Comments ~ 2008: February

Competing but at what cost; Music for South Africa and someone looking for Odin...

Competing - but at what cost?

I read with great interest the article written by Dave Roberts from Point of Ayr Band
 
You  the banding public will see a band coming back to the contesting field as great news or as the article states making a return like Lazarus.
 
We in North Wales know different, we all know what has been going on with the revival of Point  and it makes  me and very many others  shudder knowing what has actually gone on, who it has upset and what impact it has created with the banding public in North Wales.
 
Bands in North Wales are getting less and less as a recent article from 4 Bars Rest implies and with the return of the Point Phoenix there is now one more band to add to the list
 
If you look back over the past few years at Brangwyn there have been some returnees to the contesting field from North Wales, sadly none of them will not be there this year along with a few others Holywell, Gwenafield, Rhyl and Conway, are all barely surviving. Sadly Holywell a band that has made great strides moving from the fourth to the second section in a few years has sadly become the major victim of the reformed Point of Ayr.
 
It will be with great interest to see how they get on on Saturday at Brangwyn, I'm sure they will do well in their fantastic come back its a great pity to know who they have crippled to get there
 
Glynn Davies
North Wales 

Music for South Africa

I read today in the "comments" section about Joan Jonker in South Africa who is in need for sheet music. 

I hereby attach pdfs of an arrangement I have done of three Norwegian songs for soloist(s) and brass band. Please forward them to Joan, together with my regards.

I do also encourage all other arrangers that read 4barsrest to do the same!

Andreas Lien Røe
www.andreaslienrøe.com

4BR Reply:
We have sent your e-mail to Joan, so hopefully they will be playing fantastic music in the Cape sunshine from now on! 

Odin anyone?
 
I am trying to trace 2 Test pieces hopefully recorded on CD
 
They are Odin and Theme and Cooperation
 
Can you help?
 
A J Hackett         
hack35@talktalk.net  

Well done Yorkshire

Well Done to the Yorkshire Regional Committee! (and the others involved too). I refer to the initiative announced on 4barsrest concerning Young People being allowed to try a bit of adjudication in parallel to the event at Bradford in the 3rd section.

I have for some time thought we in Yorkshire had a good, forward thinking group, and this certainly confirms it.
 
To meet the composer, adjudicator and top players and really listen to the performances will really give them a buzz. I wish I had the opportunity at a young age (a few years ago) or indeed now. I note that their remarks will be published - I can't wait.
 
Best of Luck
 
Thanks Peggy and the crew.
 
Gordon Eddison  

South African help required

My name is Joan Jonker. I live in a small town called Mamre near Cape Town in South Africa. Could you please tell me where I can find free sheet music for brass bands, beginners and intermediate? 

Our brass band cannot afford to buy new sheet music nor instruments and have to use the same music over and over again. If we could get new music I think more youngsters would join the brass band. 

We don’t really have any decent youth facilities in our town and the kids who want to do something better with their time normally join the brass band or the boys/girls brigade. I want to do my bit to help keep these kids off the streets by getting new sheet music, especially music from overseas.
 
If you can help me, I’d be delighted.

Joan Jonker 

How to find the 'challenge'

Patricia Forguites writes for some information on an Eric Ball composition. I believe she is referring to his Trumpet/Cornet Solo entitled "The Challenge".
 
This piece of music was originally written for trumpet and piano and was recorded by William Overton in 1943 on shellac ("78 rpm") on the Regal Zonophone label, with Eric himself providing the piano accompaniment. 

Overton was a Salvationist, and one of the first in a long line of Salvationist-trained Bandsmen who became members of the brass sections of leading symphony orchestras both in the UK and in many other countries. Overton became the principal trumpet of the BBC Symphony Orchestra, and was a familiar face for many years on the last night of the Proms.
 
Another great player with his musical roots firmly in the Salvation Army is Philip Smith, currently principal trumpet of the New York Philharmonic Orchestra. Philip also recorded "The Challenge" - with the SA's New York Staff Band on a CD in the nineties. 

This fine recording is, I believe, still available through World of Brass or Salvationist Publishing and Supplies as part of a NYSB compilation. 
 
To go back to Patricia's original question, the original piano accompaniment was expanded by Eric into a full Band accompaniment and published by the Salvation Army about 15 years ago in its own instrumentation format (i.e. 1st and 2nd cornet, rather than rep, 2nd and 3rd) . 

The piece is still available, again from WOB or SP&S. I am not aware of a wind version, but I imagine permission would be given for the instrumentation to be adapted for different instrumentation, if required.   
 
 Alan Moyse

Contact SP&S

I believe Patricia Forguites would be well advised to contact the copyright owners, SP&S Ltd, about a concert band version of Eric Ball's cornet solo "The Challenge". 

Without their written permission, any arrangement of the piece would be illegal.
 
Brian Bowen 

Made your points - now end it...
 
Jim Owen and Janet Bennet, I think you have made your points and could you please end this literary sparring.
 
Ken Wolstenholme 

Adhering to the score!

In reply to Jim Owen regarding my comments, no, I am afraid the music would not be boring if we adhered to the score!

The music would be brought out in the style as intended by the composer; however, I think he is missing the point.

My point is, the only way a level playing field can be achieved is by adhering to the guidelines set out. If people just play what they like in regards to tempi etc, the judge is not judging the whole picture, that is, the ability to read the score.

I spoke to a very famous judge yesterday, he said he tries to find the best band. Whilst I agree with my heart, does that mean that because a passage is fiendishly difficult and marked at a steady tempo, is played by the best band at a ridiculous speed to show it's strengths, it wins because it is the best band?

I love music and love being musical, but I believe that with conductors that cannot read a score, ie: some that believe Largamente to mean a direction as to tempo and Allargando to mean virtually stopping etc, these need to be found out and punished accordingly.

Unfortunately, with the amount of conductors in charge of these high profile bands doing EXACTLY these things, the other incompetent ones get away with it!

In our piece, James Cook, Rodney Newton quotes "a cadenza like passage" when has with panache ever meant cadenza? (I mean no offence to RN, we are friends.)

This, it appears, is how it has always been played. I suspect this was done because of a past cornet player's inability to play the low notes quickly as marked, do they get punished for this weakness, it would not appear so!

In most, if not all Vinter's music, when a cadenza is required, it is marked, why should this change now? I am in favour of being different, people who know me know that, but come on, let's get some people that can read score in the box, and have the guts to punish those that can't

If we can't do this, we will always have "strange results", the movement will remain stagnant because change will not be allowed to happen, but then again, we love it, me included!

In reply to Pete, yes, in your piece there are no tempo markings, but Presto is the guideline and you have the right to play within that guideline.

PS: Speaking of change, I was looking through some old area programs from the sixties, I think the prize money for the top section was about £150, what is it today, £250 ish? Food for thought, maybe controversial, but can we really be taken seriously outside our very small stagnant pond with this sort of 'progress'?

Good luck to everyone at the areas.

Billy Rushworth.
Cleckheaton

It's more about enjoyment

In reply to William Rushworths thoughts on the upcoming areas I have one or two points to add.
 
I don’t share the view that all adjudicators base their interpretation on their own recollections of playing the piece or listening to the CD. There may be occasions when this has happened and this has been remembered because it is the exception and not the norm. 

How many times have adjudicators reached the right decisions and not been acknowledged for it, but as soon as there is a ‘slight’ disagreement they are remembered for years because of it?
 
I feel that we are very unappreciative of our adjudicators. They are a very experienced and knowledgeable group of musicians, who attempt to do a difficult job, only to be shot at by anyone who feels slightly aggrieved. Very few people have as much playing, conducting and adjudicating experience, but nearly all feel they can do a better job. Could they really?
 
The third section test piece states Presto in places, but has no metronome markings. My research has found markings between 138 and 200 bpm. Which do I play? Hopefully I play the one that I feel best suits the music and which the band can play well. Is it right? Only the adjudicator’s opinion will decide this. 

The Fourth Section test piece is marked Pesante in the 4th movement. How heavy is heavy? Conductors have to make their own decision and hope that the adjudicator agrees. 
 
I have played under William and find him to be a very musical and knowledgeable conductor. I do agree that sometimes conductors take their own interpretations too far, but they are not always successful. 

Everyone works hard towards the areas, but only one band can win. They still have to play the dots correctly, observe dynamics and do all of the other things in order to play well and win, not just do something a little adventurous or different.
 
I have heard recordings of classical music, performed and conducted by well-known names, with hugely varying interpretation. Each are accepted because they contribute to the musical world and enjoyed by the public. Perhaps because we are competing we take things a little more personally. 

Lets just participate in the occasion, appreciate the music however it is performed, congratulate the winning band and enjoy the day – that’s why I play, for enjoyment!
 
Peter Andrews 

Excellent Fodens

I was privileged to attend two excellent concerts by the Foden's Richardson Band in Armagh. The first was a special matinee concert where the band accompanied young soloists from across Northern Ireland.

The standard of their accompaniment was matched only by their enthusiasic cheers and support for each young player, ranging in age from eight to eighteen. I wonder how many top bands would be so willing to support and encourage such raw talent?

And after two hours rehearsal and two hours of this matinee, they went on to give a world class concert in the evening.

The programme had something for everyone and Michael Fowles' introductions to each piece were very insightful. One of the best concerts I have ever attended.

The following weekend saw the Northern Ireland solos and quartets. Again, a well organised and most enjoyable day from the under 12 solos in the morning to the fine playing of the senior solo section. Well done to Alan Hunter and the Brass Band League NI.

B. Pinto
Belfast 

Seeking Faith

If Gordon Ellison is still wanting copies of Faith by Sam B.Wood, please get in touch.
 
Charley Brighton,
Slough 

Seeking Eric Ball's 'The Challenge'

About 2 ½ years ago, I started a search for a band arrangement of a The Challenge for Concert Band by Eric Ball.  At some point I found an article on Eric Ball at 4barsrest.com (http://www.4barsrest.com/articles/2003/art346.asp#top). 

I was not successful in finding an arrangement so sought out local HS & College Band directors in the hopes of having such a piece commissioned.  No one had the time (or interest?).  Along the way I believe I read that a band had actually played this piece – which would mean that a score exists somewhere.

Are you interested in a mystery?  Would you know anything about this or how I might re-start my search?

My original intention was to present this piece to a friend on his retirement of 30+ years of teaching music in New York State public schools (last June).  He, of course, was a trumpet major in college.  He played The Challenge at his junior or senior recital (my memory does not do me well at the moment) which brings back some great memories for him.  

He is president of and conductor of his local band and while I missed his retirement date, I must confess a continued interest in obtaining such an arrangement and presenting it to him, with the hopes he might play it with “his” band.

Can you be of help?

Patricia Forguites

4BR Reply:
Any ideas or help anyone?

Not everything should be black and white

In answer to William Rushworth, I must say that  music today would be boring to listen to if everthing was played black and white as per the conductors score! 

I am reminded of an instance some 35 yrs ago when at a lower section London final, the composer was the adjudicator.  I was asked to collect the remarks, and the chap in front of me looked at his remarks which said that his band's opening tempo was a little fast. 

He quickly retorted to the unfortunate composer that his band played EXACTLY the tempi that was written down.  The composer simply responded with " the tempo marks are only there as a guide"  At which point he was punched in the nose by the irate loser.

That has always stuck in my mind, and the lesson learned here is that musical interpretation is a wonderous thing, i.e. what may be good at 100 b.p.m. on one band may be too fast for the next band, a lot of course depends on the prior and subsequent movements of that piece.

The black & white route would only leave the adjudicators to the task of listening for bum notes, so lets not go down the "if its on the score, it must be right" route, and let us carry on MAKING MUSIC.

Jim Owen

Perhaps it should though?

I have to fully agree with the comments of William Rushworth with regard to adjudication, especially in the forthcoming area contests.

We all start with the same dots with the same markings on the score so we must presume, with the allowance for some musical expression, that the adjudicators use the same score and see the same things.

They must put aside any outside influences whether it’s a recent recording or remembering how so and so conducted it in 1972, treat the score as fresh, read the marks as the composer wrote them, it’s so easy, it’s all written down in black and white.

Having heard all four selected pieces for the areas, they all have their moments. The Fourth Section, although much has been written about inaccuracies, it still needs to be treated with respect, unison sounds abound, beware.

The Third Section is a real test for that section, and maybe too much for many, even if you can get hold of enough percussionists at that level. The Second Section piece has the most beautiful slow movement that will sort the men from the boys.

The First and Championship pieces could easily be swapped about but here again much time and effort are put into this once a year tournament that the adjudicators need to heed my first points.

The area contests mean so much to the individual bands that ALL placings in the final results need to have had careful consideration from the judges.

Maybe a series of contests need to be aggregated to get a farer league placing - but that’s for further discussion. Best of luck to all the bands but perhaps it shouldn’t be luck perhaps it should be to do with what’s written in black and white?

Stuart Morgan
Hathern Band

Salvationist plea

There are many Salvationist bandsmen/women, both here in the UK and overseas who sincerely appreciate the creators of 4barsrest and other brass band web sites for keeping musician members of The Salvation Army aware, not only of brass band news, but especially SA information and activities.
 
When it was decided to put to rest "The Musician", a weekly periodical with a world-wide distribution of 25,000 copies, one of the reasons given was that it was no longer financially viable. 

In this same period of time the S.A. Book Council was giving approval to hard back books being printed where 80% of them remained on the shelves of SP& S Ltd as being unsaleable.
 
The periodical to replace "The Musician" was, and is named  "Salvationist". It would print more news about corps (church) activities, allowing "The War Cry" to concentrate on a non-army market.

A promise was made that there would be at least four pages in this new issue devoted to music matters and activities to make up for the loss of  "The Musician". Readers of the present day Salvationist must make up their minds if this promise was, and is being kept!
 
Around this time of change there appeared in this new periodical quite a number of anti brass band letters, and to compound the matter, it was decided to introduce a new form of music presentation, in which these new groups would not only participate in services, but also introduce and accompany new, modern hymns, partially replacing the S.A. song book. This new group would be called "Worship Bands".

No guidelines were sent to corps (church) officers as to form, dress, music arrangements, code of conduct, a new era had arrived. Many Salvation Army bandmasters and bandsmen/women world-wide were deeply hurt by this inference given in the title, creating a feeling of being unwanted and discarded.

It would appear from history that this move marked the beginning of the demise of brass bands in the SA in this country.
 
From this time onward, with more and more encouragement being shown towards "Worship Bands", fewer people were coming forward to accept responsibility for senior and youth brass band leadership and teaching and capable men and women, rather than becoming more involved with the brass band scene were opting for early retirement.  

Young people's brass bands became smaller in number, but staying alive by more girls becoming involved in both the senior and junior brass bands.
 
The yearly intake into The Salvation Army Training College in London rapidly decreased, with a good number of candidates (students) coming from a non SA background. For many years probably around 85% of candidates for SA officership  (ordained ministry) had been very much involved in their own local senior and junior brass bands, either as playing members or leadership.
 
Now, if reports are correct, a good number of officers (ordained ministers) do not appear to have much warmth and enthusiasm for brass bands. It must be said though that on a positive note, there are small pockets of encouragement where you will find healthy young people's musical activity, to name Hendon, Croydon and Bromley in the greater London area as an example
 
The International Staff Band, along with many other well known corps (church) brass bands in the U.K frequently undertake what is known as in S.A. circles as "weekend specialling". 

Leaving their homes usually on a Saturday morning, they will travel many miles to a corps (church), give a concert on the Saturday evening and Sunday afternoon, together with family church services, returning home late Sunday evening.

What was once front page news in "The Musician" for these bands, together with action photographs, is now a five/six line paragraph deep inside the "Salvationist", the inside front page reserved for quotes from other church newspapers.

Visits of overseas brass bands to this country do not appear to be newsworthy and overseas tours of our British S.A. bands, even as far as Australia and New Zealand do not appear to warrant any pre-tour information or coverage and hardly any news when they return.
 
There are many people who still love the sound of a Salvation Army brass band, and if numbers attending their concerts has fallen off a little, and this is debatable, bandmasters are anxious to take a serious look at programme planning and change if this is required.  Regent Hall and Hendon bands setting an example.
 
Every New Year Salvation Army Leaders come up with ideas for promoting various aspects of Salvation Army life, from cradle to Over Sixties clubs.

Maybe, just for once, they could seriously give genuine consideration to regenerating enthusiasm for our Salvation Army brass bands, bringing back into our ranks youth and man power so easily lost to the S.A. in the past, and openly showing that they still believe a brass band has a place in this ever changing army   ---------- or maybe it hasn’t!!

G. Whittingham 

BFBB response

I enjoy the comments section of 4barsrest because it gives people the chance to air their thoughts and therefore their real concern for the well being of brass banding in the UK, Europe and indeed the world.  If the commentators were not passionate about brass banding they wouldn't bother to put ‘finger to keyboard.’
 
However, sometimes in their zeal to show their concern many incorrect assumptions or errors of fact share the platform with their valid points.  I know that Alec Gallagher is one such concerned bandsman and so I am sure he will allow me to comment on some of his latest remarks concerning the BFBB.
 
Concerning membership and representation, the BFBB is a registered charity and its objects are “to maintain, improve and advance the education of the public through the promotion of the practise and performance of Brass Band music by representing and furthering the interests of the Brass Band movement in the United Kingdom comprising all those activities that are associated with Brass Bands.  

The income of the Charity shall be applied in promoting these objects.”
 
It is the only National organisation working for Brass Bands in the UK, funded by member bands, through their subscriptions, and the Arts Council as a regularly funded organisation.  It is open to all those interested in brass banding.  Whilst the majority of members are generally bands there are Associations and individuals who are also members.  Ken Hirst, the membership secretary, records details of the membership.  

The numbers are not provided by information from the Associations to which they belong.  As members they can represent themselves and not as Alec would suggest, through their Association.  All members are entitled to attend and vote at the AGM and elect the Trustees/Executive. 
 
I believe that having over 50% of contesting bands as members is very positive but we need to do more to attract even greater numbers.  Alec is not alone in the idea of membership by individuals rather than by bands but if you are in a member band then why not be that band’s representative.
 
If you read my report last year, I too agreed that the subscription was too low, as it had not been increased for a number of years.  As a result the AGM agreed that it would be increased to £100 for the 2008 subscription.  

Elsewhere you will have read that we have again achieved another 3 years of Arts Council funding, thanks largely to hard work by our Development Officer, Phil Watson.  I trust that answers Jon Evison’s concern.
 
If you are concerned about brass banding I sincerely ask you to ensure your band is a member and then come and represent it at this years AGM in April.
 
Finally, a reply to Neil Clarke.  The BFBB did commission Simon Dobson to write the B section test piece for the 2007 European Championships in Birmingham and it was extremely well received.
 
Nigel Morgan
Treasurer, BFBB 

It's all in black and white

It’s Area time again, and with all the past discussions regarding adjudication, ie: criteria and interpretations etc. I am writing this letter in the hope that firstly, it gets printed, and then maybe eventually read and taken on board by the powers that be!

On the subject of criteria, why don’t adjudicators try reaching their decision by reading what is actually on the score in black and white? Now that would be a miracle!

For whatever reason, judges appear to base their ‘Interpratation’ by some recollections of playing it under the direction of some ‘genius’ 50 odd years ago, or even worse, by listening to a regionals CD!

Conductors who in the main have been successful, have done so by deceiving the adjudicators,ie: making big effects, faster, louder, quieter, reading Ritenuto for Allargando and Presto for Allegro etc, the list is endless.

The band’s position should be judged on the performance of the players AND conductor, if he does not portray what the composer has put on the score, he is guilty of one or two things, he either, cannot read a score, or worse still, is trying to gain an advantage by showing the judges how clever he is by deceiving them, either way, this should be severely punished, placing wise, no matter how good the band are.

Competition should be just that, not a musical festival, interpretation, where the composer has marked specific instructions, should never come into it.

I was very fortunate to take my band to first place at the 2003 Grand Shield playing Tallis Variations by Phillip Sparke, we were so fortunate to have two adjudicators in Bram Gay and James Williams who judged what was in front of them, most bands that I heard that day were copying a very fine conductor’s interpratation, very fast. 

Unfortunately, this is the exception to the rule, because people in general, don’t know any better than to think the winning performance of a certain band in a certain year was correct, what a shame.

In closing, I was once told you either go with the flow and put up with it or retire, it is a shame that this appears to be true, because we also see regular  letters about our dwindling movement, this, in my opinion is because players like myself who have retired, share my views but know that nothing will change.

I have had a wonderful time in banding and just hope all the above can be taken on board and maybe just slow the decline within our movement that is there for all those to see that care to look.

William Rushworth 

Well done Norway

I sit here amazed and yet somewhat deflated at your excellent coverage of the contest in Bergen. We sit here pontificating about where banding is going wrong in the UK... and suddenly  I find that our comrades over the water are being broadcast almost live to the entire world over t'internet. ( thank you Peter Kay).

How can we expect to sell/promote/develop  our great national product when we lose such a great  marketing and the media opportunity...I listened to /watched   quite a few of the performances and enjoyed every minute..there was some great playing... and it did not cost me a penny... or is it the bums on seats / cash angle what stops it happening here?
 
Well done Norway for being brave enough to share its music-making with the entire world... for nowt!!
 
Despite my Northern rhetoric I would have loved to share our recent performance down south at Yeovil with the rest of the banding world who couldnt make it down there!!
 
If the live broadcasts of contests was a "goer" in this country I might even consider watching Yorkshire bands...then again !
 
Is there room for an entrepreneur out there to make this happen....what  about yourselves 4Bars?
 
 
Dave Aston ( Ex Lancashire )
PolySteel Band 

We want to come to Britain
 
I am the leader of a Norwegian Brassband that hope to travel to England and compete in a Brassband competition during the summer months in 2009. 

Can anyone recommend a competition that could suit us? We played in this years Norwegian Championships and came 7th in the 3rd division.
 

Martyn Goldsby-West
E-mail.: martyn.goldsby-west@arvidnilsson.com

4BR Reply:
I'm sure someone will be in touch 

Great service

Just a quick note to say thanks for your fantastically quick delivery (once again). I ordered a CD from you at 3 on Friday afternoon, and it arrived on my doorstep at 9 the next morning. 

I didn't think that was even physically possible by Royal Mail anymore! Congratulations, and keep up the good work!

Iain McKnight 

You've got to have faith

Very interesting and informative to get a run-down of the piecs played at Yeovil.
 
I was very interested when I read that Polysteel played Faith , is this the piece written by Sam B Wood? The last time I saw that piece was with a scruffy original manuscript part at Hammonds many years ago.
 
If it is the same PLEASE can I have sight of it again?
 
Eternal gratitude would follow and pints of amber nectar
 
Gordon Eddison
Burley in Wharfedale

Obstacles for the BFBB

Jon Evison is critical of the BFBB, and no doubt the Federation will use your columns to defend itself.  In the meantime, may I point out a couple of the obstacles it has to overcome? 

Firstly, the BFBB currently has approximately 300 member bands, yet the Registry, which it administers for contesting purposes, has 550 bands on its books, and there are of course many other less 'visible' bands who do not contest.  

At a glance, then, the Federation barely represents 50% of bandsmen in the UK.  It is important to understand that that the BFBB's first duty as a membership-based organisation is to its members, and its members only - it cannot and should not seek to represent the whole of UK banding.

Secondly, the member bands are, in reality, generally represented not by their own delegate, but by a representative from the local Band Association of which they are a part.  I suspect this is the reason why the BFBB are always rather vague about exactly how many member bands they have - because the Associations do not keep them up to date with local membership figures.

These two points are significant for two reasons - first, it can be seen that bandsmen themselves are twice removed from direct contact with the Federation, and as a result they have little sense of engagement.  This lack of communication leads to disinterest, ignorance and apathy.  I would bet a modest sum of money that more than half of the people reading this letter do not know if their band is a Federation member or not.

Secondly, because membership by band is preferred over membership by individual, and because the annual band subscription is so ludicrously low, there is a significant financial shortfall, and there is of course a direct correlation between money and what you can achieve.  (The current annual subscription for bands is £65, which works out at £2.60 per head per year for a 25 piece band.)

And of course the financial situation is further exacerbated by the 50% of bands who are not members at all and therefore contribute nothing.

A while ago I offered a possible solution to the above problems.  At the time the BFBB were planning the inaugural English Championships, and I suggested that only bandsmen who were individual members of the Federation should be allowed to participate.  There are, after all, thousands of membership-based organisations whose activities are 'members only'. 

There would have been an element of coercion, of course, but of a friendly type and with potential rewards and prestige in return.  As we know, it didn't happen - in this country, at least.  I did notice, however, that the Federation of Australasian Brass Bands has adopted a scheme along similar lines and is using the inaugural Australasian Open Contest in October to get the system underway.  (I'm not claiming any credit for this, incidentally!)  It will be interesting to see if it works.

Two things are required for success – charismatic leadership, and an act of faith on the part of us, the bandsmen.  The BFBB cannot be blamed for the chronic lack of leadership in the past, but they would be able to lead more effectively if they had the active support of us all.

Alec Gallagher 

Who am I? I'll tell you who...

In response to Jim Owen regarding who I am and why do I only sign my name as Janet.

For the record my full name is Janet Bennett and I live in St. Helens and I am a fourth section band widow. I do not hide behind my bands name or is that to throw the people of your town/area off the scent that their idiot is missing.

I like to read what a composer thinks and why he has done this as it gives a valuable insight or we would all play it our own way.

I think this man would question Mozart about his subtle key changes and then suggest maybe to add a pause and start a new idea. I do get upset that he uses the band name as do many players, as we feel he thinks he is the unofficial spokesman for the band, we all have opinions and 90% are not his.

On a lighter note I think 4br could have a new feature and call it "Ask Jim" where he would dish out self opinionated advice I could do couple for him eg. I have bought the "Times" and wish to add my voice on the letters page how do I do it. Answer -  "write to the Mirror."

And  "I do not like the test piece chosen for the nationals as I have to play in tune and use dynamics and balance with the rest of the band" Answer why not play something you like, like that well known 80's classic "the Lincolnshire Poacher" or any thing that has a euphonium obligato.

On a more serious note I would like to offer my congratulations to Farnworth band for their win at Preston and their soprano cornet player for winning best soloist prize and finally they should win a special awards for tolerating Jim.

I know its hard work to have one really good conductor and then a know all who distracts the rest with his font of musical knowledge picked up from the back of a cornflake box or andrex roll (other Toilet rolls are available)

Janet Bennett
(professional band widow and ex player ) 

Anyone noticed?

Has anyone else noticed that the Pontins Second Section test piece for 2008, ‘The Royal Mile Suite’ by Alan Fernie was used in the Third Section at Butlins in 2005. 

Mike Kilmartin 

Let me try again - anyone?

I am keen to obtain some of the soprano solo with brass band arrangements on the Dedication CD of Brian Evans. I have managed to find 'Let me try again', but am not having any luck in finding the others. 

Please could you advise me as to where I can order them?

Malcolm Isherwood 

Memories from the USA

I was looking up the names of brass bands that I listened to when I was a young lad in Yorkshire. I decided to type out the name of my favourite band i.e. Birstall Old Prize Band.

They were my favourite band simply because my dad and my older brother played in that band. I saw Edward Griffiths picture on the computer and read of your career and your beginnings and congratulate you for your service to music.

Yes! I remember Harry Smith. I remember George Clough and others.  I went every Thursday night to practise to just sit and listen. We went to the old bandroom up Victoria Street. Harry Smith to me was brilliant and did not mince any words and got great results.

My dad was Archie Marsden my brother was Roy. We just lived up High St at number 63. I went to several band contests at York, Leeds, Morley, Osset etc. It was great.

I emigrated to the U.S.A. in 1962. I’m still proud to be a Yorkshireman. I wish you all the best and thank you for giving me a wonderful memory of the town I was born in. I always teased my bairns that two famous people were born in Birstall. Me and Joseph Priestley.

Alan Marsden

Great, decent and gripes at RNCM 

I recently visited the RNCM Festival of Brass, and had a fantastic time. The choice of music is wide and varied, and I have to say, not all to my liking. However, that is part of the beauty of the Festival.
 
The best music of the weekend, apart from the healthy dose of Sparke, came from the pen of younger composers. Peter Meechan and Simon Dobson are already known for their works, and their contributions to the weekend were most enjoyable - their music comes from a different place to much of the music written for brass band, and is all the more enjoyable for it (When will a big contest actually have the stomach to commission one of these composers?). 

Gavin Higgins seems to be a few years younger and he, like Lucy Pankhurst (Whose music was heard at last year's Festival), will no doubt be the composers who hopefully follow Meechan and Dobson into the contest arena, in terms of their compositional output.
 
Andy Scott's new work for tuba soloist and band was also something new, interesting, and very attractive to listen to.
 
However, despite all the positive-ness surrounding the Festival, I did also have a few negative observations. Firstly, with so much new music on show, where were the members of the Nationals Music Committee to hear the magnificent new/original works? I made it to all of the concerts, and am pretty sure that none of them were there (Although never say never...).
 
Secondly, when there's a weekend of such fantastic music, all high quality (Again, even if it were not to my taste), did some of the bands insist on playing the encores that they did? Black Dyke's was very much not in keeping with the festival - performing a cheap "composition" (It all sounded a little familiar to me - too much E.T. maybe?), and they weren't the only ones either. 

Foden's on the other hand, chose a work of pure quality, and it comes of no surprise that with the conductor they had in front of them at the time, that it was tasteful and poignant.
 
My third gripe, similar to the first, is where were all of the adjudicators? I saw one or two (I am sure I saw Malcolm Brownbill and Steve Mead), and I may have missed one or two too; but here was a festival, full of many new and/or original works, being performed as MUSIC - not contest performances. Not many of these bands and conductors would have performed the pieces on a contest stage in the manner that they did on the RNCM's concert stage. 

Surely we would be a musically healthier movement if, at contests, bands attempted interpretations of high musical values, rather than dumbing down to the box, making it a shoot off between the fastest, highest, slowest, quietest etc. Adjudicators could have learned so much (Bramwell Tovey's Contest Music would have never won a contest, but was so full of rich musical intent and value. I know which I would prefre to listen to 20 times!)
 
But it's not just judges and music panel members that wre not there, where were many of the older statesman of the movement? The people who are still looked up to by many  if not all in the movement - the Broadbent's and Newsome's of this world. Have they ever been.
 
So thank you Paul Hindmarsh and the RNCM for hosting a fine event and long may it continue, but please, please, please can other people see it for the oppurtunity that it is - one to make our movement better.
 
Neil Clarke 
Doncaster 

The Deserving Poor?
 
I would agree many bands have done well from a number of lottery and other funds and there is still, thankfully, some of this funding about. My band has launched three bands over the last 4 years and now teaches over 70 children with help from these funds, we have also had two nice hits from the Arts Council and a good lump from Arts & Business. 

I would agree that nationally perhaps some of this funding has not been successfully applied to projects, but then that is the case also with other groups and organisations outside of the banding movement. We must however recognise that a lot has been successfully used and to lose this money would be a disaster.
 
Regarding the puzzling attitude that the recent publicity won't do any good, it needs to be recognised that with the Olympics coming up, funding will tighten dramatically to the Arts and we had better put our case forward, as be assured that Opera, Ballet and Orchestras will do and have been in deep negotiation with government and cultural bodies for some time. 

And is all their funding giving value for money? Why leave it up to just a few of us and a couple of local MP to work for increased Brass Band funding? If you know of a better approach please expand on it but don't knock those who are at least trying.
 
Finally I find it distressing that our regional and national bodies appear unable to co-ordinate a coherent response to this funding question. In December I emailed a request to the BFBB development officer to this end, (incidentally this same letter was printed in the Bandsman), but am yet to receive a reply. No surprises there then.
 
So what should the BBFB be doing? 

1.Set up a well researched web site so all bands, their members and supporters can lobby their MP's and relevant quangos.
2. Include a press and publicity brief.
3. Co-ordinate a national press campaign.  
4. Have a list of well thought out needs that funds can be applied to, ie, revenue, development, artistic, tutoring, business planning, buildings, instruments, repairs, commissions etc.
5. Apply for ongoing funding from the Arts Council for National development, BFBB services and regional support. (If they haven't this year they've just missed the boat for 3 years)
6. Emphasise youth development locally, regionally and nationally.
7. Stress British Brass Band's place in their communities
8. Qualify Charitable endeavours.
9. Stake a claim to National musical heritage.
10. Show social cohesion.
 
etc. etc. etc.        And don't forget we're in show business.
 
But you're right 4barsrest, it ain't going to happen, that's why we're doing what we can ourselves. And the few of us who are switched on? Well, we will still keep filling in the grant applications.
 
Jon Evison
Barton Town Band    

40 years of percussion

It is indeed surprising that after the passing of 40 years, there are still those who resist the inclusion and moreover the importance of percussion in the Brass Bands of to-day. 

I recall that when percussion was allowed into the contest arenas, there was a great deal of misgivings and that the"drums would hide the technical detail of the brass players"! That is the case if anything is played out of musical balance such as having basses or trombones wrongfully using fortissimos where they should be playing the dynamics as marked in relation to the composers marks for other sections of the band. 

For bands to move into this 21st century all generations of players must accept that percussion is now part of a bands' instrumentation. 
 
There is however a valid point where it is difficult for lower section and less well off bands to field percussonists for reasons of availability of funds, players or equipment. 

Would it therefore be worth considering that for contest purposes, the organisers use older test pieces where percussion was not called for? This would also make it necessary to recall some wonderful old pieces that just sit in the library never to be seen again.
 
George Jardine 

Don't let standards slip!

I discovered 4barsrest in the early days and love the service you provide, but over the last few months it seems that you've lost interest or got too busy!
 
One of your highlights used to be the live updates throughout a contest day.  Where have they gone? 

Your accuracy and editorial standards recently have been appalling - just in the last 24 hours you made mistakes in the points and prizes for Yeovil and I counted 7 grammatical & spelling errors in the latest news item on Polysteel.
 
Come on chaps, please don't insult our intelligence with this half rate service, we all know you're better than this!
 
Vicky Fisher
High Wycombe

4BR Reply:
Apologies to one and all for the errors on the weekend - the Welsh contingent was a bit worse for wear for understandable reasons... Things will be back on track ASAP.

An innovative look at innovation 
 
Here's a new suggestion for a prize for Butlins Championship Section Contest - "We did it our way" award for the band that actually used it's own registered players!  

It was like a who's who of several other top bands looking down the ranks of some of the entrants. 

I know the rules allow it, but why? Looking at the judges remarks and criticism about "innovation" in the entertainment section - perhaps a band could sign up "Trigger" to enhance Light Cavalry or "Buzz Lightyear" for The Planets?
 
Putting tongue back away from cheek!
 
Gordon Eddison
Burley in Wharfedale 

Arts Council figures?

It is interesting that the Arts Council has defended their giving over 100000% more to opera than to brass bands by stating that opera costs more to stage. 

On average, taking into account how many people brass bands benefit from things such as 'bandstand in the park' gigs, opera probably takes more than 100000% more profits, to benefit less people - significantly less people.

Tim Foxley

Harsh remarks

I would just like to say I have just read your review on the entertainment part of this years Butlins competition, and I personally found some of your remarks very harsh and feel that you could really dishearten some of the performers! 

I especially believe that some of your comments made about Thorseby Colliery Band are just plain rude! As I was sat in the audience for their performance and found it very entertaining especially the ‘Battle of Trafalgar’ piece yet you cast judgement about every single part of it.

Yes, you probably think I’m just some moaning fan and you are the experts.  I just felt I had to express my opinions as if I was a member of one the bands you so rudely comment about then I believe it would make me feel like I hadn’t even tried and yet these performers put all their effort in and all you do is put down their performances.
 
Pauline Ward 

Tell it as it is

I read with dismay some of the comments sent to 4BR about the way in which you reported on the Butlins competition – especially in the Third Section. 

I listened to all the bands in the Third and Championship Section on the Saturday and have to agree with Iwan Fox’s analysis – it wasn’t very good at times, especially in the Third Section where a combination of a difficult piece, poor basic playing and direction from some conductors made it a very mediocre standard.

Keep telling it as it really is – even if sometimes people don’t like it. It’s time we realised that not everything we do is as brilliant as we may like to think it is.

Peter King 

RNCM omissions

Having just come back from the RNCM Festival of Brass I was intrigued to read the concert reviews put up by 4BR. 

It’s not often I find myself agreeing with much of what you say, but on this occasion I felt you hit the nail on the head. The overall standard of playing was very good this year, and the selection of music played had enough variety to keep everyone happy.

However, are we to be told why a number of pieces were dropped so close to the date? I was especially looking forward to ‘Masters of Space and Time’ by Bruce Broughton, which was rather disappointingly replaced by ‘Contest Music’ (which although great has had its fair share of performances).

We now the bands are busy etc, but not to give any explanation seemed a touch churlish.

Lyndon Powell
Manchester 

Music learning?

When reading Jim Owen's response to Rodney Newton's Analysis of "Four Cities Symphony", I couldn't help but raise a smile of recognition at his attitude.

Not so long ago, a guest conductor came to conduct us as our usual conductor was not well. All was going well, the conductor was very knowledgeable about all things musical and shared his wisdom with the band. He talked about breathing and posture, and also talked about the history of the pieces we were playing and the lives of the composers who wrote them.

Most of the band considered the rehearsal to be enlightening, interesting and productive. I couldn't help but notice a few grumbles of discontent from one or two of the more senior players during the rehearsal. After the rehearsal we had a quick committee meeting to discuss the various issues of the day, but it was noted that one committee member was particularly irate for reasons unknown.

When asked what the problem was, he replied "If that conductor ever comes to our band again, I'm leaving. I came to tonight's rehearsal to play in a brass band, NOT TO LEARN ABOUT MUSIC!!!!!."

After a few seconds stunned silence, there came the biggest roar of laughter you've ever heard from the other committee members present. However, the person involved failed to see the funny side.

Gareth J. Edwards 

Fantasy for Brass Band
 
The piece 'Fantasy for Brass Band' by Joop van Dijk, is published by Alcedo Atthis Music (www.alcedoatthismusic.nl)
 
Bert Van Thienen

Website

To the person who was looking for a piece of music written by Joop vanDijk: Joop has his own publishing company called "Alcedo Atthis Music"and his website is http://www.alcedoatthismusic.nl/

The piece in question is listed on this website.

Jan Houben 

Well done Yorkshire

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