10.Kirkintilloch (Martyn Ramsay)

Not a bad opening, though it features one of the quicker fanfares delivered so far today. The basses bring out the character in the Meno Mosso, and there’s a lovely feel to the section despite the odd moment of unease.

Nice Lento Tranquillo from the Scots — nicely phrased and shaped.

The Moderato also works well and is well thought out by the MD. Tiny blips are simply passed over as they carry on. The waltz isn’t bad at all, though perhaps a touch more style is needed.
 
Not for the first time today, we hear a band that is certainly pumped up at the end, and the MD does well to keep everything tightly under control.

9. Rainford (Adam Taylor)

A nice, steady tempo to open, with the dynamics kept firmly in hand. There is just a hint of caution, but this is an ensemble that feels at home with the music.

The Meno Mosso has appeal and a nice sense of style about it. The music sits well on the ear and is executed with real understanding.

The Lento Tranquillo section certainly catches the ear, with some composed and fine playing on display.

Adrenaline is pumping as they head home, but the MD keeps a tight grip on things to close the performance admirably.

10. Dalkeith & Monktonhall (James Chamberlain)

A compact and well considered account from the Scots — helped by the MDs approach to the score which didn't try to emphasise the technical aspects over the musical ones.

Again, the inconsistencies were heard but also the substantive quality in solo lines and ensemble. The little shifts in tempo gave the variations added impetus and the tonal quality was always of warmth.

The unevenness in execution may cost, but the musicality on display should reward them too.

8. Boarshurst Silver (Martyn Evans)

Steady opening with the fanfare, although not as heroic as some heard previously today.

Basses bring out the character of the Meno Mosso, and there’s a good sense of style here.
 
Nice flugel to open the Lento Tranquillo. This section flows well — it’s steady without being pushed.
 
The opening of the Moderato is okay, though perhaps it needs a touch more grace to the waltz.

The journey home certainly has its moments, and the MD keeps a sensible tempo.

Full Draw: Senior Trophy

Test Piece: Un Vie de Matelot (Robert Farnon)
Adjudicators: Alan Morrison; Andrea Price

1. Yorkshire Imperial (Ian McElligott)
2. Haydock (Mark Quinn)
3. Newtongrange Silver (Anne Crookston)
4. City of Cardiff (M1) (Rob Westacott)
5. Eccles Borough (Mareika Gray)
6. Goodwick (Joshua Ruck)
7. Newstead Brass (Martin Heartfield)
8. Brunel Brass (Daniel Hall)
9. Unite Scotland Kinneil (Allan Ramsay)
10. Dalkeith & Monktonhall (James Chamberlain)
11. Sovereign Brass (David Maplestone)
12. Roche Brass (Matt Green)
13. Pontardulais Town (Gary Davies)
14. Sandhurst Silver (Joshua Ruck)
15. Longridge (Mark Peacock)
16. City of Hull (Danny Brooks)
17. Parc & Dare (Chris Turner1)
18. Lydbrook (David Barringer)
19. Filton Concert Brass (Craig Williams)
20. Tyldesley (Neil Samuel)

9. Unite Scotland Kinneil (Allan Ramsay)

A performance that really captured the essence of folk inspired inspiration this — light in texture and always musical.

It had its moments of discomfort, but it wasn't enough to really rob the music of its character. The central section in particular had a lovely flow.

Despite the unevenness there was consideration given by the MD to his resources and to the score that made it an engaging listen from start to finish.

7. Haverhill Silver (Paul Filby)

An effective opening with sensible dynamics and a nice fanfare style from the London & Southern Counties outfit. There is an impressive bass contribution in the Meno Mosso — nice character to the music coming through here.

Flugel makes a persuasive impression in the Lento Tranquillo; the cornet follows suit, making for an impressive section. It is sensitive without being overdone.

The Moderato is certainly well controlled. There was just the odd moment, but they are not the first band today to really push the tempo and dynamics as the piece heads for the close.

8. Brunel Brass (Daniel Hall)

An inconsistent account from the West of England band, but one that still emerged in credit by its close.

The noticeable fragilities will have cost them, but the stylish intent was never lost and there was contrast in style and tempo that kept the music flowing with interest.

Some super moments added to the musicality even if there were those clips and blemishes. The euph was a fine focal point and the horns gave the core sound a rich texture. Just got a little brittle as tiredness crept in to close.

6. Ashton-under-Lyne (Paul Lovatt-Cooper)

Not a bad opening; dynamics are kept under control and there is space within the music. The basses are solid, while the cornet is lyrical in the Meno Mosso.
 
The Lento is nice and steady. The flugel sounds comfortable with their delivery, while the soprano and solo cornet blend in well. There were just tiny moments of caution before the Moderato.
 
The Moderato opens well, though there were odd moments as it progressed. The music builds momentum toward an adrenaline-fuelled close from the band.

5. Woodfalls (Michael Fowles)

Fine opening that really grabs the attention. Nice bass lines, and the solo cornet contributes well.

There's a musicality about this performance that keeps the listener engaged. The opening of the Lento Tranquillo is beautifully shaped. Hats off to the flugel and soprano as things progress; it is very enjoyable on the ear. The passage through the 'slower but flowing' section is impressive and delivered with such sensitivity.

Moderato works well, and there is real confidence around the stand. It's a lovely waltz that would even impress the Strictly judges!

The ending is impressive and tasteful, with excitement building right up until the end. This was an account so well thought out by the MD, and the band responded in kind.