101 other times we have answered this one Anthony. There is a full explanation about the 4BR rankings and why 'defunct' bands take time to disappear from the rankings.

And another...

In the top 200 ranking is BB Midden Brabant (Belgium) still in the ranks!

This band does not exist any more for 3 years now! Even last week they received 3 bonus points, how is this possible??
 
Paul Voet
Belgium

4BR Reply:
Please refer to the anwer given above! 

Bring back Cliff Richard and Sandy Shaw!

In response to the letters of Steve Foggin and others on the European B Section:

If these bands are willing to go to that sort of length to win the Europeans Championships and the 6000 Euros that goes with it, then I say, British Bands should not compete unless Standard Brass Band Instruments are used.

It seems to me that the organisers and Bands like Oberossterreich are turning the event into Eurovision Contest [2] so next year lets send Lulu, Sandy Shaw or ask Sir Cliff to make a comeback.

The contest would be a none event without British Bands, so I say let these Europeans have it all their own way and let the European Championships die – that's all they deserve.

Fred Arkwright
Leeds

Peter Graham's Response

It touched me greatly to read Peter Grahams letter. After writing my letter some friends commented on the letter, saying I had been 'a silly boy'...

On the night I wrote it I was upset and felt that through ‘4bars rest' I could say how much the 'superstars' in the brass band world are admired, in a similar way to 'normal' children have posters of their 'stars' on the wall. And maybe i'm stupid or childish for putting certain people in the brass band world on this godlike pedestal. And from being a young teenager when most kids were into New Kids on the block and A-Ha, certain bands, personalities and composers were like pop stars to me and they are still, even till this day.

It's hard in letters because there is no tone of voice within them.  I was hoping to use my own experience to touch a wider issue of how brass band celebrities could be with the general public. I thought if I explained what had happened then brass band 'celebrities' in general might think.. 'if someone comes up to me and starts to waffle about a and b', to smile, say ‘thank you' and maybe chat back a little. It could mean the world to the general public and really make their day. And if they read my letter and it makes them think, then they are friendly when approached by a fan, then my letter would of made a difference.

Unfortunately, my letter did not say that and it came over as an attack on Peter. That was not my intention, and I also apologise to peter for that. I really feel awful for the letter coming over in the way that it did.

I'll put the story straight although that is not the point of this letter, which is to apologise to Peter. The incident is so small but did leave me feeling gutted at the time.

Whilst watching bands in the audience I also noticed that Peter Graham was in the audience and I thought shall I go over but I thought no, it wasn't the right time.

Later in the day I was in one of the bars with some friends and into the bar strolled peter graham. My heart raced, thinking 'wow' and I thought its now or never, so I went up to him and said 'excuse me, are you peter graham?', knowing that he was. He said 'yes'. I said I was Stephen Bradnum and then I started to babble about how much I liked his music etc. I can't remember exactly what I said but I realised it had very little impact on him at this particular point in time.

He was probably just wanting to get to the bar and have a drink with his friends like any normal guy and not have some idiot like me sucking up to him. I'm just over sensitive, this guy has had such an impact on my life and I wanted to tell him.

He is right though; it wasn't the best time or venue for a lengthy in depth conversation about his compositional techniques! And I know that now. I would feel so honoured to have lunch with Peter Graham and if his offer is still open, of course, I would love to go.

Thanks again to the team for all you do at 4barsrest.

Stephen Bradnum

Lazy bones

Thank you for your support and help in my tracing the Bass Trom Solo – Lazy. I would like to thank all of those who replied and sent me the files I had asked for.
 
Philip Loveday

Whit Friday

Please could you let me know the date of whit Friday contests this year.
 
Donna Lewis

4BR Reply:
It is on Friday 9th June

Should we consider changes to the instrumentation in bands?

Comments have been made about the use of Eb trumpets by the B.B.Oberostereich band. As brass bands have certain tonal limitations the occasional inclusion or substitution of alternative brass instruments is to be welcomed.

In most bands the over-worked soprano provides that bright upper sound needed to balance four tubas plus lower brass, so making his job easier by using whatever instrument is available is not a bad thing. Also, the occasional use of trumpets in dance band music can be helpful, the recent Dyke 'Golden Swing' recording shows that the softer-toned cornets cannot sound as bright as trumpets.

As to other instrumentation. French horns are hard to play, and unless really good players are to be found we will continue with the saxhorns. The public are not fixated with contests, so why not experiment for concerts?

Watneys used a string bass successfully on one of their recordings many years ago, their inclusion of french horns not as convincing. Other musical groups do not limit themselves as to instrumentation so why should we? Perhaps this insularity scares away people who might otherwise be willing to make a contribution to the brass band world. Some change is needed to rRecapture the popularity bands once enjoyed, or are we too scared?

A view on British culture - from a New Zealander

I regularly read and enjoy your website. It is very enlightening to watch the Banding scene over there  from the other side of the world (New Zealand).
 
I was very surprised to see the 2006 results. But it made me realise my prejudices in expecting a UK Band to waltz off with the silverware. A prejudice because I like many others assume banding of this nature is a British thing and I assume it is evaluated by British standards but why need that be the case.
 
I was in Europe in 2004 for the British Open and the National Finals. A real eye opener for me because I spent all my playing years believing that the 1953 National Band of NZ proved that the NZ scene was at the top of the world whereas in 2004 we were lucky to get tenth at the Open.
 
The comments reported from Brass Band Oberosterreich say it all. Why should a European event be dominated by British culture? Why should instrumentation and music be weighted in terms of British culture? If UK bands are not interested in competing against trumpets french horns and those peculiar looking basses why should we expect them to be also-rans at a European event. Is there something about the UK/Europe psyche I don't understand down here living upside down?
 
It is of course a matter of balance and if european bands were to wind up dominating the european in the next few years it would not have the same interest for me but why should that be so - it should not - its a product of my culture. Look what happened when the Swedes competed here last year. Why is there no Swedish representation at the European? Is that also a matter of culture? What about the Red Army Band. I know that there is a problem with military bands but is membership of the EBBA really the crucial factor? Is it politics or culture or music?
 
Keep up the good work.
 
Gordon Brock

England and the Euros. Another question to ponder

Further to the recent editorial questioning the future of the participation of English bands in the European Championship, I wonder if there is another scenario that should be considered:

As I understand it, a win at the Area contest earns the band an invitation to the National Finals at the Albert Hall and also an invite to the new English Championship, and hence the qualification route for Europe.  What would the reaction be if a band which has previously only appeared in a few contests each year decided to decline the invitation for the Albert Hall, but opted for the English Championship instead?

As far as I can see this would not be in breach of any rules, and would avoid the need to fit another contest into an already full schedule, and could prove attractive to a band that feels it has nothing to prove domestically, but is keen to pit itself against the best in Europe.

Peter M Bale

The strange case of Gorton Silver Band

I have just done a Google search in Gorton Silver Band and was offered this article that refers to a Gorton Silver in the 4th Section. It appears to suggest that the last time a Scottish Band won the Fourth Section was when Gorton Silver won in 1990.

I'm afraid that unless another National Championships was taking place elsewhere and that a another band names Gorton Silver won it, then the article is incorrect.

Gorton Silver Band was (has now merged into Reddish Band I believe) based in Gorton in Manchester. I was a member at the time and took part in the winning performance of Pantheon under the direction of Ben Ashby. I suggest you confirm the location of the band and the 1990 result with other sources to confirm the above.

Ian Bishop

4BR Reply:
Thanks Ian for pointing out our mistake and apologies to all those proud Mancunians who played their part in the win in 1990. We will amend our mistake. It does mean though that you now have to go back even further to find a Scottish win!

Looking for Lennon and McCartney
 
I am Librarian for Toowoomba Municipal Band in Queensland Austratlia. I have heard a recording by South Notts Brass Band of Lennon/McCartney's "Get Back" with a nice piano interlude and a lovely Flugel (I think) bit at the end and also Paul Simon's "You Can Call me Al". This has a cheeky passage for a gymnastic Bass in it. Can anyone tell me how I can acquire these arrangements. I have a CD called Brass Band Favourites compiled by Pickwick Group in 1995 featuring South Notts Brass Band and Williams-Fairey Engineering Brass Band. These are tracks 1 and 7.
 
Our Band is presenting a "Salute to Vietnam Veterans Gala Concert" 20/08/06 in Toowoomba's Empire Theatre to coincide with Vietnam Veterans Remembrance Day 40th anniversary Battle of Long Tan. I dont suppose anyone has ever arranged Nancy Sinatras - "These Boots are made for Walkin" for Brass Band.

Leanne Fuller

4BR Reply:
Anyone help?

More from the Europeans:

A level playing field?
 
Having competed in and attended the competition in Belfast recently I feel it very necessary to put pen to paper.
 
The winning performance from the Austiran Band ( who were in the same section as the band I was with) was undoubtedly a superb effort and the playing was outstanding. This was naturally expected as there were players who were of such high standing in the rhelms of professional music making.
 
It is difficult to know how any of the other bands could ever hope to be able to win against such opposition. Unfair competition, Yes. Thats life and we gladly will attempt to better ourselves for the next attempt.
 
However my profound displeasure stems from what I believe to be a total breach of the spirit if not the letter of the rules. Hans Gansch was announced as playing Trumpet on his Solo of Born on the 4th of July. That's fine I suppose. But how can it be within the rules of the Brass Band Competition that the Soprano player can be allowed to use an E flat Trumpet in most of the performance and Piccolo Trumpet in what remained. Our Soprano would have liked that option too as I am sure would others.
 
Wher could this lead? French horns instead of tenor horns perhaps. Complete sections of trumpets with no cornets in sight maybe.
 
I firmly feel that the spirit of this competition has been broken. It is also my belief that the rules may have also been breached (or at least bent beyond the acceptable tollerance of a BRASS BAND competition.
 
I am not alone in this view. Members from all the 3 none winning bands share this view. This is not sour grapes against a fantastic ensemble. However if the best team in a competition breaches the rules, then the rules are still broken.
 
All I would ask in conclusion is that EBBA states on this sight what brass instrument may be used for the B section in Birmingham next year, and for the forseeable future. Also Have this wonderful winning band played against the spirit of the rules?
 
Thank you EBBA for a wonderful weekend in Belfast. Please now tell all potetial entrants for next year what is to be accepted as BRASS BAND INSTRUMENTATION.  
 
Steve Foggin

4BR Reply:
According to the EBBA rules there is no mention of the exact instruments that can be used Steve, only the numbers of players allowed. However, we do remember at previous Europeans, some bands actually playing with french horns etc. Maybe it is time for EBBA to sort this out onceand for all.

Ease off
 
Having read some other peoples comments I thought I would jump to the aid of 4barsrest.  I too was at the Europeans and have been involved in bands for longer than I care to remember.  The observations made by the team relating to the performances were very similar to my own and come results time I was astounded by the adjudicators findings. 

I think we've all been to enough contests to realise that sometimes the results just don't go the way people expect.  Eikanger were the outstanding band of the weekend for me - sometimes your lucky!!
 
So come on - give the guys a break - you can't be right all the time
 
Emma Adoora

Politics in European banding?

I read that neither Black Dyke nor Grimethorpe would be participating in the English Championships and would not in the future either. 

I'm an American brass band fan but don't understand enough of the goings on in Britain - so why won't they be participating? Politics?

George Hawkinson

The pros against the cons

First of all let me say congratulations to the Oberossterreich Brass ensemble for a brilliant performance.

However, is it really a fair contest when 30 or so professionals are pitted against 30 or so amateurs? This was a David and Goliath contest where Goliath is always bound to win. 

EBBA needs to re-think on this situation if it  wants the Davids of the brass band world to continue to support this contest in the future. For what its worth!

Tommy Murray
Arklow Shipping Band
Ireland

European thoughts

I thought I'd send in a few thoughts of my own regarding the European.

I wasn't particularly impressed with the set-test written for the championship section. Whilst very descriptive and probably good programme music, I felt that it was not suitable as a test piece for the top bands in Europe. Maybe it's just me, but it fell short of my expectations by a long way. Subsequently, we ended up listening to some very similar renditions. It was therefore disappointing that the final placings were decided on the results of the set work.

The own choice pieces were in a different league. I was supposed to see Eikanger so far down the list. I thought that their performance of Riffs and Interludes was very good. For me the best playing of the day came from BAYV - the ending of the piece (WOW!) with Dyke closely behind with a brilliant performance of Extreme Makeover (oh, why couldn't we have had a piece like this on Friday??!).

I also enjoyed "Earthquake" and thought that Fribourg's performance grew in stature as it went on - it was very good. (Their sop player was certainly pleased when he nearly drop kicked the flower display into the third row).

I thought the gala concert was also very good and well produced. met up with my Aberdeen mates and we caused some mayhem.Well done on the reporting.

Nigel Brinklow

Nearly getting it right

I think that 4BR has had very unfair criticism of its contest result prediction, as this year's European Championship was a very close call.

This wasn't really helped by a set-test piece which seemed far too muddy in texture to truly distinguish good band playing and clarity (By the sound of it, the composer must have been seriously contemplating jumping
off the 'high cliffs' during his visit. I'm sorry to say, the only relief was that the piece didn't last very long).

4BR correctly placed 3 of the bottom 4 bands, 2 of the 3 middle placed bands (including YBS being exactly 5th) and correctly predicted a three-way tie featuring the BAYV band. Fribourg were much better than 4BR's 9th(!) but Eikanger were defintitely top 4 material with their Own Choice. I have heard Willebroek several times at the Europeans and they are really excellent. Again I agreed with 4BR that they didn't play nearly as well as they can, but with their quality and the fact that no-one stood out this year, I am not surprised - they deserve it. I am no expert adjudicator, but I listen to all the bands with my eyes closed -something many of the audience critics would do well to adopt.

Congratulations to Joe Cassells and the NIBA for organising an excellent weekend and a fine gala concert. I heard many different accents and languages in Belfast last week, but all of them seemed to agree that it was an enjoyable event and the Waterfront Hall is one of the best venues in Europe.

Boris Pinto
Belfast, N. Ireland

Terrible result - of a slightly different kind

I am writing to express my anger and disappointment regarding the results of the London Marathon. Having worked hard for months and put on a good performance on the day I was aghast and dismayed to be placed 7,346th when the results were announced.

I spoke to my friends and family in the bar afterwards and all felt that I deserved to come much higher. Indeed one well respected opinion was absolutely certain I should have been right up in the 7,200s.

Surely it is time to change the archaic system of judging events such as this. Perhaps if the man with the stopwatch was placed in some sort of shed this would do away with the obvious bias against those wearing West Ham shirts.

From a personal perspective I am considering giving up running and learning to play the baritone.

Yours in despair.

Murray Aitken

4BR Reply:
Londoners coming as high as 7,200th in a National Contest. Its a disgrace Murray. Back to the East End egg and spoon qualifiers for you!

Forwards or Backwards

You will have gathered from the retrospectives and band coverage the team at 4BR often enter in quite healthy debates with each other be it on contest performances or in more ‘political' discussion. It is from the political aspect that I pen my own thoughts on the recent comments page and editorial ‘The role of the BFBB'.

The recent comments (April) from the Scottish Registrar Jim Hyslop "Loss of Scottish numbers" are an instance of why there we face a problem in the first place. If we were sat together I would take a different view to him as to me they display a worrying inability to even grasp the concept of the problem. There is a general consensus through discussion, that contests can be used as a measurement tool.

Iwan Fox rightly describes them as a thermometer to test the well being of the movement as a whole but I would suggest to the Scottish Registrar that tinkering about with a thermometer will have no effect whatsoever on climate change.

In my opinion the misguided conclusion that the number of registered players per band caused the demise in most areas is in fact somewhat devoid of fact. An argument can equally be put that to reduce the upper limit cap could have the reverse effect and in fact could be detrimental to the ability to participate in contests lacking adequate number of players to take the stage.

If my recollection is correct, as Chairman of my own band, an analysis of the figures was placed in the public domain before and after the change from thirty five to forty – in fact my committee voted in favour. The analysis was such that far from the common misconception that Championship Section bands were largely operating towards the upper limit, statistics showed that it was in fact the fourth and third section bands that were in that category and would therefore benefit administratively from an increase from thirty to forty.

Again if my recollections are correct, the change was to aid administration only, and the initial trial period concluded that bands, my own included, were overwhelmingly supportive of the change; indeed, the change was instantiated by the bands themselves in the first place and not dictated to them by officialdom. I would be extremely surprised if tinkering with the upper number has any effect at all one way or the other. A manifestation of the problem is discovered by the thermometer test. The underlying cause is agreed to consist of several elements.

As I say, within 4BR, we have discussed this issue over a few happy ‘scoops' and we have often passed a few choice comments to each other in jest and lively debate but we have also agreed that the solution to band climate change is manifold and complex, far beyond just the scope of contests.

I personally believe the solution necessitates a national strategy to address the problem at source, through education, government representation at national and local levels, wider media coverage and most importantly access to brass in local communities.

Only recently we questioned how widely accessible are bands? By this I mean that band activity needs to be more actively promoted within their respective communities, and access to learner groups made more accessible to adults. One of my local bands, I am sure they won't mind me naming them "The Parr Band" has taken up this very initiative and I support and applaud their efforts wholeheartedly. We sometimes concentrate on youth to the exclusion of all else.

Numerous adults would pick up instruments given the opportunity, but most currently unless they are already interested enough to actively seek information would never come into contact with a band. We urgently require the implementation of a national development plan to redress the stagnation, and the answer lies in our hands. We cannot sit back and hope that someone else will sort it out for us. The precious and unique nature of our movement is such that we all have an individual responsibility to become actively involved with our national organisation in order to make a difference.

This brings me to our recent editorial and the numerous comments made during discussion about the problem to the role of the BFBB. This weekend I will report on the BFBB AGM and I will be amazed if this topic is not raised and comment made regarding redressing the balance. I know from attending the BFBB AGM and meeting the BFBB members regularly that the BFBB does actively encourage people to get involved. If no Scottish or Welsh members come forward, feeling under represented, then that is the fault of individuals and of the member bands for not seeking election to the democratically elected BFBB Executive and not the current members of the BFBB Executive who are doing the best they can of their own time and efforts. (Just like us correspondents do at 4BR!)

I fully endorse Iwan Fox in the comment that the BFBB does a great deal of good work for the banding movement and a number of hard working professional people in its ranks but to often we look for simplistic conclusions. In the main an understanding of the nature of the core problems in banding, apart from a few key individuals I will say here and now, seems to be very naive.

John James

Urgent help required
 
I have been trying to get a copy of the Score "Lazy – Bass Trombone Solo; Composed and Arrange by Steven Watkins". Especially for Philip Loveday – Ammanford Band. 
 
Have tried to find Steve but, he has moved from the RTB website and nobody seems to know where he his or his contact details.
 
Please can anybody help, if so contact me at: webmaster@philiploveday.com
 
If you have the Sibelius File Format or PDF either would do.

Philip Loveday

The JJB decision

Following the announcement yesterday that the JJB Contest in Wigan has been cancelled, one of the Pilling Junior Band parents has written to Matt McCann (the Head of Communications & Media at the JJB Stadium) to express her disappointment at the contest sponsorship being withdrawn.

I think it is worthwhile to provide a copy of this letter.

From a personal perspective, this occasion was to be Pilling Junior Band's first ever contest and we have been planning to enter it since I attended the event last year.  I felt it provided a great opportunity for Youth Bands (like us) to play alongside Championship Section Bands (such as Leyland) and I couldn't think of a better place to start contesting. 

As it states in the letter, we have been attending extra rehearsals, fund-raising, arranging masterclasses and had even gained sponsorship for the day (big thanks go to Shawn Pagington and Virtuosi).  The children
have been getting really excited and I am not looking forward to the task of having to the break the news to them that the contest has been cancelled.

I'm sure that we will bounce back from this and find another "first contest" to enter however this doesn't ease the disappointment that we all feel at the present.

I urge other bands to contact the JJB Stadium.  I'm sure this won't reinstate the contest, but it will serve to show the JJB what an impact withdrawing sponsorship has had.

The e-mail address we have used to contact the JJB is
m.mccann@jjbstadium.co.uk

John Squires-Evans
MD Pilling Junior Band

Copy of parent's letter

 Dear Mr McCann: Please take the time to read this email.

Having just read the short press release regarding the cancellation of the JJB March and Hymn Tune Contest scheduled for 4th June 2006, I feel compelled to write to express my dismay and disappointment.

This contest is not simply about adults in brass bands who can move on to the next contest, there is a Youth Competition here as well.

Children as young as six years old have been practising and looking forward to this event. As a band we have obtained sponsorship for the day, arranged coach transport and booked guest conductors and workshops to give our children every chance of competing to the best of their ability. We may not win, but that is not what the day is about. We have a detailed rehearsal schedule with the children and adult helpers giving their time and energy to practice up to three times a week. The children have been working so hard and looking forward to their moment in the spotlight and a chance to see the dressing rooms where their Premiership football heroes wait to go on to the pitch. They would love a chance to perform, just like their heroes.

There are indeed financial implications for the band as transport would need to be cancelled and payments to guest conductors still need to be honoured etc. but, above all, the children will be devastated, and believe me that is not too strong a phrase. They have been let down, in their eyes let down by Wigan and the JJB as that is how they have perceived the whole build up to this event.

I would ask whoever is responsible for the decision to withdraw sponsorship, whether this be Mr Whelan or not, and for whatever reason, to please reconsider and get this competition back on the calendar as soon as possible for the benefit of all concerned and to preserve the image of Wigan and JJB with the players, families, friends and supporters of all the bands who have entered this contest.

Whilst appreciating this may not be your specific area of jurisdiction, I should be obliged if you forward this email to the relevant individuals.

Thanking you in anticipation of your understanding and cooperation in this matter.

Whit Friday Wych

Was shocked and stunned when I saw your headline "No Whit Friday for Wych !!!!!!!".  I thought he was the latest 'broken metatarsal' victim and the brass band press was going to be full of debate on Alan's band shoe sponsor and the state of the cobbles at Diggle.

I'd imagined pictures of him sleeping in an oxygen tent trying to get him ready to come in at the Trio in Uppermill!
 
Mike Fox

How to tune the timps

Here are some of my wiews on writing for timpani. Those are my personal experiences on timpani of average quality. Of course expensive top-class timpani used in professional orchestras have bigger range and sound quality etc.
 
Timpani-parts are both beeing written with and without permanent alter signs/accidentals I think that you should write WITH them. It is good for the timpanist to know which key he/she is playing in. But you could
also write 'reminder accidentals' just to be absolute sure getting the correct note.

It is of great importance to know the registers of the 4 timpani. Each timpano has its center-tone, that is in the middle of the register and sounds the best. To be sure that your music can be played on most timpani, I wouldn´t go much more than a minor third up or down from the center tone. The better the drum is, the more you could stretch the ambitus. But note that the farther you go upwards from the center tone, the more tense and articulated the tone gets.

Rythmical and articulated stuff should not be placed below the center-note of each drum. With modern, chromatic pedal-timpani, you could write for any tone within the registers you want, but be aware that it takes som time to change pitch. When you write a piece, just imagine yourself in front of four timpani, an try out the passages with tuning; Move your foot to the desired timpani and pretend to push or release the pedal for 2 seconds. Move the foot back, and move your focus back to the music. This is approximately how
long it takes to tune ONE drum quickly. The more time that is left between this action and the next passage thas is to be played, the better the player can fine-tune the note.
           
If you are writing in the key of D-major, a good basis is to have the tonic and the dominant in both D and A (dominant) ready on the instruments. You actually only need three drums to do this. The big 32" can be used for doubling the tonic in powerful passages... There is actually a tradition of playing the opening of Brahms´No1  in octaves. This gives a broad, fat sound. ( Not every maestro likes it, though.) If you have only two timpani, (29" and 26") choose A and D, and tune the D to E in passages in E-major.

The centre tones for each timp are: 32" - F:   29" - A:  26" - D;  23" - F.
 
I hope this helped you!
 
Andreas Lien Røe 
timpanist, Eikanger-Bjørsvik Band.
www.andreaslienroe.com - www.ebml.no

A question of difficulty

In response to Philip Sparke ‘A Question of Difficulty' comments, I wondered if I might be able to add my own thoughts and opinions.

Philip has a huge amount of knowledge and experience in the banding world, so I'm not going to question his thoughts and to be honest I agree with what he has said. However, it does also overlap onto another area, one where I personally feel the Brass Band world is going downhill in terms of new repertoire.

Some Brass Band composers actively seek-out to create very complex music, sometimes on stupid levels. The use of complicated time signatures and meter (which usually have to be simplified by the conductor!!) and the somewhat aggressive use of ‘black notes' lead to an explanation of, "We have to make the music difficult for the performers so it tests them to the limit".

So, if indeed a question of difficulty doesn't or shouldn't contribute to a bands points, why is it then, that some composers, as talented as they are, are hell-bent on creating very difficult music.

Just in case there is any confusion, I am not talking about Philip Sparke – I love all his music and he is one of the very few brilliant minds of the Brass Band world!

So, back to the point… a question of difficulty – ‘difficult' is not about ‘black notes' or creating a wad of graphic art on the manuscript, the true difficulty lies in the musicality, the emotion and the humanity of the music – that is something which cannot be written, that is something bands and MD's have to search for in the music!!!!!

I guess the question is, can we ever resolve the difficulty issue, whichever capacity you choose to look at it? Who knows, all I know is that Brass Banding is certainly unique but sometimes the non-musical politics just get in the way, lets all discuss it in the usual Brass Band tradition, over a pint (mine's is a Jack Daniels and Coke!)

James McFadyen

Well done Shanklin

Well done to Shanklin Town Brass Band and their recent win at the Regional Contest at Hove. Finally Mr. Malcolm Lewis'  hard work has paid off and well done to Mr. Gareth Balch for standing in at the last minute to conduct them.

Having attending this contest I heard the band play and was amazed by the wonderful playing and superb performance put in by their Principal Cornet player ( Miss Tracey Bennett ).

This is not Mr. Lewis' first win but one of many and I'm sure it will not be his last. Well done to all the members and supporters of Shanklin Town Brass Band.

Miss Andrea Lewis.
Flugel Tilbury Band.

League tables?

Could you possibly publish the latest league tables following this year's areas? If not, what about promotions/relegations? 

Mark Smith.

4BR Reply:
If the appropriate area committess contact us with the information we will put the details up on the site.

Hotannay thanks

Parkend Band would like to say a big thankyou to all the people who contacted us and supplied the music requested, thankyou for not only taking the time to read the request but also for the many emails received.

Once again thankyou.

F Pensom
Parkend Band

The Europeans:

Who are we to judge?

You couldn't be more wrong with the on-line contest reports and predictions as this year, when comparing with the results of the contest. This is not criticism at all, but merely an observation. And who am I to judge who is right, not being in the occasion to attend the contest this year.
 
I feel really sorry for this, because we always look out for your on-line evaluations after a band has played, as we find this very valuable info for the unfortunate home-sitters.  I always wondered who was reporting these events, but maybe some "professional" 4barrests reporters would be on there place. 
 
Having said this, I am looking forward more then ever this year for your retrospective. Hopefully the CD will contain the most interesting performances (disregarded from contest ranking).

J. Raes
Gent, Belgium

What about Section B

Whatever has happened to the promised report on the B section of the European Competition on Saturday morning last?

Did your intrepid reporter over-indulge on the Guinness the previous night, or did he just fail to wake up in time for the 9.30am start? Alternatively did he just think that the lowly B Section was not worth getting out of bed for?
 
Either way, it would appear that he failed to attend what, for many people, turned out to be one of the highlights of the whole weekend. The incredible playing of Brass Band Oberosterreich had to be heard to be believed, and their choice of programme was outstanding. This performance alone would have justified the staging of the whole event for those lucky enough to have been present in the Waterfront Hall on that morning, yet, sadly, it does not appear to warrant even one word in your report.
 
There is little point in your editor lecturing us on the the role of the Press in band affairs, and then ignoring one of the few events which help to make banding worthwhile for most of those involved in the less exalted sections of the Band world. Surely the B Section competitors deserved better than this?

Writing more in sadness than any thing else,

Christy Smith
Drogheda

4BR Reply:
We may have over indulged a bit on the black stuff Christy on the weekend, but we had our work cut out to be 'live' for the Championship event only. We did have our men in the hall who listened and thoroughly enjoyed the B Section and a full retrospective of that contest will appear on the site in the next few days.

What were the judges looking for?

I come from Limerick in the Southwest of Ireland. I attended the Europeans at the weekend and like you my prediction was totally wrong - or was it. I thought, and a few friends of mine from Belfast thought we knew something about music and brass bands. You might know my friends, Edward Kennedy who is studying under David King; Des Graham conducts 3rd Carrick, Windsor Hyland. Now we all can't be wrong with our predictions.

Please enlighten me to what the adjudicators were thinking at the weekend. What were they looking for?
 
One of your shocked readers,
Kieran O' Connor

4BR Reply:
You will have to wait for our retrospective Kieran!  

How do you explain the result?

The live comments of 4barsrest about different contests are really interesting!

Thank you for that! I know well that it's possible that the adjudicators have not the same ideas about each performance than you, but I am all the same very amazed to see such a difference of appreciation concerning the bands in Belfast!

The winner was only 6th in your predictions, the 2nd only 9th!!!!!! Moreover for you Brass Band Fribourg did very clearly the worst performance on the test piece! In reality (95 pts) they beat BAYV (94 pts), Black Dyke (92 pts) and Eikanger (90 pts)!!!!

How do you explain that? Is there a problem of adjudication?

Daniel Zumbrunnen
Switzerland

An example of audience adjudication?

Thank you 4barsrest for your perfect example of an audience adjudication.  You have nothing to be ashamed about in respect of your comments and placings at this year's European even though they were a mile away from the final official adjudicators result! 

As a movement we are so wound up about adjudication being accurate and correct that we have forgotten about music and what it means on an individual basis. 

Taking the outcome of your adjudication may I make some observations that I believe the movement and individuals may like to consider if we are to make sense of contesting.

Firstly I believe 4barsrest suffered from adjudication by vision.  You could see the bands, the conductors and their physical reactions.  These are powerful messages being sent to the brain that can override the weaker hearing sense especially as the messages are enhanced by the reputations and your expectations of the bands you see.  Perhaps the official adjudicators are so lucky that they are asked only to rely on their ears.

Secondly, and if we believe that the opinion of the 4barsrest observers is as valid as any adjudicator or other listener, it shows that not everyone will come to the same decision. Why? Because music is an art form and not a science. (I know that there are logical elements underlying music but that is not what we feel.) 

Those asking for what adjudicators are looking for before a contest and those who believe Alan Morrison's charts of accuracy are the answer, are not looking for music but are looking for the band that scores the most goals or answers the most questions correctly.  This leads me to the next point about the numbers of adjudicators.

You came up with results different to the official adjudicators.  I believe it was Geoffrey Brand who at the Masters dared to come up with a different opinion to his fellow adjudicators and paid the price by being sent into the adjudicator's wilderness.  He was not wrong - his musical ability, knowledge and experience should not have been questioned, but it was, by the crowds sat in the audience and the bands that "suffered" as a consequence.

The Masters had it right - if you have more than one adjudicator, then keep them separate and accept the average of their opinions.  However, the Regionals this year went into a frenzy of two must be best, because our audience says so.  The only thing they achieved was a doubling of the cost of adjudicators.  We certainly did not get twice the certainty of the result.  Listening to two senior adjudicators at an area contest this year proved to me that there will always be a stronger one who will have his own way.

Congratulations to winners on the day as always.  However that achievement is for that day alone and tomorrow another result may follow - all bands can win and all bands can lose. Contesting gives us a window to show ourselves off, it improves/stretches our abilities and develops our music.  But we must remember the music.  Therefore I have the following to consider:

a) always have closed adjudication unless the visual is being assessed as well (e.g. entertainment contests)
b) if two or more adjudicators are used then get full value by keeping them separate and accepting their aggregate placings
c) Regions should accept a first past the post policy for promotion/relegation as no band is so consistent over three years and each adjudicator can dramatically affect the situation because they are judging based on their musical opinions which may be different to last year's adjudicator.
b) lets concentrate on music and not goal scoring.
 
It was good to get the 4barsrest feedback on the day as I could not get to Belfast.
 
Nigel H Morgan

Judging magnificent bands

Is the panel of adjudicator's really capable of judging these magnificent bands?

Why always take some "foreign" adjudicators whilst in Britain there are many more people capable to judge these magnificent bands.

Not for the person of Maurice Hamers, because he comes from the same province as I am coming, from the southern part of the Netherlands, Limburg, but as an adjudicator he is much minor to David Read, William Relton and all this magnificent men in the adjudicators box. Not to blame the winners, but they are a European title unworthy.

Sorry to say so, but I can see the faces of Dr. Nicholas and Robert Childs, they must have been fallen from their chairs hearing such a stupid result.

Hub Coonen.

Forget the moaning - congratulate the winners

Lets wait for the avalanche of moans about the European!

Well done Brass Band Willebroek its been on the cards for a long time.
 
Simon Gresswell
Hove Edge

The Tower of Power

I was reading about the own choice pieces for the European Championship and you refer to the prog rock band Tower of Power !?!

ToP has never been a prog rock band, nor will it ever be. Check your facts (http://www.bumpcity.com/) and try listening to musical genres that doesn't include a brass band for a change.

Thomas Kristiansen
Flabbergasted Norwegian

4BR Reply:
We stand corrected. Honestly, we do

Writing for timpani in an orchestra

I have some question about writing the part of timpani in orchestra. For example, I'm writing a repertoire in D:

1-is it important that indicate the alter signs before the clef?
2-if I want to use 4 size of timpani, how can I tune them in this scale (D major)?
3-according to question No.2, establish on which notes of this scale can I tune them?(tonic, dominant,or...?)
4-should I tune them establish on tonic, sub dominant, dominant?
5-can I use each note on this scale when I writing the timpani part on this scale?

4BR Reply:
Can someone enlighten please?

Blethering erse syndrome

Can I take this opportunity to congratulate Kirkintilloch and Nigel Boddice on their winning performance at the recent Fife Brass Band Festival and can I also take this opportunity to wish them the best of luck at the forthcoming National Finals.

Unfortunately, I was unable to listen to their performance due to playing just before them in the only other Championship section band who attended the contest. I seldom bother to get worked up enough to comment on remarks submitted to 4BarsRest, but on this occasion feel the comments of Colin Gallagher
require to be put into context for the benefit of those who read his recent submission whilst not having the opportunity of attending or knowing about the contest.

Kirkintilloch did indeed win the Championship section by a convincing margin based on what appears to have been a very credible performance, and in fact outplayed the whole field on the day which was rightly reflected in the points awarded to them.

We took the decision to support and enter the contest, put together a challenging programme which on the day was played well and rewarded with favourable adjudicator's comments along with a score of 191, the second highest score of the day behind Kirkintilloch!

What irritates me here is Mr Gallagher?s failure to recognise and respect the performance of Boness & Carriden and in fact the performances of all those who made the effort to attend the contest, along with his desire to bask in the glory of beating the only other band in a section of two.

Whilst not wanting to detract from the outcome of the contest or the performances, I can assure Mr Gallagher that it came as no surprise to us and others that they won the Championship section given we are 66 places lower in the 4BarsRest rankings than Kirkintilloch themselves.  Funnily, the only person displaying and communicating any sort of surprise appears to be Mr Gallagher himself!

What I cannot understand is the purpose of his article and his intention in singling out Boness along with the suggestion that we should have been 6th or 7th in a section of two?  The performances and relative results surely speak for themselves and the points awarded give clear enough indications as to the standard of playing on the day.  These types of comment are unwarranted and insulting and I personally am disappointed by them having played competitively for over 20 years without having to listen to such unsporting nonsense.

Maybe I am being over sensitive and apologise for that, or maybe Mr Gallagher has suffered from a sudden bout of what we in Scotland would call the ‘blethering erse syndrome'!!?  Either way, I've said my piece.

Keith Waddell

Give me a top C any day

Soprano players playing Top 'C' in the First Section? Whatever next? Give me that any day than a 'short cadenza'!
 
Steve Barnsley

A bit of Irish blarney from Arklow
 
I have just seen your report on this contest - this is taken directly from Arklow Shipping's website so was obviously supplied by them - fair enough, except it does not tell the full story.
 
Results of Irish Championships, Dominican College, Dublin, Saturday 22nd April.
Adjudicator Jacob de Haan.
Test Piece Snowdon Fantasy (TJ Powell) - 100 marks
Own Choice - 50 marks.  Aggregate score decides championships.
 
1st. Arklow Shipping Silver Band (John Bonner)
The Land of the Long White Cloud - P. Sparke  39 + test piece 85 total 124.
 
2nd. Drogheda Brass Band (Michael Maher)
The Plantagenets - E. Gregson 40 + test piece 78 total 118.
 
3rd. Lourdes Brass Band, Drogheda (Harry Kelly)
Music for a Festival - P. Sparke 35 + test piece 82 total 117.
 
Own Choice winners - Drogheda Brass Band.
 
As you can see, Arklow did not have it all their own way, and the only person in the hall who could understand Drogheda's low test piece score was the adjudicator - a not uncommon phenomenon at contests! The general opinion before the announcement of results was that the contest was too close to call.

On behalf of Drogheda Brass Band I want to wish Arklow every success at the weekend in the Europeans, and look forward to being there to hear them. Best regards to all at 4barsrest.
 
Michael Plunkett
Drogheda Brass Band.

What constitutes a full set of percussion then?

Les Wood makes a very interesting point concerning choice of test piece and the amount of percussion needed.  At one point in his comment, (and he is talking specifically about Championship section), he uses the term 'full set of percussion'.  What is a full set of percussion?
 
One of the things that I like about the brass band, is that an exact instrumentation was once formulated, and it has been maintained.  This means a feeling of security for the composer, conductor and performer, knowing exactly what they are writing for, conducting or playing in.  However, what about the percussion?
 
As we all know, percussion is something which has been added, and over the years, has become an integral part.  I should think that most of us agree that this has been one of the major developments in the brass band.  Would it not then be a good idea for some serious discussion as to what a 'full set of percussion' is?  I am not going to attempt to prescribe anything, however, I am turning several ideas over in my mind.
 
Should there be a minimum and a maximum, and should this not also vary as to which section?  Would it be a good idea if 3rd & 4th section test pieces had percussion parts which could be covered by two players, (although a third player could be used if the band were fortunate enough to have one).  Would it not also be a good idea for essential timps and percussion to be playable by one player in the lower section?, with a maximum of two timps, and if there are any mallet/tuned parts, they should not be out of the ability range of a less experienced player.

Maybe the 1st & 2nd section test  pieces should be able to be covered by three players, even two at a push, with a maximum of three timps, and higher expectations from the mallet/tuned percussionist.  Finally, the Championship section.  Obviously, a minimum requirement, say three players, but also a maximum, say four. 
 
These are just thoughts.  I have seen a piece performed where the percussion section needed three different size tam tams, which had exposed parts to play, in addition to a monumental battery of timps and tuned/untuned percussion.  Excellent music, and very impressive, but how many bands would be able to perform it properly?

Tim Paton

Wild cards and sour grapes

Re the recent meeting between Iwan Fox (4br) and Derek Broadbent (ABBA).

I wonder if all our wise and wonderful Adjudicators regularly log on to the Brass Band websites to keep abreast of current trends and to keep their finger on the pulse of the movement. Surely if they realised that any "Wild Card"  contest decision made by themselves would be subject to intense scrutiny and analysis by the whole world within minutes of the results being announced in the contest venue, they may wary of making controversial decisions.

I'm not referring to "Sour Grapes" whingers here, I am referring to some recent decisions at major contests.

For example two involving Grimethorpe and also the last Scottish Open.

I am only concerned here with blatant differences of opinion in major contests where the winning bands performance is adjudged to be the best of the day only by the ears of the Adjudicator but not by the majority of other knowledgeable listeners in the contest hall.

Surely a judge whose decisions regularly put him/her at odds with this mass of opinion, puts their own credibility on the line through the instant global exposure of their decision, and the subsequent in-depth discussion in the band media.

The Adjudicator is always right.

He/she has to be, as it is the very cornerstone of the contesting structure they may however, like to consider whether or not these "Wild Card" decisions could possibly jeopardise their future continued  employment in this musical anomaly that we call "Contesting"
 
Ian Wilkinson
27 Holt Park Crescent

Judges of the Secret Court

Firstly, am I right in assuming that using Judges is still a RUMOUR! Or is it now fact!? Are we experiencing a storm in a tea cup here?
 
Interesting point about Hector Berlioz's "Judges". To be fair, It probably is too old fashioned and isn't difficult enough for the National Finals these days... but it would probably entertain the currently disgruntled listeners somewhat. However...  "Judges is really a second rate bit of work......as boring as hell and just lacking anything that could stimulate the taste buds". Sorry, but thats going too far! This tone picture about the French revolution is a great overture.

It has also stood the test of a century or so. (Can this be said about some band works). Hearing it played at the Mineworkers final, many years ago was a great experience for me. I think it was Desford that won the day.... but could be wrong. Just don't forget, like it or not, the general public want melodic music. When it comes to Set Test Piece contests, what wins is HOW you play the set work. So even with "easier" tests... this still applies.
 
Again, trying to be FAIR! Having used most of Hector's better known overtures at contests and concerts, Carnival Romaine, Benvenuto Cellini, Judges Of The Secret Court, Waverley, et al, you really enjoy working on them and fetching Berlioz's stylish music to life.  It also gives bands a chance to learn how to appreciate and understand a period in music which was about painting sound pictures. Alot of musicians today don't have a clue what makes Berlioz tick! Personally, although I got a 3rd on Benvenuto with Carlton Main some years ago, (Grimey won) I believe it is rather too repetitive and few bands (cornets particularly), can't play the florid violin parts accurately. However, what about setting them for the 1st section at other contests?
 
Where am I going with this then? Well I agree that a Belioz Overture is NOT an appropriate test for a modern premier band at the premier contest in the National Championships. The National Finals only happens once a year and should be a showcase and reflect the current standard of top quality playing. It should also be an indicator of where band music is going. However, we need to get the audiences back. So what about a 5 year plan to achieve exactly this. (This is going to require some people to give up some of their current thinking).
 
Lets honour those bands who have succeeded, through hard work, in getting to the Nationals with something new, but accessible to the GENERAL public. Lets make the whole experience enjoyable and interesting. Also, we need to GLAM UP the event and get the lower sections back into London on the same weekend.
 
We need to commission music from a wider range of people and I would suggest a summer "pre-finals" competition with a substantial prize from the sponsor. That is to say, we try to help those who are trying to break into band composition - providing their work is good enough. I would suggest an emminent judging panel of composers who understand our genre and have the experience of producing succesful music for it, such as Dr Wilby, Phillip Sparke, Peter Graham and Rodney Newton perhaps.

They could also look at the criteria needed for developing band music into the future with a few eminent conductors. I am always loathed to reduce music making to an excercise in technical wizardry and some judgement needs to be excercised here. I would perhaps suggest that the "contract" for picking music should be given to this same panel for 5 years, to help stabalise things. It's interesting that some composers are still following ideas which were popular in orchestral composition post war, and were to a large extent the reason for dramtic reduction in orchestral audiences in the two decades between the 50's and 70's. (Quote from Howard Goodall)! I know we aren't at the Messianic stage quite yet! Where are all the new romantics and melodic heroes? Is there anyone brave enough out there to be Musical and fresh!?
 
I will also quote yet another eminent musician, currently conducting probably the worlds best orchestra. "If I just wanted to count for a living, I would have become an accountant".
 
I was lucky enough to be exposed to what was a fantastic era of musical progression as a young player between the 60's to 90's, when men of musical substance and great musical judgement were selecting and encoraging music from greats. So I went from Eric Ball, to Gilbert Vinter, to Edward Gregson, to Derek Bourgois to John McCabe, to George lloyd, to Philip Sparke, to Peter Graham, to Dennis Wilby etc etc. My current favourite "music" being Tristan Encounters! (Yes ... Wagner Fan... even been to his house!)  At the minute... we seem to be thrashing about from one idea to another, going off at tangents, taking steps backwards, without any concept of a plan for the future.
 
I hope this idea is taken as it is intended. I have a great deal of admiration for many of the existing composers employed in our strange and wonderfully quirky musical worls. But, lets get organised and moved on. I just wish we had joined-up thinking like the Norwegian Federation. But, please leave the Nordic musical identitiy there and not bring it over here. I want NEW British Music please.

Stephen Tighe

Correction on the Isle of Wight

May I please offer the following correction.
 
Congratulations to Shanklin Town Brass Band substitute MD Gareth Balch in leading his band to 3rd Section success at the recent SCABA Contest and in taking the best Conductor trophy back to the Isle of Wight.
 
However, incapacitated regular MD Malcolm Lewis is incorrect when he states that "This is the first time that an Island band has outright won a regional brass competition at an adult level."
 
1)      It wasn't a "regional" win, but at local SCABA 3rd Section level. STBB came 11th at the recent area contest in the 4th Section, and credit to them for doing so.

2)      Isle of Wight based Vectis Brass (formerly Ryde Concert Band) have been winning contests with an adult band since they won the Wessex Brass Band contest back in 1985 under the direction of the late Frank Wheeler. The senior band then reached the Championship section and stopped playing (perhaps because it couldn't touch Vinter's Spectrum?).

3)      One wishes that Malcolm Lewis would check his facts before so publicly making an incorrect statement to be posted on the world-wide web.  Perhaps he could bear this in mind for future press releases?

This is a true statement and one which has bemused some of the older members of our band, which has been going strong and around for almost 60 years here on the Isle of Wight.
 
To support Shauns comments, I offer the following results for Ryde Concert Band (now Vectis Brass).
 
Saturday 22nd March 1986 (Southampton Open Brass Band Competition) Section 3 Band No 8 (Test Piece Three Howarth Impressions) Position 1 with 187 Points.
 
Saturday 05th December 1987 (Wessex Brass Band Association) Section 3 Band No 3 (Test Piece A Malvern Suite) Position 1 90 Points
 
Saturday 01st December 1990 (Wessex Brass Band Association) Section 3 Band No 4 (Test Piece Metropolis Overture) Position 191 Points
 
Although I do not have the points details, the Band also won the 1985 Wessex Brass Band Association contest in Poole (Section 3) playing Three Howarth Impressions & taking the best Solo Cornet prize too.
 
Whilst we'd like to congratulate Shanklin for their win, we'd appreciate your correcting their misleading press release. By the way, Shaun's right, we couldn't touch Spectrum !!

Shaun Street

Honesty in judging

After following the brass band movement from my daughters playing at primary school through the youth system and now into the mainstream, and witnessing many spurious results, I believe the only ‘honest' way to proceed is to remove each bands' remarks with the adjudicator(s) score immediately before the next band plays, into the ‘safe' keeping of the organisers.
 
This would remove many peoples beliefs that results are amended after the final band has played – how many times has the adjudicator stayed in the box 20 minutes or more just writing the last band's remarks!!  Surely when the whistle is blown for the next band to play the previous band's remarks and score should be on paper - complete.
 
I believe this method should be adopted at all contests.
 
Keith Tysall
Stockport

Tickets anyone?

Do you know the date of the Championship at the Royal Albert Hall this year and where I can obtain tickets?

Keith Raw

4BR Reply:
Phone the box office up Keith and they may be able to tell you more

Rothwell's kind remarks - not!

I would like to thank everyone in the press for their kind remarks about Rothwell Temperance Band's percussion at this year's Yorkshire Area, except I can't because they were all extremely negative.  "The percussion at time threatening to obliterate the good ensemble work", "...the performance was marred by some unbelievable mindlessness", "sheer volume not only drowned out the band...but went far beyond what is acceptable in any musical performance."  Strong words indeed. 

But wait, what did the adjudicators think?  You remember them, the men in the little box who the band's entire performance was aimed at?  "fine perc colour", "Excellent tuned percussion", "Percussion added great colour throughout."  Not a negative comment in sight.

Perhaps you should all consider sitting somewhere more sensible in future, you might be able to enjoy the performance as the band intend it to be heard.

Tim Sawyer

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