The tragic death of 20 year old Coalburn player Beth Mae Damer placed the fleeting emotions of celebration and disappointment for competitors at the Scottish Championship in Perth into stark context.

Out of sympathy for the family and the band, the details were not announced at the event itself. It was an appropriately respectful response from the Scottish Brass Band Association, who were left stunned by the news.

Poignant

The moment of reflection observed after each section for those lost to the Scottish brass band community, as well as those suffering in the Ukraine conflict, became ever more poignant before the announcement of the result of the Fourth Section, where Coalburn Intermediate Band was to have performed.

The thoughts of not just of Scottish banding but those from the wider brass band movement are with the family at this time.

Whitburn titles

The Championships themselves ended with titles and accolades for Whitburn and Prof Nicholas Childs.

This was the West Lothian band's 21st Scottish Championship success and the MD's tenth since 2001. The weighty Hannaford Jubilee Trophy was accompanied by silverware for the winning conductor, best cornet, soprano, horn, euphonium, bass, bass section and percussion.

They will also represent the nation at the European Championships in Malmo in 2023.

For the Black Dyke Director of Music, he will look to add to his record of 38 Championship Section Area titles in Durham, whilst the duo will be reunited at the Grand Shield in May — a contest won together in 2017.

Following the latest success, Prof Childs told 4BR: "I'm delighted for the band and the players. It was another hugely enjoyable link up for me. We all knew just how demanding the challenges were on 'Contest Music', but everyone delivered so well — especially 1 meter apart.

Whitburn is a very fine band and I'm looking forward to the next challenge with them."

Stamp of authority

As was heard in Perth, they certainly present a formidable musical partnership that will be many people's favourites at Blackpool.

The stamp of authoritative class over domestic rivals was evident, although they know that they will have to up their game markedly if they are to make a return to the British Open.

Confident and cultured on an interpretation of great certainty of thought, there were moments of individual unease and ensemble intonation heard throughout, meaning victory was clear cut rather than emphatic.

Adjudicators Sheona Wade and Sandy Smith picked up on both.

"A performance with some great moments, well done solo cornet", she wrote. "I really enjoyed the drive and detail of the 3rd mvt but I missed the ethereal beauty of the 2nd in places."

Radar

Sandy's 'radar' (a point made about a form of GPS musical intuitiveness) also picked up the signs. He wrote, "Some really good stuff here — lots of detail. A few individual frailties and the odd "unforced" error".

The duo also spoke at length about what they had been looking for; the keys being transparency of detail, definition, balance and dynamic contrast — especially in the middle section where an opening trombone trio played at a piano marking was rarely heard.

Sheona highlighted the need, "to pass the musical baton" with the linear phrasing, with Sandy using that 'radar' analogy to highlight the need for players to link the 'fragmented' structures of the Heaton score. There was no "smoke and mirrors" about this writing he added.

Both laid out their assessments clearly. Sandy's summing up that there was "some good playing today" and "nobody disgraced themselves" was an accurate reflection of the standard.

Inconsistent

It also reflected the musically engaging, if inconsistent performance from defending champion, the cooperation band from the number 1 draw.

It was never really going to be enough to secure a first hat-trick of titles since 1998 if Whitburn (drawn 6) played anywhere approaching the top of their expected form. And so it proved. Russell Gray's lyrical interpretation was pockmarked with errors. Third place spoke of a band of talented elements (awards for 'best' flugel and baritone) rather than a cohesive ensemble body.

The 'coop' head to the Europeans in Birmingham in need of a marked confidence boost after failing to qualify for the first time since 2013.

Instead it was Bon-Accord who returned to the Albert Hall for a second successive year courtesy of an exciting rendition of 'Contest Music' under Adam Cooke. After ending 36 years of waiting in 2020, their confidence is now sky high as they continue to develop as the emerging 'third force' of Scottish banding.

Risk/reward

It certainly ran a daring 'risk/reward' fine line on what was the MDs energised interpretation (especially the third movement). But whereas his approach failed to resonate at the North West Area, here it left a thrilling mark (aided by 'Best Trombone' Mark Boyd) as it followed the eventual winner on stage.

With the podium placings announced, the concert hall screen soon displayed the full results, with the top-six places going to Kirkintilloch Kelvin, Unison Kinneil and Dalmellington.

Each had their confidently played qualities (Dalmellington especially) as well as unforced error inconsistencies in what were varied interpretive readings of the Heaton score from the experienced trio of Thomas Wyss, Raymond Tennant and Erik Janssen.

Behind them the inconsistencies were more marked (a number of bands battled with reduced numbers due to COVID-19). Some may have felt they deserved a place or two higher aided by the informed approaches of the MDs, but for the judges they were only pushing for potential top-six finishes.

It has become a very different matter of expectation for Whitburn.

A very fine contesting band has regained its domestic supremacy in clear cut manner. Now though, they must show they can export that confident swagger of excellence to Blackpool and beyond on a consistent basis.

They already know too well that the Grand Shield can be a particularly unforgiving place if it is misplaced.

However, with the Black Dyke Director of Music at the helm, few would bet against them added yet more silverware to their trophy cabinet.

First Section:

The daunting prospect of tackling Gilbert Vinter's 'Spectrum' brought an informed musical response from the 10 well matched bands in the First Section.

As they did the following day Sheona Wade and Sandy Smith gave detailed analyses of what they were looking for, and what they heard from the performances. Balance and dynamics were key to the successful colourings that had to be drawn out of what Sheona called, "an incredible piece".

And it wasn't the more dayglo hues and textures that she was referring to either; instead, it was the softer shadings, subtle pacings and tonal calibrations. "Take the risk and find the beauty", she said, in referring to the opportunity to, "don't play safe" in the bucolic 'Green' variant.

Outstanding brace

It was a point picked up by Sandy in what he felt was "the best" First Section contest he had heard here for some time. There were, "two really outstanding" overall performances he said, although, "all got something out of it."

The brace of 'outstanding' qualifiers came from Bo'ness & Carriden' conducted by Charlie Farren (who the next day played with Whitburn), and Dalkeith & Monktonhall directed by his former alumni James Chamberlain.

These were interpretations that for the judges best captured the colouring and mood of the music; the character enhanced by the ability to incorporate the required subtle changes of pace, tonality and balance.

Neither opted for the full bore approach, although Dalkeith had a true 1960s colour palette vibrancy, and Bo'ness played with a bold sheen of gloss to their dynamic finish.

Both head to Cheltenham buoyed by the success and with a brace of informed MDs at the helm.

Elsewhere it was encouraging to hear an appreciative respect for Vinter's intentions; the ensemble challenges mostly met with confidence — from the kaleidoscopic opening to the ferocious, but only occasionally jugular-blood 'Red'.

The major challenges seem to come in 'Green' where the safety first dynamic option found the soprano and especially horn too often submerged in ensemble foliage.

Pastoral delight

Not so with Granite City led by Bruce Wallace.

Theirs was a pastoral delight, with 'Best Horn' player Rosie Martin a mellow focal point. With their euphonium also picking up a 'best' accolade they may have been disappointed they didn't get the Cheltenham nod, but on the day the consistent ensemble virtues of their rivals just held sway.

Behind them came other performances of merit; led by a confident Coalburn Silver in fourth, ahead of the more muted pastel shadings of Newmains in fifth and a passionate Bathgate in sixth.

Second Section:

One of the richest seams of raw Scottish brass banding talent continues to fire a powerhouse of excellence stoked by an inspirational conductor.

Campbeltown Brass hails from the westerly Kintyre peninsula, their geographic isolation turning any competitive outing into a journey of epic proportions: Yet they have now returned from the Scottish Championships crowned a winner on no fewer than five occasions.

All this from a town of around 4,500 inhabitants. MD Stephanie Mitchell deserves to be given the freedom of Kintyre.

They now head to Cheltenham (a round trip of well over 800 miles) for the third time since 2016 after claiming the title with a wonderfully uplifting rendition of 'The Aeronauts'. They could have flown there on their power of their celebrations on Saturday evening.

Musical memory

Goff Richards' work is a piece of teenage wonderment; light, breezy and daring, a logbook of musical memory of the comings and goings of small aircraft at a local RAF base in Cornwall.

As John Doyle (joined by Sheona Wade) pointed out; it's also "not aggressive at all" — its inherent appeal found in melodic structures, that he said, "had to be played with control" and not delivered in "hell for leather" style. He emphasised the point; "Tempos, tempos, tempos, tempos".

Once again, balance, detail and control were the keys elements in enabling the music to take flight. "It's very simple," he said, but "the devil was in the detail."

The points were accompanied a trademark smile, but the acuteness of his observations ensured bands knew just what he and Sheona had been looking for in the box.

Clear winner

The "clear winner" came with Campbeltown.

"It had everything," John said, as their admirably secure performance, full of balanced tonality and uber-confident solo lines (especially their 'Best Instrumentalist' award winning soprano) played with a touch of elan, provided the early marker that wasn't to be beaten.

The MDs smile at the end told you everything. Stephanie was beaming; her interpretation would have made Biggles proud.

The closest to pipping them came from a finely controlled Tullis Russell, as the experienced Ray Munday provided an admirable structure on which his players (especially a fine dep sop) could shine.

A band that continues to solidly rebuild, they head back to Cheltenham for the first time since 2016.

Fine contest

With a number of well-directed accounts to consider, it was Renfrew Burgh that just missed out in third with confident rendition under Steven Craig.

In what was a fine contest, the remaining top-six places went to Irvine & Dreghorn's impressive number 1 marker of colour and dynamic engagement, Broxburn & Livingston's brightly charged approach and Jedforest's more considered refinement.

Clackmannan meanwhile could perhaps count themselves a little unlucky that their 'thrill a minute' performance right from the pages of a Captain W.E John's escapades wasn't quite what the judges were looking for.

The MD and players of Campbelltown though deserve to be flown to Cheltenham for the National Finals after yet another super victory.

Third Section:

Gordon Langford's 'Facets of Glass' has proven to be a tricky test-piece.

However, as adjudicator Sandy Smith stated; It's also "great feel good music" — the type "to get you out of the house on a wet February night".

The players of Kilmarnock Concert must have been itching to race out the front door on a band night then, after they produced what he said was "...above all other bands. They used what they were given and made music properly in the style of Langford."

Two clear

Meanwhile, Helen Douthwaite -Teasdale said in her admirably precise analysis, that they were one of the "two clear first and second" that had made their "lives a little bit easier".

After that the placings and marks represented, "how well the bands captured the style of Gordon Langford", but also the "tightness of ensemble" which she said could be heard in the first four bars of the piece.

No doubting just what the duo were looking for then, and no doubting that they certainly heard it with the number 1 draw winner, as MD Scott Walker inspired his players to deliver an account rich in stylish character. The band's outstanding young flugel player Iain Lowry took the 'Best Instrumentalist' prize.

The other clear Cheltenham qualifier came from Arbroath, as Audrey Bird also led a youthful band in a rendition that captured the character through careful appreciation of tempi and dynamics, super cameo solos and a neat sense of adventure.

Lots to enjoy

Although Dysart Colliery just missed out, they will have been delighted with their stylish performance of time and space, whilst there was much to note with the renditions from a vibrant Shotts, a characterful Langholm (many people's pick), and a well-constructed take from Whitburn Heartlands.

Lot to enjoy also from the trio of Selkirk, Kirkton Brass Bathgate and Penicuik Silver, but on this occasion, it was Kilmarnock Concert Brass who deservedly triumphed.

MD Scott Walker is not going to have any difficulty getting his players to come to practice from now on whatever the weather.

Fourth Section:

Although the Fourth Section contest was to be overshadowed by tragic news, there was still much to savour as Brass Sounds Inverclyde and Stranraer Brass claimed their places at Cheltenham.

In fact, there could not have been a more uplifting sight of the sheer joyfulness brass banding can bring than that of Stranraer's representative claiming the trophy for second place from the rather startled judges John Doyle and Sandy Smith.

The last time the band qualified for the finals was in 1995, and given their youthful make-up you suspect not too many of them remembered that feeling.

It was a wonderful moment for the band and their MD, Angela Miller.

All things Hellenic

So too for winners Brass Sounds Inverclyde led by Joshua Parkhill who secured the title with a fine display of all things Hellenic. His calm demeanour inspired his players to produce a performance of rich merit, stylish and fun and full 'bubble & squeak' passion.

From soprano to percussion every player did their bit off the number 1 draw, with their euphonium star taking the 'Best Instrumentalist' prize.

"We were jigging about in our seats", Sandy admitted in his pre-results remarks. "Every performance we enjoyed. You sold it to us. No one overblew — so well done."

Sandy also admitted that he didn't know that the bands were socially distanced either, whilst John said he had been impressed by the overall standard, and that "every band had handled the music really well". It had been he said, "a brilliant morning."

No doubting that as Stephan Hodel's accessible work was played with brio by all the competitors — with a special mention to the excellent percussion teams.

Dundee Instrumental claimed the final podium slot with their spirited account whilst each of Buckhaven & Methil, Peebles, Bon Accord B, Hawick Saxhorn and MacTaggart Scott all delivered performances of substance and style.

Family

The Scottish Brass Band Association continues to provide an inclusive, welcoming environment for all those who President Carrie Boax proudly calls a "family".

That was obvious throughout a weekend that also saw a trio of non-competitive bands in Abbey Brass, Brass Central Strathearn and Clackmannan Youth & Development perform super 15 minute sets.

On this occasion it will be one that comes closer together following the tragic news that left its mark on those who are part of it.

Iwan Fox & Malcolm Wood

with the Black Dyke Director of Music at the helm, few would bet against them added yet more silverware to their trophy cabinet4BR

Results:

Championship Section:

Test piece: Contest Music (Wilfred Heaton)
Adjudicators: Sandy Smith and Sheona Wade

1. Whitburn (Prof Nicholas Childs): 192**
2. Bon-Accord Silver (Adam Cooke):190*
3. the cooperation band (Russell Gray): 189
4. Kirkintilloch Kelvin (Thomas Wyss): 187
5. Unison Kinneil (Raymond Tennant): 185
6. Dalmellington (Erik Janssen): 183
7. Kingdom Brass (Ian Porthouse): 182
8. Newtongrange Silver (Anne Crookston): 181
9. Johnstone (Mark Good): 180
10. Kirkintilloch Band (David Roberts): 179

**Invite to National Final and to represent Scotland at the 2023 European Championships
*Invite to National Final

Best Cornet: Chris Bradley (Whitburn)
Best Trombone: Mark Boyd (Bon-Accord)
Best Soprano: Scott Forrest (Whitburn)
Best Flugel: Lyndsay Roxburgh (the cooperation band)
Best Horn: Andrew McMillan (Whitburn)
Best Baritone: Carol Ednie (the cooperation band)
Best Euphonium: Chris Shanks (Whitburn)
Best Bass: Graham Fraser (Whitburn)
Best Bass Section: Whitburn
Best Percussion: Whitburn

First Section:

Test piece: Spectrum (Gilbert Vinter)
Adjudicators: Sandy Smith and Sheona Wade

1. Bo'ness & Carriden (Charlie Farren): 189*
2. Dalkeith & Monktonhall (James Chamberlain): 188*
3. Granite City Brass (Bruce Wallace): 186
4. Coalburn Silver (Gareth Bowman): 185
5. Newmains (Mike Marzella): 184
6. Bathgate (Craig Anderson): 182
7. Lochgelly (Paul McKelvie OBE): 181
8. Dunaskin Doon (Paul Drury): 179
9. Annan Town (Andrew Warriner): 177
10. Newmilns & Galston (Mark James): 176

Best Instrumentalist: euphonium (Granite City Brass)
Best Horn: Rosie Martin (Granite City Brass)

*Invite to National Final

Second Section:

Test piece: The Aeronauts (Goff Richards)
Adjudicators: Sheona Wade and John Doyle

1. Campbeltown Brass (Stephanie Mitchell): 188*
2. Tullis Russell (Ray Munday): 186*
3. Renfrew Burgh (Steven Craig): 185
4. Irvine & Dreghorn (Lewis Bettles): 183
5. Broxburn & Livingston (Alaistair Gibson): 182
6. Jedforest Instrumental (Philip Rosier): 181
7. Clackmannan District (Paul Drury): 180
8. St Ronan's Silver (Simon Railton): 179
9. St David's Brass (John A Dickson): 178
10. Perthshire Brass (George D Annan): 177

Best Instrumentalist: soprano (Campbeltown Brass)

*Invite to National Final

Third Section:

Test piece: Facets of Glass (Gordon Langford)
Adjudicators: Sandy Smith and Helen Douthwaite-Teasdale

1. Kilmarnock Concert (Scott Walker): 182*
2. Arbroath (Audrey Bird): 180*
3. Dysart Colliery (Kenneth Letham): 178
4. Shotts (Andrew Shaw): 177
5. Langholm Town (Chris Shanks): 175
6. Whitburn Heartlands (Stephen Duncan): 174
7. Selkirk Silver (Colin Kemp): 173
8. Kirkton Brass Bathgate (Simon Railton): 172
9. Penicuik Silver (Douglas Anderson): 170

Best Instrumentalist: flugel (Kilmarnock Concert)

*Invite to National Final

Fourth Section:

Test piece: Argos (Stephan Hodel)
Adjudicators: John Doyle and Sandy Smith

1. Brass Sounds Inverclyde (Joshua Parkhill): 180*
2. Stranraer Brass (Angela Miller): 178*
3. Dundee Instrumental (Bob McDonald): 176
4. Buckhaven & Methil Miners (Steven Craig): 175
5. Peebles Burgh (David Robb): 173
6. Bon-Accord B (Jennifer Cook): 172
7. Hawick Saxhorn (Stuart Black): 171
8. MacTaggart Scott (George Cameron): 170

Best Instrumentalist: euphonium (Brass Sounds Inverclyde)

Withdrawn: Coalburn Intermediate (David Fehilly)

*Invite to National Final