Comments ~ 2008: January

It's all about the composer of the Fourth Section regional test piece, as Rodney Newton's 'Four Cities' analysis finds favour...

Admirable honesty - but still wrong!

Jim Owen is admirably honest in publicly admitting that he is unable to understand the technical analysis of Rodney Newton's music, but I think he underestimates the ability of many other bandsmen’s ability to do so.  

And given that the article in question appeared in the British Bandsman, I'm not clear why he thought writing to you would be more effective than writing to them.

On such occasions I'm put in mind of Denis Thatcher's comment that it is better to keep your mouth closed and let them think you're ignorant, rather than open it and leave them in no doubt!

Jim Yelland 

Don't dumb down

I am writing in response to Jim Owen's attack on Rodney Newton's article in the British Bandsman. If a composer cannot write a sentence that merely states the tonal shifts, through three keys, that a musical phrase takes then we really are in trouble.  

Mr Owen claims that "95% of every bandsman/woman in this country will have no idea what he is talking about". If that truly is the case then how on earth do these people on a weekly, sometimes twice weekly basis, manage to consistently find the bandroom and, even more miraculously, manage to decode the complexities of whether to blow the thin end or the thick end of the cold, shiny, metally thing that makes those funny noises every rehearsal.

As for his request to "leave the technical stuff for the lecture halls" whilst maybe the students at the Royal Academy or Julliard, can take on such mind-bending complexities most students would hardly dare put down their crayons from "colouring-in" classes to venture on such journeys in to the dark recesses of musical analysis.

Please, please let's not dumb down the language of the medium we all devote so much time to.

That's not to say that pompous, self-important clap trap should be tolerated but if someone fancies telling us that the tonality in a phrase goes from C to E and then to Db he should be commended for the simplicity of his assessment not attacked as if he was some alchemical mystic trying to unleash the satanic confusion of Beelzebub on us.

Dylan Richards
Market Harborough

Spoon fed?

Jim Owen complains that Rodney Newton's analysis was far too "deep", and thinks that 95% of bandspeople wouldn't understand it.

If it is now too deep and analytical to talk about what key a piece of music is in – which is basically all that Mr. Newton was doing – then banding really is in a terrible state.

I will concede that Mr. Newton's phrasing of the point was in a style more usually suited to academia, but it was not so impenetrable that it could not be worked out without a little common sense and perhaps recourse to a dictionary.

However, it does seem to be the case that too many players at every level of banding wait to be "spoon-fed" absolutely everything by their conductor, and this is just one example. Heaven forbid that a member of a brass band should actually think for themselves about the music they are playing…

 David B. Morgan  

Thanks Gwent

On behalf of all at Lions Youth Brass I would like to thank Alan Williams and all connected with the Gwent Youth Festival for making the band and our supporters feel so welcome at the Festival.

The band were delighted to win this event and have every intention of returning to Gwent next year to defend out trophy.

I would also like to thank David Thornton, the band’s Musical Associate for his valuable assistance in preparing the band for this competition.

Nigel Birch

Lecture Hall analysis?

I must respond to the article that appeared in this weeks British Bandsman entitled "A Custom Built Test Piece for the Fourth Section" This was an in depth look at "Four Cities Symphony" by its composer Rodney Newton. 

Whilst the article in general was very informative, giving the reader some insight into the background of the composer, his detailed analysis of the piece was far too "deep" for my poor brass band roots.  e.g. "Trombones take up the narrative, shifting the tonal centre to C and then to E before there is a further modulation to Db major"  WHAT?

I need not tell you that 95% of every bandsman/woman in this country will have no idea what he is talking about and to be perfectly honest, we don't care.  We are bandsmen/women, we love playing our hearts out and all that goes with this great past-time.  

Yes, there will be a few, mainly in the top sections who are studying at Uni for their degree's that would be interested in this type of in-depth detail, but certainly not me.  Now you may wish to call me ignorant, but before you do, just ask anyone if they understand what the composer was talking about.

All in all, it was a really good article which gives new insights in to the piece and how it should be played, but please Mr Newton, leave the technical stuff for the lecture halls.

Jim Owen
Farnworth & Walkden Band

Support for Third Section bands at Butlins
 
In response to Derek Johnson`s comments regarding 4BR`s reporting of the bands in the 3rd section at Butlins, I feel many of his thoughts need to be supported in defence of the bands that took part.
 
The 3rd section was 4 or 5 bands down on previous years. This could be for various reasons (availability of players, choice of test-piece etc.), but having read the general comments from Mr. Iwan Fox this year, I wonder if even fewer bands might take part next year.
 
I heard a few of the performances and generally felt disappointed with the general standard on this occasion, but do these bands deserve to be slagged off in such a disparaging way? They came, did their best and I’m sure the MDs also did their best to prepare their bands as well as possible.

The piece required confidence in the exposed opening pages and although I’m sure conductors tune their bands as near to perfection as possible, nerves and inadequate breath support will cause intonation to go awry.
 
From my own band’s point of view this problem was with us and we had “a bad day at the office” – no complaints. But unlike Mr. Fox, who had nothing but rudeness to say about our performance, the two adjudicators were very professional and made some positive comments about the performance as well as the shortcomings. I quote the conclusion:

“Good stylistic playing, good band sound & very good individual contributions. Tempos, style (direction) very good. Better intonation would have enhanced the performance” – again no complaints.  Where was Mr. Fox when this was going on?

I have also read Mr. Johnson’s remarks which are balanced and to the point – well done and congratulations to you as well as the other bands in the section.
 
My own band (a Council Music Service Ensemble) consists, like many lower section bands, of 60%+ young players.

It is difficult enough to endear these young people to the brass band movement as it is without such arrogant remarks being thrown at them with no positive comments at all.

When I was training as an adjudicator & examiner with the likes of Eric Ball and Albert Chappell they always said one should balance the negatives with something positive so that participants do not feel rejected.
 
Does Mr. Fox think that the comments he made are going to make the bands feel or play better? – not a bit of it – it will more likely drive them away. Is this where we want the movement to go? I sincerely hope not.
 
Alan Jenkin 
MD Stantonbury Brass

Getting the composers to come to us

I have had to re-read Phil Lawrence’s recent post to comments several times to try and make sure I didn’t misunderstand his point.  On first reading I think I did, so I am glad I read it again.
 
His point about the lack of original repertoire by named composers for brass bands being due to lack of funding does have I suspect more than a grain of truth to it.  

Initially I believed he was having a go at them (well those still walking amongst us anyway) but subsequently realised his criticisms were really aimed at the those people within the brass band movement who do not want to pay the amounts required to commission new works by these high profile composers.
 
I do feel that some balance needs to be added though that making music is not all about making money.  Michael Nyman for example was inspired by the Nyman Brass project with Wingates to want to explore the potential of the brass band medium as you will have seen from recent articles to this effect on 4BR. 

Andrew Berryman describes this CD to Wingates audiences as a box of chocolates – you may not want to eat the whole box in one go but to make select choices here and there (of course I can rarely resist the temptation of finishing the whole box myself as those who know me well will testify to!).    

It is my personal hope that Michael Nyman does deliver on this vision and is followed in this by other high profile composers.
 
We cannot expect altruism from these talented people as it is after all their livelihood, but I do believe that they would see the brass band medium for what it is and see what boundaries can be pushed if given the opportunity.  You never know where it may lead to…
 
We also need to look at people like John McCabe and the furore surrounding ‘Images’.  Personally I think it is a fabulous piece but sadly misunderstood by the brass band movement. How can we expect to be taken seriously by the musical establishment when we treat brave and creative works as this with such disdain?  Why bother?  

Fortunately Mr McCabe did bother again and created what remains one of my all time favourites ‘Cloudcatcher Fells’.
 
I think the point I am trying to make is, if we build it, they will come… make the establishment realise that there is a real and appreciate audience for their music within the brass band world and maybe, just maybe they’ll be a little more encouraged to engage when the opportunity presents itself.  

OK we need people with vision to commission and find funding for some new works but the grass roots has a job to do as well.
 
…in my opinion…
 
Andy Wyatt
Bolton

Bring the finals to Butlins

For what its worth I completely concur with your article. The Mineworkers Contest has been resurrected and it is now a fantastic weekend and venue.

It’s about time brass bands, although traditional, were brought into the 21st century. I whole heartedly support the idea.

C S Robinson (Trombone) 

Something to help Mr Lawrence's memory..

Just came across this interview.

I was in Brass Injection with Phil at the Royal Northern College of Music. In fact Ken Heggie played bass and I played guitar!

Hope that helps  – I’m sure the mists of time have clouded the Lawrence memory!

Steve Smith
 
http://koti.welho.com/stesmith/ 

Sop Passes Out

On behalf of the Tongwynlais Temperance Band I would like to thank everyone for their help and good wishes extended to our young soprano cornet player, Morgan James.  

For those who didn’t hear us at Butlins on ‘Life Divine’ I can tell you that Morgan ‘passed out’ close to the end of the performance and was cared for by members of the audience while the band finished the last few bars of its performance.  Morgan’s last words to his brother David (who was sitting next to him on Repiano) before he collapsed were ‘play the last note for me!’ - what a bandsman.  

Morgan fully recovered within minutes and with the help of Leonard Adams and his Travada Music Company (who loaned him a brand new Soprano) and Pontardulais Band who were also very quick to loan him their Soprano, he was back at rehearsal ready for the following day’s Entertainment Programme by 6pm Saturday evening.  

After arriving at the rehearsal room he also received some good advice from Nick Childs (who was there finishing a rehearsal with Woodfalls) to help him to be mentally and physically prepared for the following day.

What fantastic examples of true banding spirit these are.  Once again many thanks to everyone for their kind words, practical help and support.

Gareth Pritchard 
MD Tongwynlais Band

Thanks from a grateful bandsman

I would like to thank you for your splendid web site. Your site is informative, well constructed, well ordered, and as a player I find you to be impartial and a vital part of our brass banding community!  Live long and prosper. 

I wish to pass on my best wishes to the Kibworth Band and wish them all best for the future.  I played for them for about 8 years and have some very special memories of players and performing. 

Can I wish my good friends John Berryman (MD), Nathen Waterman (Solo Horn), Caroline Damore (2nd Horn), Jessica Powell (Tutti Cornet) and Gary Sherlock (Tutti Cornet) all the best for the future wherever they may go, as they too left the Kibworth band before Christmas. I understand Caroline may be helping the band at the area's so good luck.

There are some other good friends of mine that left the band in the summer of 2007 and I would like to wish them all the best for the future also, Linda Hobbs (Eb Bass), Bob Stradling (Sop Player), Richard Orme (Bass Trom), John Hopkins (Solo Trom), Stuart Bryan (RepCornet) and Tony Bryan (2nd Trom).

I would like to single out one person from the above - Mr John Berryman. 

John has been an inspiration to me and indeed many generations of bandsmen and bands women,  I believe that he has had a positive effect on everyone he has ever conducted or trained. He has an infectious smile, wonderful musicality and a breadth of banding experience that is second to none. I am so happy to have been able to work with him and wish him all the best - thanks John.

I was unsure if I would carry on banding as I have been playing for 35 years since I was eight and joined Thrapston Town Band under the baton or Mr Ray Jeffery. How happy and proud we are of our early banding days, of the people who taught and helped to shaped us, and the lifelong friendships we forged along the way! 

Ray is still at Thrapston and is still teaching young people to play, singing along to give them confidence, with the knowledge that if they persevere, they will have ahead of them the camaraderie and fulfilment from brass banding that has enriched his life over the years. I feel sure and hope that Ray see's in all of us, his boy's and girl's as he still refers to us as, the rewards for his tireless labours over so many years - thank you.

Sorry I digress, I have just signed to play for The Ratby Co-operative Band on Flugel, and would like to say that they have made me feel very welcome. They have a very professionally run Band, with a very strong junior section, which I feel is essential for any bands future and indeed banding in general. 

Where did all that come from? 

Guido Damore

An all round let down 4BR!

After reading your retrospective on the Third Section I felt compelled to write. You are absolutely right when you say the band's have to get the basic's right, but do you honestly think that all of the MD's in the Section went out with objective of getting it all wrong? 

We in the Third Section are not blessed with great player's but I am sure all the MD's do try. 

As to the band that you tipped, maybe you should get your basic's right. Tempo's come to mind or are they not important!  And yes, before you ask, I sat and listend to the first eight band's, and I think that most of the people that I spoke to found 'Symphony for Brass' a bit of a let down.

In my humble opinion, it is not well scored and totally uninspiring.  We, as we always do, had a great weekend - win lose or draw, and unlike many band's travelled many miles arriving back home late on Monday night, and then had practise on Tuesday evening. And guess what? We had the same band sat down as we did on the contest day.

My disappointment is the way in which you made out to anyone who was not at the contest that all the Band's were crap and all the MD's, apart from your favourite, did not know what they were doing. 

People like you can have such an effect on young players. God help us it's hard enough to keep them interested and at the end of the day it's the men in the box that matter, not you, thankfully. If anyone would like to read our  remark's then go to our website.

Many thank's for making the end of my weekend a real let-down. The only good thing now is because we were so poor we will not get into your prediction's for the Area contest. Thank God for that!
                                 
Derek Johnston 
MD Heyl Band  

But thanks for the comments...
 
Thanks for the comments for East London Brass in the Second Section...it's really appreciated and has given the band a boost. 

We were all very low given the tirade of abuse that we received from the adjudicators, when we thought we had put on a tight musical performance, although lacking slightly in a full bass sound to fill the band out.
 
Thanks once again
 
Martin Dawe 

Butlins observations

As a supporter of the Brass Band movement I wish to register some observations regarding the recent Mineworkers contest at Skegness.

Firstly I wish to say what a fantastic "Festival" of Brass the whole event is and thoroughly deserves the support of the movement. The contest structure and the ancillary entertainment (with Band personnel being resident on site) makes for a real occasion. 

Having paid particular attention to the Championship Section however, I am left somewhat discombobulated by the whole thing.

The weekend was set up on the basis of a celebration of traditional brass banding. 'Life Divine' was being used as the test piece and remembrance was being made in celebration of Harry Mortimer. For the adjudicators to reveal AFTER the contest that they were looking for and rewarding "innovation" must surely be the wrong approach. 

How contradictory?! More significantly, if adjudicators go into an entertainments contest with such fundamental and deep rooted pre conceptions of what they are looking for then this should surely be announced to the competing bands well in advance of the competition. 

If this was so important to them the bands should have been notified that the judges were looking for innovation. Bands should not be left for an entertainments contest in a position of having to second guess the adjudicators. I can understand adjudicators having pre conceived ideas for a set test piece (and so they should - that's interpretation), but not for an entertainments contest. 

I am all for innovation in the Brass Band movement as we need to go forward, progress and move with the times, but in such a medium innovation still has to be "entertaining".

There may have been some less "innovative" programmes in the contest but arguably they were more in keeping with this years festival. These more traditional programmes however also had the better receptions from the audience. Surely their response defines what is entertaining! 

Furthermore, Desford played very well, worthy of the win and were head and shoulders above the rest, but their programme was hardly what you would call "innovative". Some new pieces, granted, but not "innovative" brass banding. Who defines that? Some other bands who got decent results may have been "innovative" but not "entertaining".
 
The day was surely judged  on the wrong basis.

A disgruntled supporter of the Brass Band movement. 

Andrew Wallis

Nyman/Macmillan + printing errors

It seems unlikely that these two subjects are related, but they are. How are they related, simple my friends, money!

Both of these composers have been around for some time, so why not the medium of the Brass Band? You might as well throw in those greats too, Elgar, VW and Holst and compare their entire output to BB works they wrote. Not many eh?
 
Nyman earns lots of money so what makes you think he would want to compose a 14 minute work for band that could take him 2/3 weeks plus for £2.5k at best,  when he can compose the next musical mission statement for some Japanese mogul for cello and piano lasting 7 minutes for £50k? 

Or do you really fancy 14 minutes of inventions on the note C or baroque transcriptions played on saxes?
 
These composers aren’t going to get out of bed for the wad offered from bands and their organisers, whilst bands and the organisations don’t want to pay the rate, or what it costs for good music  to be printed and composed. 

This gripe only happens in the BB world. I’ve never sat in a session with the LSO or RPO on a new work making mass corrections. It’s the age old adage my friends - pay peanuts, get monkeys! Why do the appointed chose such errata strewn works, hmmm? 

Because they lack the musical ability to question an original work with the composer and publisher? Why did they choose the work, because they are lobbied by publishing houses to choose them for sales?
 
I’m sure this is not an over statement, but I’m willing to bet that every prolific named brass band composer does not earn solely from that medium of composition - they have to be doing other things! 

Fuel goes up, BT, transport, gas and electric goes up and you accept it, why then are bands still sticking together hand written copies of 'Superman' by Ray Farr from 1978? 

My only good example of trying to give good service to bands is thus. In the recent recording of my new CD with Faireys in the session of 72 minutes of recorded music there were no mistakes! 

Try composers that are not being tried and publishers too, and also ask for a midi recording and short score to be mailed to you first. That cannot cost more than £2 for composer/publisher who is looking at making a potential £50! 

If you demand a higher standard, when it comes, be prepared to pay for it. I’m just off on my paper round now!
 
Phil Lawrence  

Fantasy anyone?

Anyone any idea who publishes Fantasy by Joop Van Dijk? 
 
Was used as 1st section test piece at the Europeans 1998
 
Roland Morris

4BR Reply:
Anyone help? 

Sticky valve solution
 
I have a response to the request for suggestions as to what may be causing Norman Knaptons problem with his tenor horn.  

I am a tuba player and therefore used to big, slightly cumbersome valves. It is my suspicion that many tuba players have issues at some point with their valves and if you examine the values closely will see that the wear is not even in unreliable valves.  This is due to the angle at which you try to force the valve down with your fingers.  

On piston valves they are obviously designed to move up and down but this is actually an unnatural motion for peoples fingers.  I’ve seen cornet and trumpet players play their instruments at a funny angle as this is more comfortable and natural for their fingers.  

Players of tubas and tuba shaped instruments (like tenor horns) have little latitude in how to hold their instruments and hence try to force the valves outwards and away from your hand.  The wear on old valves bears this out as there is much more wear at the top of the valve and casing.
 
This is very difficult to describe without pictures but I hope most people reading this get the idea… as for the solution?  Not easy I am afraid – it would be nice if the instrument manufacturers actually took a look at peoples hands when deciding on where to position the valve casings. 

It would be great especially on tubas to angle the values outwards slightly just so as to make for a more natural motion.  Seems obvious to me I just don’t understand why this wasn’t observed 50 years ago! (or is it just me??).  As most people don’t have the luxury of waiting for a new evolution of instruments to come along I would suggest to people like my Knapton that he examines his finger action for his problem valve.  

It may be uncomfortable at first but trying to make sure that the value goes down as cleanly as possible should mean it becomes more reliable.  This may mean raising the level of the hand behind the valves.
 
Another bad habit some people have is that they don’t leave their fingers on top of their valve when they are playing, they leave then an inch or so high.  This means that you are already late by the time your finger touches your valve and leads to a slightly percussive effective and I suspect extra wear on the valve.
 
Finally it may be due to poor engineering – I have blamed valves like this myself in the past but I have had issues with the second valve on virtually every instrument I played until the penny dropped that maybe this workman should stop blaming his tools and looked closer to home.
 
In short work a little harder on your finger action and see if it helps – I hope it does!  Also take a look at the wear on your valves and casings to try and find evidence of the finger action I alluded to above.
 
Happy contesting season one and all!

Andy Wyatt
Bolton

More on the three part invention

Could I keep the debate alive on 'Three Part Invention'.

As librarian and player of my local band I wanted to order this test piece as soon as it was announced, but found comments from people who had purchased it on the Saturday of the Lower Section Championships in September and had returned it on the Sunday saying things like, " Overprinting ", " The quality is very poor ", " Parts missing " - but the worst of all - " Too many mistakes to be acceptable to be used ".

As you can imagine this was not good for something we were expected to pay £55 for. I held back awaiting for perhaps advise from the Company that produced such an awful product. 

Nothing happened. 

I eventually ordered the music via SP&S who I must say have been very helpful but have been as frustrated as me.  I received  the music just before Christmas after being assured by North Music Holland ( NMH ), that this was the revised set of parts and score. 

Then on the 1st January the very helpful Alan Hope  made a statement to say that the xylophone was to be omitted and that to double check that each band had the latest score, by checking the Bb Bass part in Bar 3. 

To my amazement I found that our score was the old version!
 
When I contacted SP&S they advised me that they had already contacted NMH & demanded a replacement straight away. I received the latest score this Saturday 19th. This is a FULL 7 weeks before the Contest!. 

Now I have just seen the comments from Gareth Pritchard and John Clay, advising that there are still too many mistakes in the new score. For Gareth and John to speak up, I applaud you both and I can tell you that there are many I know, who feel the same as you do. 

Come on NMH, accept responsibility rather than blaming others and issue an errata sooner rather than later for the benefit of yourselves and for YOUR Customers who have to play this great piece on of music by Kenneth Downie. I await your reply North Music Holland!.

Dave Coles 

Ever heard of this man?
 
Although, strictly speaking, not relating to the world of brass bands, I was wondering how many people are familiar with Rafael Mendez?

If anyone does a "you tube" search, they will find various videos of this trumpet virtuoso trumpet player from years ago. It is astonishing the level of technical and sonorous ability he shows, and is equal to any modern day player. As a brass fan, I thought the 4barsrest readers who were not aware of the man would appreciate the recommendation.

Gavin White

4BR Reply:
We are sure brass banders have heard of him - whilst a few bands may want to try and sign him up! 

Can anyone help a young tuba player?

My son plays Tuba for Crofton Silver Band and Wakefield Youth Brass Band.

He is hoping to go to Loughborough University in October and would like to find a band there but we are struggling to find any band in or around Loughborough.

I would appreciate any help or advice you might give us 

Sandra Morrissey

4BR Reply:
Cab anyone help?

Nyman at last...

Back in October 2002 I wrote (in this comments section) about my attempts to get the movement to commission a major work from Michael Nyman but it was as far back as 1993 that I started the process through Nigel Barr. It will be great if it comes off, even if, typically for our movement, fifteen years late. 

As I said back in 2002, there is a wealth of internationally recognised British composers that we have not asked and some, unfortunately, we have missed.

Just imagine how the poorer our repertoire would be today if our leaders at the time had not approached Holst, Elgar, Rubbra, Ireland, Bliss and Vaughan Williams.

Colin Stevens
Corby

Don't let the chance go begging...

Let’s hope someone out there from either the Nationals or British Open has read your article on 4BR and is prepared to act upon it straight away. 

We have continually missed the opportunity to get some of the best British composers to write for us that it has become something of a standing joke.

I remember Frank Renton imploring organisers to ask James McMillan nearly a decade ago – and the excuse was that he wouldn’t be free to do so for about a decade – that decade is now up and we still haven’t got him.

If that would have been well worth the wait, then so would having to hang on for a few years for Nyman to write something too. There is only so many Sparke and Wilby works we can enjoy.

It’s time to invest in something that would really make a statement to the rest of the musical world.

Colin Batten 

Gaps in consistency
 
I note that Kevin Wadsworth has resigned from Barnsley Building Society Band and in his resignation statement says "gaps in consistency didn't allow for careful preparation for rehearsals and concerts." 
 
How true this is and how frustrating for MDs and for the players who do attend all the rehearsals and, as a result, get most of the stick for their trouble!  However, how many bands exist today where every chair is filled at every rehearsal?  

It is far from uncommon for the first FULL performance of an Area test piece to be actually the one on the day of the contest!  Reality?  I'm afraid so.
 
Peter Hargreaves 

Well said Gareth

May I say thank you to Gareth Pritchard for voicing what many people are saying about ‘Three Part Invention’.

In the original version there were over 190 printing errors. There are still some faults in the corrected score and parts. I for one will not be looking to purchase any music from this company until it gives better value for money.

John H Clay 

Three Part Invention

Up to now, I have purposely kept quiet with my opinions in relation to this piece, due to my involvement in the movement as a Publisher myself.  However as a Conductor (and I will be conducting this piece at the Areas) and after reading the announcement from the Publishers on 4barsrest I feel I cannot be silent any longer.  

We as a movement are too easily accepting of things that are of inferior quality.  We’ve all heard the argument about buying a washing machine that is not ‘fit for use’.  

Would we accept that, no, we would ask for a useable replacement or a refund so we could buy one from somewhere that would be ‘fit for use’.  In my opinion, the parts and especially the score of 'Three Part Invention' are not ‘fit for use’. 

I’m fed up of the same old (but should be not needed) questions interrupting my rehearsals:

Should I be accented there too? etc :  Am I slurred there also? etc :  Should my quaver be staccato as well? etc:  How loud am I am B? etc:  Is my note right 5 bars after J? etc :  Where does my crescendo start? etc :  I just have a pause in my bar’s rest, but the people playing seem to only have a pause on the 2nd beat - how do I know when to come in on my next entry? etc :  What percussion instrument is this? Cymbal, I think. Ok, but the last time I played Cymbal it was notated on a different line! etc :  What dynamic do I diminuendo down to? etc...

The list is endless, I’m afraid.

I wonder if the Publishers, North Music Holland actually know the extent of what is being talked about here.  For instance, in the first 5 pages of the score, I have found in the region of 100 things that I as a Conductor and Publisher find unacceptable and I know the parts are similarly affected.  I dare not check the rest!  And that’s without potential wrong notes or missing notes (as I think is the case in the 2nd Trombone part at least!). 

In the announcement, it seems like the Publishers are saying that they were unaware of any problems, so I ask the question - What is it they are going to correct? 

I do not blame the 14 Dutch Bands (they are just like most British Bands and ‘put up with it’ because that’s what they see as the norm), the Adjudicators (they were there to judge the performance of the bands), Kapitol Promotions’ Selection Panel (although they could and should try to use Publishers with a proven track record of good quality editing and printing in the future) or Whitburn & Duncan Beckley - it’s not their job to do the Publisher’s proof reading. 

In my opinion, the buck stops firmly and squarely at the Publisher’s door and therefore, I ask North Music Holland - Are you happy with what you produced? 

So, we are being offered new sets ‘free of charge’, but in the mean-time, use the ones you already have.  What sort of statement is that?  Learn the piece with errors and then if it is put right, learn it again!  Some bands have their Area contest in 8 weeks time (that’s not that long for most 2nd Section Bands).  Are all the mistakes rectified?  Will all the dynamics be there?  Will the pause bars be easy to understand etc, etc, etc.  

And most importantly of all, will the quality of printing (not more photocopies I hope) and paper plus the cosmetic look of the whole thing be of an acceptable standard.  On a positive note, I for one, have no problem in leaving out the Xylophone part.  We probably couldn’t have found a 4th (yes, fourth!) percussionist good enough to play it anyway!

It disturbs me greatly that the standard of proof reading is so bad and that we have come to accept it as ‘The Standard’, with even some new pieces being supplied for the first time accompanied with an Errata!  There is no need to accept this - it can be right!  Painstaking and time consuming, yes!  Do we deserve better - at £55 plus p+p per set, absolutely YES!  

This is not me having a rant just at North Music Holland, it is me stating the facts of a subject that has bothered me (and I also know bothers a lot of my conducting colleagues too) for many years now and I just feel that it’s time for us all to ‘stand up and be counted’ and tell the publishers and contest organisers that ‘it’s just not good enough!’.

Gareth Pritchard 

Dulcet tones reply

In response to Janet who apparently knows me and will be listening to my performance at Blackpool, I can say with confidence that the reason I include the name of my band is simply to let other readers know which part of the country I am from. 

It DOES NOT in any way imply that the band supports my comments (although many of them do) or I should have said so from the offset.  

On the other hand, why does "Janet" feel the need to hide her surname?  I am at the very least "up front" and unafraid to voice my opinion,  which if she should care to read the comments of Paul Stevens - Stoke who says the piece lacks depth, Paul Carter - London who says the piece is "cheesey and easy" and "it is hard to target a test piece at Fourth Section level, but this one misses the mark by a considerable margin". Finally Chris Wormald who says the piece has inconsistency and lacking in clarification.

I am not a man who is afraid to voice my opinion and neither am I afraid sufficiently to hide behind my Christian name only!

This piece is nice to listen to, but pity the poor sod in the box who gets it 25 times eh?  It is NOT ( my opinion, not the bands) a test of 4th section bands.

Janet, I will of course try to keep my "DULCET TONES" in tune for the performance, and hope you can approach me afterwards with congratulations (or perhaps "Rubbish") either way, I will have tried my best, as do we all at Blackpool.

Jim Owen
Farnworth & Walkden Band

4BR Reply:
The lack of a surname on the comment was our fault as we inadvertently erased it .

James Abbott remembered

May I take this opportunity on behalf of the Cross Keys Silver Band to express our sadness at the announcement of the death of James Abbott MBE. Mr Abbott was a tireless worker on behalf of the brass band movement in Great Britain, and Europe, and will be sadly missed.

I can easily remember his words as I went on to the stage of the Royal Albert Hall in the 4th section finals of The National Championships of Great Britain, 2000, "Welcome to the Royal Albert Hall, welcome to the National Finals".

Those words were inspirational, and I will never forget them.

Kerry Bowden.
MD Cross Keys Silver Band

Is quality and innovation the way forward?

Having just read your editorial on Quality and Innovation I feel I need to write.

I agree that by not moving forward the brass band movement may wither and die. However I am interested to know why you feel Quality and Innovation are the way forward.

My wife plays in a 3rd section band, I play in a 1st section band and conduct a 3rd section band. When it comes to contests we all try our best to produce quality - hopefully it helps us do well. How do we improve on our quality?

We want to do well, and we don’t attend contests if we feel we are not providing our quality. We aim for the same goals when playing in concerts, although we have not had weeks of practice on every concert piece like we have had on a test piece.

There are times when the concert preparation is less than perfect, but in order to survive financially we need to fulfil our commitments and get paid for the concerts.

When it comes to innovation I feel lower sections are even more disadvantaged. In bands where most players struggle to hold down their parts, to ask them to do more is to compromise on the above quality.  Lower section bands rely on the higher sections for leadership in quality of music, choice of music, and hopefully as a role model in probably every aspect of banding.

The lower section band does not have access to the resources or opportunities of the higher sections.

What is innovation in brass banding?

If we want to get brass bands more interest in the wider public domain then perhaps we need to drop some of our snobbish behaviour towards other forms of entertainment. More interaction with other musical ensembles or theatre will help get bums on seats and open up the brass band to more people.

But even this will rely on higher sections to set a role model and produce accessible arrangements. I don’t mean a joint concert where the band play and the choir sing, but where there is some form of interaction and innovation and not competition.

I don’t have the answers. I do not feel that just quality and innovation by them selves will provide an answer, as these are generally inaccessible to lower sections. I do agree that unless the movement adapt to become more acceptable and accessible we will wither.

There is often a shroud of secrecy around brass bands as well, unless we become a lot more open to share resources and ideas we will continue to shrink.

Peter Andrews

Holding my breath for innovation...

I enjoyed your latest Time Team article for January, especially as it seemed to be directly liked to your call for innovation and quality in your Editorial. 

Over the years it seems there have been calls for something, anything almost, to be done to help secure our future as a movement, only for the ideas to given the cold shoulder through a mixture of apathy and self interest.

I can only agree that perhaps we have reached a point that if something is not done to attract players and families to the movement at grass root contesting level the future is bleak indeed.

However, given that according to your Time Team article the same call has been going out now for over 40 years, I won’t be holding my breath.

Gareth Coles 

Four City problems

Thankfully Chris Wormald has highlighted some of the problems that I am sure many people are facing with Rodney Newton’s ‘Four Cities Symphony’ as they start rehearsing toward the Areas this year. 

Although an enjoyable enough piece to listen to, one wonders how much real in depth analysis it was subjected to by the Music Panel?

Not only are there the problems that Chris outlines, but there is so much of the writing which is needlessly ‘doubled’ or even ‘trebled’ especially in the horn and baritone sections. It must be appreciated that pieces at this level must be made accessible for younger players and those with perhaps limited ability, but surely more effort could have been made at times with some of the writing.

As for it being the composer’s 12th Symphony as stated on the score?  Now that really is over egging its importance surely?

Paul Stevens
Stoke

Cheesy and easy City Symphony

Am I alone in wondering who on earth chose Rodney Newton’s ‘Four Cities Symphony’ as the set work for the Fourth Section Areas this year? 

I have thoroughly enjoyed many of Rod's compositions in the past, but this one seems to have come out of the box marked ‘cheesy and easy’. Some of the scoring in particular makes you wonder if the cut and paste button was over employed at times – the three horn parts are almost identical.

I appreciate it is hard to target a test piece at Fourth Section level, but this one misses the mark by a considerable margin – trying to sort out around 25 performances at my area in London & Southern Counties will be some test for any adjudicator.  

Paul Carter
London 

Help with old music - very old music....

My band has been asked if we can perform some very old band music at a concert in the new-year, but I am at a loss to know where I might be able to locate any of the items. We would like to perform any (or all if possible) of these items, but realise it might be difficult to find them. I understand the items were performed in the very late 1800’s.
 
The pieces I am trying to locate are:
 
March – 'Spirit of the Storm' – W. Lingwood
Selection – 'Gems of Scotia' – H. Round
Waltz – Passing Thoughts – H Round
Fantasia – 'Rose D’Amour' – Bleger?
Overture – 'Don Pedro' – H. Round
Selection – 'Ora Pro Nobis' – M. Piccolomini
Air – 'The Mountaineer '– H. Round
Waltz – 'Sunshine and Shadow' – ?
March – 'Royal Standard' – G. Hawes
 
Unfortunately this is all the information I have been given.
 
I wondered if your readers could have a look in their bands library to see if anyone has any of these items, and let me know. I would be very interested in trying to obtain copies of any sets, if this is possible.
 
I would be very grateful for any assistance anyone might be able to offer.
  
Phil Peat
Thorntons Brass

4BR Reply:
If anyone can find any of these pieces yellowing away in the back of their librarians cupboard, please let us know. They deserve an airing before they turn to dust...

Four Cities clarification

Without wishing to comment or enter into any debate concerning Rodney Newton’s 'Four Cities', would the composer or publishers please clarify the following points for all bands, conductors and adjudicators who require absolute clarity of the following. I apologise if an errata sheet has already been distributed.
 
Bar 27: Timpani should clearly have F natural not Fb (see Bass Trombone) 
 
Bar 79: To be consistent with all three unison Horn parts, 1st & 2nd Trombones and what has gone before (letter B), is the Solo Cornet part correct and in conflict with all of the melodic parts underneath?
 
Bars 148 to 150: The unison notes of G in 1st & 2nd Baritone for these three bars are entirely inconsistent with the chord in all other parts (Bb minor brass band pitch, Ab minor concert pitch). If these three bars were notated a minor 3rd higher (written as unison Bb) perhaps this was the intention?
 
Finally, in the 2nd movement entitled Paris, a great many melodic dynamics appear to be incorrectly placed with the exception of the phrase from bars 159 to 166 which I believe to be correct. I therefore wonder if the diminuendi in bars 108, 116, 124, 132, 146, 154 and 210 are printed 4 bars too early? If so, bars 170 and 218 would not require diminuendi to maintain consistency. With regard to crescendi, bar 160 appears to have omissions in Solo Cornet and all horn parts.
 
Clearly, many players have impossible page turns with which to contend (well over a dozen in specific parts and movements) but the above musical points require clarification.
 
Chris Wormald
Bolton   

Equal rights for percussion

Surely the object of a band contest is to test all parts of the banding process from cornet to percussion.  If a band leaves out the percussion part because either they can't play it or they have no percussionists should be penalised.  

But why have this problem occurred, surely the music selectors can see the problems involved and should select a test piece that does not require a percussionist.  Then everyone one will be on equal terms or is that to complicated?
 
Philip Loveday 

Men of Brass answer

In answer to the LP enquiry from Russ, I have this Men of Brass record for sale on the KEITH QUINN MEMORABILIA website.
 
http://www.euph9.freeserve.co.uk/05brasslpep.htm  Scroll down to my reference number V109LP.
 
Keith Quinn

Unsustainable percussion statement

The recent statement by the ABBA concludes that percussion parts should always be played in contests, if they are included in the score.  Fair enough, no argument there!
 
The statement then goes on to say that "...the use, or lack of use of percussion, is not necessarily the deciding factor of prize winning performances".  

Surely, this is unsustainable and unfair to those bands which play percussion parts.  Apparently, although percussion should always be played when written, it is OK to leave out some or all of the instruments, if you feel like it, without any effect on the points awarded for the performance!  

To take the argument further, we all know that, for example, the solo horn part is not always the "deciding factor" in a prize winning performance, but it is nevertheless not acceptable to leave it out altogether!  Why is it OK to leave out percussion parts?
 
Hugh R Williams
Brecon

ABBA presentation

On Sunday 30th December I was privileged to attend a presentation organised by the Association of Brass Band Adjudicators. The presentation was led by Dr Roy Newsome and covered the point of view of adjudicating the 4th, 3rd and 2nd Section Regional Pieces for 2008. 

The day was sponsored by Kapitol Promotions, 4BarsRest and the publishers of the respective pieces Prima Vista and North Music Holland. The Marsden Silver Riverhead Brewery Band ably assisted the day by playing all three pieces masterfully, and there was a very comprehensive buffet lunch provided too.

Amongst some very eminent brass band dignitaries the topics covered gave a valuable insight into brass band adjudication. A very enjoyable afternoon, I hope this type of event becomes a regular occurrence.

Peter Andrews 

Horn problem

Recently the third valve of my tenor horn; Serial No: 950-744647 has been giving me a problem.

It will, with no warning, stick in the depressed  position. I have routinely kept the valve and housing clean and lubricated and can't think why this  intermittent fault has just started to happen.

A fellow player suggests that the feather may be worn/damaged so I am attaching photographs of two views.

I will be most grateful if you can offer any advice to help restore my confidence in this off-putting valve.

Norman Knapton

4BR Reply:
Can anyone help with this one? Any suggestions are welcome.

Dulcet tones

While a certain euphonium player has said that the fourth section test piece is not taxing enough I am sure that apart from myself others will be listening for his dulcet tones at the nationals. 

I know that all are entiltled to their own opinions but I am sure it is not the opinion of the whole band and would like to remind him that there is no need to publish the band name just his own.

Janet

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