Comments ~ 2006: November: (1st - 24th)

We've got them back...

Beautiful Baritone Blackburn

How insensitive of Mr Brad Pitt to say such derogatory things about Bobby Blackburn. He obviously doesn't realise what a fragile soul he is! Has he any idea how long it will take Bob to get over the trauma of being called ugly?

I taught Bob at Salford University a long time ago and I can vouch for his gentlemanly conduct. I would suggest that he is everything that Brad Pitt aspires to be: Tall, dark and attractive to the opposite sex, and one of the best baritone players to have ever walked the Earth.

So Brad, next time you fancy taking a pop at a legend be mindful that musicians are kind and sensitive people and Mr Blackburn is one of the most precious of all.

Bob Childs

Why not a National Youth Band of England 

As an old reactionary who has only just joined the 21st century, I'm recently enjoying your website fully for the first time.
 
I wonder whether I can get any reaction from 4barsrest readers to a question I have asked of paper periodicals and authorities over several years without a single answer or flicker of interest:
 
With separate National Youth Bands of Scotland, Wales, & Northern Ireland, plus the umbrella National Youth Brass Band of Great Britain, why is there no National Youth Brass Band of England?
 
Len Atter

4BR Reply:
We can hear the sound of unfurling flags of St George as you speak Len....

Not so beautiful Matthews

For some reason Matthew's Norfolk Brass have withdrawn from the forthcoming Leicester contest citing player problems.  It is a shame the band seem unable to enter a contest and actually see it through to the contest stage. 

They had intended to play 'The Wayfarer' in the Open section and despite losing a front row cornet with 2 rehearsals to go everything else was ok(ish), apart from the odd dodgy area, and most bands have those even on the day.  Following an 'ad hoc' vote the band pulled the plug and have possibly lost face yet again. 

The concern for the band now is what section will they play in at the areas in March, if they go.

M. Brown

What ever happened to South Moor Colliery and Joan of Arc?
 
I have read in a book or some Bandsman editorial that South Moor Colliery Band came 3rd at Crystal Palace in either 1925/26 under their conductor J.C.Dyson and I am certain it was the British Open Championships. The test piece was 'Joan of Arc'.

The reason that I am writing this is my Dad played with them at that time and he also said the same, however your archives editorial says otherwise.

Can you please enlighten me on this subject.

Ken Tallentire

4BR Reply:
Right year wrong contest Ken. South Moor came 3rd at the National Championships at Crystal Palace in 1925 on 'Joan of Arc' not the British Open.

Around this time they were regular contenders at the contest, making appearances in 1921, 1922, 1923, 1924, 1925, 1926, 1927, 1928 and 1929, but only making it into the prizes in 1926 drawn number 17 and last band on the stage on the day. They never featured at the contest after 1929.

The simple answer to adjudication
 
Once again a contest is over (Pontins) and the usual moans around composers interpretation come about, surely there are two very simple solutions that would resolve this:

1) The adjudicator assesses the bands against what is on the score, including tempos & dynamics etc, and the overall sound quality of the band.

2) The adjudicator releases his or her 'opinion' on the composers 'intention' 2 to 3 weeks in advance - thereby giving the band ample time to try and play to their specific opinion (rather than find out what they wanted just before the results are read).

Surely both of these solutions are simple to introduce, so why have they not been done?  

Andy Wood

Transposition never ends...

As a reply to Mr Andrews, I find it incredible that Mr Andrews is able to 'transpose' into different keys and enjoys the mental stimulation that this may offer, but sadly he fails to give any 'attention to detail' in terms of reading my comments.
 
To set the record straight, I'm keen to see all Orchestral Trumpet parts written in concert pitch, that's C and not Bb (as per most other orchestral instruments) and my argument is to do with Publishers opting for re-producing stuff from the past because it's cost effective.
 
I'm not sure where that idea that Bb Trumpet rather than 'C' would be a good choice of instrument came from, probably a 'subliminal' transposition on Mr Andrews part.
 
Regardless of what the original score might suggest and the authenticity of sounds available to composers a century ago, these instruments are not available today so what ever instrument one cares to play on it isn't going to sound like Crispian Steele-Perkins playing Hayden's Trumpet Concerto on a Trumpet of the period, thank goodness.
 
Incidentally I've heard this incredible feat of Trumpet playing endurance played on Classic FM at least twice in the last 4 weeks.
 
David Shotton

Help needed with the CRB

In line with the good practice recommendations following the Soham murders, my band got registered with the CRB (Criminal Record Bureau) and were police checking band members who had an active part in helping with the youth band.

Great - all going well... until that is this year the CRB changed their registered organisation criteria. Our band was withdrawn as a registered body as we weren't doing 150 checks per month. We now have to use an "umbrella body" - not a problem, but I can't get contact with any!

My question is -. Are there any "umbrella bodies" within the brass band network who we can use to continue obtaining checks and trying our hardest to protect our youth?

I would be very grateful for any help and advice on this matter!

Su Hollick
Hangleton Band

4BR Reply:
We can only point you in the direction of the British Federation of Brass Bands who have done some very good work in this area. Give them a ring on 01226 732630 to see if they can help.

Giving it a Sparke of a chance

Speaking as a composer and publisher, I would like to add my two-pennyworth to this debate.

It doesn't sound like a good idea to sell 2 scores as standard in a set, because for set piece contests, such as the Areas, bands don't need to supply adjudicator copies. The only workable solution is to buy an extra score if playing the piece in an own choice contest.

Photocopying is not a long term solution and illegal in most cases.

We can't have it both ways. Bands rightly complain when they receive new works full of errors but many seem happy to deny publishers their rightful income when using their material in contests. We need to get the whole thing onto a more professional level.

Most publishers rely on composers to proof their own work (bad idea!) as employing a full-time editor is expensive. If they were to sell more scores, then more could be sent on proofing. Everyone would win. An extra score (£30-40?) is less than most bands spend in the pub after one rehearsal.

Pay up, pay up, and play the game!

Philip Sparke

A good cheap advert on the matter

I have read with interest the comments about photocopying music.  Our company already implements some of the suggestions made thus far about having duplicate copies of scores and or parts by means of a licence issued to the purchaser.

Our catalogue is limited, and we do not as yet publish "contest" pieces, however we do permit the purchasing band to print as many parts as needed and duplicate scores if required.  Our titles are distributed via PDF files burnt to CD from which the parts and scores are printed by the purchaser.  Each set is "registered" to the purchaser with its own serial number - rather like software. 

We only ask that a free set is not made available to any other band or that the files/CD are not copied and distributed.  We believe that this gives bands the flexibilty to produce extra sets, replace lost/damaged parts or whatever.  All printouts are pristine - no grubby/wonky photocopies.   All copies carry the serial number and illegal copies could be traced back to their source.  We only sell direct.

We have personal experience of being "fleeced" for replacement parts when we've tried to comply with the law and decided that we'd do things differently.  We understand that bands will generally play fair as long as they don't feel ripped off (although the xerox addicts  wont ever be beaten) 

When music is photocopied - to produce a free set for someone else who wishes to avoid buying a legitimate set - the copyrights are breached on a number of levels, ranging from the composer's original work, the arrangers's version, the editor's edition and even the typographical representation of the page (music layout is artwork), so there are plenty of offences that could lead to some kind of "action".  Band librarians should perhaps look at their stock and count up the number of offences their band is committing just in case someone comes knocking.

Bands complain that the cost of music sometimes forces them to "run a set" from someone else, or that duplicates are expensive.  Ours aren't.  The licence is included, not extra, and we sell at about half the price of a typical £20 title which includes postage.  Our name?  Well that would be a cheap advert, wouldn't it?

Kristina Waite
Broadnib Music

A little Welsh rant

After reading Paul Robinson's comments regarding the Radio Cymru Band of the Year Contest, I felt it was necessary to respond to his criticisms.
 
Just in case he didn't know, I believe this contest is about deciding which band is the best in Wales at the moment.  To be honest, we probably do not need a contest to decide this, as BAYV will win every single time.  But just because BAYV are the most likely to win, does this mean no band in Wales should compete against them, and that the BBC should just give them the 1st prize, with 2nd and 3rd decided by the rankings?
What have the rankings of bands got to do with the actual performances of bands on the day of their recording? If this competition was decided just on ranking positions why bother at all?  A band may believe they have played well on the day, but if 11 other bands have played better, then obviously you are not going to go through.

As for his point about geographical locations being a factor...are you accusing the BBC and the adjudicators of blatant cheating?  I have heard all of the programmes, either on the playback feature on the Radio Cymru website or via digital radio, and can honestly say I believe the adjudicators have got it right.

My band (Northop) is really looking forward to the final now (despite the traveling and expense) and are determined to put on a good show. No disrespect to any of the other bands in Wales, but I doubt any of them at the moment are even close to matching BAYV. Tredegar maybe in 12 months if they keep improving like they are, but can anyone else honestly say they would have stood a better chance of winning than either Northop or Tredegar?

Anyway, whatever your feelings regarding the results, please support this competition. If we don't, as participants then why should the BBC or other outside organisations bother in the future?

Karl Stott

We should welcome the likes of Nyman with open arms

The recent release of Wingates CD of music by Michael Nyman has stimulated an awful lot of interest so I thought as someone who has been involved in this I would put a few personal thoughts and recollections together about this and a similar earlier experience down to share with my fellow 4BR devotees.

During my 26 years or so of banding I have been lucky and privileged to be involved in many band projects that can be viewed as ground-breaking.

It is a pity that a project that Besses o' th' Barn Band undertook under the leadership of Paul Hindmarsh in the early nineties seemed to pass unnoticed.  They bravely commissioned the late Tim Souster who responded with a composition for Brass Band and synthesiser.  It was interesting and demanding to rehearse and perform and Paul Hindmarsh (not for the first time) deserves much credit for pushing the boundaries in engaging Tim for this occasion.  It would be great if Besses could find some backing to dust this down and record it for posterities sake – it deserves more!

As to the Nyman recording, it was fantastic that Michael Nyman took a time out from his incredibly busy schedule to attend most of the first days recording and it as fascinating at the way he adjusted the scoring on the fly to achieve the textures and sounds he wanted to hear from his music when transferred to the Brass Band medium. 
John Parkinson had done a stellar job and burned the midnight oil to get the arrangements ready for the recording and it was great to see him working closely with Michael Nyman to ensure that the wishes of the composer were reflected by the skills of the arranger.  Seldom can such a thing have happened in the past.

The music is physically very demanding to perform.   I personally enjoy listening to the music which is by its very nature episodic.  The 4BR review is quite fair although I do know that MD Andrew Berryman has responded to a few of the points raised in that review.  It is one of those CDs that grows on you the more you listen to it and some of the melodies are quite beautiful and are performed with sensitivity by the bands soloists.

Finally I would like to echo Dr Frank Hodgsons letter to 4BR in October in which he questions the ‘interesting but flawed attempt' comments made by R J James about the CD – especially in light of the composers actual, physical involvement in the project. 

Of course we are all entitled to our own opinions, it is one the things that adds spice to life, but we need projects such as this to push the boundaries of what is normal and acceptable in order that we as a serious musical movement can move forward.

Andy Wyatt
Wingates Band

Great playing pity about the crowds

I attended, purely as a listener, the National Solo and Quartet Championships held at Dukinfield Town Hall on Saturday 11th November.  The playing standard overall was very good and in certain instances of an exceptionally high standard.  This augers well for the future. 

However, it is a mystery to me (and I am sure to the organisers) why the audience at this superb event is so pitifully small.  At one point during the Senior Finals there were a mere 23 people in the audience!  It is also a pity that there were not more senior quartets since, as most people in music seem to agree, quartet playing is one of the best ways of developing musicality etc.

In the Senior Solo Championship the winning performance was truly magnificent and everyone present heard an absolutely outstanding performance by Katrina Marzella.  Her performance combined the skills of a virtuoso player with true musicality and an absolutely beautiful piano/pianissimo sound.  Quite simply, brilliant.

My congratulations also to the superb piano accompanists - highly skilled and truly professional.
 
Peter Hargreaves

4BR Reply:
It is an ongoing problem as many of the players can't be bothered to stay and listen, learn and appreciate the finalists after many have been knocked out in the earlier rounds. The audiences are coming back to the contest, but it will take time. It is an event that we believe has a great future and is very well run and promoted by the sponsors Tameside Council.

The question of transposition

In response to David Shotton's comments, if a publisher was to provide orchestral parts that were transposed just for Bb trumpet, then those that choose to play C trumpet or other pitched trumpets would still have to transpose and vice versa. eg. In the UK, Bb is still the predominant trumpet used in orchestras, in the US, they tend to use C trumpets.

The choice of instrument that you use to play these parts is not dictated by what key the transposition is on the part (A, Bb, B, C, D, E, Eb, F, G - I have seen and played all these transpositions) but is down to the sound you wish to have for that piece as each differently pitched instrument has its own.

Often what dictated the composer to write for a different pitch trumpet, was not just the availability of the instrument in that key, but how the part would look written down - huge numbers of sharps or flats? Stick a different transposition on it and the part looks a lot neater and more inviting to play. It is then up to the player to decide if he wishes to use the particular pitch of trumpet.

Mahler 5, for example, starts off for trumpet in Bb, and switches to and from trumpet in F. I have seen players play the whole thing on Bb, I've also seen players play it on C trumpet and switch to Eb trumpet, because they felt it worked better on those particular instruments in those particular sections of the work.

There was a period when publishers, at the request of some of the London based orchestral players, did provide transposed parts just for Bb, but in the end the players told them not to bother, as it made life quite boring for them not having to think about transposing!

Any player (not just trumpeters) should be able to transpose to and from any key. It is a vital part of your musicianship and getting to grips with it helps facilitate your ability to play in any key whether transposing or not.

Adrian Andrews

A positive percussion Pontins!

Having read various negative comments about the Pontins weekend, I felt I should write in with a positive one!

Our band played in the first section and as a percussionist a major concern is getting on stage and setting up. I would like to thank Mr. Ray Payne and his helpers who cheerfully and efficiently changed the whole lot round so it was as we wanted it, the instruments were all first class and all combinations of requirements had been thought of. A positive experience percussion-wise!

Nicola Johnstone
Wantage

4BR Reply:
We would echo that Nicola. Ray does a fantastic job wherever he goes and always has the little extra bit of time to advise and encourage younger players on stage just to give them that extra bit of confidence.

Stop moaning and get organised

Another contest over (Pontins) and another load of moans on 4barsrest. I've no sympathy with any band at any contest whatsoever.

While bands remain individual units and there is not one overall democratic organisation looking after every aspect of their interests they will have no clout. Witness the bleating over the prize money at the National Finals. Kapitol will simply ignore it. Remember the bleating over The Perfect Fool for Harrogate - dusted under the carpet!

The regional committees and local associations are, I am sure, full of well meaninged and decent people. However, it's a fair bet many of these same people would resist any effort for change or collaboration. Personal agendas need to be put aside, and those two groups need to unite with the British Federation, who also need to be prepared to adapt and change, to create a united organisation for brass bands.

Every band who wants to enter a contest must be a member of that united organisation, as is the case in Norway. If each band paid £100 (I can already hear the moans - it's a piddly amount, one glass of wine per band member) the organisation would have £60,000 (assuming around 600 contesting bands). Enough to pay for someone with the right qualities. Their job?

To represent bands. An approach to Pontins - "our members really enjoy this weekend but we would like to discuss a number of areas where we think the event could be improved." An approach to Kapitol - "prize money at the Royal Albert Hall has been the same for 25 years. Our members feel this is now untenable and would like to discuss ways in which prize money could be increased." I think the doors of these organisations and others would be well and truly open.

This person would also have the time to to enter into a dialogue with a host of other relevant organisations. Moans and petitions to the BBC achieve nothing. Well argued and carefully thought out cases and meaningful discussions could achieve something.

The same could apply to the DCMS, the powers that be in the education world etc etc. Brass bands need to create the means whereby they can argue their case and try to influence from a position of strength. So, stop moaning and get organised!

Tim Mutum
Ipswich

A question of interpretation

I cannot help but think, having listened with considerable interest to the performances at the Pontins' Championships, that there is a definite issue that needs to be resolved with regard to the adjudicator's interpretation of a given piece.

In the wider musical world there will always be debate about the composer's meaning and intention in any performance of a given work and is this surely not one of the great appeals of music? I am very much for this diversity of opinion being expressed and, would argue vociferously for the freedom to do so being available to musicians.

However, within the confines of an adjudicated contest, where the morale and emotional investment of so many people is at stake, would it not be better for the appointed adjudicators to share their musical assessment of the piece before the contest rehearsal period begins?

As an alternative to this, Musical Directors could submit their interpretations to the adjudicators so that they can see what the musicians are intending to achieve on the contest platform.

If I may also offer an opinion on the ‘composer's intentions' debate that is often cited by many bandsmen and academics; why is it necessarily so important that a performance is defined by what a composer intended?

Ownership of music on an emotional level is very much an innovation of the romantic period and, although it is an important consideration, I do not see that a Musical Director's interpretation should be limited purely by these considerations. After all, many composers are not still with us, and might they not have enjoyed to hear the interpretations of their pieces by musicians many years later?

To use an example from the contest on Sunday, the adjudicators' remarked, if I may paraphrase, ‘that the piece was intended to be a blitz of noise to evoke the brutality of the war'. However, I consider that there is a good amount of humour in the piece, especially the 6/8, in the form of good-humour-against-adversity. Was this not much of the attitude at the time?

If adjudicators or conductors were expected to produce a pre-contest assessment, this sort of ‘jumping into the dark' could be avoided and create a better atmosphere of musical creation and enjoyment for all.

Dr. B. Gama

Stuck in a Pontins time warp

Reading this years comments on Pontins, I could not help remembering my own in 2004!

Some things have changed since 1979 (last time I was there), for example the running water is now confined to taps and no longer cheerfully cascades down the walls from the window and into the TV.
 
But, you know, some things don't seem to change at all. Having not wagged a stick in anger for some time I returned to Pontins this year to do battle. As some might know, I've done my fair share of blowing in my time from CWS, to The Royal Opera and the rest of it!
 
I believe it is organisers ethos (or should be) to want bands to do their best and provide hot competition. Contest and concert is more or less the same kind of animal to the player whether pro or amateur! So, as one enters the contest area one would like to be prepared both mentally and physically, yes?
 
If I had been playing professionally I would be in a position behind stage to have my own little area/corner having a blow until the point I put one foot on the first step on the stage which is one step away from behind stage. I'm fully warmed up, my instrument is warm, I've only been there for 10 mins, which is just enough time to stay mentally sharp as well as blow the chops in enough. I sit on stage and in less than three minutes.
 
On Sunday my band (& I) were rounded up at 10.30am due to a pre-draw (good idea), we were led to a room inside for a 20 min warm up (good idea). The room had chairs but no stands and I would have liked to have done a top and a tail so we could have blown out the odd cobweb at ff.

We were then led outside for a good walk in the cold into the amusement arcade where we languished for an hour, yes, 1 hour and were not aloud to blow at all. Talk about going off the boil mentally, instruments cold, chops going off needing another warm up. We were then led outside again into a demountable to sign on which was another 20 mins, different temperature, not aloud to blow again even though we were outside the complex. Finally at 12.50pm from being called and fired up at 10.30am we were aloud to get on stage!
 
I've been around bands for the last twenty years, and I just hear the same from all concerned, "I like contesting, don't mind it, it's the bloody waiting & time wasting that I can't stand!" This is the National Band hatred - waiting!

Phil Lawrence

Taking issue

I am writing as a member of Longridge band to take issue with Malcolm Wood in his retrospective of our performance.

He writes: 'Longridge produced a nice sound overall but the direction from the middle cost them dear – it seemed at odds with both the music and what some of the players were trying to produce.'

If Malcolm didn't like our interpretation of the piece then fair enough - that's his opinion and he has every right to express it. But ....where does he get the bit about the direction being at odds with what the players were trying to do ?.
 
I play flugel and sit right in front of our MD. From my seat it was very clear that the band did their utmost to produce the performance that our MD wanted and that we were very much of one mind concerning the dots in front of us and the music that we wanted to make from it. There was certainly no question of players and MD being at odds in this piece.

So please Malcolm, either point out to us the direction that we were getting that we didn't like or spare us the sniping at our MD. You might not like Peter Lockett but we all love him!

Roman Galaska
Flugel - Longridge Band

No need to be all the same

In response to Malcolm Wood's retrospective of Pontins 2006, he wrote: ‘How many (conductors / bands) had in fact listened to a recording of the work, let alone dived into the World War 2 history books?'

Good quality recordings of the work are available (the most striking of late being that undertaken by YBS) and if some of the MDs had coupled a bit more accurate research with both the musical as well as historical background of the music and its inspiration then perhaps more would have been successful in overcoming its more obvious hurdles.

Is it right to say that everyone should now purchase the Regional 2007 recording (finally Iwan can purchase a new home, huge garden and Hot Tub) and strictly imitate the recording reflecting your selected test piece and this is almost gospel in how the test piece should be played.

I don't think so! How boring will it be if we all turn up at the areas and hear the same performance time and time again.

Music is down to interpretation and the judges opinion on that day, whether it does well or not previous recordings shouldn't be taken as the definitive performance.

Tim Malpas.

The photocopying issue

Phil Doe raises a valid point on the practice of copying adjudicators' scores for contest purposes when he notes that this activity penalises and discourages composers and publishers like himself - this the banding fraternity can ill afford to do if it wishes to have talented people write for the medium.
 
Let's also remember, publishers, that bands (your customers) purchase competition music to play it at contests, which have adjudicators, who need scores from which to adjudicate. Unless one is lucky enough to have a conductor who can memorise scores, bands will predictably need to have two or more scores for contests - one for conductor and one or more for adjudicator(s) - contesting is why the music was bought in the first place.

So, could not music sets for contest pieces come with at least two scores as default - we get 2 Second Cornet parts because the publisher knows the band will need two of those parts after all? Or, better still perhaps, purchase of music should carry with it the licence to make a limited number of copies for specific purposes like contests?

This is not an unknown concept in the software world; many software application licences allow copies to be made for back ups, or even on multiple computers to facilitate home and office use by a single user - the Sibelius music notation software is but one example.

Some printed music publishers in the education field also allow copying of parts in defined circumstances, recognising that performance requirements for children might not be met by the limited number of parts in the purchased pack and that it simply isn't cost effective dealing with multiple requests for permission to copy the 3rd recorder part for the Christmas nativity concert.

Perhaps Brass Band publishers could do some thinking along these lines. Both suggestions should carry a small price penalty for music purchasing bands, but this money, if it gets to the composers, would help keep the compositions coming, too. But please note that publishers seeking to over-charge for either additional scores or a licence to copy would simply discourage purchasers and shrink the market for band music sales, and would not resolve the copying problem.

Phil's point raises another question for me - is it permissible to borrow a legitimately purchased score from another band, for adjudicators' use at contests?

David Johnston
Milton Keynes

The 'Definitions' of Photocopying
 
The comments made regarding photocopying raised some interesting questions, I'd like to reply by quoting from a note I received from a writer and arranger that I think we will hear more of soon.
 
"This piece isn't published by anyone but myself, but it is copyrighted so that others can't claim it as theirs or make money from it. Apart from that, feel free to make as many copies as you need".
 
4barsrest recently ran an article on Fendell Hill and his composition, Definitions which has been selected for 2007 New Zealand Open Soprano Test Solos. I applaud Fendells charitable approach to distributing this solo entirely free and would encourage others to promote their music in a similar way.
 
As a player, I really enjoyed Fendell's theme and variations style and suggest that when the Band arrangement is available it won't be long before it becomes a recognised contribution to the Brass Band repertoire.
 
I also think it's a piece which could be used to introduce the Eb trumpet to the brass band arena in a similar way that the Bb Trumpet has been through pieces like the Arutjunjan Trumpet Concerto, played by Rod Franks, at a Nationals Gala Concert.
 
David Shotton

Here's an idea

Here's an idea. Since most contest pieces will never see the light of day, outside the contest hall, why aren't 2 scores included as standard.

Why should we have to buy an extra score for a piece we wouldn't choose to play at a concert?

Anthony Roocroft

Publishers opt for cheapness

Regarding the comment on re-arranging music, my take on this is basically that the music editors and printers choose the cheapest form of reproduction without regard to the player of a modern instrument.
 
As an Orchestral Trumpet player I have a concert this weekend which requires transposition for Trumpet in A, Trumpet in C and Trumpet in F, all at the same concert.
 
This means if I take the least course of resistance, I'll use a Bb Trumpet, C Trumpet and Eb Trumpet as these works involve chromatics. The risk assessment here is that I will inevitably transpose incorrectly or mis-pitch.
 
Music editors please note that trumpets in ‘A' and ‘F' are no longer manufactured, unless expensively customised, so why publish parts for popular orchestral arrangements in these keys, if it's to do with authenticity then should I be expected to use a modern 'hose pipe' in the right pitch. Extending the Bb slide to pitch in A is just a compromise and not a solution.
 
Surely there must be a sensible niche market opportunity here for somebody to take all these parts in the orchestral world and re-write them for Trumpet in Concert pitch (C) and sell them over the internet from a regulated library.
 
Anybody who has played the trumpet part to Mahler's 6th Symphony will know precisely what I mean, it goes something like this, play first 6 bars on trumpet in Bb, two bars rest and switch to trumpet in F! The piece continues throughout in a very similar vain switching between trumpets in Bb and F.

Granted this madness was necessary in 1903 when the piece was written but toddy it's got nothing to do with authenticity it's all about cheap reproduction. I even bought the orchestral score, expecting the 6 trumpet parts to be written in C, that was a waste of money!

A question for trumpet players, what's the largest number of trumpets/cornets that anybody taken on to a stage for a single concert, and what were the pieces?
 
David Shotton
Bristol

Was it us?

In the news from Denmark you write: "Concord Brass followed the eventual winners on stage and produced a thrilling performance of Peter Grahams "The Essence of Time". Unfortunately for Concord they failed to impress the judges on the test piece and they had to be content with third spot. The big surprise however was Silkeborg Blaeserne who came second, one point in front of Concord after their test piece performance was seen by many to have contained too many errors."

Could you please verify whether you mean Silkeborg or Concord "was seen by many to have contained too many errors"

Kim Brinck
Rambøll

4BR Reply:
It was Silkeborg.

Bob Blackburn's mush

Can you tell me how much longer we will have to spend looking at Bob Blackburn's ugly mush each time we log into 4BR?

Brad Pitt

4BR Reply:
Dear Brad. Thanks for your interest in the brass band movement. We hope both you and Angelina enjoyed our coverage of the Nationals. If there is any chance of Brassed Off 2 with you in the Peter Posthlewaite role and Angleina as the flugel player, let us know. 

Irish eyes are smiling

Great to see the Irish bands pushing their way up the rankings.

P. McCloglan

Late night at Pontins

I would just like to echo Mark's comments about the lateness of the finish of the third section. I play for Rivington and Adlington Brass Band and we were drawn 19th. We were called to registration at 6.45pm and actually went on about 10.10pm.

After a brief warm up, say 15 minutes, that left us standing around in the arcade for 3 hours! Like Mark's band we have many young players who apart from being bored out of their skulls, were very tired by the time we played. To expect junior members to perform at their best when they would normally be going to bed is ridiculous.

There were no apologies offered by the official at the prize giving – the irony of the prize for the youngest player being picked up by one of the older members of his band, (presumably he was tucked up in bed) went straight over her head!

I'm not sure, whether it was the choice of pieces for the 4th and 3rd sections – both having a lot of percussion – or the length of Facets of Glass that made the contest run so late. Whatever the reason, someone got the timings very wrong and I hope this will be taken into account next year.

Anthony Roocroft
Chairman
Rivington and Adlington Brass Band

A question of organisation
 
A round of applause for the organisaton of the Pontins contest weekend.( NOT A HOPE IN HELL) It is about time Pontins went back to a four day contest again. Trying to cram 38 bands in one hall in one day is just a farce.

Luckily 2 bands withdrew otherwise the band i played with would have been playing at about 10.30 pm. As well as the weekend being an important contest, it is also important for the social side of brass banding.

Rob Cowell

8 years away and still no change
  
I read Mark Smith's letter with some amusement, and endorse his comments.  A period of about 8 years elapsed not attending Pontins, during that period, (when I was at home wishing I was taking part in a band contest) my son came home from playing with another band complaining of the wet, of the cold, of the mud on shoes, of the mud on band trousers, of the appalling facilities, the awful chalets etc and I suddenly remembered why I hadn't gone to Pontins!

I eventually ventured back hoping things would have changed, but of course they hadn't, and judging by Mark's comments still haven't. Pontins Prestatyn is an awful contest venue, but it'll never change as long as we all keep turning up. It can be better judging by what I keep reading about the Butlins event!
 
Keith Leonard

Can we have an explanation
 
I would like to applaud my friend and colleague Mark's comments. I agree entirely. Please could someone from the organising committee explain why the contest was over 2 hours behind the publicised schedule?

Why, when running so late, was it necessary to have a half hour comfort break when 5 minutes would have done? Surely calculating an approximate running time is not that difficult. Let me see!

60 / (length of piece in minutes + 7mins change over time) = bands per hour.
Then ((1 / bands per hour) x entry) + 0.5 hours speeches = length of section in hours.

Therefore it follows that start time + length of section in hours = finish time. No too hard is it!!!!

Brian Morris 

A question of money
 
Regarding your Prize Money Rankings.

Although Kippax are a 2nd Section band they are not fairing too badly in the prize money stakes this year. £1200 for winning Butlins 2nd Section last January, and £1750 for winning Pontins 2nd Section last week = £2950.00

Being a Yorkshire Band, we certainly won't be cracking open the champers, ('Ow much?) but it's certainly a welcome boost to the funds.

Ian Wilkinson
Leeds

Dr. Pickard a touch surprised?

"I am even more pleased for the brass band movement that an original composition for the genre has been recognised" Quote.
 
Mr. Pickard is pleased but also sounding a shade surprised that a BB work should be nominated? A brief reminder that my concerto ‘BLAZE' was nominated in 2004 for exactly the same award!
 
But, there is Mr. Berkeley to beat in the same category, a long established composer of the "modern" (and slightly Tippet like) orchestral concert hall.

Even though I don't know the work entered by Mr. Berkeley (son of Sir Lennox) it will already stand high in the ears of the radio 3 listeners.
 
Phil Lawrence

Need for copying common sense

The comments made by Philip Doe re photocopying of music are of course serious but I feel this is another area where one begs for common sense to prevail, and for the spirit rather than the letter of legislation to prevail.

Surely the main point of the copyright rules is (a) to stop other pinching your work and (b) to ensure the composer/arranger/publisher etc receives their just rewards.

This is as should be and rightly so, however if a full set of brass band music is purchased, no-one is being deprived if the band then decide to photocopy an extra 3rd cornet part for Johnny to practice, or to avoid the nice clean originals being written on with copious contest instructions, or having beer/tea/coffee spilt over them!! – you know the sort of thing I mean. 

Most bands are operating on limited funds and music is a big part of the budget. Again when a band has a full set of a piece, legitimately purchased and paid for, it is asking a lot to suggest they then go out a buy another full score (£25 - £40?) just to enter the local ‘own choice' contest.  I don't believe copyright rules in spirit are aimed at this practice, neither would anyone be bothered about minor re-scoring of parts within the band – why would they!
 
Surely the point of copyright is to protect the wholesale copying of sets of music carried out to avoid buying it the first place
 
Keith Leonard

The question of photo copying

I recently attended a contest and at the conclusion was seated with a friend who is a professional musician and who was attending her first brass band contest. She was jaw-droppingly astounded at the comments of the adjudicator who compained bitterly of the standard of the photocopied scores that he had been asked to adjudicate on. Furthermore he requested that in future bands could 'at least copy on both sides of the page to prevent him turning over more pages than the MD and to invest in a decent binding process'.
 
Now I realise that this has been a running joke in the movement since the advent of the technology and that to 'drop it in the photocopier' is as common as 'the fee's in the post' or 'why have 2nd baritones?', but have we become so blatant in this practice.
 
Given the legalities involved,it begs the questions:

- can an adjudicator refuse to adjudicate such a score?
- can the contest organisers allow such material to be taken on stage?
- can the publishers actively pursue the perpetrators of this practice?
 
I believe the answer to all is yes, but has anyone ever been taken to task in this respect.
 
In another life, I have published my own compositions and have always been surprised at hearing of unexpected performances of my work given that I know who I have sold to and can count them on the fingers of one hand. However, there are a large number of very talented people out there who have been providing great music for the movement and who are frankly being ripped off by this practice.
 
In this life, I am involved in the organisation of a contest (and quite an important one at that) and have been shamed in to asking whether we should not be doing more in this respect to actively ensure that photocopied material is discouraged on the contest stage.
 
It further raises the interesting point as to whether the rescoring of certain parts on to other instruments (without publisher permission) is not in itself breach of copyright, but I am sure that is far too controversial to broach.
 
Thanks to Joss for demanding that I raise this issue and only sorry we spoiled your illusions that banding is not in fact the new rock'n'roll. The Palace Hotel, Torquay stills stands, .....but only just.
 
Philip Doe
 

A happy Band Manager
 
Well, 4barsrest, didn't do too well with predictions for the 4th section!!. Didn't even place us from Croft in top 6, but we proved you wrong!!.

What a great result for us this was, 2 years ago, we would have had to withdraw.  Which just shows how much we have progressed, with half our players been under 16, or over 16 but not been playing for long. 

Apparently when announced the 5th placing got a louder cheer than the winners. And yes we did celebrate in style, in the bar for the rest of the day!! (we were the ones with the snorkel & funnel, thanks for been great sports, to all of you who tried it)

Thanks to Steve Burton and all the players for all their hard work put into this contest, we are now looking forward to the Area in march.

Ian Bromley
Band Manager
Croft Silver Band

Poor show by Pontins 

As an attender of this contest since 1974, I  am particularly disappointed at the way that my family and I were treated by the Pontins organisation and the contest  'planners', at the weekend.

We were informed of the draw time, along with the other bands and expected to play at between 7-8 p.m , ( late enough, you might say?). However, the band that I played for  actually got on the stage at 10 p.m! We had youngsters in the band, as well  as a few 'mature' players, what kind of a performance did they expect in this circumstance?

I am not excusing the performance, which was creditable, though deemed by the adjudicators as a last place effort ( they must have been tired, poor souls) but the farce of the laundry room warm-up, walking outside again, then into the public area to wait for registration, is once again reflective of the lack of planning by both organisations.

Family entertainment is farcical and made the eight hour wait a nightmare. The only places to go were a bar area ( surprisingly enough full of the usual 'I don't know when I've had enough' crowd. A restaurant with very limited menu and an atmosphere to match, an over-crowded chip shop ( waiting time approximately 45mins! ), or your car. Most people were catching taxis into town, to escape these limitations.

My 5 year old granddaughter, my 16 year old younger daughter, my wife and I, got home to the West Midlands at 12.20 a.m, very tired, very hungry but most of all, very disappointed with Pontins.

There's no point in threatening a boycott next year because I am a sucker for punishment but please take note Pontins and committee, 'THIS AIN'T GOOD ENOUGH!'      
         
Mark Smith

Only common sense can prevail
 
I have read with interest the articles on this subject which involves one of our member bands, Callington Town, and applaud them on gaining national press coverage but also wish they had brought this issue to the attention of their local Association (SWBBA). 

However, this is not purely a local problem, and should local authorities throughout England (I expect the law doesn't affect our friends in Scotland and Wales) implement the Licensing Act 2003, then the majority of bands will be affected.  My question therefore is, what action or even interest is being taken by our so-called national body, the British Federation of Brass Bands?

If we look at the immediate past record of the BFBB, the answer will be nothing.  This was an issue when the BFBB should have been at the fore front when Government was asking for representions from interested bodies when the present Act was still a Bill.
 
Unfortunately local authorities such as Caradon District Council have to enforce the law laid down by government, but it is not too late for the BFBB and Brass Band Associations to seek amendments to the Act and for sense to prevail.
 
Brian Elliott
Secretary, South West Brass Band Association

US not so Open

My wife and I were present at the US Brass Band Competition yesterday. We both feel that the Jaguar Coventry Band was a full notch above the best of the US bands present.

Their second place finish was a travesty. For the record, I am an American so I am not presenting a biased opinion. We hope that the Jaguar Band will come back next year to compete again.

Richard and Carol Czerniawski

Setting the record straight

I'd like to set the record straight.  In the article below about the U.S. Open, particularly the section about the Brass Band of Central Florida (BBCF), it states "they haven't been beaten by an American band in contest since 2002!"

The records of the North American Brass Band Association, available at www.nabba.org, show these results:

2006 - BBCF did not compete
2005 - BBCF 1st place, score 265.40; Chicago Brass Band (CBB) 2nd place, score 264.80.
2004 - CBB 1st place, score 270.80; BBCF 2nd place, score 270.20.
2003 - Stavanger 1st place; BBCF 2nd place; CBB 4th place (in our first year of existence).
2002 - Illinois Brass Band and Brass Band of Columbus, tied for 1st place; BBCF 3rd place.

The NABBA contest is a legitimate contest, and the Chicago Brass Band is an American band, and they beat BBCF in 2004.  I doubt that they or the folks at the U.S. Open have forgotten that year.  By the way, the Chicago Brass Band has never been allowed to compete in the U.S. Open, even though we asked to be invited many times.

If we had been there, BBCF's record might not have been even as good as they pretending it is.

Roger Menning
Chicago Brass Band

The Rhapsody question

I hope I can help on the question raised by Matt Pollard. I'm fairly sure that the last time Rhapsody In Brass was used as a set test piece was at the Butlins Mineworkers Contest in 2003 1st Section adjudicator was David Read.

I should know as the band i play for came 3rd (Gresley Colliery Band). The contest was won by BHK Horden. I hope this does help.

Ian Perks

In America and Belgium...

For Mr Pollard in search of Goffin's "Rhapsody in Brass": this served as set test piece for the First Section bands at the 2001 Belgian Nationals.

It was also used as a test piece in North America in that same year. I don't know if there have been any more recent contest performances though.
 
Pieter Vandenberghe

In Scotland...

According to our Scottish Championships results database the last time Goffin's Rhapsody was used at a Scottish Championship was 1975 in the old 2nd section at Motherwell Civic Centre.

Haven't checked to see if the Scottish had "merged" with the other areas by this time. Does anyone else have a later use of the piece?

Rhapsody in Brass by Dean Goffin was used in 1975 as the area test piece in the old second section. Not sure if it has been set for any other contest since.

Charles Keenan

Why are we left in the cold at Pontins after 34 years?

I have just returned from yet another Pontins fiasco. Despite winning 2nd prize from a number 1 draw we had to get changed outside on the pavement, stand outside in the cold for 30 minutes and then sign on with no warm up room offered.

This is an event that is in its 34th year, so why is this happening? Butlins got it right first  time (This is a showpiece event in the brass band diary)
 
Stuart Haigh
Barnsely

Big Welsh thanks
 
Big thanks to Mike Davies MD of Newport Borough Brass Band. Mike has worked extremely hard in bringing the Band back from the brink of extinctions, and this weekend saw something of a watershed. 

The Band since being reformed went to Pontins for the first time, and also for the first time entered a National Contest.

Newport is a relatively young band with approximately 60% of its players 18 or under.  Although the band came some way down the results table, it was pleasing enough to see Mike's work to-day come to fruition and that the Band can hold its own Nationally in its section.

Once again Mike, many thanks and long may your association with the Band continue.

John Bray

Gig bags in all sorts of colours

With reference to your correspondant wishing to know where to buy a different coloured gig bag.

http://www.gig-bags.com/
 
I don't know if you do free advertising but these bags are pretty wild.
 
Ralph Pearce
TSA Music
Phoenix

The hall half full or half empty?

There were many references (Mr. T. Mansel) on Saturday from compares stating "...it's great to see the hall full". Well, there might have been more than usual but it were not full, there might have been more this year, but who knows, just like the unusual climate at the moment there could also be Woolly Mammoths in Hyde Park next year according to Greenpeace, (and if brown music comes out again that means that there will also be dinosaurs inside the Albert Hall again next year?).

I certainly hope it wasn't a propaganda trick alluding to the fact there was more audience down to the choice of test? Who knows what 007 directives are given?

PS. Can we make it a week earlier next year? (Not that I'll be going if next years test works out be "Samum").
 
Phil Lawrence

A long (but entertaining) rant 

I apologise at the start of what will be a long rambling rant!
 
I have just read the comments from a number of your other contributors, in particular Mr Lawrence, and to paraphrase a fellow Scotsman...when challenging a US Senate Committee.......piffle and poppycock (and this coming from a man who specialises in balderdash)!
 
Is Mr Lawrence saying that we shouldn't play music from our back-catalogue, did the piece not challenge the bands, is it wholly inappropriate to play arrangements that were created for bands of an earlier era...shurely shum mishtake. Extending this logic we should no longer play Epic Symphony, Freedom, Pageantry, Resurgum........as they were written in the era of vibrato and high pitch instruments when tubas had 3 valves and G Trombones were used!
 
Re the scoring unfortunately for Lord Bastable I sat next to the second barker on first but in no way thought the part was for someone who couldn't play!
 
Some professional orchestras may well play on older instruments and use calf headed timps for older pieces for a more relalistic sound...but would the person come forward who can tell me what an orchestra would have sounded like in the era of Handel so that I can ratify that what I am hearing is a realistic interpretation? Having said this many orchestras doesn't do this and use modern instruments...should we ask for our money back?
 
I think Mr Lawrence must recognise that contests are weird beasts and the adjudicators of the day will judge to their expectation of the sounds and standards of the modern band and to be frank this expectation will vary from country to country. I believe that while Judges of the Secret Court may not have been everyone's cup of tea but it did by all accounts provide an entertaining contest and give a fresh challenge for bands who are used to playing the likes of Wilby, Graham and Sparke (I was looking forward to a bit of Vinter soon but....).... in many ways no bad thing.
 
Earlier in my banding career (am now the elder statesman of the playing side of the band) I used to look forward to the Open/Nationals as one of them commissioned music and the other brought back some pieces from the near or distant past. I feel that there is nothing to be lost from bringing back older test pieces, including arrangements, while still bringing forward new commissions.
 
Going back to the orchestral world you can be sure that one modern piece inserted in a programme will invariably have a negative impact on attendance! This does not stop Orchestras from mixing old and new to satisfy, and enlighten, their audience!
 
Jim Corrigan (Baritone person)
 
PS. In response to another comment a soprano should sound like a soprano and for Dyke in the slow bits quite noticeably didn't

Someone appears to be seeking an audition with Dyke!
 
I whole-heartedly agree with your comments (J.C) on the use of Eb Trumpets in brass band competitions, however, if we used Eb Trumpets, there wouldn't be so many prima-donna Eb Cornet players around. Most armature symphony orchestras have versatile trumpet/cornet players would can actually ‘transpose' the parts at 'sight' from the original part, as I'm sure Dykes Principal Cornet can, in which case I applaud the decision.
 
Regarding the preparation and re-writing of parts for a Bb Cornet (if that was the case), then I agree with your assumptions that this was a deliberate attempt to change the tonal qualities of the Soprano Cornet and avoid the intonation difficulties, which are so often felt when trying to blend with the cornet ensemble in the lower register. That may have been by design or error on behalf of the composer, could he enlighten us?
 
I'd like to think it was a deliberate test, as most Sopranos are often 'sadly' out of tune (even with triggers) due to the range that they are called upon to cover, hence the excessive 'Vibrato' compensation which is often used to cover this up!
 
I vehemently disagree with the comments (from J.C) regarding the idea that bands should take advantage of the ‘closed' box situation to deceive the Adjudicators.
 
The observation, rather than "moan", is to do with the fact that other bands in the competition dealt with the difficulty rather than avoided it, and that's fair play. These comments have nothing to do with dental problems.
 
Think how embarrassing it would have been if Dykes Soprano had been awarded the Best Instrumentalist award, rather than Grimethorpe's Soprano player, (van Thienen) thank goodness there was someone who could play the intended arrangement, even if from overseas.
 
Pity I wasn't around in 1923 though, unlike some, as I'd loved to have played Freedom (Hubert Bath) on an Eb Cornet manufactured circa 1920. I had to suffer with the '4th' cornet part (before Flugal) and that was a bad enough test at the other end of the register when playing pianissimo in the Free Trade Hall, without vibrato!
 
Incidentally, what's the take on whether the 4th cornet part (as written) should be played on the Flugal, I guess J.C would agree.
 
David Shotton

Berryman to Murley

Last week, Murley Silver Band invited John Berryman to conduct them at the 89th North Of Ireland National Championships.

John also took the band for an intensive three days of rehearsal before the contest where everyone was impressed and educated by his musicality, professionalism and boundless enthusiasm.

Although the band did not come away from the Ulster Hall with a prize, the players and staff would like to thank John for all his help and also resident conductor Keith Anderson, for laying the foundation work on the set test-piece, Le Carnival Romain.

Boris Pinto
Murley Silver Band

It's a Cracker!

That's a cracking letter from Phil Lawrence.– The newspaper I pay money for has less well written articles.
 
I adore 'Franc Juges' – even with its sinister brass band translation  "The Judges Of The Secret Court".
 
Phil Lawrence raises some very important issues. The last massive upheaval in brass band style was in the late sixties when Grimethorpe, Frickley and one or two other bands started using no vibrato in the tutti sections – and as we know this filtered down to lesser top section bands and finally through the sections.
 
There's such an amazing difference between late sixties recordings of Fodens, Fairies, Morris and Dyke who were all still of the old school compared to such as Grimethorpe. The early seventies saw Grimethorpe then elevated to celebrity status on TV - This seemed to settle the style thing, with Brighouse in hot pursuit, most of the rest of us followed suit for a decade or two or got demoted rapidly.
 
Now we have a more sophisticated approach – tutti is still mainly no vib. (a lot of the time) but even in ff work – Sop. and one or two others now shine through and use a lot of vibrato in tutti work (I don't like it personally, but you have to do it if you want to sound like one of the big named bands).
 
We're back to this amazing subjective paradox – if an adjudicator is passionate about his/her job – they have to consider what the composer wanted – and how the arranger tried to emulate this – they now have an added complication as described by Phil Lawrence – that players and conductors are having to play old arrangements from a simpler day  -when the arranger had to be more careful where he/she placed parts and how the parts were dynamically and expressively marked so that a band stood a chance of performing the piece.
 
Drake Rimmer's arrangement of  Scherazade is a good example – there are dozens of  bars of duplets on Repieno and 2nd Cornet that Rimski-Korsakov wrote as triplets for one trumpet - but Rimmer must have considered this too difficult for many brass bands. Academic Festival Overture with all the runs missing in the coda is another example – etc etc – dozens of examples.
 
There's always the argument that "it's a level playing field" – we all have the same copies to be judged on. But I don't think we'll read one letter saying that Phil is wrong about this.
 
So I end up back on my hobbyhorse about the choice of test pieces. The people choosing test pieces really must be more accountable. Put yourself in the meeting that decided to use that arrangement of  The French Judges – is it money? (Like at a major championship that ran until recently for around forty years – where the musical adviser owned the company that had more pieces chosen than any other publishing company?) Is it nostalgia? (How very selfish!) Is it sheer ineptitude? What is it?
 
I'll finish ranting now  – but I'll leave you with one final question about the recent Second Section area choices – How on Earth, do we get from "Images Of The Millennium" To "Carnival" in one year… Hummmm…..? (Hint – try arguing that they are both correctly graded tests in consecutive years for section 2 bands….. go on!….)
 
Keith Wardle

Are the Brits getting a little precious?
 
International players consider it an immense pleasure and privilege to be asked to assist British bands (read the news item about Bert van Thienen and his glowing thanks to the band which hosted him). Take it as a huge compliment! Britain is still banding heaven for the rest of the world.
 
Inviting overseas players to participate in your contests is one reason why overseas bands are advancing so much in standard. The benefits to us are enormous. Maybe it's not preciousness as much as feeling threatened?
 
Chris Bowman
Adelaide

Another contest, another moan!

Oh how predictable, another contest and someone is moaning about whether a horn covered a bass part or a euph covering a sop part or whatever. Let's be honest - it really DOESN'T matter.
 
Yes - bands are playing a test piece (that's the whole point!) but it is testing the whole rather than the individual. Playing in a brass band is all about TEAM work after all. I believe that (particularly in arrangements of pieces, though not exclusively) a high or low pitched part is all about the effect or sound created not about making a player squeeze or blow raspberries through an instrument as a test.

If the MD thinks that the effect can be produced on a different instrument then so be it - if the adjudicators don't make a comment then the MD/player has been successful. In 'Dykes' case (or anyone's case actually) a sop is only a higher pitched cornet - it should sound like a cornet not a trumpet - an Eb trumpet (due to the nature of its construction)  would have a hard edge and be obvious by the way.
 
In lower section bands, where you have greater differences in ability, sound and confidence, 'part swapping' is prevalent and, again in my opinion, perfectly acceptable across all levels of banding - my reasons are stated above.
 
As an example I would like to offer one of Sir Malcolm Arnold's English Dances - to create a sound similar to the original a part is whistled or it can be played on the solo cornet line - if this was a test piece would it be acceptable to whistle, 'cos' it's not really a brass band instrument is it!!!!!
 
Finally (sighs of relief all round), 'part swapping' isn't new - everyone knows that Harry Mortimer covered the sop part at the nationals of 1923 - and his band (Luton Red Cross) won that day - so there!
 
Julia Crask,
Soprano Cornet
Rushden Windmill Band.
 
PS - I hope Peter Roberts gets his gnashers sorted - I had problems a few years ago and I know how painful it can be. 

One positive and one negative
 
Tremendous to see a full house - I wonder if it had anything to do with the choice of test piece.

But...was it necessary to have two concerts at the end.
 
Tony Mansell

Rhapsody in Brass anyone?

I'm wondering if any of your readers can help me out here...I'm trying to find out when the last time Rhapsody in Brass by Dean Goffin was used for a test piece, and at what level? Another oldie I know, and one that I'm thinking of resurrecting as an 'own-choice' test piece.
 
Thanks in advance!
 
Matt Pollard

4BR Reply:
If anyone can shed some light on this one, please let us know. It has been used a lot over the years, but the last time as a set work? 

The age thing again
 
I see that there is another competition for young composers.  I have already commented several times on 4barsrest about this new ageism in the brass band movement, and included it in an article I wrote for British Bandsman.  I have an idea which may appeal to some of my more mature colleagues. 

I will approach "Saga", "Sanatogen" and "Help the Aged" to sponsor a competition for Old Composers.  To enter this competition, composers' must have been born BEFORE 1971!

Tim Paton

The Model T Ford and Gig Bags

I have just returned to playing after what has been my longest "retirement" to date (a whole 6 months) . Feeling quite pleased with myself and with Santa's visit just around the corner I thought I might mark the event with a new Gig bag...

I'm a Euph player (of sorts) and already have a gig bag but to be honest its getting a bit worn..(a little like it's owner)

I fancied something, .......well......"flasher". (Its probably a mid- life crisis thing). I have  tried some of the main dealers but to be honest it seems that Euphonium Gig bags are a bit like "Model T Fords" (i.e. you can have any colour as long as its black). Now don't get me wrong, .....there's flash.........and there's flash... so I'm not looking for one bright enough to be seen from Space, but it would be nice to have a choice

Can any one on the team point me in the right direction?

Dave

4BR Reply:
There are a number of makers out there Dave, but we don't really know about the colours they offer - Can anyone enlighten us where we can get one in amber, pink or even terracotta? 

Flagging up the foreigner problem

I am delighted that 4br has "flagged" up (sorry) the borrowed foreigner problem because I've been in favour of closing the loophole for some time.

This first came to prominence a couple of years ago with the excellent Raf van Looveren winning the solo prize with Sellers at the Open and then returning to his "home" band Willebroek via a guest appearance at the Swiss Nationals! (does that not count because they're non-eu?)

Shortly afterwards Dyke flew Alex Kerwin 12,500 miles to play one of 2 sops at the RAH (but that's another story)

The continental question raised it's head last weekend with Bert Van Thienen with YBS and Camilla from Eikanger guesting with Dyke. But hang on a minute  - were'nt there a couple of Belgians helping out Horden band at the North of England Area earlier this year?

Isn't this free-for-all getting just a bit out of hand?

Let's have the obligatory football analogy - Frank Lampard limps off the week before the FA Cup final. Mourinho drafts in Ronaldinho as cover and the Brazilian wins man of the match - oh, and then he returns the following week to Barcelona in time to help them win the Champions League final - erm, not going to happen is it?

Top British bands - or any British bands for that matter - cannot have players from rival bands on their books e.g. Leyland do not have any of Fairey or Foden's finest to call upon, Whitburn none of Kirkintilloch's, Aveley none of Redbridge's...and so on.

So why should continental europe's best be classed as virtual free agents?

John Roberts

The nature of contesting

I'll play it on Eb Trumpet next time as only the audience will know!

The nature of competition suggests that there will always be winners and losers due to circumstances on the day of the contest, that's why it's a contest. If there is a contest rule that Eb Trumpets can not be used instead of an Eb Cornet, how on earth is it acceptable that a Bb instrument should be used instead?

It would be intereting to learn what the composer who wrote the score thinks, would it be better suited to a Bb instrument? Are there any references in the Adjudicators remarks to any unusual sounding Soprano Cornet solos and where dose this nonsense stop?

If there is no reference in the judges remarks, does this make it obvious that we need to appoint Adjudicators that can actually distinguish between the sound quality of different instruments and maybe that their hearing is actually 100% effective.

David Shotton

Was it really all that good?

I've already read comments in praise of the choice of test piece at this year's Albert Hall Finals. No doubt there will be more in praise of this retrograde move, so before they arrive on top of the others, I just have to say; "Cobblers" and I say it in 5.1 Dolby Cinematic Surround Sound..

Any piece has to start together (Ms. Clay), and I'm sure Berlioz didn't intend this to be a test even in 1828, but if you are a soloist that starts a piece (like Mahler 5), one only hopes that it does? Pieces start!

One emotion I picked up from many stalwart banders was bewilderment after the contest was over as they really had not experienced the same emotional charge that had been there in previous years.  Oh yes, and the joy of the great noise produced by the 21st Century bands through 21st Century music in 5.1 ka-boom dynamics.

In the classical world we now tailor our sound, interpretation and dynamic force according to period and composer,  a common practise for more than 40 years (we even now play on original instruments at A 425'ish pitch).  This might be obvious to you all, but not to some conductors like Toscanini, Stowkowski some 70+ years ago who basically did the big'un on it from Bach to Handel.  

The scoring of the 'Franc Juges' was very much in the period of the day which naturally assumes that your 3rd cornet, 2nd baritone and 2nd trombone can't play at all and your flugel player has been possessed by the late spirit of Maynard Ferguson? To top that, played on the old high pitched instruments still in use in the 1940's & 1950's of small bore, this sound and pitch Frank would have been used to and scored accordingly for.

The boys in the box had stepped on that very stage with that very piece in the 1960's, the memory of that sound made and the direction given by the conductor might have brought home to them a memory which was carried by three or four bands last Saturday who had an equally valid take on the performance - as in true to the arrangers perception of arranging at that period in time. They did get it right. 

Bearing in mind that all bands are not equal, decisions have to be made about how to carry the job forward to the Albert Hall. Aveley & Newham, Camborne, Staines were three bands in particular that offerred a neat rounded globe of sound that sat in the middle front stage was offered. Was this a valid approach? I thought so! Was it considered an option? Of course not. Should it of been?

Berlioz did know how to get his bring down the roof dynamics, he just trebled the forces like in the Grand Messe De Morts. If 'Franc Juges' needed the big'un, Berlioz would have scored this overture x 2 instrumentally + lodsa kitchen sink. If we continue to put brown music up for contest I think the above argument should be considered just as it has been in the classical world for the last 40 years! 

If this is what the banding movement really wants, I hope next time they turn on their radios, all stations are occupied by the following artists; The Ink Spots, Mrs Mills, Geraldo or  Max Jaffa.  

Phil Lawrence

Great day at the Albert

Another great day of contesting (an some nice non fizzy beer for a change........) with my congratulations to the winners who were receiving plaudits from many of the people I spoke with in the bar and other areas later in the day (didn't get a chance to hear them as we were preparing for our challenge at that point!).

There have been comments in the past about the Albert Hall and this contest. Having played in the hall on a handful of occasions I would like to say that whenever I have done it has been a fantastic experience and one that should not (while viable) be taken away from our bands people!

One point on contesting, a minor query on London, and one on your comments (had to come.....)!

My good lady has recently taken to banding after 20 plus years of playing as a percussionist with the major orchestras in Scotland. She recognises that for some of the pieces percussion plays a major part in the structure of the composition....recently Vienna Nights, Journey to the Centre of the Earth, Music of the Spheres.

She has recently commented (and in my experience she is correct) on the apparent absence of remarks on percussion playing from adjudicator's which leads me to wonder if while we let them play now ( 6 for Rienzi?) whether we are still in the position of only being interested in the brass playing when it comes to the adjudication? Is it time for a percussion specialist in the box at major contests (when required) to add to the knowledge of our illustrious adjudicators and give a better overall crit of a band?

On London: Probably the major talking point was the excellent performance of Black Dyke. While realising that rescoring goes on and recognising the difficulties which forced this change on the band it would be interesting to hear from the adjudicators (or an adjudicator) how they dealt with what was a fairly significant change of voice in the performance and how that affected their scoring.

On your comments on our performance...can I say one person's self indulgence is another person's musical interpretation....but I suppose that's one man's opinion vs. another. Having said that....the performance comments always gets the bands talking and add to the enjoyment of the day!

Jim Corrigan

4BR Reply:
Don't know about a percussion judge on this one Jim – there wasn't that much for them to do, even though some bands employed 4 and one 5 percussionists on the day! Simone Rebello though has judges at major contests recently and has done a great job. Perhaps we could see her more often.

Just the one complaint

I must congratulate the organisers of the National Finals for the way in which they promoted the event this year, but I have one major compliant – Why on earth did we have to sit and listen to two concerts before the announcement of the results?

Some of us were hoping to get away from the contest in plenty of time to go and see a west end show, whilst others I knew were hoping to go to Regent's Hall and listen to YBS Band.

IP Brass and Leyland simply were not needed and it would have been great to get away from a day's contesting with time for a nice meal and a rest before heading out again into London.

The music they both chose was also much the same thing too and the playing wasn't that great either.

Well done the Nationals, but please don't overcook what was a great day out.

Leon Marsh

Sympathy for the soprano?

Do I detect some over sympathetic reporting on behalf of the Black Dyke cause from 4BR?

I am sorry to hear that Peter Roberts has had some dental problems, but that didn't actually stop him from playing al the high parts in the test piece on Saturday. Was it just me or was that a bit strange? Surely he would have done his teeth less harm playing the lower parts rather than the higher ones.

Just a thought.

Ian Jenkins

Stop this bias!

Why is it with 4BR that you tend to go over the top for the name bands in your live commentary and say very little that is positive when it comes to the bands you don't think are going to come in the prizes.

Just read what you wrote about Grimethorpe, Black Dyke, YBS and BAYV and then look what you wrote about Staines, Jaguar and Reg Vardy.

Your bias towards these bands is becoming clear to anyone

Tim Staunton
Bristol

4BR Reply:
Just look at the results Tim and see if you really think we were that far out with what we said. 

Write in and complain

Regarding the article on Caradon District Council's Michelle Brooking saying they will be charging a £21 licence fee for performing no religious Christmas music.

If your readers wish to express their views to the council their email address is:
 executive@caradon.gov.uk and let their Chief Executive know just how this could affect so many brass bands across the country.

Paul Field

Ding, Dong…

If the Callington Band are to be allowed only to play religious music to avoid having to buy a licence at Christmas, it isn't only Jingle Bells which will have to bite the dust. 

They had better be careful about which 'carols' they choose as well - I'm not sure Ding Dong Merrily on High or Deck The Halls have much religious content in them, and there are probably others!
 

Jim Yelland
Hinckley, Leicestershire

Any sign of Paul Hordern?

I am trying to trace the whereabouts of Paul Hordern. He was last heard to be residing in Elgin, Moray Scotland. He's a trombone / baritone player can anyone help? Does anyone know him?

Replies to Juan Wright
juanboneman@msn.com

Thanks lads and lasses
 
May I through your comment section thank all the brass players who took part in a brass band spectacular at Symphony Hall in Birmingham on Sunday 22 October? The Band of West Mercia Constabulary and Tredegar Town Band were joined by representatives from Langley, Wellington (Telford), Phoenix (West Midlands), Cubbington, Shirley, Avonbank, Alcester Victoria, Black County, West Midlands Fellowship, and Cleobury Mortimer Brass Bands to form a massed band of over one hundred and thirty.

It was my great pleasure to conduct the massed band and massed male voice choir raising thousands of pounds for The Birmingham Children's Hospital.  The atmosphere was electric and it was great to see band musicians from the 4th section up to the Championship section making great music together in the true spirit of brass banding. I can't express my thanks enough for your support and for your hard work preparing for the concert.

I must also thank my secretary at West Mercia Constabulary Band David Francis who coordinated the event in his own time and without receiving any payment for his efforts. Dai is one of the many non paid administrators in the brass band movement, often taken for granted working for hours and hours behind the scenes. Thank you to Dai and thanks to all other administrators in brass banding. You are all a valuable asset in the wonderful world of brass banding.
  
Steve Pritchard-Jones

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