Comments ~ 2006: June

Peddlers and Problems; test pieces in English and French; Dodgy publications and even string players having a go...whatever next?

Peddlers!

I can't stand it any more!
 
I'm very lucky to be under contract as an arranger and composer with the Swiss company, Obrasso. One of the best things about this is the fact that they employ top drawer British bands to do their cd's. It means that any music I write for them, generally gets an excellent recorded performance.
 
However, I'm getting more alarmed by some of the things I'm hearing on the cd's. In particular the seeming inability of Bb Bass players to play anything on the stave. I know pedal notes are enormously effective, if used now and then; I do write them if I want that particular effect - it's a great colour, but the insistent rumble that I hear more and more frequently is quite insane. Imagine if the cornets played everything up the octave, just because they could!!
 
What's tipped me over the edge on this matter, is the report on last Sunday's West Lothian Challenge Final, a brilliant evening, at which I was fortunate to be a small part of. Your reporter praised one of the bands for their use of "peddles" (sic.) in their otherwise fine performance of one of our classics. To me (and I have to say, my fellow adjudicator), it rather spoiled it. Why do bass players do it?
 
 Listen, I know that a lot of my music isn't exactly rocket science. I do a lot of arrangements that are "playable and practical", designed for lower section bands, and obviously a bit on the easy side for our top bands. And I do know that some of our top players and their bands probably find recording these cd's a bit of a pain, but at least they could be professional enough to play what's there, and not to let us know how bored they are by showing us how "clever" they are!
 
This litle rant will probably have no effect on the general trend to plumb further depths, and It's certainly not a tirade against BBb Bass players - I'm married to one, who can pedal with the best of them, but she agrees with me!!  It's a great colour, but don't spoil the picture with too much of it!
 
Alan Fernie

The problem with test pieces is...

The problem with many recent test pieces is that they are written as test pieces !
 
So a plea to all composers vying to get their latest opus used at forthcoming contests - get away from the formulaic, rapidly changing rhythmic cobblers with inevitable euphonium cadenza covering a range that only dogs and blue whales can hear.

Don't try and write a test piece, just write well structured interesting music which doesn't sound like it has various "tricks" shoe-horned in to tick all the "test piece" boxes.
 
A final thought on Les Wood's take on Salute to Youth.If it is now as seemingly easy as he says - 1st section fayre? - can I look forward to endless performances as good, if not better than the one I was privileged to be a part of with Black Dyke in 1985 ?
 
I won't hold my breath.
 
Sandy Smith

Qui Custodes Custodiat?

Les Francs Juges' - Qui Custodes Custodiat ? Or, rather, who will judge the judges ?  This appalling choice of test piece will surely only test the adjudicators.

It's nothing short of an insult to top-line bands and players who will be forced to 'make up the difference' by equally indefensible 'interpretations'. Why on earth couldn't we have a commission ?  The answer is clear: Alan Hope doesn't want one.  I spoke to him earlier this year on the subject and he was adamant: he wanted a return to 'traditional' band music. 

When I said that it sounded all a bit 'Hovis' and 'Brassed Off' his only defence was that the public wasn't interested in modern music and the takings at the RAH were down.  Does he really think that the public will be queuing around the corner to hear this hack arrangement of an obscure piece ?

Shame on the music panel and shame on this retrograde choice.  Let's just play the Hovis theme and have done with!

Chris Evans

A string players response

I have to take issue I'm afraid with David Loukes comments about string players. As much as I'm aware of the idiosyncratic nature of my colleagues, a couple of his comments are wrong. For a start D# is not easier than Db, due to it being in half-position. We play in whatever key is required.

Maybe occaisionally composers have taken it into account key-wise, but that has often had more to do with perceived colours of keys rather than what is easier to play. For goodness sake, Mr Tchaikovsky has us flying around in the "1812" in 7 flats!! Mahler covers all keys (anyone tried to play the 7th symphony? I think he just about does them all in that) I could go on....
 
Tremolando is an effect that we use, not because it is easier to play loud. Yes, it has the effect of being more noise as much as a snare drum roll is noisy. However, sustained strings can be loud too. While I'm on the subject, it is technically called "tremolando" to use "scrubbing" is a colloquialism.
 
When arranging, I personally think that you should try to be as faithful to the original as possible within reason. The range of a brass band is different to that of an orchestra. However, unless there is a very good reason (other than it is a bit difficult) I do think that staying in the composers original key has merit. As I said above, more often than not they chose a key for it's specific timbre and resonance and that applies to all instruments.
 
To cut to the chase, do what works, but try to keep some of the spirit of the original and keep the key the composer thought of. (please no comments from the authentic brigade about the changing pitch mallarky though!!)
 
Jon Kitchen
Aveley & Newham, also sometimes play the cello.....

Dodgy publications

Once again bands are let down by dodgy publications! There were extensive problems earlier in the year with Howard Snell's Images of the Millennium and now it's the turn of the First Section Nationals Piece, Ballet from the Perfect Fool.
 
I am now onto score number two of this wonderful piece of engraving by Chandos! Score number one was laughable with missing bars and duplicated bars throughout movements two & three, score number two at least has the correct number of bars but no effort has been made to correct the mistakes that are littered throughout. The parts are not much better, printed on cheap paper, poorly printed and again littered with the same mistakes.
 
Perhaps Chandos should think about franchising their publishing house to Trotters Independant Traders - they may do a better job and we may get a better service!!
 
Graeme Tindall
MD
The Felling Band 

Fine win, but...

Yes Iwan, Glossopdale did play well at Kirkby, but it could have been a closer contest if we all had draughted in Championship section players into our ranks.

The rules say third and fourth section players only and Glossopdale had 5/6 Glossop Old players with them. Also Nigel Fielding was on the programme as the conductor, and he sat on the top bench and played.

This is a great contest and bands who bring in ringers like this, make the third and fourth section bands very despondent. This sort of thing could result in the contest being very poorly attended. It would be such a shame to loose such a wonderful day of contesting and comradeship amongst third and fourth section bands.
 
Eileen
Denton Brass

Is David King a mere mortal?

Following on from 4BR comments on the runners and riders for the English National Championships:
 
"As a conductor Dr David King holds a prominent position in Europe and is revered as one of the most successful conductors on the concert and contest platform in the last decade. He has represented England in the European Brass Band Championships on eight occasions as a conductor and has won the title seven times, twice with Black Dyke Mills Band and eight times with the Yorkshire Building Society Band."
 
He has represented England 8 times in the Europeans and won twice with Dyke and eight times with YBS.
 
Surely 10 wins in 8 appearances is not the work of a mere mortal but that of a true God. 
 
David Pilkington

4BR Reply:
Well spotted David. Mind you, given what he has achieved at contests we woldn't put anything quite past him.
 

What about the shed builders then?

You give the names of prinicpal players whilst introducing competing bands, and you have started to expand the section to include trombone, baritone and  tuba, which is great- but why are you still ignoring the percussion section???

Jenny Guy

4BR Reply:
Why indeed Jenny. We will try our best for the next major contest, although we don't want to start printing every player plus the tea lady just ti keep everyone happy!

Stop moaning about the yellow music

Listening to all those moaning about the choice of "yellow music" test pieces I must ask one question. How many of these critics will be sat in ‘hot seats' playing 'Judges' or 'Salute to Youth' on the big day?

'Salute to Youth' in particular presents a band with huge ensemble challenges and the solo passages will certainly only be mastered by the very best players with the necessary lyrical qualities – no hiding behind a ff lip glissando on this one!

Cornet and Euph players in particular will be tested to the full on their control, intonation, tonal and lyrical quality plus almost telepathic communication with each other as per vintage McCann/Clough and we haven't even talked about the syncopated ensemble at the very end!

All in all 'Salute to Youth' will be one very difficult piece to put together and only the very best MDs will be capable of creating a performance of the very highest quality and I am sure that on the big day many will be found wanting.

Not a stern enough test for bands? – I don't think so!

Rob Burnett

It's all about the right key for composers

Composers often choose keys which suit the medium for which they are writing.

String players prefer sharp keys (part of it is that its easier to slide up to D#  than down to Db for instance) consequently composers take this into account when writing for the orchestra. Isn't it logical to choose keys that suit brass bands rather than resorting to "test piece" keys?

Incidentally string players find it easier to sustain a fortissimo by tremolando (technically known as scrubbing), woodwind players prefer trilling whereas brass players just blow. Perhaps we ought to rethink some final chords in Frank Wright's arrangements, especially Berlioz overtures.

I was studying with Mr Wright when he produced the overture to Mastersingers. He was proud of the fact that every single note from the orchestral score was reproduced in his brass band score. Is this the best way to transcribe orchestral music or do we follow the example of Hawkins and co who made pieces like Rossini's Barber of Sebille overture suit a brass band so well?
 
David Loukes

Well done Alan
 
Fairey's would like to congratulate Alan Lawton on his recent award. Alan has shown a great deal of loyalty to the movement (and Fairey's), as a player, conductor and personality and its great that his dedication has been regocnised in such a way. The Band wish Alan and his family all the best for the future.

Gary Parker
Band Chairman

And a personal congratulation
 
May I add my own word of congratulations to Alan on his well-merited honour? 

As well as his connections with Faireys as player and conductor, Alan has, of course, also been closely associated for many years with Vernon Building Society (Poynton) Band, which he has inspired to numerous contest and concert successes.  My own direct association with Alan arose when I was invited to become the MD of what is affectionately known in the very lively musical village of Poynton as 'the Vets Band' - nothing to do with cats and dogs, but Concert Brass, Poynton, largely made up of former members (Veterans!) of the VBS Band.
 
At my first rehearsal, I was just a little nonplussed when Alan walked in and sat at the bottom of the back row of cornets.  I very quickly came to appreciate Alan as one of the most dependable (and, of course, best) third cornet players ever.  He was a constant source of support and encouragement to me and the rest of the band, as well as being an excellent friend and companion in 'social events'.  To me, he epitomises the true and sincere banding aficionado.
 
Well done, Alan - may you have many more years of banding enjoyment.
 
Tony Leggett

Salute to Youth? What is going on!

What is going on with test-piece selection? If 'Salute to Youth' is chosen as the Championship test piece for the 2007 regionals, this represents yet another backwards step for banding in the UK.

'Salute to Youth' was used as a FIRST section test piece at the National Finals seven years ago!

So, are the selectors now saying that an adequate test of today's Championship bands is something that tested First Section bands in 1999? Or could it be the case that someone on the selection panel is trawling through a list of personal favourites of yesteryear, and to hell with what the actual players might be interested in?

For goodness sake, give us something that will actually test the bands to the full and separate the best bands from the rest. 'Salute to Youth' is a good test piece, but it has had its day as a Championship piece. What's wrong with something like 'St Magnus', 'Extreme Makeover' or 'Music of the Spheres'? Or something interesting from a new composer?

I fear Phil Lawrence's protestations and suggestions will forever fall on deaf ears.

Yours (in despair)
Les Wood

A word of warning over Judges - from someone who knows

I've just taken Wingates to the French Open, and won.  'Judges of the Secret Court' was the test.  A word of warning! 

Just because this piece doesn't change tempo and key every few bars don't under estimate it, there's more in it than you think and it definitely needs playing.  It's also one of those pieces that will bite you if you don't prepare it well.
 
Andy Berryman

You can't please all the people all the time

Further to my comments regarding "Band Power" changing test pieces. After more thought I recall the 'Polotsvian Dances' piece went under the title "Prince Igor" and I think it was Roger Barsotti who made the arrangement.

I am still not sure what piece replaced it but I think it may have been Checkmate. Test piece choice is and always will be a very difficult area. You can please some of the people some of the time, as they say.

Ken Vernon.

The problem is with the key!

I take some of your well argued points on board Phil. But, your wrong, re: the key! 

Why then did Frank put all the other arrangements of Berlioz Overtures in far easier keys? Mainly because the technical demands were on page 1. Unlike Judges, page 79 (whatever).

Take Carnival Romain for E.G. In the original (orchestral) cornet parts in the orchestra (played by Arban at the time, by the way) were in A (for A cornet not Bb). Just a twist of a key and you were in A major concert pitch (our B+).

Just like clarinets in A, they had cornets in A because they really couldn't get around in sharp keys very well. So on the page it looks in G/C major plus some accidentals (but for cnt in A) so when the cornet rattles out the main tune half way through fingering in G/C but it's coming out in our Ab/Db or F#/B major concert pitch.

So why didn't Frank leave that as it was? Because bands then would have called him mad to be flying around in a ridiculous key, and many would flounder. Same for Corsaire, Benvenuto Cellini, the challenges were on page one and had to be addressed immediately. Beats me why he lost the plot on this one but he did. Go and get out the cornet band part for Carnival and try and play it with a flat in front of every note!

Arranging Ride of the Valkyries is hard enough without me leaving it in F# minor! And another good analogy/E.G, there are two arrangements of Shohstakovitch Festival Overture one gets played lots, and the other by Mike Antrobus leaves it the original key of E, and how many bands play that one? You guessed it! No my friend, it's just a blooper.
 
Phil Lawrence

The final word on Beta Blockers

I would like to make a couple of additions, maybe even clarifications, to the points made by Dr. of Maths Peter Hartley, regarding nervousness and the taking of beta blockers.

(1) Nervousness arises from the "fight-or-flight" response, and is the body's way of preparing you for danger. It is a throwback to prehistoric times when life was a struggle to survive, and there were plenty of things wanting to eat us. When faced with danger (or the possibility of such), the adrenals secrete adrenalin, which increases our blood pressure and pulse rate, and raises our awareness of the surroundings, therefore getting us ready to either fight off the danger or run away from it.

Our modern-times equivalent to such danger are those situations which result in stress, be it a job or similar. Most of the time we cannot "fight-or-flight" to remove ourselves from the situation, so our body is continually in the "fight-or-flight" situation which results in stress (this is why we feel less stressed when we go on holiday).

Performers, be they professional or amateur, are nervous before going on-stage because their bodies are preparing them for the "danger" of going on-stage. No amount of practice removes this nervousness.
However, it does help to control it. If you haven't practised, your nerves are worse because you know you are faced with that solo you know you are going to make a pigs ear of, so that makes your nerves worse and uncontrollable. If you have practiced, you have more confidence in your abilities, so you can control your nerves. But they are still there.

(2) The use of beta-blockers without prescription from your doctor is not a good idea, whether it is a one-off or regularly before a contest or concert. If you have an undiagnosed heart condition (more common than you think), then taking any heart drug without supervision of your doctor may do more harm than good. Just because you have used them once and they helped, it may not always be the case next time.

Nervousness is there for a reason. It keeps you on your toes and focussed on what you are doing. Unfortunately, many of us can become prostrate because of our nerves, but I personally feel that the use of beta-blockers, unless prescribed by a doctor, should not really be promoted in our movement.

Therefore, I recommend the following:

(l) loads of practice,
(2) a pint before you go on-stage and
(3) several when you come off-stage.
I am sure that someone will tell me I am wrong, but I am not. So there.

That is the end of today's lecture. Essays in by the end of next week, please.

Dr (of Biochemistry) Richard B. Parsons

Calm down... Calm down...

On the subject of nervousness..... Calm down calm down......

Dr Roger Webster's essay (published in the British Bandsman is a very good summary of the physiology of "nerves" and gives some good tips. I don't have the article to hand at the moment but as I remember his premise was that "nerves" = "fear".

You may be physically capable of playing your part and have it well practiced. You may, however, on the day in the heat of the moment be fearful of making a complete fool of yourself if you did not play your part well. The natural reaction is to run away, however, you can't so you turn to a gibbering jelly. It's perfectly natural, the "fight or flight" response you learned about at school in biology. It is evolved to help our ancestors escape sabre-tooth tiger attacks etc.

So, you have to cope and develop strategies for dealing with this illogical fear, Roger Webster has some good ones, Andrew Bannister has suggested some also, I find that controlling breathing and remembering to breathe properly and deeply goes a fair way physically to help.

As far as the mental side of things, this is down to you. Firstly, if you know you can play the part - great - tell yourself this, also try and convince yourself that the audience and the rest of your band want you to play well - they're there to hear how great you are.

Try "visualisation" - try to play the part how you imagine your idol / favourite player would do so.
Before you try Beta Blockers - try Cognitive Behavoiur Therapy / self help books.

Remember your body is reacting physically as though your life is in danger - its only a couple of nice men in that box, not a sabre tooth tiger and the audience will not kill you - honest. As far as I know there are no recorded incidents of adjudicators, audiences and/or fellow bandsmen killing a player for playing a wrong note or two. Get it in perspective.

None of the above however will help you if you can't play your part! Mind you, you still won't get killed for it.

James Cooper (Not a Doctor)
Soprano Cornet
Bournemouth Concert Brass.

4BR Reply:
That's it folks on the Beta Blokers debate No more please, not even from Kate Moss...

Looking for some Meditation

In 1971 Hanwell Band under their conductor Eric Bravington produced a record ‘Bandstand Brass' – which I have – on that recording was an arrangement by Geoffrey Brand of ‘Meditation from Thais' which was played by Rodney Friend the celebrated violinist with Hanwell accompanying him.

I have listened to it many times and it is something really different. So much so that I contacted Geoffrey if he had ever published it – whilst having published the music for other soloists that particular one was never published and in fact he has not got the music and does not know where it is – having not seen it since the recording was made.

I have contacted Hanwell Band but someone checked their library but they do not have it either – so it has disappeared. I am asking 4barsrest readers if they know of the current whereabouts of the music I would be pleased to hear from them.

Chris Helme
cdhelme3539.brighouse@zen.co.uk

Well done Alan!

May I take this opportunity to offer my warmest congratulations to Alan Lawton on being awarded the M.B.E.

I was first introduced to Alan when I was around 10 years old as he was a regular guest conductor at my band, the Deiniolen Silver Band. Even at that young age Alan made a great impact on me and his advice was always welcomed. When I went to Salford to study Alan was always there for me when I needed any advice and I became a member of his band , the B.T. Band. The experiences I had under him as a conductor were always enjoyable.

Alan's professionalism and obvious enthusiasm for music certainly had an effect on me and his knowledge on how to train a band is second to none. Alan Lawton is a great conductor but much more important than that he is also a genuinely great bloke! This award is very much deserved and I wish you all the best for the future.

Gavin Saynor
Solo EEb Bass
Buy As You View Band

More of the same...
 
Fantastic news to see that Alan Lawton has received this much deserved award can't think of anybody who deserves it more.

Congratulatuions and best wishes!
 
Kev Donaldson

The Beta Blocker debate continues...

Oh dear! Shouldn't've said anything! To my critics:
 
Dear Mr Rix. Actually I'm not a medical Dr, and I only made the factual point that betablockers are taken by hypertensives in order to make the humorous (failed again!) point that IF anyone was daft enough to suggest drug tests at contests the poor old hypertensives would be at a slight disadvantage.
 
Dear Helena Fieldhouse. I'm really (honestly, no kidding, please don't misinterpret me) glad the pills have helped your enjoyment of music-making and I'd really (honestly, no kidding, etc) be interested to know how you decided on the dose (too little = no effect, too much = fall asleep on the stage?). But I didn't say that the only CAUSE of nervousness was not being able to play the part, I said it was the only (logical) REASON.

For all I know you could be nervous because you robbed a bank the day before and spotted a policeman in the audience. A logical reason for being nervous might be because the losing band is lined up and shot! Well, you see my point I hope! I'm sorry I didn't make that clear - and I'm quite pleased Andrew Bannister made very similar points to mine.
 
I guess if one has this problem it's part of one's personality, but I'd much rather it was conquered by some kind of psychological rather than chemical process. As a start, if you say out loud to yourself and anyone who'll listen "I get nervous when ..." all you're doing is reinforcing the problem (your subconscious is listening too!).

There are a number of books around on how to condition yourself mentally (some are helpful, many are too academic) - I have one called "What to say when you talk to yourself" - but the principle works if you work at it, i.e. only say positive things to yourself  - e.g. "I always play beautifully", "I love playing to an audience" - and say them over and over again, morning, noon and night, as though they were already true. Same as physical conditioning really, i.e. hard work, a long process, and boring! Good luck!
 
Dr (of maths) Peter Hartley
Bournemouth 

Judges is an apt choice

It strikes me that in some way the choice of "Judges of the Secret Court" is quite an apt choice for the Nationals this year... Particularly after the cloak and dagger mallarky about the "judges" at the Masters last month!

I wonder which "Secret Court" is going to provide the judges in Kensington? Hopefully some venerable souls who can bear to listen to the piece 20 times without going mad... The piece is not really Berlioz's finest hour. I've played in orchestras for over twenty years and have never once had to endure it. Does that give an indication of it's popularity? Surely if the "Secret" (sorry, can't seem to help myself...!) panel are trying to be more appealing to the masses a piece that actually is popular would be a more logical choice?
 
On a better note I was very pleased to see that Simone Rebello is going to be in the box at the Midlands area. For a start, it is good to see a percussionist recruited to the inner-sanctum. Also, she has a broad range of experience outside the brass band world as well as from within, which can only be a good thing. She's young, at the cutting edge and rather importantly, still doing all the things she's being asked to judge.
 
It did cross my mind that it would be good to have someone like her in the box at the Nationals, but then I remembered that her specific area of expertise has been somewhat glossed over with the choice of music.... Maybe at the Open then? It would be nice to see a remarks sheet that has something more imaginative written about percussion at some point, rather than hoping they don't notice us getting in the way of the lovely brass playing...!
 
Anyway, I'd better go and practice finding the 5 different notes I have to play at the Albert Hall, it shouldn't take long..... (unless the timps are like the ones provided at the Masters, then it really could be a lottery)
 
Thank God we got to the Open! (had to mention that!!)
 
Jon Kitchen.
Aveley & Newham
(available for work towards the end of October...)

The soapbox ranter replies
 
To Toby and others: I agree with much that you have to say and deliberate. The main point you make appears to be, "Yes, let us see how many will keep their bums in'th hall from 10am to 5pm". But do we need to look to the USA for composers? I think not. We have too many here in the UK being overlooked such as, Sparke & Graham. Their styles (of course) are changing with the ravages of time which is good; let that wine mature, but younger new wine/composers are just being ignored out of hand in the UK by the panel. New wine can somtimes be very exciting.
 
Do we really need variations on "Star Wars" or "X-Men"? Some of us here are busting a gut to get onto the contesting scene with new intuitive works, but we are not only held back by constraints like, too long, or too short, and too much percussion, but we are held back by short sighted dino's. Where are these great's that once sat at the panel when, Volcano, Blitz, Prague, Contest Music, Energy, Montage and even Eden was chosen? We need them back now!
 
One other deciding factor Toby. Last year I met the manager of "The Queens Gate Mews" on the following Monday night (as I was at the Albert Hall again), and he told me what they took over the the bar from 11am to 11pm on the Saturday. I'll see him this year as well, so if the takings are up, there is another deciding factor!
 
Phil Lawrence
Elms Studios/Publishing

Not in agreement with Mr Lawrence

Phil Lawrence says:
 
"The original is in F minor and finishing in F major concert.  Frank's starts in D minor and finishes in D major concert. To me, one might have left it as it was, or gone up a tone, but what Frank did strikes me as rather strange, as it puts the band the majority of the time in a cack key!"
 
This is partly my argument as to exactly why Judges makes a good test piece. Most of the band are in a hard key - it makes it very difficult to sound good, test pieces should be difficult.
 
Surely to move to an easier key would be to miss the point - you make the music easier for bands to sound good - in effect you level the playing field slightly, increasing the chances of spurious results.
 
I feel exactly the same about Enigma and Rienzi (both of which Phil also mentions). When I heard the Grand Shield bands play Enigma it was patently obvious which were the best bands - the three of them stuck out like a sore thumb on band sound alone - Desford, Rothwell and Sellers.
 
I've played all three of these pieces (Judges, Rienzi and Enigma), and I'd say that they are amongst the most difficult test pieces I've ever played.
 
Technical challenges can be overcome by a few weeks of sectionals and being taught "parrot fashion". You can't improve a mediocre championship section band enough in same time frame to be able to sound good on these types of pieces. This is because they rely on the absolute fundamentals of playing - intonation, tightness of rhythm, balance, production, musicality. Things which take a long time to master (if ever they can be mastered). This is why I firmly believe you'll find the best bands by choosing such pieces as Judges, and that surely is the point of a test piece.
 
I promise - no more rants about Judges.
 
Phil Spencer. 

Judges at the National

I read with interest Phil Lawrence's lengthy and very informative rant and the comments made by 4BR. 

I don't agree that ‘Judges of the Secret Court' is ‘an old boot of a piece', but this is another opinion that will ultimately be judged by the thousands at the Albert Hall.  What I would say is that compared to some truly awful test pieces that have had to be endured at the RAH in the past this will surely be a pleasure to listen to. 

It is a very difficult piece to play convincingly and there are more traps in it than you would have us believe.  Yes, there are more demanding technical pieces but musically to your average listener this should rank as one of the finest even if the arrangement is not considered one of Frank Wright's best.

My first National, as a member of the audience, was in 1979 where I endured over 15 performances of ‘Volcano'.  This was the only occasion where I would have willingly shot the Music Panel myself as it put me right off.  Since then I have attended (as a player or listener) around 18 Nationals and have enjoyed every one of them, even when the test piece has not been my cup of tea.  It's the contest, the buzz, the predictions and the atmosphere of the Albert Hall itself that make it a brilliant contesting experience.  This year will surely be one that most will enjoy and where the adjudicators will not have to ‘warm up' on the first four bands.

I think ‘Judges' will turn out to be a good choice and will be the sternest test for conductors in terms of getting the atmospherics of the piece over – especially the opening section.  I think history will be the judge of this ‘Judge'.

Rob Nesbitt
Nelson
South Wales

Interesting rant - but why not look towards America?

Having read Mr Lawrence's soap box rant with great interest, I was left thinking first of all its great to hear a composer give a honest insight into his feelings about the art of composing and arranging.

It's something I know absolutely nothing about and to hear a modern day composer talk about it and explain some of its history and techniques was most interesting.  I have only played "Judges" a couple of times and I found it to be ok, not fantastic, but ok. I have however more recently played a number of more modern test pieces in major contests and I have to say that with a couple of notable exceptions most of them have been at best boring and at worst awful.

A couple of the dirges I sat through for two weeks of rehearsals and a few thoroughly disappointing days contesting (because of lack of audience) certainly helped me make up my mind to leave the movement I gave 18 years service to. I know other people who followed the same course of action, players who (as it turned out) the banding world could ill afford to lose.

I'm all for moving on and progressing, but a good friend of mine used to describe these pieces as "Music to cull seals by" and that kind of summed a lot of it up. I often found that a alarm bells would ring for me during rehearsals when wrong notes were played by mistake (sometimes!!) and nobody would realise. 

So I would say sure, give new composers a go, but those composers have to give the players who often as not give three weeks of there life away for free, something they can enjoy and get there teeth into as the likes of Philip Sparke and Peter Graham can.

Also, these composers have to give the fee paying audience who are not waffle talking, pretentious Newsnight review types, something they can listen to over 10 times without the help of trance inducing narcotics.

Over the last ten years both the Nationals and the Open have given many new composers a platform. Maybe we could play ‘Prague' or ‘Atlantic' at Pontins or the Mineworkers or some other contests of that ilk and use those competitions as a vehicle for some of bandings more "thought provoking works" that "challenge" the listener. It certainly would be interesting to see the audience figures!!

Possibly we could look to America for composer recruitment? A lot of the film music I hear from there is progressive and very good to listen to.
 
Toby Hobson

Support the Music Panel and not the PC Brigade

There seems to be an awful lot of people/bandspersons, to be politically correct, who seem to have it in for the Music Panel that choose our national test pieces.

So what is wrong with ‘Judges of the Secret Court'? I heard ‘Judges' at the old Mineworkers contest in Blackpool many years ago and was spell bound by this music. Many years later I played this same music at a contest in Nottingham's Albert Hall and was still amazed at how difficult a piece of music it was to play. Many a horn section have had uncomfortable times playing one particular passage towards the end of the piece.

So... its a golden oldie and as the saying goes, an oldie but goodie. So as one eminent person reported, it maybe in the wrong key, maybe not the best transcription and maybe not suited to all the right instrument all the time - but what the heck! It's still a good test for our top bands.

Many will not get through the piece without a mistake or a split note or some intonation problems somewhere in the piece. When was this piece last used for a contest? I think it was used many years ago at the Excelsior Ropes Contest at Sophia Gardens in Cardiff?

Probably not many of our top bands men/women were about then, so lets agree with the Music Panel and sit back and enjoy a golden oldie. You never know, there might be an eminent person out there who might fancy coming up with a new transcription of ‘Judges' – although I shan't hold my breath.     

Clive Purnell

Dangerous territory? 

Are you not treading towards dangerous territory? (ref letter from Dr Hartley)
 
In the event that someone is prescribed a prescription drug - that is a private matter between them and their doctor.

I am surprised that a Medical (?) Doctor should even be making comment as, without consultation, how can he or she be qualified to judge on an individuals case.
 
I think you should stick to your knitting 
 
G. Rix

Beta Blockers can help

I must take exception to Dr Hartley's point that 'There's only one reason to be really nervous and that's if you simply can't play the part.'

This is just NOT true, I am sure that most bands people' can play their part in the bandroom - but that it just doesn't happen in front of an audience, even a Summer fete.

I consider myself to be a reasonable Third Section player and for many years nerves got the better of me - from grade exams, fetes through to concerts and solos.

I KNEW I could play the part but I would shake so much and give myself a very wide vibrato!

Since I have used beta blockers I have become the player and soloist I want to be and will ultimately stop using them as my confidence grows. I do feel that if I could have used pills before I could have achieved more. For the record - I am still nervous BUT I can control the shaking and anxiety and enjoy playing.

Helena Fieldhouse

Time for Beta Blockers =  time to give up
 
I have known many players who have used beta blockers in an attempt to control their nerves. In my opinion, the day you need to take beta blockers in order to perform is the day when you should give up.

Nervousness is a natural part of being a performer and is physiological. We all have adrenalin and this in itself can be a "performance enhancing drug" if controlled properly. I always have a degree of adrenalin on the contest or concert stage but this is what makes performing so thrilling.

My personal way of using this to my advantage is firstly to make sure that I can play my part, secondly, to view performing as an enjoyment rather than a frightening chore and thirdly to take time out on my own prior to taking to the stage to focus on the job in hand. I find a good way of clearing the mind is to stare at an object ( a light bulb or plant perhaps) and focus on it, analyse it and dissect it. Might sound weird but it works for me!

I have been lucky in my banding career in being able to participate at the highest level, as a principal with the NYBB, and as soprano with Brighouse and Aveley. I have played at all of the major contests, have won the Masters, Yorkshire & London areas and Grand Shield and have participated in many wonderful concerts.

It is a joy to play my instrument (might not be for the people listening to me though) and the adrenalin or nerves enhance not detract from the enjoyment. Making music is about providing entertainment, it is something to be cherished not feared.

In terms of "Les Franc Juges" being used for the Nationals - I personally think it is great music, difficult to play well but enjoyable to play (certainly for us sop players).

I think some people might be surprised at how many poor performances will be heard at RAH on this piece. Only the best bands in terms of musicality and tuning will pull it off. Aveley have just played it in France (all be it in a 40 degree temperature hall) and I'm sure my colleagues won't mind me saying this, but it wasn't great, and I think we're a pretty good band. Not as easy as it appears by any means although admittedly probably not too taxing for the percussion section.

I think it's good that we continue to perform a mix of music from traditional to new premieres. I, for one, will be looking forward to listening to "Judges" in London.

Andrew J Bannister
Soprano Cornet
Aveley & Newham

In Tim's dreams
 
May be in Tim Mutum's dreams but I seem to remember it did actually happen once in the late 60s early 70s.

I think it was either Rothmans or W.D & H.O Wills finals in London. Test piece was supposed to be from Polotsvian Dances by Borodin but after a North West area led revolt the piece was changed.

I cannot remember what the replacement piece was maybe someone from the Fairy Band could help me out. Not totally sure on the date either. 

Ken Vernon.

The Imps giant South American fruitbat

I've got a lovely blue Yorkshire Imps uniform languishing at the back of my wardrobe. It's got huge wide lapels, flared trousers, and comes complete with a frilly fronted blue shirt, and a dickie bow reminiscent of a giant South American butterfly.

This dashing outfit is rounded off with a pair of black patent shiny shoes.

I can deliver if necessary ..............!!!!!
 
Ian Wilkinson
Leeds 

4BR Reply:
We are sure someone will be in touch from the band or RSPCA to save it from your wardrobe Ian

Beta Blockers don't conquer the expectation factor
 
Wendy Johnson's research on contest nerves, beta-blockers are commonly prescribed for hypertension.

Testing would be as silly as some of the other suggestions for dealing with "cheating". There's only one reason to be really nervous and that's if you simply can't play the part. Even if you aren't nervous there is a natural raising of pulse rate and adrenalin flow which can affect some players negatively and some positively. Best help is the all standard stuff like deep breathing, positive thinking, etc. My experience is that the expectation is the killer. Trying to avoid last place at the RAH was easier than trying to win the Regional.
 
Talking of which, when was any choice of existing test-piece universally welcomed? Ask Joe banding Public for their choice and you'd get one or two dozen answers - all of which would be rejected by large numbers of same JP. Solicit a new piece and the odds are it'll be heavily criticised. (Point of interest: how many new pieces for the RAH over the last 30 years have stayed or will stay in the contest repertoire? Very few I suspect. Even the good ones! )
 
Dr Peter Hartley
Bournemouth

The Ravenswood question
 
I am writing in reply to Matthew Heywood's comments regarding bands playing Ravenswood.
 
Yes, Brighouse maybe a very good band and their interpretation of Ravenswood a lot better than the rest, but just because you think Brighouse were the best does not mean that the other bands didn't try their best.

My band played Ravenswood all night and we came 7th at out of 75 bands, and won the "Best non-championship section" prize – obviously the adjudicator liked our 1st Section band performance of this piece. At the end of the day Matthew, most bands go to Whit Friday's for the fun of it and of course there will be differences between a 4th section performance and a championship performance.
 
Also, regarding you hearing it 7 times in a venue – you will get the same with any popular march – Knights Templar?? The President?? How many times did you hear them?  
 
Andy Cooper

Fat cats taking the cream of the profits 

Interesting as I have often thought and voiced my opinion of the fat cats in banding- ie they who take the cream (of the profits). 

Take  look at all the contests now - DVD`d by SP&S - its part of the rules of the competition that the bands sign all their rights away, and what do they get in return?- a handful of free or discounted CDs - but and I quote -  "bands are grateful to have their name on a CD"
 
Spennymoor particularly nirks me - as any rights of  a composer or arranger have are dissolved by the entry rules that all music can be recorded by SP&S (even when the MU state the composer or arranger can state who plays and records a piece for the first time - and lets face it the DVDs and Cds are not about QUALITY - its more a matter of forget the quality feel the width ). In a statement  by SP&S that "they believe in the contest" so they sponsor it - rubbish - SP&S are a business,  not a charity ,  its good business to put in a few grand to get more than a few grand back.
 
Look at how many fat cats have created festivals and contests over the last 10 years - is it because they "believe in the brass band movement and its roots and traditions?".   I say no - its because they are quick thinking business people who see a gap in a market and now earn a living from it - and  the brass band movement does nothing about it.!!!! Gulible I say!
 
Surely there is a group to be formed from the ranks of the brass band movement that could over turn all these moves? If not, I feel the demise of the brass band movement is being drawn even more rapidly closer.
 
10 years ago Chandos would ask a band to do a record/CD and pay them £1000 - good business for them as they then sell more than a grands worth of materials. Again I speak from personal experience - pay the arrangers nothing - and go with the line "its a priveledge to have works recorded or its good publicity for the arranger/composer".
 
To finish my rant for today   - bands have been exploited by the fat cats since their dawn of existance and like Tim, I sit waiting without bated breath for a change in favour of the bands not the band manipulators.  I predict that brass bands will be here in 100 years - not as many - but here - and yes they will still be being used as the cash cows for the so called "believers in brass bands."
 
Kath Stokes

Is it our destiny to be pushed around?

Until bands control their own destiny they will continue to be pushed around and have to accept what they are given. And a poor Judges is what they have and the winner will get the same £2,000 prize as the Champions of 1980 received! 

Now of course if all 20 bands got together and expressed the view that it was an unacceptable choice an interesting scenario could arise. But I dream too much.

As your editorial suggested 'Benventuo Cellini' - in the Christian Jenkins arrangement which would have given a new man to banding some exposure - would have fitted the bill much better.

Tim Mutum
Ipswich

No Prom again for us, but who can blame them? 

One more year and still the brass band world is not represented at the BBC Promenade concerts. Disgusting snobbery yet again, but wait. Can you blame the Prom organiser Nicholas Kenyon, when we pick a second rate test piece for the final of our National Championships!!!

I can't believe that we, the brass band world are standing by and letting this happen. Last year's test piece ‘Eden' was amazing-forward looking and also from a proven first rate composer. Is ‘Le Francs Juges' the best we can come up with a year later?

What can one make of this decision? Well, it smacks of the Supermarket mentality-lets fill the hall, lets get an audience for the evening concert. Yes, but what is the real cost?

The Brass band in many areas is in danger of dying on its feet, and the organisers of the Nationals go back into history to try and put things right. But shouldn't we -the brass band enthusiasts be looking forward and creating new and exciting ventures that will attract YOUNG people into the movement.

I really can't see how, unless things change, really change (and replacing the Championship test piece would be a good start) that things in   the brass band world will improve and move forward, and also attract more players and enthusiasts to its music making.

We must not show the wider musical world that our answer to progress is to go backwards. And what about the percussion players? Is this choice of test piece showing them all the finger? 

Tom Stone
London

Disastrous decision does what it says on the tin

As the advert says, "..it does what it says on the can."

Only in the case of this year's disastrous decision to use "Les Francs Juges" as a set test, both the bandsmen/women and audience have been severely let down by the selection panel. It most certainly will not test the abilities of the top bands. I'm quite sure it will be a case of "silly results time" come October, though if my own band were to win then the result will of course be spot on.

As for every decision being kept under wraps until the last moment (e.g. selection of music & judges), there really isn't a wave or even ripple of excitement on "announcement day". No one called me the day before the Masters to tell me the hot news of who the judges were and does anyone actually know when the set-tests were announced?

Thought not. I've do doubt that someone in a position of (self imposed) authority does actually see it as a "fanfare moment". Wrong.

So, this year - don't read the label on the side of the can - it's totally misleading.

Nigel Brinklow

Not agreeing with what you say

You say: "If we are to try and find the best band in the land, then we must do so by testing them in full. Only then does the real quality rise to the top. This piece makes it something more approaching a lottery, with bands and conductors ready and willing we are sure to add their own ‘additions' to enhance a monochrome piece of writing."
 
So I shall:

I can't agree. This reminds me of the debate about Rienzi as an area test piece. "It's too easy" they all cried. No way. If you do get unusual results in contests these come with smoke and mirrors test pieces like Journey to the Centre of the Earth used at this years area. Music written to sound impressive. Aside from the difficult soloist passages, the way the music is written makes it easy for bands to sound impressive. Easy chords, where slightly iffy intonation is hidden, it all adds up to making bands sound better than they are.
 
Give a band a sparsely scored piece or "monochrome piece of writing", and you'll surely see the quality rise to the top. Remember how few bands produced a really top quality broad rich brass band sound on 'Rienzi.'
It might not be full of semi-quavers but it requires quality around the whole band and perfect intonation from everyone, not just a few good soloists that get you in the frame and a mediocre ensemble.

I think your prediction of a "lottery" is way off, I predict that the results will not be controversial.

Phil Spencer.

Fantastic Whit Friday

My husband has been a bandsman for nearly 20 years, playing percussion with many of the areas local bands.  Due to holidays and work this was the first year we have attended the Whit Friday marches.  What a fantastic occasion it was. 

The adults stepped aside and the band entered in the youth section, mums and dads played on the march to give the kids a boost, some of them not much bigger than their instruments.

My daughter has taken up the trombone and suffered from no nerves until we hit Delph - what a sight.  The street heaved with people and opened like a wave in front of the police horses to allow the bands to pass, closing in again behind them.  The sheer numbers of people proved that this is not a dying tradition.  Whilst mentioning tradition I must say that there was only one disappointment, and that was that percussion were not allowed to play the contest piece. 

Traditionally, (I am told, for I am too young to remember) a band consisted of a number of players and a drummer.  What a shame that they are still not allowed to enter this wonderful contest.  My husband took part in the march and then stepped aside - coming from a band that is made up of many young people, with budding junior drummers and an active junior section as well I can't understand why the drummers are not allowed to play in the contest.  Imagine the disappointment of having to remove your instrument and watch as your friends and band members move forward to play the contest piece.

I'm all for tradition, but is it not time this one was given a small push just that one extra step - after all youth bands enter and compete alongside adults, why not have the whole band instead of only part of it?

Incidentally Shirland Youth won four firsts and a second out of the 6 contests they entered.  Not bad for a first attempt - imagine what they could do if they were all there.

Marie Revill

Bad behaviour - get into the 21st Century

Having just completed more Whit Fridays than perhaps I care to remember! The comments of one correspondent about behaviour, organisation and losing the Christian links has prompted me to write.

As a real person in the 21st century I think you have to be reasonable and understand where the world has changed. We are not all still wearing clogs and walking many miles to school, nor are we restricted in the entertainment we are lucky enough to experience.

Times have changed (not all for the better I admit) and some of the venues are rightly heavily supervised by the over-stretched Police, open your eyes and see who prompts this situation - I am sure many gallons of beer were consumed by active bandsmen and women, but the reality is that the overwhelming majority of noisy drunken people were not in any way connected with the competitions! Visit any town centre on a weekend evening or a hot day!

I was privileged to meet up with members of Tartan Brass at Lydgate along with Armagh Old Boys and shared real banding camaraderie. Then onto a football venue where the whole audience was treated to a display of musicianship, best described as "different" from a band dressed very authentically in Hawaiian dress - I've never thought of Steve Mc Garratt saying "Book - em Danno" in 5 - 0 playing a very creditable version of a contest march.

 I would like to thank all of the voluntary organisers who have spent hours setting these events up - and keeping (no expanding) a tradition. Plus the good-humoured Police Officers at each event.

Lighten up and open your eyes to the real world - I can't wait for next year to take my young brass-playing son back to this phenomenon.

PS. Does everybody's bass get heavier each year?

Gordon Eddison
Burley in Wharfedale 

Ravenswood - the good, and the bad!
 
I have had the pleasure this year of listening, rather than playing, on Whit Friday.  I went to two venues and listened to lots of bands.

My favourite march was 'Ravenswood', but after hearing it 7 times on the run at on venue it started to grate.
 
Although being (fairly) technically easy to play it well,  musically it is no mean feat.  Bands from 4th to Championship attempted it, but only one band pulled it off - Brighouse.  Why do bands attempt it (other than the fact that it is a 'good blow') when after the first note (octave concert f), the tuning and band sound has gone the same way as my spilt beer!
 
For the bands that will struggle to play this march, why don't they try something less taxing, but just as much fun and produce a musical performance? As a consequence they maye come higher and stand more chance of winning some of the sub prizes (best 3rd section, local etc..)

Also, why don't these bands not rush off as soon as they have played and learn a thing or two off the top bands? Band sound does not come from loud trombones and sop, solo cornets need to blow air to make a quality sound at quieter dynamics and basses need to stagger breathing and hold notes through, which were all things lacking in all levels all of band.
 
Matthew Heywood

Drunken bandsmen? Not us!

I have just read the comment regarding all the drunken and bad behaviour at the Whit Friday Marches.
Most bands take Whit Friday seriously and only have a few beers.

Jamie Meredith our most talented and good looking MD doesn't allow any of our band to drink until the last contest when we do have  few scoops. As far as the crowds are concerned I don't think that the bands will have played a major part in their bad bahaviour as most of them looked as if they were celebrating an early release date from Strangeways.

Martin Boardman

Thanks everyone for telling me about nerves

Thank you gentlemen of 4barsrest for printing my request for information about performance nerves and ways of combating them. I have had many replies and every single one has been thoughtful and intelligent and much appreciated. I am impressed.

If anyone else would like to contribute their ideas or stories please contact me at wendy.johnson@hotmail.co.uk.

One thing that has emerged is the wide spread use of Beta Blockers in the top sections.  I am not suggesting drug testing at contests(!!!) but is this a safety issue that needs to be considered by us all? Please what do you think?

Wendy Johnson

4BR Reply:
Is drug taking a problem for bandsmen and women, and do we need to look at it as a social problem? Let us know.

Good comments, but were they really off the cuff?

I thought I'd add my comments to the debate on your coverage of the Masters.

I have no objection to the use of words like "gormless" which was your correspondents way of attempting to describe in words the (un) musical performance he had just heard. What I found irritating was that by the end of the day it seemed as though the reporter had invented a number of metaphors at home the previous evening, possibly over a glass of something nice, and then spent the day trying to use them.

By all means be different and lights hearted but try not to sound as though its all been thought of beforehand rather than a reaction to the playing.

Simon Anker
Somersham

The Nationals and all things general

Having just read your editorial for June, I must write to give my opinion over the selection of the test pieces for both the Lower Section Finals and for the National at London.

Even though it is always nice to hear the music of both Alan Fernie and Philip Sparke, it is about time we encouraged our younger composers more and gave them a chance to write extended works at major contests.  What I have heard of the likes of Peter Meechan and Simon Dobson amongst others, their music is more than good enough to be used. 

As for the Kapitol Nationals. You are quite right to point out that it seems the general brass band player doesn't really care who runs contests as long as they are not too badly ripped off and there is decent prize money on offer. The test piece is a laugh though. What a wasted opportunity.

And as for the question of ‘glasnost' – it remains a mystery to me, why this has been allowed to go on so long. Perhaps the selection of ‘judges' seems to sum it all up.

Keep up the work in keeping the powers that be on their toes!

Peter Emery
Maidstone

Who judged the ‘Judges' then?

Who on earth picked ‘Judges of the Secret Court' for London then?

I always knew something was up when 4BR announced that it has received a ‘rumour' that it was to be used, but it still doesn't excuse the decision. These people are living in the past, a past that should remain that way.

Lyndon Phelps

Whit Friday madness

What is becoming of Whit Friday? My husband and I have just returned home after our annual visit to the event, and at present I feel that it will be our last.

It has become nothing more than an excuse for all day drinking, bad language and poor behavior both from the public and in some cases the bands. It no longer has any connection with the Whit Friday Christian tradition at all and as we visited a number of the venues on the circuit it seems that it has become an excuse for the worst excesses of people who have no interest in the bands.

Some control is now needed (Delph in particular seems in need of better organization, especially late at night) before what was a brilliant day for all to enjoy becomes sullied by drunkenness and crass behavior.

Elizabeth Lawford
Hereford 

OK comments - as long as you are not on the receiving end!
 
Having read the comments by Jonathan Camps on the live coverage of the Masters, I have to agree - bandsmen who are not in attendance at contests have come to rely on 4BR for their rundown of the events as they happen. I, for one, log in to see what is happening, and enjoy reading the retrospectives.
 
However if, like me, Mr Camps had been on the receiving end of some of the comments made at the Masters, he may have been singing a different song. I was shocked to hear that 4BR had used words like "gormless" to describe sections of bands that were drawn earlier than my band. Imagine my horror when they also applied a similar _expression to members of my own section. Not only did I find the comments belittling, but they were bordering on being libelous.
 
So come on 4BR, we all rely on you to give us the live coverage and I'm sure that none of us would like to see that disappear. But if you want to be taken seriously in the world of brass band reporting, please re-phrase your comments, instead of resorting to language used by second class tabloids.
 
Julie Parkin
Reg Vardy Band

Missed G spots and your roving reporter

Having read the usual criticism from those over-sensitive souls who read your live coverage of major contests, I would like to add my voice in support of your roving reporter.
 
There are those of us in the brass band movement who cannot attend these events for one reason or another, and so will spend the day in silent vigil in front of their monitors trying to capture the atomsphere of the day.  The last thing I want to be reading is a load of non-commital vapid drivel about how well everyone is playing!  I want to hear about gormless percussion, missed g-spots (whatever they are) and dropped coffins!  I need someone to give me their personal opinion of how the contest is going.  After all, no-one complains over the use of phrases like;
 
"fabulous tubas and the technique is near flawless"
 
 "A very stylish trom with super ensemble."
 
"Superb dynamics leads to fine romance and fine plaintive despair."
 
So please 4BR, don't listen to the voices of the disgruntled few who dislike what they read on their mobile phones whilst propping up the bar outside the Corn Exchange.  Think of the huddled masses in front of their computer screens at home, trying to live out the Masters experience through phrases like "The romance is there but it's a bit of a grope and fumble approach."!
 
Keep up the good work!
 
Jonathan Camps
Hyde Band

Respected judges

In reply to E. Whitheads comments on being judged by over aged and hearing impaired adjudicators, I myself was mildly suprised by Fodens omission from the top six, but Messers Read Whitham and Berryman are well respected by the band movement as a whole and apart from Fodens result few would argue with the general results. I am sure there hearing is fine and they did hear all twenty one bands.

How often have I seen a comment like the one from Colin Stevens of Corby who said Fodens made his day but he didn't hear Rothwell or Polysteel who came in the top two places. Who on earth do these people listen to then? Are the influenced by the predictions you make?
 
Rothwell and Scottish Co-Op were not rated by your tipsters before the contest, and yet Scottish Co-Op were the previous winners and still being conducted by Nick Childs and Rothwell had an impressive lead up to the contest by qualifiying for the National Championships from Yorkshire (must be the toughest area) and 5th place at the Open last year.
 
I heard all but two of the bands last week and missed those only because I needed a comfort break, and the standard was generally very high right up to the end. Rothwell and Scottish Co-Op were the best bands in the first half, Fodens put on a brilliant performance and I am surprised they were not in the first three and these were followed by a bunch of terrific renditions which must have had the judges working hard for a decision - but I believe they got it right except for Fodens. Rothwell were wonderful, with a real atmospheric sound, very clean soloists and a wide tonal and dynamic range and Polysteel, Treize Etoiles and Willebroek were also fine performances worthy of a prize.
 
Tom Hannon
Leicester 

Aussies do themselves proud 

Those of you whose wife is a member of that very exclusive club known as brass band widows will well know the usual response one gets when you proudly inform her that you are taking her out.

Firstly, the usual comment from she who must be obeyed of - ‘what a surprise - a band concert.' Then secondly, ‘I hope you are not going to sit there adjudicating their playing all night.'  To cap it all I was not even taking her to listen to an English band, her night out was to hear some band from Down Under, the Brisbane Excelsior Band no less and despite my reassurances that this was the top Aussie band conducted by a pom named Howard Taylor I just got the feeling she was not convinced.

For the purist and the adjudicator types who went on their own you have made your own mind up about the playing and no doubt you can read about that somewhere else. As for me, well I did as I was told (for once), and went just to listen to the band. From the opening march Jubilee (Paul Drury), there was really something for everyone right through to the end of the concert. The instrumental soloists and quartet playing were excellent, and special mention must go to Steve Ridler on the tenor horn. Good on yer sport you actually made the sheila smile – no mean achievement! 

I have to say that the wife also enjoyed the vocal singing of the band that also enhanced the evening. The programme was well chosen by the band – I know because the wife recognised many of the pieces such as Australians in Song, Zelda, Blenheim Flourishes, Such Love, Kingdom Triumphant, Annie Laurie, to name but a few and not forgetting of course the Muppets. I thought she had dropped off to sleep during the playing of Paganini Variations but she told me she had not and she enjoyed it - so there! 

Much work had been done in the band room and this was reflected in the performances on the night. One other thing that came across on the night was that the whole band were enjoying themselves, none more so than the boy back on home territory, MD Howard Taylor.   It was also good to see Alexandra Kerwin and Riki McDonnell back in this country enjoying their busman's holiday. Leonard Adams who reminded Howard of his days at Camborne ably compered the evening. One wonders if Howard got back Down Under with both his eyebrows intact.

Whatever, thanks to Brisbane Excelsior for a great evening I enjoyed the night, the only downside is the wife did as well so she is still talking to me.

Sparke's 'Big Brother'

I read with interest the proposal to have Philip Sparke as "big brother" during the forthcoming English Championships and applaude the efforts to entertain the audience.
 
However, I feel that despite efforts not to "put off" the adjudicators there is their potential for "subliminal" messages to reach the ears of the adjudicators.
 
For example if between bands 4 and 5 Mr. Spark should state " the last movement should stick to the marked tempo" could this encourage the team to judge it by this statement and punish an up tempo approach….I don't know. And as an aside the fact that Mr. Spark is giving his thought s through the day does this again give an advantage to later bands…I am fairly sure some bands will have somebody  listen to the thoughts of Mr. Spark and take note of what is being said by the composer and perhaps ( foolishly?) make last minute changes.
 
And as you say if  "features to look out for " are being expressed by Mr. Spark is this a direct guide that adjudicators will have to follow to pick a winner?
 
I know the principle "composers compose and adjudicators adjudicate" will always survive and that there is enough strength and depth of character in our adjudicators to make their own minds up about placings but it might be as well for all the competing bands to see a transcript of the composers film debut prior to the contest so as to equal up the playing field as to speak!
 
Or even have Mr. Spark brief the adjudicators as to what he has produced…….
 
Perhaps I am losing it, being retired and all that, but I feel there will be some grumpy people who said they "stuck to the composers intentions" and still lost when the results are announced! 
 
Dave Aston
(Thriving down south)

Test piece selection at the European

Having attended the recent contest and in reading many of other attendees comments on adjudicators I would comment as follows.
 
On Saturday most attendees that we spoke to would agree the result was about right in positions 1and 2.
 
Where the adjudicators had the greatest difficulty was Fridays competition. Why? The test piece. How can anyone judge a piece which is not fit for purpose? In my view, the piece was uninteresting, lacked musical content and was not challenging enough for all the bands that were competing. That's the test I hear some say ! No this is Europes finest bands.
 
As Roy Newsome once quoted (approx) " The piece needed a good bang on the drum at the end " to let us know its finished. Don't the organizers realize that supporters go to considerable expense and look forward to these events all year.
 
And we now have a situation where only one English band may be competing next year in Birmingham. (this from a Scotsman ). If this is the case attendance will be down thus putting the contest in danger again.
 
However, WELL DONE to all the bands on saturday for providing first class performances worthy of Europes finest.
 
JR Shotts

Looking for a score..
 
Does anybody out there have the score for The Langford Rhapsody for Trombone? We have all parts but the score is missing! Any help would be gratefully received!

Damian Wileman
Sheffield 
damian.wileman@wake-smith.com

4BR Reply:
Can anyone help? 

Something of interest to budding composers
 
This is really a note to all publishers out there but any budding composers may find this of interest.

Sibelius has long become a standard for publisher-quality music, but there is a bigger giant out there – LilyPond. LilyPond is an absolute gem which aims to re-introduce the traditional-look of musical notation.

Its engraving quality far surpasses Sibelius and Finale and even SCORE, in my humble opinion. LilyPond is an OpenSource program, so it's totally free and is available for PC at www.lilypond.org

At Devilish Publishing, we have now started to convert our catalogue to LilyPond, you can see the comparison for yourselves....(print them out as Adobe may pixelate the music on screen unless viewed at high percentage)

Sibelius Version – www.devilishpublishing.co.uk\pdf\la_sib.pdf

LilyPond Version - www.devilishpublishing.co.uk\pdf\la_lp.pdf

The downsides:

Well, LilyPond uses programming code as its input, there's no GUI, so all engraving is done in a text editor and outputted as PDF (and PostScript). Another downside is it takes a fair amount of time to engrave music with LilyPond, even basic formatting needs some code. Complex text input is fiddly, but is easily picked up with lots of practice.

The Upside:

The most professional and beautiful music you will ever see! Trust me, for this alone; LilyPond is the business – no question about that! So publishers, why not stand out from the crowd and join the free revolution of LilyPond?

Please note: LilyPond is not for composing on, it is a music engraving program and the best one you can get at that and.......................it's free!

James McFadyen
Composer

Enjoyable comments .... whatever they meant

I enjoy reading your Comments Column and have even been known to submit some comments myself, but the recent comments by "Hub Coonan" have me totally mystified. I'm afraid I have absolutely no idea what his comments are about.

Could someone please enlighten me, or does anyone else think it to be incomprehensible gibberish ?
Perhaps you should issue a warning notice something like " Reading these comments may result in total confusion for those people who think they understand the English language."

Christy Smith,
Drogheda,
Ireland

Do we count?

I noticed that there was no mention of the Northern Counties Band
Association Contest held in Forfar, Scotland on 27th May 06.

Does this competition count for the Rankings?

Audrey McCrone
Johnstone Band

4BR Reply:
Yes.

And another one...

Just double check our points please.
 
Knottingley Silver points for competing in Senior cup -1 place in ranking, compared to say Wakefield Met who didn't compete yet +1 ?????

Lynne Thompson

4BR Reply:
We have checked Lynne and it is correct. Sometimes the ranking do throw up some strange results but they are a true reflection of the standing of bands.

The Masters:

Fodens make my day

I can't comment on the contest result , as I didn't hear either Rothwell or Polysteel but I would like to publicly thank Gary Cutt and Fodens for making my day.

In a banding scene dominated by cold, calculated, super-technique, cheap tricks and obviously contrived emotion, it was great to hear a really sublime, heart felt, performance that sent my spine tingling and literally reduced me to tears. Fodens proved to me on Sunday that it's not only Grimethorpe that have a truly musical soul beating at it's centre.

I hope that the result does not change Fodens approach for future contests, as I am sure that I was not the only one there that appreciated the shear beauty of their playing, especially in the slower sections.

For all those at the top end of banding that do not put 'true musical values' at the top of their agenda and that winning is everything, all I can say is; "Take it out of the box and play it!".

Colin Stevens
Corby

Don't put our youth off 4BR

To read words like 'gormless' and 'brainless' describing players I found totally unnecessary and rude, surely your commentator could find some other words in the English language to use to describe the music and not resort to making what I considered to be 'personal' comments on players.

If the comentator did not like what he heard fair enough I just think the wording could have been chosen a bit more carefully.

Can I just remind you that a lot of our banding youth read your website, and as the parent of a child that competed yesterday you should perhaps choose your wording more carefully - we don't want any of our youth put off banding do we? 
 
Trish Lenton
Cambridge

A more mature approach?

I understand that you have no official obligation to, but since you take the responsibility of reporting such events, you should also take the responsibility of reporting it in rather more mature way.

It is fair enough to give your opinions and thoughts on the performances but parts of the live commentary appear to try to ridicule bands for the sake of it. Surely your time would be better spent on writing constructive comments rather than attempting humour. There is a time and a place for comedy and the live commentary is not it in my opinion. Perhaps in the retrospective would be a more appropriate avenue for this type of expression.

Comments such as the following do not seem to support a mature attitude:

"Funeral for the hard of hearing we feel!"
"Some rather gormless individual playing in some solo lines ruins the style"
"This was as cold as the stiff in the box!"
"Finale is taken at Stanner stairlift pace with gormless percussion."
"Romatic cadezas lack tenderness and miss the G spot."

Bearing in mind that all performances have come about through intensive rehearsals, to ridicule them in such an insensitive way shows a great disrespect to the competitors on your part. Some of the comments made
are also entirely inappropriate for some of the younger readers attracted to your site. Your opinions may well be valid but I would suggest that your turn of phrase could be improved somewhat!

Simon Persin
SWT Woodfalls

Strong language

I feel I must complain quite strongly about the language used by your roving reporter at this year's English Masters contest.

I am well aware that some bands may have wished they never set foot in the Corn Exchange, but I feel that the comments published on your site are ill-informed and downright insulting. It seems that your reporter spent most of the day relishing his/her own little slice of power while dreaming up even more elaborate put-downs. I also notice that the author of such drivel has chosen to remain anonymous.
 
I personally find remarks such as; 'This is a razz', 'As cold as a cadaver', 'Wet knickers stuff', 'Gormless percussion', particularly insulting.
 
If 4BR wishes itself to be taken seriously, I suggest that such reporting is quickly stopped and the editors issue an apology.
 
Duncan Wilson
Cambridgeshire

Forget 4BR - get rid of the men in the box!

When are we going to get rid of the over aged gentlemen in the box? Another top contest and another dodgy result.

In what other organisation would you find the top competitors having to be judged by over aged and hearing impaired judges? Either give them hearing aids or get some younger people judging before our movement collapses into a complete mess.

What was the average age of the three judges at the Masters I wonder? Why is it the usual suspects time and time again who for some reason get the nod for the top contests. When was the last time one of these gentlemen took a so called top section band to a contest and got any success?

How Fodens weren't in the top three never mind the top six is not only beyond me but I can say hand on my heart the majority of the audience as well. The playing of the quiet sections was obviously that quiet that the 3 wise men couldn't hear it and must of thought that their batteries had packed in on there hearing aids.

I'm not a supporter of Fodens and I'm not saying that Rothwell didn't deserve their title and congratulations to them and the other prize winners. I've read your predictions and your report on the contest and I've spoken to many a top player today and some even went as far as saying it was the best performance that they had ever, yes that's ever heard from a band on a contest stage.

These are players who have played at the top and some still do. If your reading this Mr. adjudicators I think its time you put on your slippers and light your pipes and retire gracefully.

E. Whitehead

Having a go at the European judges too...

After the European we had a firm discussion about the capability of the adjudicators in the box at the test piece, because the Dutch adjudicator was, and is not a charming person against the British band scene as he told us last year in Kerkrade.

So the result: 1st Willebroek and 2nd the Swiss band is a real disaster and a smash in the face of EBBA and EBBA should disqualify this "gentle"man from further adjudication or give him a course in adjudication from Mr. Read or Mr. Relton and Mr. Newsome.

After the real  professional adjudicators at the Masters set their marks, Willebroek is back on earth with a deserved 3rd place and so the British bands rule the brass band scene Mr. Jappie from EBBA.

Hub Coonan

The instrument thing...

I have read with interest the comments about the use by European bands of different brass instruments at the recent European championship.
 
I have always thought that the choice of instruments for the "standard" British style brass band, whilst giving the band a very distinctive sound, can sometimes be very restrictive, particularly in terms of available tone colour and range.  I would not remove any of the existing instruments, but I cannot see why, for concerts and broadcasts, it should not be possible to add some french horns, a couple of Bb trumpets (perhaps the cornets could double on these), an Eb trumpet and even a Bb piccolo trumpet.
 
Contests are a different matter.  Unless there is a permanent, officially sanctioned change of instrumentation, to which all contesting bands agree, how can there be a level playing field? 

How is it possible to judge between two bands of equal skill and ability, if one of them is using a broader range of instruments and tone colour and the other is sticking to the long established rules?  All competitive activities have established rules to govern participants.  A batsman in a cricket game cannot decide to go to the crease with a bat twice as wide as everyone else!  Why should we be different?
 
Keep up the good work
 
Hugh R Williams 

Forget the criticism - join up instead!

Like Simon Gresswell and others, I too have been critical in public of the BFBB - although, unlike some others, I have done my best to make my criticism constructive and to give them some support.

It would have been hypocritical of me to criticise the Federation without being a member, so I became one.  I trust that all those others who criticise the BFBB are members also.   The first duty of the Federation, after all, is to its members - it has absolutely no obligations to anyone else, least of all to the 'brass band movement' - whatever that may be.

I attended the Federation's AGM in early May, one week after the EBBA Forum took place.  I was astonished to see that, despite a membership of some 300 bands, almost none of them had bothered to send a delegate. The majority of them had not even had the courtesy to send apologies for absence.  The AGM would have been the ideal forum for Mr Gresswell, or anyone else, to express themselves.

The Federation's heart is in the right place, but it is faced with apathy and criticism when what is required is encouragement, input and ideas.  They need us, and we need them.

Alec Gallagher
Potton, Bedfordshire

Anyone got some Metallica?

I remember back in the late 1980's, the band I played with at the time had a fantastic arrangement of 'Master of Puppets' by Metallica  Has anybody still got a full set of band parts for this thrash metal classic?

Billy Brook

4BR Reply:
Is there really a brass band version of this classic out there?

The difficulty of brass band music

I read with interest James McFadyens letter on the difficulty of brass band music.

I guess I have an interesting perspective in that I finished playing in 1991 and emigrated and went for almost 13 years without hearing any new music. Relatively recently I was presented with a group of cd's with an assortment of new pieces, at least to me, ranging from 'Concerto Grosso', 'Tallis Variations', 'Dove Descending', 'Paganini Variations', 'Between the Moon and Mexico', 'Revelations' etc etc.

I have to confess I was staggered at the difference in what was being written for bands and the virtuosity required from all in the bands to play them. They were all, in their own ways, wonderful pieces of music, requiring remarkable playing. I then got to thinking about what James had written about the emotion and the humanity that is required to bring out the greatness in a piece of music and not just a " blur of notes flying off the page".

I dug out some old tapes I had that included pieces such as 'Life Divine', 'Connotations', 'Pageantry', 'A Downland Suite', 'Resurgam', 'High Peak' and a still wonderful 'Journey into Freedom' and a few others. The point I'm trying to make isn't to sit and say any of these pieces are better than others....it's just that playing some of the older ones requires not just a techical ability but an ability to find the depth and emotion in the music and bring it to life. I can even remember when 'Spectrum' made it's debut that some players thought it was bizarre and would be the end of bands as we know it.

And I'm not saying that bands shouldn't be stretched or that composers should be restrained in what they write. All I'm saying if the test of a bands greatness on a given contest day is the ability to play a gazillion notes in a 15 minute or so time period...then something isn't quite right. Maybe an interesting test of a bands greatness would be for the bands to play maybe the slow movements from say 'Pageantry' and 'A Downland Suite' and be judged on that. To be sure there aren't a gazillion notes on the pages there...but to play them and play them well and make them sound as glorious as they can be... takes heart. Maybe a fanciful thought I guess. And if you ever get to Las Vegas James...mines a Jack Daniels and Tonic ( with a touch of lime ).
 
Oh...just a final thought. I think a brass band can sound wonderful with the traditional instruments. It should stay that way.
 
Alan Herriot
Las Vegas

Redbridge are not the first in a decade

Your news item regarding Redbridge Band being the first band to appear on 'Friday Night is Music Night' within the last decade is incorrect.

Brighouse & Rastrick appeared on the programme, (broadcast live!) on Friday 25th May 2001. This broadcast was from St George's Hall, Bradford, under Allan, two days prior to us winning the Masters on 'Pageantry'.

I also recollect hearing a broadcast (I think from Grimsby) involving a certain band from Queensbury in more recent years.

Not taking anything away from Redbridge's achievement of being asked to perform on such a high profile radio show, but I think it's worth the correction.

Andy Kenyon
Publicity Secretary
Brighouse & Rastrick Band

4BR Reply:
Now we know - trust those Londoners to try and make something of it eh?

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