issue 44 - may

-'k

i1-_.-/ 'J)

TOVER BRIDCE, TOI{DON

lssue 44 Official journat of the North American Brass Band Association, lnc. MAY 1991

Championships Winners !Championship SectionTest piece: Aspects of Praise (William Himes)Brass Band of Columbus (Paul Droste)Atlant ic Brass Band (Anthony Guerere)

Honors SectionTest piece: Canticles in Brass lStephen Bulla)Ohio Col legiate Brass (Jon Woods & Paul Droste)Mississippi River Brass Band (Pam Potter)Eastern lowa Brass Band (Alan Stang)Sheldon Theatre Brass Band (Gene Beckwith)

Challenge SestionTest piece: Partita (Edward GregsonlMilwaukee Bri t ish Brass Band (Wayne M. Becker)

Youth SeetionTest piece: Petite Suite de Ballet (Eric BalllVarsity All-Star Brass Band (Eric Aho)J un ior Va rsity Al l-Sta r

Brass Band (George Zanders) (comments only)

284

262

279264256255

242

265.5

Open SectionTest piece: Little Suite for Brass, Opus 88 (Malcolm ArnoldlUniversity of Northern lowa

Brass Band (Dave Clark) 256

Soloist of the Day ,Jack Tedrow, Euphonium, Sheldon Theatre Brass Band

Sign UpNow ForSummerWorkshops!A Great 0pportunityTake abreak this summerby attending oneof the Brass BandWorkships jointly spon-sored by NABBA and Yamaha. It willfreshen your understanding of brass bands,awaken you to literature you may notcunentlyplay, permityou to ry yourhandat other instruments in the band (includingpercussion), and, of course, will be greatfun, even if you're currently in a fine brassband. And it is even more intpresting ifyour life is currently without ttre benefit ofmembership in a brass band.

Dr. Paul E. Droste, NABBA's president,will teach the workshops. Yamaha - atconsiderable expense to the company -

will provide a complete setof British brassband instruments, including percussion,for each workshop.

The workshops typically start on a Fridayevening and continue for most of Satur-day.

You can enroll in a workshop by callingthe appropriate host listed below. If youare interested in hosting a workshop in thesummer of 1992, please con[act Dr. Drosteat 614.888.0310.

Please turn to page 14, column 3

l'.f,4,B8ANOTTH AMERICAN BNASS BANDASSOCIATTON, INC.

Official publication of the NorthAmerican Brass Band Association,Inc. Founded by J. Perry Watson in1980, Useful news for Brit ish-stylebrass bands in North America. Theviews expressed by co ntributors arenot necessari ly those of the NorthAmerican Brass Band Association,Inc. Publication and advertising dead-l ines are the 15th of January, Apri l ,July, and October.

Thomas A. Myerc, EditorThe Brass Band Bridge156 N. Highland AvenueAkron, Ohio USA 4/803-1504Telephone 216.867 .7 821 evenin gsFacsi mi le 216.291.7758

NABBA MEMBERSHIP DUESInd iv idualStudenVRetiredMember BandCorporatePatronLeadership

$201050

100500

1,000

To jo in NABBA, p lease mai l yourname, address, te lephone number,inst rument , and band's name ( i f youplay in one) , p lus annual member-sh ip dues, to -

Dr. David A, PickettNABBA Membership Chairman4418 Blackstone CourtBloomington, Indiana USA 47408

It was a great weekend in Cedar Rapids!Championships IX once again proved thatthe brass band movement is growing andhealthy. NABBA welcomed three newbands to the competition, and that is agood sign. On the other hand, we missedseveral bands from the east coast whonormally compete. We also missed ourfriends from Canada.

All of us who attended need to thank ourhosts from the Eastern Iowa Brass Band. Itis very difficult to prepare for the logisticsof running the contest and prcpare to competeas well. The Paramount Theatre was anexcellent venue and the schedule ransmoothly during the day. NABBA thanksDr. John Thornton, the contest Coordina-tor, Don Stine, a member of the NABBABoard, and all of the members of the hostband. It was a well-organized and well-run contest.

We also need to thank the taxpayers, thefederal government, and the U.S. Armyfor sending The United States Army BrassBand to Cedar Rapids. The Gala Concertwas superb, and the band sets a high stan-dard for the brass band movement. Whilethe largemajority of thebands in NABBAare amateur and self-supporting, there is atleast one military brass band and threeprofessional brass bands on tle roster.

The NABBA Board of Directors will meetin Columbus, Ohio, on August 23 and24,This lengthy late summer meeting is wheremost of the long-range plans for NABBAare discussed. The agenda is open. Pleasesend any questions or concerns to me or toSecretary Bert Wiley. Board membershave received a letter from Captain Tho-mas Palmatier of the U.S. Army BrassBand with several suggestions for futurecontests and new directions for NABBA.This will be discussed in detail, as willother matters concernins future directionsfor NABBA.

A final note. Please note the locations anddates of the NABBA-Yamaha SummerBrass Band Workshops. NABBA mem-bers may attend any workshop free ofcharge.

Sincerely,

Paul Droste, President

I have sensed a gowing question fromsome NABBA members. Their questionis, "Why are there so many. stories andarticles aboutthe Brass Band of Columbusin the Bridge?"

The answers are realtively simple. First.they send the information to the Bridic. isall NABBA bands should do. Second, asone NABBA member from a youth bandsaid during the Championships, "They'rethe best." My reply to him was that theBBC has to prove that each year, and thereis no guarantee, ever. And third, the BBCis quite active, so there is ample news toreport.

Please encourage the new Bridge Corre-spondents (listed on page 9) and give themall the help you can in getting the news,photographs, and stories collected aboutyour brass band for The Brass Band Bridge.If you would like to see more news andarticles about your band in the Bridge, allyou need to do is send the information tome. Be sure to put the Bridge on yourmailing list. Brass band news has the firstpriority in the Bridge, so you are likely tosee it in the next issue.

Apologies to composer Artlur Butterworthfor omitting his name in the review ofOdin in the previous issue.

OK,I admit it 's longer than 16 pages - Isaid "usually" ! I could have added photo-graphs of Championships IX. Those youwill see in subsequent issues. Enjoy.

Best regards,

Tom

More, Recent Brass Band Recordings,continued from page 22

The Childs Brothers,accompanied by BritanniaBui lding Society Band (Snel l)

Euphonium Music - Euphdnium Music@owen), Rlnpsody for Eup honiwn & B ras sB and (Cwnow), Ro manc e @hillips), So /oRhapsody for Euphonium (Stephens),Euphonium concerto No. I Opus 64 (Gol-land), Cantabile for John Fletcher (How-arth), Fantasy for Euphoniaz (Sparke).71:03 minutes. Doven DOY CD 002.

President's Podium Editor's Notes

Moving?The Brass Band Bridge cannot be forwarded because itis mailed third class. So, besure to mail to David Pickettyourold and new addresses,or your copy of the Bridgewi l l be d iscarded bythe U.S.Post Office, and you will missthe next issues! {

The Brass Band Bridge May 1991

Brass Band News

Championships lXReview

By Dr. Ronald W. Holz

The ParamountTheate in downtown CedarRapids resonated with the sounds of Brit-ish brass band music for nine hours onSaturday, Apnl27. The North AmericanBrass Band Association, holding its ninthannual Championships contest, saw thedominance of Columbus, Ohio based groupscontinued, but also saw its ranks expandeddue to the panicipation of several bandsthat had never competed before in NABBA.The overall standard of play in each divi-sion has continued to rise, this year beingno exception. The Gala Concert by TheUnited States Army Brass Band broughtthe nine-hour brass feast to an appropri-ately festive conclusion.

The results of the contest, by section, arecited on page one, including the total poinsscored. In the American contest eachjudge may award atotal of 100 points, with60 points for the test piece and 40 pointsfor the remaining "free" program (bandshave a total time frame of 23-to-30 min-utes in which to perform). Judges for theday were William Himes from Chicago,Dr. Richard Holz from Atlanta and StephenBulla from Washington, D.C.

The day began with the playing of theCanadian and American national anthemsby our able host band, The Eastern IowaBrass Band. These folks dida magnificentjob of covering many details and courte-sies throughout the weekend. Special praisemust go to Dr. John Thorton, a member ofthe band who served as the hostCoordina-tor for the contest. While all members ofthat band pulled their weight of responsi-bility, special mention must also be madeof euphoniumist Donald Stine, who alsohelped keep the whole program in focus.The day was very ably directed from thepodium by our guest compere, ChuckArnold, professional announcer from Mil-waukee.

I

The three new bands to the NABBA stage,University of Northern Iowa Brass Band,the Milwaukee Brass Band, and the Shel-don Theatre Brass Band, gave good ac-count of themselves. UNIBB, followingin the footsteps of the Ohio CollegiateBrass Band and the North Carolina StateUniversity British Brass Band, helps swellthe growing interest in college-level brassbands. Our upper-midwest bands demon-strated that our fellowship not only isexpanding but that good, consistent levelsof brass band programming are beingmaintained throughout America. No areaof North America should be underesti-mated for what it can achieve!

The real battle of the day took place againwithin the Honors Section. While OhioCollegiate gave forth solidly professionalsounding readings of Vaughan Williams'HenryV andthe Bulla test-piece, the otherthree bands also proved solid contenders,especially on the C anticles work. StephenBulla was very pleased with the readingsand expressed the opinion that several ofthe performances were well above thestandard heard during the Shell New Zeal-and Brass Band Championships of May,1990, where the work was first heard as atest piece in a similar second-level orHonors Section "down under".

The dominance of the Columbus bands Ihave heard some NABBA people declareas unfair, based on the leadership baseavailable and the generally superb bandclimate in central Ohio. My own observa-tion is that the Columbus bands startedwith the same obslacles all North Ameri-can brass bands face when getting a tradi-tion started. True, they have highly com-petent and visionary leadership but, moreimportantly, they work hardat the musicalfundamentals that produce musical excel-lence. Thejudges give them high scoresbecausetheirbands play with good intona-tion, blend, balance, and with clean en-semble. They do not overplay or distortthe timbral qualities of the brass band.NABBA should be proud that we nowhave a model of community involvementthat shows us all how we can build asupport network and feeder system thatwill make brass bands flourish!

I stated in last year's contest review thatthe Brass Band of Columbus was notunbeatable. Certainly, the Atlantic BrassBand, that aggressive exciting east coastgroup, gave agood accountof ftemselves.Yet, Paul Droste continues to be a truestudent of the brass band and brass bandscore. It is not interpretation that wins himthese banners year after year (udges wouldrarely let that be a determining factor,aesthetic choice being a less overridingconcem, at least as far as subtle differ-ences are concemed), it is his careful prepa-ration of the score in the context of hisband's finely developed sound.

Take but one factor of the BBC, theircornet sound. The cornet sound concept ofthe BBC in 1991 is not that of four yearsago. They have learned to model thetsound after the finest cornet sections andsoloists, chosen mouthpieces and equip-ment to get that blend, and then had ocontinue to work at it- the hardest thingto achieve in our American bands. Theywould readily agree with me that theyhave not fully anived yet, but they movecloser every year with hard work, notcontent wittr the present. Also, and thisgoes for most of their sections, they do notlet old American brass choir/concert bandhabits slip back in to distort the overallblend nor do ttrey allow that coarse, vulgarforced fortissimo that many of even thefinest British bands have recently beenproducing. (One excellent American cor-net soloist friend of mine, a real knowl-edgeable musician, once stated to me lastyear after hearing some recend compactdisc recordings by Black Dyke and others,that one felt like taking a shower after-ward, so forced and "dirty" was some oftheplaying, all in the nameof "aggtessive"brass.) The bottom line, therefore, is thatthe most musical band, that band whichspends the most care with all musicalparameters (pitch, balance, dynamics, ar-ticulation, tone quality, contrapuntal andharmonic aspects, score markings, etc.),will be true champions.

I say these things not in any negativeevaluation of what was achieved in CedarRapids. Let me underscore my observa-


The Brass Band Bridge 3May 1991

Think OH !

By Anita Goll ings

Solo Cornetist with the AtlanticBrass Band, a member of NABBA'sBoard of Directors, and a musiceducator in the Egg HarborTownship Junior High School inNew Jersey

A major concern in our cornet sec-tion is tone production, and how toachieve it. Here are some thoughtsand suggestions that should helpimprove tone strength and richnessfor all brass players.

Just as we would when singing, ouraim is to produce at will and withreasonable ease, good sounds ofspecified pitch, duration, quality,volume, and color.

How many of us practice our parts by vig-orously singing them? If we only vocalizethem using a low hum or saying de to getthe notes, we encourage feeble breathsupport and a nasal sound. Unfortunately,these weak qualities are likely to carryover when we perform tle same passageon our instrument. A clear image of thesound to be produced should be estab-lished mentally as well as vocally.

As a teacher, I see students holding note-endurance contests (as I did, too, as a be-ginning trumpet player) - "See how longyou can hold that!" The winner was theone who learned how to control the airstream and correctly support the note. Thestudent who allowed the air to escapequickly lost. Those first examples of com-petitive long notes told us how we wouldeventually approach note production.

One systematic approach to warm-ups islong tones, which also develop a rich tonequality, as well as improved enduranceand control. Schlossberg's Daily Drillsbegin with slow and careful long tones,working chromatically from concdrt B-flat (in treble clef, below the staff) down to

4 The Brass Band Bridge

E, then from F (first space) down to B, andfinally (middle) B-flat down to E. Next,using a slow tempo of 54 quarter notes perminute and using the same three sets ofchromatic notes, softly but clearly tonguetwo half notes and a whole note with afermata. This is a good, careful wium-up.Before you play, first visualize or heareach note tle way you want it to sound -full, round, rich, and dark. Take yourbreath with an open mouth and throat. Itshould feel as if you are yawning. Yourtongue is down, not arched. Keep thesame openness as you play. Tongue softlyto start the tone. Control your air stream asif you were going down a long, clear road.

Many breathing apparatuses are availableto help promote and build breath support- breathing bags and ping-pong balls incylinder tubes (one design for exhalationand another for inhalation). I use a piece ofpaper for my students. After trying all thedevices above, my piece of paper seemedto do the same trick. Curl (like you woulda ribbon) an inch-wide strip of paper into abass clef curve and hold the top of thecurve on your upper lip. The paper nowcurves down in front of your lips. See howlong you can keep the paper straight (awayfrom you) by directing your controlled airstream at it. If the paper flips around, youare not yet controlling your air stream. Ifthe paper rises too high, you are using loomuch air.

Singing appropriate pieces of our brassband music (for example, hy mns or E ler gyor Convenenr) by letter names also canhelp. Just like our daily drills, visualizefirst; play the starting pitch; think full,round, rich, and dark; then sing your part.You can play occasional reference noteson your horn or a piano to be sure you areon pitch.

Clark's Technical Studies is not only afinger exercise book, but a breath supportbook as well. Notice the next time youinclude this method book in your dailyroutine that all exercises begin at pianis-simo then cresc e ndo and de cr e sc e ndo. Instudy number five, Clark even stat€s, "Dili-gent practice of the preceding materialmust have improved the breath control ofthe player who should now be ready for

May 1991

this study containing more ambitious ex-ercises. Remember that a twenty-storybuilding requires a much firmer founda-tion than a structure of only two stories."

How true this is. No matterhow we teach our students ortell ourselves, we occasion-ally find ourselves going forthe fast approach. When thishappens, we are neglectingour most major need - tostrengthen our foundation,not damage it.Last year, while sitting with my nephewand playing Christmas carols, I noticedthat his student model Yamaha cornet hada different mouthpiece than mine. He wasusing a Yamaha l lE4. It is an all-arounddesign for beginners and professionals,with moderate rim shape to obtain a con-sistent, round sound in all registers. Afterassuring him that I would not give him adreaded disease, he allowed me to try it. Iwas playing at that time on a Bach 38 witha bored-out throat(26). My parents are notmusically trained, but they, mostly myfather, heard a significant difference intone. The Yamaha mouthpiece was muchdarker than the brighter 3826.

Our equipment has a great influence on thesound we generate. That holiday, I pur-chased a new cornet (professional modelYamaha 63305). The instrument's stockmouthpiece is a Yamaha 9E. Especiallydesigned for that horn, it has a short back-bore and a deep cup that permits softattacks and sweet tone. This is the biggestmouthpiece Yamaha makes for cornets.It's more funnel-shaped than the Wickmouthpieces.

Because the rim diameter and lip contactpoints were different than my old mouth-piece, it took a lot of practice to get myrange back up and in tune. Working witha tape recorder and tuner helped me roregain quickly all the facility needed toplay our challenging brass band music.

So, your daily practice and the equipmentyou choose to play are both important ingetting the musical sound you desire.

Let me say a little more about the opennessthat is quite important to the character ofyour tone. Think OH - is how I approachall downbeats and exercises I play. Withmy mouth cavity and throat open, likesaying OH, I can breathe in easily, thenkeeping the same OH openness, I am ableto play the full, round, rich, and dark toneI pre-hear. If I become tight or force thenote, I no longer sound like a cornet, butmore like its brighter sibbling, the trum-pet.

Since I began playing the cornet, I've triedvarious mouthpieces, starting with cornetversions of my trumpet mouthpieces -first a Bach 5C, then a 3C, and then the3B26. F-ach time as I went to a largermouthpiece a change could be heard. Onlywhen I changed to the Yamaha 9E wasthere a considerable difference.

The cup volume is tlte most fundamentalconsideration in choosing a mouthpiece.Yamaha encourages players as their em-bouchures develop to graduate to the fullersound potential of larger cup volumes,tlroat diameters, and backbores. The deepercup is an important source of the dark,rich, sweet tone that is characteristic ofthebest cornet sound in British brass bands.

I'm not fying to sell one product, but I amtrying to sell ideas to help our section.Daily practice and a careful reconsidera-tion of our equipment, as well as small en-semble or group practice, can help.References: On Study Singrngby Ser-gius Kagen, The Free Voice by C. L.Reid, Schlossberg Daily Drills bySchfossberg, Cf ark's Technical Studies,Arban's Celebrated Method, a Yamahamouthpiece brochure, and resourcesfrom the International Trumpet Guild.

Anita Collings has studied with JohnThysen, trumpet professor at Glass-boro State College, BurtTruex, secondtumretwith the Dallas Symphony andformerly at GSC, Ray Wellbaum, a trum-Ft instructor in Philadelphia and for-merlyatGSC, and George Rabbiawhoworts with the GSC jazz band and is atumryt instructor in Philadetphid.

Championships lX Beview continuedfrom page 3

tion at the beginning of this article - ourbands are improving each year and thisyear, in particular, all the bands did admi-rable presentations. In past contests, therehave been bands that have been an embar-rassment to NABBA (to put itbluntly). Noband at Championships IX did poorly; infact, it was a model contest. WilliamHimes, who served more years as a judgethan any one else in NABBA's history, toldme that this was by far the most pleasinggroup of bands he has judged in NABBA'sshort history.

We in NABBA can be proud of our phe-nomenal growth over a short span of years.This growth, while satisfying from anumerical viewpoint (although we all wantit to be more!) is more gratifying from thegrowth in quality music-making. Our bandshave come "light years!"

To all who participated, I extend the hearti-est of congratulations. Our setting andarrangements, courtesy of Eastern IowaBrass, could not have been better. Our daywent smoothly, boldly, and with class -from the delightful sounds of our youthbands (haven't they made progress -WOW!) to the mature polish of Atlanticand the BBC. Now let us resolve to pushforward for even greater musical heightswhile we maintain this happy, fun-filledfellowship!

See you in Columbus,19921

YAMAHAA

Long-TermGommitment

to Help DevelopBrass Bands

in North America

NABBA Archives

From Mr. Bert WileyNABBA Archivist

Just recently, the nearly decade-old his-torical record of NABBA was brought toCullowhee, North Carolina. Included inthis collection of materials are all officialdocuments of NABBA, plus awide varietyof programs, cassette recordings, letters,Championships programs, all issues of ?fteBrass Band Bridge, news releases, andother documentation from most NABBAmember bands.

The NABBA Archives are available toeveryone interested in researching thehistory of brass bands in North America.Recently a doctoral student decided tofocus his dissertation on the brass bandmovementin the USA, so thearchives willbe a rich resoruce for him and the otherswho follow.

To continue keeping NABBA's historicalrecord up to date, please send anythingabout yourband and/or members thatwouldbe of interest to future brass band hisori-ans. Materials and requests to search thearchives should be sent to -

NABBA Archives, P.O. Box 243E,Cullowhee, NC 28723.

Give to the NABBA Archives

Two CDs Honor Ball, continued frompage 11

truly succeed. Recording such a classic isa greatrisk. Whatl delight in with this par-ticularperformance is thatl was able to getbeyond the notes! There may be moretechnically assured readings, but there arefew more musically and -yes, dare we sayit- spiritually satisfying ones!

Both discs - NYSB and Brighouse & Ras-rick - are productions that will providehours of excellent listening. Neither wastesmuch time with filler items of low-levelvalue. Both are well-recorded, provide agood information booklet, and each en-hances the sound of its band - Brighouse:bright, bold, aggressive - New York StaffBand: warm, classic, restrained, but notdull. Highly recommended!

- Dr. Ronald W. Holz

May 1991 The Brass Band Bridge 5

Gala Concert Review

The ChampionshipsGala Concert byThe United States ArmyBrass Band (CPT Palmatier)

Reviewed ByDr. Ronald W. Holz

When Captain Thomas Palmatier and TheUnited States Army Brass Band commis-sioned a new bnass band work from St€phenBulla, world events that led to the PersianGulf war were just in their initial stages.Firestorm, Bulla's sensational new piece,without a doubt became a highlight of theNABBA convention and certainly one ofthe most exciting moments of the GalaConcert. The rhythmic, timbral, and con-rapuntal intensity of this challenging workmarkperhaps a watershed in Bulla's devel-opment as a composer, to say nothing ofthe work's imaginative portrayal of anAmerican's response to the war. Havingsat next to Steve during the electrifyingperformance, I know he was well-pleasedwith this first playing. The audience cer-tainly responded enthusiastically !

The premiere of Firestorrz would havebeen enough to allow Palmatier and com-rades enough kudos for a memorable eve-ning, but ttrey delivered much more. Otherfine readings were given to Howard S nell'sranscription of Borodin's PolovetsianDances andGareth Wood's Hinemoa. Thebandmaster's own adaptation of RichardStrauss's Vienru P hilharnnnic F anfare alsodeserves special mention.

Barrie Gott's Lightwalk, a ubiquitousmember of most recent Salvation Armyand non-Army programs, had the pleasantaddition of a true swinging rhythm section(including electric bass) and truly impro-vised solos.

Other lighter fare (as S ir Thomas Beechamwould say, "lollipops") featured varioussoloists within the group. NABBA mem-bers were pleased to hear former BBCeuphoniumist Laura J. Lineberger in ac-tion on one of these - the Alan Catherallduet arrangement for the Childs Brothersof Softly, As I lzaveYon - perfgrmedwith Richard Wilkins. Such programmingis very acceptible for our brass band cul-


ture! Why, we were even served with anaria from Puccini's Turandot aranged fortenor and brass band!

The USABB played solidly, producing aneven, smooth sound throughout its com-pass. There were times when the cometplayers reverted to their trumpet originsand when the tenor horns got straightenedout into a quasi french horn blare. All inall, however, they were a well-trained,sensitive goup of musicians who obvi-ously like to play brass band music (atleast the majority!). That comes throughin the spirited nature of their playing, andBandmaster Palmatier's energetic conduct-ing further intensifies it.

My only strong negative reactions of theevening were to nro tanscriptions: vonWeber's Concertino for Horn, Opus 45and Johannes Brahms' Geistliches Lied.While David Kratz played the von Weberon his E-flat tenor hom with real mastery(including some notes not thought to existfor this horn), the piece and its transcrip-tion just did not work, in my humbleestimation. Even less satisfying was theBrahms transcription, in which the ar-ranger ook far too literal an approach totranscribing the original vocaVorgan partsinto the brass medium. The result wasquite hollow and ineffective. Yet this kindof brass ranscribing/ananging is unfortu-nately proliferating, both for brass bandsand brass ensembles. I cannot fault theUS$B's playing of these items, regard-less of my opinion of the musicial anange-ment itself.

I must express, however, my personaldistaste for the revised endingof The Starsand Stipes Forever. For the second yearin a row, we have been subjected to lum-bering (yetaccurate) bass sections playingthe piccolo solo - and this year, we evengot a "tag" ending! Unfortunately, for allthe fun this creates, such invertible counter-pointjust does notmake musical sense noris it in good aste. Let brass bands show offtheir fine E-flat soprano cornet players atthis point!

Lest the reader think I am pouring on theinvective,I was overall delighted with theprogram. USABB has been a great sup-porter of NABBA and each of the times

May 1991

U,S. Army BandTrumpet VacanciesThe United StatesArmy Band (Pershing'sOwn) has announced auditions for trum-pet. The applicant must demonstrate ex-cellent sight-reading skills, as well as sty-listic proficiency. Duties include per-forming in the United States Army BrassBand (cornet) and Army chamber musicensembles, in addition to the primary dutyof marching performances in ceremonies.Successful applicants also must pass tleArmy's physical exam and meetotherstan-dards required to enlist in the U.S. ArmedForces.

Trumpeters will be promoted to Staff Ser-geant on successful completion of fourmonths of active duty service, includingbasic naining. Extensive benefits includefull military pay; free medical and dentalcare; supplemental allowances for hous-ing, food, and clothing; retirement and taxbenefits; 30 days paid annual leave; and astabilized assignment. Uniforms and in-struments are provided.

To apply, please submit by August 30 aresume, current full-length photograph,and a casette lape that includes examplesof your technical proficiency in a varietyof musical styles to -

CommanderThe United States Army BandATTN: MSG Sandra S. LambP.O. Box 70565Washington, DC 20024-137 4

Master Sergeant Lamb can be reached at703.696.3&3.

Applicants selected to audition and inter-view in Washingon willbeprovided ravelexpenses.

The Band is the Army's premier musicalorganization and is headquarteredjust 10minutes from Washington, D.C.

they have appeared at our championships,they have given us splendidprograms thatwere both entertaining and uplifting. Thatwas certainly the case in Cedar Rapids!

Congratulations to each member of theband and their leaders for an outstandingevening. We know that they will be finehosts for our championships come Springof 1993!

Brass Band News

Bulla's FirestormAs I underscand, The United States ArmyBrass Band, who commissioned the work,will retain the right to perform StephenBulla's Firestorm for about one year. Ibelieve the Desford Colliery CaterpillarBand has received permission to performthe work in the U.K. and Europe. So, thescore andparts of Steve's challenging newmusic should be available from a commer-cial publisher for your band's workout inaboutayear. Itwillbewell worth thewait!

National CapitalBand To TourScandinavia AndEstonia

By Robert G. E. GoodierNational Capital Band Secretary

On June 20, L991, The National CapitalBand of The Salvation Army, a NABBAmember band, departs Washington, D.C.,for Copenhagen, Denmark. On the eve-ning of their arrival, they will perform aconcert at Tivoli Gardens, followed by aconcert at the Salvation Army TempleCorps.

On Saurday, the NCB will travel to ldalmo,Sweden for two days, then begin a coachtour that will include the Swedish cities ofHelsingborg, Motala, Tranas, Jonkoping,and Goteborg. The band willparticipate inthe opening meetings of 0re Salvation Armyannual congress in Oslo, Norway, thenproceed to Stockholm for two days ofprograms at the Salvation Army Swedishannual congress that ends Monday, July 1.

The band then continues to Tallinn andNarva, Estonia, a Baltic country once partof Russia. Estonia recently declared inde-pendence and revived its original flag andanthem (one of the songs on the band's pro-grams there). The tour will conclude inHelsinki, Finland, for final concert festi-rals before the National Capital Band re-urrns home on July 6.

I rr bl' Bandmaster Stephen Bulla, theICB consiss wholly of Salvation Aimy

members; some are ministers (officers)and the rest are lay leaders and/or parish-ioners (soldiers) of the church, all volun-teers who dedicate tieir music to the Sal-vation Army. As Salvationists, the bandhas some benefits on tour as they will behosted and housed by members of otherSalvation Army churches (Corps) in eachcity.

One interesting expection is in Estonia.Although the SA plans to reopen its workthere soon, currently there is no officialSalvation Army in that country. Eachmember of the band will be staying in thehome of a local resident and thereforegetting a ffust-hand experience of Estonianlife while furthering the cause of the SAministry.

The NCB represents the Salvation Armyin Washington, D.C., and the State ofVirginia, an area under the command ofLieutenant Colonel Jack T. Waters. Theband has traveled widely throughout theUnited States, as well as Canada andJamaica, and in 1989 completed a three-week tour of New Zealandand Australia.In Washington, the band regularly per-forms for SA meetings, church concerts,media events, and at the John F. KennedyCenter for the Performing Arts.

While on tour, the NCB will be premieringSerenade (for string orchestra) by DagWiren, transcribed by Ljungholm andSchramm (two members of the band), aswell as American Civil War Fantasy byWilliam Himes. Other items in the reper-toire include Crossroad, a cornet solo byBulla, F estive Overture (Shostakovitch/Caa),l,aude (J. Curnow), Majesty (Downie),Three Humns (Bulla), The Holberg Suite(Grieg/ Schramm, Kellner & Alexander),and Handel in the Strand (Grainger/Schramm), a piano solo performed byBandmaster Stephen Bulla with band ac-companiment.

With a full history of service to both churchand civic functions since 1925, the Na-tional Capital Band writes yet anotherpage of hisory as the first Salvation Armybrass band to visit Estonia and the firstNABBA member band to tour there andScandinavia.

For further information about the band,please write care of The Salvation Army,P.O. Box 2166, Washington, D.C. 20013.Recordings are available.

NABBA to NABBA

Brass Kissers?

This issue's question from a member is abit unusual, but nevertheless valid.

As you remember, NABBA members areencouraged to submit questions nthe Bridgeso other members can help solve brassband problems. The questions posed ineach issue will be anonymous, the answersfrom NABBA members (usually) will becredited. Be sure to send your questions toThe Brass Band Bridge.

Here is this issue's poser.

lgot married many years ago and nei-ther my spouse nor any of my prioramorous friends were brass playersas I am. I have occasionally wonderedif brass players, with their well-devel-oped embouchures, are vastly better,stronger, more sensitive, and moreexpressive at kissing than non-brassplayers.

I do notthink it is appropriate for me atthis point in my life to risk confusingmy spouse with a kissing experiment,however scientific, so I thought aNABBA member or two might be ableto comment on his or herfindings.

Also it might be interesting to find outif there is a significant difference inkissing ability among cornetand fluegel-horn, tenor horn, baritone, trombone,euphonium, and tuba players.

lf you have a solution to thismember's vexing question, pleasesend your answer (which will beanonymous in this case, unless youspecify otherwise) by July 30 to -

Tom Myerc, EditorThe Brass Band Bridge156 N. Highland Ave.Akron, Ohio 44303-1504

Responses from internationalreaderc are also encouragedl


Brass Band News

Smoky MountainBritish Brass BandCelebratesTenth Anniversary!

By Bert Wiley, SMBBBBusiness Manager

The Smoky Mountain British Brass Bandhas proudly celebrated its tenth anniver-sary year during the 1990-1991 season.Four subscription concerts highlighted theyear.

As the band completes its tenth year, thereis no question of the stability, the dedica-tion, and the growth that has occurredduring these ten eventful years. The frstpogram was played in Apnl 1981 at WesternCarolina University, followed by at least200 concerts played in Georgia, Tennes-see, South Carolina, Florida, Ohio, Penn-sylvania, Alabama, and Canada. Duringthe World's Fair held in Knoxville, Ten-nessee, the band thrilled audiences withten programs.

Smoky Mountain BBB has played forgubernatorial celebrations in North Caro-lina, a college president's inauguration,many summer festivals, has been a part ofthe North Carolina Arts Council Touring

Bernel MusicA complete music service for brass bands -

music, publishing, recordings!

Bernell Music is pleased to announcean exclusive sales agreement with

R. Smith Ltd.For fast, friendly, and efficient sereice

Buy Bernel!704.293.9312

P.O. Box 2438Cullowhee; NC28723

Visa and Master0ard accepted :

Program, and was the first Championshipswinner in Raleigh, North Carolina, in 1982.Arts councils, colleges, and community-sponsored organizations frequently ask theband o play as part of holiday spectacu-lars. The Scottish Highlands Games atGrandfather's Mountain in North Carolinawill feature SMBBB as one of the high-lights of the 1991 Games.

Congratulations!Smoky MountainBritish Brass Band

1Oth Anniversary

Richard Trevarthen, the founderof SmokyMountain British Brass Band and one ofthe co-founders of NABBA continues toserve as music director of the band. Tre-varthen has full responsibility for pro-gramming and often writes either originalcompositions or arangemens for the bandto play at many of its concerts.

The 1990-1991 season saw somethingnewin the band - the conducting skills ofseveral of the band members. This hasappealed to audiences and has unques-tionably made the band a stronger organi-zation.

Plans are now being made for the 1991-1992 season, when the band will join anumber of area high school bands in jointconcerts, possibly featuring some of themore talented high school musicians assoloists. This should increase the audi-enceand, at the same time, demonstrate tothe young musicians that they can con-tinue to enjoy performing after their for-mal schooling has been completed.

The program for the Tenth AnniversaryConcert includes Poet and Peasant Over-ture (von Suppe), Spring is Here (firc-varthen), Wedding Day at Troldhaugen(Grieg), I Bring You A Branch of May(Suain/Irevarth en), Sleeping B eaury Waltz(Tchaikovsky), Kleine Kinder Kapers(Trevarthen) , Strikz Up The Band (Gersh-

win/Richards), 76 Trombones (Willsory'Duthoit), Thunder and Lightning Polka(Snauss/Langford), Belford's CarnivalMarc h (Alexander), America T he B eauti-ful (trevarthen), and Armed Forces Sa-lute (Billa).

Other planned events include a recordingof Rcgs and Other American Things,composed and arranged by Stephen KentGoodman. Fund-raising events are alsoplanned to permit the band to travel to the1992 Chanryionships in Columbus, Ohio.

With eagerness and enthusiasm, the bandlooks forward not only to the next season,but to the next ten years of its history.

New DirectorDavid MakerReorganizesSecond CompanyGovernor's FootGuard BandNew British Brass BandProfessor David Maker from The Univer-sity of Connecticut has been named direc-tor of the Second Company Governor'sFoot Guards' Band. The company is one ofthe oldest militia units still active in theUnited States.

Director Maker plans to reoganize theband as a British-style brass band. Theband will provide music for monthly drillexercises at the company's New Havenheadquarters.

The Governer's Foot Guard was charteredin 1775 by the General Assembly of theColony of Connecticut.

Although, officially, the Second CompanyBand began in 1806, the Foot Guard wasfirst accompanied by music in 1775 whenGeorge Washington passed through NewHaven on his way to Boston. The FootGuard formed an escort, along with a groupof Yale students, led by freshman NoahWebster, who was playing the flute.

8 The Brass Band Bridge May 1991

The band has travelled with the Foot Guardthroughout the northeastern United SLates,Canada, andEurope. In Connecticut, theyperform at celebrations, concerts, andparades.

An associate head of The University ofConnecticut Music Department, ProfessorMaker has been involved with ttre Univer-sity's Marching Band for 20 years. In thattime, he has developed more than 350musical arangements and compositionsand has accompanied the U of C's March-ing Band on four European tours.

Professor Maker's other accomplishmentsinclude serving as the only American judgefor the 1989 World Music Contest and aschief arranger for the Boston College Bandfrom 1985 to 1988. He founded the AdultMusic Society of Connecticut in 1987 anddeveloped the Society's first project, theClassic Brass Band.

Banners AvailableNo, she won't make a First Place Champi-onship Section banner for you - thoseyou have to win!-butthe wonderful ladywho makes NABBA's Championshipsbanners is now offering custom-madebanners and flags through Bernel Music.All you need to do is specify the designyou want, which can include your band'slogo (or anything else you desire), andsend it to Bernel. Prices will vary, ofcourse, depending on the size, materials,and complexity of your design. Now isn'tthere a flag or banner you need for yournext concert, or festival? For more infor-matson, please contact Bemel Music at7U.293.9312.

RumorsKeeping our (good) ear to the telephone,we have heard that one of our regularcontestingbrassbands may notcompete inthe 1991 Championships, even thoughseveral of the members are likely to at-tend. They will keep their horns lubricatedbut seem to be reserving their firepowerfor Washington in 1993. The band's con-ductor expects to be busy, however, in thesame Section in 1992.

Brass Band Bridge Eastern lowa BrassCorrespondents Band Called To

Marty Barvinchak, Allegheny BBAnita Collings, Atlantic Brass BandEd Mobley, Bainbridge Brit ish BBBasil Wentworth, Bloomington BBPaul Droste, BB of ColumbusMike Russo, Buffalo Silver BandRitchie Glendenin, CSU Fresno BBTo be named, Capi to lEngl ish BBKen Foote, Chester Brass BandJon Topy, Commonwealth BBMike Goater, Eastern lowa BBRobert Sutherland, Hannaford Street

Silver BandTo be na med, J u nior Va rsity All-Star

Brass BandAndy Ernest, Milwaukee British BBDebra Priest, Mississippi River BBRobert Goodier, National Capital

Band of The Salvation ArmyFrank Hammond, NCSU BBBBil l Wagner?, Northwinds BBBPaul Droste, Ohio Collegiate BBRobert Bernat, River City B rass BandJoseph Zuback?, River City Youth

Brass BandTo be named, Rockvil le Brass BandKen Andercon, Rocky Mountain

Brassworks - British Brass BandPamela Voisin, St. Johns River City

BandBob Croft, Salt River Brass BandTom Myers, Screamers & Lyric BBTo be named, Second Company

Governor's Foot Guard BandGene Beckwith, Sheldon Theatre BBBert Wiley, Smoky Mountain BBBPhil Moore, Southern Nazarene BrassTo be named, Triangle Brass BandTo be named, Varsity All-Star BBGlenn Kelly, Wenatchee BBBJohn Van Esterik, Weston Silver BandTo be named, Westwinds Brass Bandlauren Sorichetti, Whitby Brass Band

Washington, D.C.

Please send your brass band news toTom Myerc, EditorThe Brass Band Bridge156 N. Highland Ave.Akron, OH 44303-1504USA

The Eastern Iowa Brass Band will performtwo concerts per day on the Mall in Wash-ington, D.C., July 4th through the 7th. Theconcerts, which will be held in a tent, arepart of the Smithsonian's annual Folk LifeFestival. This year the event celebratesfamily farms from Ohio to Nebraska. Sincemore than one million people are expectedto attend the celebration (and hear theEIBB), it promises to be the largest liveaudience ever to hear a NABBA British-style brass band.

The Iowa Arts Council recommended theselection of theEIBB to satisfy the Smittr-sonian's request for rural artists. Goodrelations with your state or province artscouncil certainly can benefit your band.

The band will be flown, fed, and housed atthe expense of the Smithsonian. An addi-tional allowance of $85 per member perday is also provided. Actually, those fundswould have covered the requested band of12. TheEIBB, however, wonderfully chosetopool theband's allowances andkick in alittle more (about $35 each), so the entire27-player band (plus nine others in sup-port) could go.

The Smithsonian Store will be selling theEIBB's tape recordings and delivery-nuckbanks, which also will help fund the trip.

Serving as Acting Conductor during theeightWashington concerts will be the tal-ented and dynamic EIBB euphoniumistand high school band director Don Stine.

Alan Stang resigned his conducting posi-tion with the EIBB shortly after Champi-onships D(. He cited numerous and lengthyconflicts with his Naval Reserve responsi-bilities (aggravated by Operation DesertShield and Storm) as the principal reasonfor his resignation. [As one of NorthAmerica's most precise and Calented brassband conductors, he will be missed, andwe wish him well. Certainly he will be awelcome guest conductor with many ofthe NABBA bands. - Toml

May 1991 The Brass Band Bridge

Recent Brass Band Recordings

Reviews byDr. Ronald W. Holz

Britannia Building SocietyBand {SnelllRuIe Britannia-Entry of the Gladiators(Fucik), Flow er Song (BizetlSnell) , Galop(ShostakovicVSnell), Arioso @ach/Snell),Rhapsody in Brass (Goffin), Shepherdessof the Alps @ossini/Snell), ?ft e O ld C halet(/Snell), Pines of Rome (Respighi/Snell),C orrcdians G alop (;,abalevsky/Snell), Nes-sun Dorma (PuccinilSnell), Steal Away (Snell), F antasy Variations @earson), B/actandWhite Rag (Botsford/Snell), and Par-rira (Sparke). 70:49 minutes. Doyen Re-cordings DOY CD 004.

While my personal interest in this programwas fixed on the two truebrass band works,the Goffin and Sparke test pieces citedabove, most brass enthusiasts will delightin the ample program and its variety. Nineof 0re items are transcriptions for brass bythe director Howard Snell. Fine solo workis provided by Nicholas Childs (eupho-nium) on aBizetaria, John Hudson (cor-net) on a Puccini aria, and Robert Fulcher(tenor horn), the latter giving justice to asubstantial piece (Fantasy Variations) fothis much neglected instrument. Goffin'sRhapsody inBrass deserves revival; Snelland company give aconvincingreading ofthis still challenging tour de force. Fortu-nately they give as much attention to thelyric aspects as to the technical (the con-clusion of the second movement is rulybeautiful!). Sparke's Parrira displays greatrhythmic energy tlroughout is three dance-like movements. In this vibrant, acces-sible, and crowd-pleasing style, the com-poser allows the band !o have geat fun.After all, we play on our instruments!

C.W.S. (Glasgowl Band(Snelll

Flower of Scotland - Austal*sian@immer), Capriccio (Sparke), Flower ofScotland (Williamson/Ferney), SoftlySounds the Little Bell (Ball\, Frolic forTrombones (Heath), You'll NevenWalkAlone (Rodgers/Snell), Polo vt sian D ances

(Borodiry'Snell) conducted by RaymondTennant, Star Lal<z (Ball), N ow T hank W eAll Our God (CrugerlSnell), The Man IIove (Gentrwin/S nell), H olidoy for Stings(Rose/Fan), Beautiful Dreamer (Foster/Snell), Prelude to a New Age (Graham),Mr. Jums (Ilaze[rca*terall) , Sla,onic Rhap'sody No. 2 (FriedmannAVright). 6l:25minutes. Doyen Recordings DOY CD005.

I grew up in brass bands to the recordingsuccesses of C.W.S. Manchester. Howinteresting to note the recent riumphs ofthe northern, or Scottish C.W.S. Band!Snell's second compact disc release in asmany months (Augustand September 1990)contains a very pleasing but decidedlylighter progam. The music is compe-tently presented in polished form and style.The band does not come across as refinedor full-bodied an ensemble, however, aseither Britannia Building or Fairey Engi-neering. There are several lovely per-formances, however, that make this a discworth having, including the title song byRoy Williamson (arrangedby Femy) Flowerof Scotland, Snell's unusual and sensitivebaritone solo on Gershwin's The Man IInve pefiormed by Anne MurPhY, andPeter Graham's compact Prelude. EricBall's classic march Star La,te is provideda dignified tempo too often denied it onother discs. Friedmann's "cheslnut" of arhapsody was chosen for the final cut dur-ing which the band shows itself a properheir of that great early C.W.S. Manchesterreading on the old This Is Brass record.

Williams-Fairey EngineeringBand (Newsome & Lawton)

Tournament for Brass - Quick March:The Presidenr (German), Over The Rain-bow (Arlen/Richards), Tournament ForErass (Ball), The Trouble With The Tuba/s... (Relton), Blenheim Flourishes(Curnow), Fest Musik Der Stadt Wien(Snauss/Banks), Fantasy on Swiss Airs(Newsome), Military Overture (Men'delssohry'Wri ght), B ally castle B ay (Barratt-siebert), Cornet Duet: Twin Peal<s(Wakefield), Ne apolitan S c e ne s (lvlasseneVNewsome), B ohemian Rlupsody (Mercury),

F olk F e s tival (Shostakovich/Snell)' 62: I 5minutes. Grasmere Records GRCD 35.

Of the three recordings I have briefly re-viewed for The Brass Band Bridge, this ismy favorite, for overall sound reproduc-tion, repertoire, and musical performances.Sonically, this disc has much more "upfront" presence than the two Doyen re-leases. This ruly exposes the band, butWilliams-Fairey comes through in admi-rable fashion. Eric Ball's Tournntnentsscands as one of the finest brass bandpieces ever written. Conservative, per-haps even sentimental in style, it would bea great challenge to any of our NABBAgoups. Ball had that great ability to writea test-piece that always wentbeyond meretechnical diqplay and soloist exposure. Thischarming, gracious (no other words willdo) composition goes to the heart of brassbands- lyrical solo and ensemble rnusic-making. How beautifully scored, too!Fairey Band delivers exciting, aggressivereadings of all the pieces on the disc. TheBall Towruments is especially well-played;I want to listen to it frequently. I don'tthink I can give that particular cut higherpraise.

Two New GDsHonor The Memoryand Legacy ofEric Ball

By Dr. Ronald W. Holz

Brighouse and Rastrick Band(G. BrandlThe Composer's Choice - A DownlandSnite (Ireland), How Great Thou Art (Ball), F antasra (Mozart/S arg ent), C oncer to

for Cornet (Wright), Softly Sounds theLittle Bell (/Ball), Sinfonieua (Leidzen).60:08 minutes. HarlequinRecordingHARrr22cD.

10 The Brass Band Bridge May 1991

New York Staff Band andMale Ghorus (Brian Bowenl

Music Makers - Conquerors (Curnow),M us i c - M a lccr (Graham ), R e s ur g am (B all),A Muntblin' Word (Post), Keep Singing(Rivers), The Appian lllay (Respighr/Gra-ham), Angel V oices (Bowen), C hr ist in Me(Faircloughflr4ack), The Good Shepherd(Leidzen), This Is The Day UBulla), TheSouthern Spirir (Curnow) . 54:49 minutes.The Salvation Army, Triumphonic Re-cordings TRCD 1049.

Composer's Choice was designed as inten-tial hommage to Eric Ball, a recording hewas to have conducted that was to featurebrass band music of his own choice. Hisdeath in October 1989 led to the comple-tion of the project by Geoffrey Brand. TheI.IYSB disc honors Eric Ball through anoutstanding performance of his brass bandmasterpiece Resurgam. My linking themtogether is arbirary yet reasonable. Eachattempts to explore the lyrical aspects ofbrass bands. Eric Ball's music is, if noth-ing else commends it, most lyrical andbeautifully suiled for brass.

Ball's choices on the Brighouse and Ras-trick disc, besides the two short, humbleexamples of his own work the productioncommittee impelled him to include, revealhis conservative, classic tastes. Four majorworks forbrass band arepresented, each ofwhich is amasterful exampleof brass bandscoring. The three original works - Ire-land, Wright, and Leidzen - while verychallenging technically do not impressupon the listener their difficulty but rathertheir lyric expressiveness. Such can besaid about most of Eric Ball's music forbrass! His choices are historically inter-esting as well. The Downland Suite be-longs to that watershed group of piecesfrom the 1920-1930s that launched themodem brass band repertoire. Denis Wrightserved as a contemporary of Eric Ball,both dedicated craftsmen who aimed mostof theircreative energies into the movemenlSinfonietta stands as the first test-piecebya non-British composer (1955 Belle Vue),a commission resulting from Ball's superbwork as editor of The British Bandsman.

I

Geoftey Brand leads an en$rusiastic groupin this recording. In fact, though the lyricis foremost in the style of pieces, theirplaying is sometimes overly exuberant androbust! How pleasing itis to have aclean,tuneful recording of Malcolm Sargent'sMozart transcription! (I remember the oldC.W.S. Manchester record.) The readingof Sinfonieua comes as close to Leidzen'soriginal intentions as any recording I haveheard. The lack of metronome markings(a Leidzen obsession) creates some majorinterpretive problems for the careless ba-ton. Brand restores dignity to the outermovements, particularly the frnal fughena.Only the finalvivace just before the codais, for my trste, unduly rushed.

Jim Davies serves up some lovely phras-ing and technique in the Wright Concerto.On the remainder of the disc his excessiveold-fashioned vibrato is usually covered inthe cornet tztti; it is somewhat overbearingin the solo work, though I realize I amexpressing a personal preference forjudi-cious, notomnipresent, use of vibrato. Myonly other negative observations relate tothe two short Ball ilrangements. Perhapsthe significance of the Solly Soundspieceescapes me, but I find that, for all its charmand grace, the work does not speak to me.The hymn tune arrangement How GreatThou Art is a model of its kind. Unfortu-nately Mr. Brand plays it in just too straighta fashion, although he loosens up slightlyin the final verse and coda. Curiously, Iwould have thought it to receive a less"sEaight" reading for such a sentimental-laden gospel hymn. All in all, however,the disc provides much depth and feeling- Brand and company should be com-mended for bringing this project to com-pletion.

The NYSB disc reached my heart througha bezutiful performance of Reswgon. Wlnleboth remaining band and male chorus itemsare well-played, with suitable verve orrestraint as expected, the Ball piece alonemakes this disc worth having. GordonWard, however, deserves special mentionfor his gallant and clear-toned efforts onthe bandmaster's unusual soprano solo An -gel Voices. The whole album does notbelie its tttle - Music Mal<zrs.

Eric Ball's approach [o music andcompos-ing never dwelt on an "art for art's sake"angle. In providing some background forhis tone poem Resurgam (Latin for "I willrise again") at the 1950 Belle Vue Cham-pionships, he had this w say (BritishBands-man, August 12, 1950): "Any composi-tion which is intended to be at all serious,is bound to illusEate in some measure, thesense of conflict which is apparent in alllife. Light and darkness, joy and sotrow,life and death, arereflected to bomedegreein all works of art. Even a placid hymn-tune like Deep Harmony relies for its ef-fect upon the contrast- even the antago-nism - between concords and discords;for without such a principle at work therecouldbe nothing but sterility in any mani-festation of life."

For Ball, music was botl "about itself' andabout things beyond the notes. Music-making is a sacred trust involved withcommunicating beauty, order, and whenpossible, reflections of higher ruths.Bandmaster Bowen and the NYSB areloyal to that vocation in the reading ofResurgam.

First of all, it is refreshing to hear anunrushed recorded version of the piece.Here we are allowed o hear the opening"Faitl' motive (Ball's designation) withis full dignity unmaned by either too fasta tempo or, conversely, too excessive anapplication of. rubato. T\e disperato waltzhas the necessary "What's the Use?" (again,Ball's words) feel and the wild dance ofdeath (with Dies lrae) and final hammer-stroke chords prior to ths "Death" motivefrom a previous piece, Exo dus , ue playednot for their technical display but for theirexpressive power. Deputy BandmasterWaiksnoris gives a very fine lyricism tothe famous Adagio e lamentoso solo, andThomas lvlack's euphonium also sings ratherthan declaims its new, hopeful counterlineat rehearsal number 10, at which the "Faittr'motive returns.

Resurgam challenges the best of bands.Technique becomes secondary in such apiece (although one can notplay the workwithoutconsiderable amounts of itin eachsection!). Here the NYSB and Bowen



Eh, Whatcha SayT

Preventing Hearing Loss

I am not a medical doctor, but I know tiereare two conditions that occur too ftequentlythat jeopardize my hearing - loud sound,especially continuous loud sound, and theinability to clear my eustachian tubes andears as my airplane flight descends.

I learned firsthand about hearing loss fromloud sound. About 25 yqus ago during anArmy summer camp, I shot rifles andmachine guns all day. That was a timewhen earprotection was not widely avail-able or encouraged; if the Army sergeantdid distribute earplugs (I later concludedhe may have), it was during the days Iworked on kitchen duty. By the end of theday on the rifle range, I could not hearmuch of anything, except a very loudintense sustained ringing. I vaguely re-member that the rifle range work contin-ued the next day. The traumatic ear expe-rience was not only unpleasant, it wasfrightening musically.

The intense hearing pressure and ringingeventually subsided after several days, and,luckily, only a very low intensity ringing(called tinnitus) has persisted. About adecade later during a routine physical exam,I learned I had lost some ability to hearquiet sounds at certain high and middlefrequencies in my rightear, theonenearestto the rifle sound. Related? I don't know,but I think so.

You can imagine that I am very carefulnow about subjecting my ears to any in-tense sound, especially percussion insEu-ments, piccolos, powerful bands in tightquarters, hammering, jet engines, weap-ons fire, loud lawn mower engines, andindustrial operations. I also think it ismadness to pay to attend a rock musicconcert where the band plays just shy ofthe threshold of pain and probably dam-ages the hearing of most of its audience. Ialso put headphones played too loudly inthe same category. You would be quitesurprised by how much more enjoyablemowing the lawn can be while wearing earplugs. And the real benefit- calmness -comes after you are finished. I

Now you can understand my interestwhenI saw a small note on the bulletin boardnear the dressing rooms in the ParamountTheat€r during Championships D( in CedarRapids, Iowa. A name and telephonenumber led me to Ms. Veronica Heide, anaudiologist from Madison, Wisconsin, whowas happy to tell us about new earplugs formusicians.

These devices should be the answer for mydaughter, the piccolo player (if it is not toolate), percussionists (who too often an-swer, "What?"), band directors, and musi-cians who play in, say, brass bands insmall, hard-surfaced, loud rehearsal rooms.Those sitting near the percussion also needprotection.

Ears & Airplanes

Airplanes are my other hearing concern.When I have agreed to Eavel, say, to givea speech,I must fly despite a cold or con-gestion. As the airplane returns to theground, my ears are likely to stay at thelower pressure of the flight. The result canbe a very sharp pain in my ears and the ina-bility to hear almost anything. Only whenmy eustachian tubes are clear and I canequalize the inside and outside pressure onmy eardrums, does the pain end and hear-ing begin anew. Actually breaking theeardrum due to the pressure difference isalso a dangerous possibility. My solutionto this problem comes from my doctor'srecommendation. Schering-Plough makesan over-the-counter medication named Af-rin, not the nasal spray, but the blue pill.When I know flying is going to create anear problem, I take one pill about a halfhour before the flight. The medication isgood for 12 hours. It does not causedrowsiness and my sinuses don't reboundby tightening after the medication wearsoff. Of course, you should check the in-structions and cautions to be sure Afrin isright for you.

Musician'sEarplugs

Thoughts fromMs. Veronica H. Heide,M.S., CCC-AWheneverpeople ask me about musician'searplugs, I always start with a little his-tory, so they can appreciate the problemand the reason why musicians and engi-neers were entlusiastic about developingan answer.

Most musicians I talk with feel that theyare caught between a rock and a hard placewhen it comes to the use of ear protection.They love making music, especially whenit crescendos or, for rock musicians, whenit screams. Most realize that exposure toloud sound over time will permanentlydamage their hearing but haven't found anearplug thatwill reduce theloudness with-out losing the fidelity of the music they'remaking.

Conventional earplugs (foam or custom)have been unsatisfactory due to their un-even attenuation across the frequency spec-trum. Therefore, they end up in a drawerrather than in the musician's ears. Con-ventional earplugs also typically make thewearer's own voice sound hollow or boomy(this is called the occlusion effect). Cot-ton, of course, is not at all effective inreducing the loudness of sound.

Two earplugs recently have been devel-oped to solve these problems for musi-cians by reducing the loudness withoutsacrificing the fidelity. Designed by Ety-motic Research in Chicago, the two de-vices are the ER-15 Musician's Earplugand the ER-20 Hi-Fi Earplug.

The ER-15 Musician's Earplug

The ER-15 Musician's Earplug uses adiaphragm similar to a passive speakercone to produce a flat response attenuatorthat mirrors the shape of the natural reso-nance of the open ear, but at a reducedlevel. Ifaccuracy ofhigh frequency soundis important, the ER-15 is probably thepreferred earplug. The 15 indicates areduction of 15 decibels of sound, with flatattenuation. The cost runs between $120and $140 per pair and typically includescustom fitting by an audiologisr counsel-

ESave yourhear ing!

Hel lo?Hel lo?

r,12 The Brass Band Bridge May 1991

ing, making impressions of the ear canal,sourcing the custom molded earplugs withthe ER-15 built in, fitting the earplug intoeach ear, and verification of earplug per-formance by measuring the sound reduc-tion from inside the ear using a Real Earprobe microphone. (This is arnazinglyinexpensive when you consider the $ 1400cost of a hearing aid - so you can hearpoorly. - Tom)

The ER-20 Hi-Fi Earplug

The ER-20 Hi-Fi Earplug uses a tunedresonator and an acoustic resistor to pro-vide moderate attenuation across all fre-quencies. The ER-20 provides more at-tenuation in the high frequencies than theER-15 (tlp ER-20 rolls offthe highs slightlywhen compared with the ER-15). The 20indicates a reduction of 20 decibels, butnot with flat attenuation. The ER-20 isavailable in custom and noncustom mod-els. The custom-fitted model should costbetween $80 and $95 per pair. The non-custom version of the ER-20 is inexpen-sive, $20 to $30 per pair, but you sacrificecomfort, and there is a greater likelihoodof some occlusion effect.

Other Custom Earplugs

O{her custom-fired earplugs provide greaterattenuation (23-to-30 decibels) with morereduction in the high frequencies com-pared to the low frequencies. These usu-ally cost $30 to $60 per pair.

Foam Earplugs

The cheapest earplug alternative is thefoam earplug, which isreadily availableinyour local pharmacy or gun shop at a costof about $ I per pair. Attenuation is nonlin-ear and long-term comfort usually is poor.

ER-l5 & ER-20

The ER-15 and ER-20 were designed toprovide a solution to the musician's di-lemma. Even under optimal OSHA condi-tions, regular listening for two hours at I 10decibels would be the limit when usingthese earplugs (and that assumes that theuser is not exposed to sound levels exceed-ing 85 decibels for the rest of the day). Theconventional earplugs (custom or foamlisted above) are recommended for greaterattenuation.

If you also sing, you will be interesteil toknow that the occlusion effect with theER-15 or ER-20 is minimized. If youllike

hearing your own voice, the earplugs canbe fircd so you can hear yourself better indifficult singing environments.

TM: How do they feel during severalhours of use?

VH: Just as with glasses or shoes, there isa period of adjustment. The custom ear-plugs will always fit better, can be wornlonger, and will be more comfortable thanthe noncustom. The best accoustical per-ception is achieved when the earplugs are"tuned" to your ears - in other words, thecustom fit is the best. You should be ableto wear them comfortably for 4 or 5 hoursin the morning, take them out for lunch (soyou can be more sociable), and wear themagain for 4 or 5 hours in the afternoon.Most people get accustomed to them in aweek.

TM: Is there much adjustmentrequired toyour listening with the ER-15 or ER-20?

VH: Yes, of course, you do need to be-come familiar with the lower sound level,but the fidelity is good. It is a new way ofhearing. When you take them out, soundsmay seem like they are now too loud!Some wearen think that life acnrally soundsbetter, more natural, with them than with-out them!

TM: Will people think I'm losing myhearing because I'm wearing a "hearingaid"?

VH: You'll be an innovator, and innova-tors always are asked why they're innovat-ing, so you'll be asked lots of questions,and how you answer will depend on yourattitude. People wearing these earplugsusually become very enthusiastic and verypositive about ttre benefits, since the ear-plugs add enjoyment and protection to themusic they love. Usually you'll start thediscussion first. That is the positive ap-proach to life, which I, of course, believein. If someone wears them because "theyhave to, otherwise they'll die", then theinterpretation by others might not be aspositive.

The earplugs come in many colors, includ-ing neon, so you can havefun with these-they don't have to look like a "hearingaid".

TM: What about the person who says,"Like, man, I have strong ears. Afterlistening to loud sounds for a long time,man, I never have, like, experienced the

ringing you called tinnitus, never had anyfuzzy sounds, andlike neverhadany diffi-culty understanding anyone's talk. Like,man, I'm a musician, do I really needearplugs, man?"

VH: It depends on how valuable yourhearing is to you. If music is yow life andyour livelihood, then it is very important toyou. I can tell you that you cannot con-tinue listening to music at these loudlevelswithout damaging your hearing. You areat risk.

Your genetic makeup also determines howwell and long your hearing lasts. Someindividuals are more predisposed to hear-ing loss than others. If hearing loss runs inyour family, you might be lucky and itmight not happen to you, but most musi-cians in that situation are extra cautious.Why take the chance?

I believe the U.S. Armed Forces bandshave been purchasing the ER-15 and theER-20 for their musicians. The earplugsmay become standard throughout the ArmyBand program. I think about 8 membershave them in the Air Force Academy Band,l0 in the Army Band in Fort Carson, 55members in the 5@th Tactical Air Com-mand Band in Langley Air Force Base,and about 28 in the U.S. Marine CorpsBand. The numbers are probably wrongnow, but they demonstrate that the need isrecognized by the services.

TM: I learned that Radio Shack offers asound level meter for about $32, so Ibought one, although one store told methey were no longer available. There aretwo weightings, A and C. Which oneshould I use to measure the loudness ofsound to decide if it could be damaging?

VH: Most of the Occupational Safety andHealttr Administration standards use the Aweighting, since it approximates the fre-quency response of the human ear. If youwanted to measure the intensity of a bassdrum near you, the C weighting, whichextends the sensitivity down into the lowfrequencies, would be appropriate. Theanswer, really, is both A andC, dependingon the situation. What would be nice is tomeasure the decibel level across the fre-quency spectrum, but spectrum analyzersare prohibitively expensive.



Dr. Brian L. Bowmanand the world's finesteuphonium -- theWil lson CompensatingModelTA 2900

Be sure to test ourinstruments in the DEGbooth at ChampionshipsX on Apr i l 11, 1992.

_ INTERNATIONAL _

Demands are greater, somore and more Brass Bandsare turning to WILLSON.

Willson background specialist for:Euphoniums, tenor horns, basses.

Distribution in USA:DEG Music Products Inc.Lake Geneva, Wisconsin 53147

Distribution in Ganada:At Willson brass instrumentsdealers throughout Ganada.

Musician's Earplugs, continued frompage 13

TM: Who are the other decibel metermanufacturers?

VH: Two companies are the main suppli-ers. Quest Electronics (800.558.9526, fax414.567.4047, 510 South Worthington

Street, Oconomowoc, Wisconsin 53066)provides accuate meters that cost in thehundreds of dollars. They have digitalreadouts and everything you would ex-pect. Bruel & Kjaer from Scandanaviasupplies very accuate meters for thou-sands of dollars. The Radio Shack meterprobably will do nicely for most nontech-nical needs.

TM: What does the CCC-A behind vourname indicate?

VH: It stands for Certificate of ClinicalCompetence in Audiology, which is grantedby the American Speech-Language-Hear-ing Association. It indicates that, in addi-tion to obtaining at least a masters degreein audiology, the audiologist has workedfor a year under certified supervision andhas passed the national examination.

TM: How do I go about finding someoneas wonderful as Veronica Heide to help mein my locale?

YH: If a NABBA member lives nearMadison, Wisconsin, I would be happy tohelp them (Audible Difference, 5727Pembroke Drive, Madison, WI 5371I,608.273.3036). The other solution is to

May 1991

Summer Workshops, continued frompage 1

May 31 & June 1Host: RitchieClendenin

209.278.2137California State University - FresnoMusic DepartmentFresno, California 93740

June 21 &22Host: Tom Mace

812.477.5339H&HMus i cCompanyEvansvil le, lndiana 47714

July 12 & 13Host Ed Nickol

513.222.2815Hauer Music Company120 S. Patterson Blvd.Dayton, Ohio 45402

July 26 &21Host: Legh Burns

405.364.8850University of OklahomaRt 1 Box 149 JJNorman, Oklahoma 73072

August I & 10Host: Nick Rail

805.569.5353Rail Music Store2904 De La Vina St.Santa Barbara, California 93105

* * * * * * * * * * * * * * * ** NABBA *I Ghampionships Xl I; Ft. Myer, Virginia ;* (Washington, DC) *

I April2 & 3, 1993 |T Host wi l l be Tfrn" unit"o Statss Army Brass Bandf* * * * * * * * * * * * * * * *

check your telephone classified listing underaudiologists to find one certified by theAmerican Speech-Language-Hearing As-sociation. Of course, you should ask iftley can provide the ER-15 and ER-20with custom-fitting. If you have troublefinding an appropriate audiologist, pleasecall me, andl'll try to referyou to someonein your region.

TM: Thanks, Veronica, for helping tosave our hearing!



Bernel Music is pleased to announcean exclusive sales agreement with

andos Music LtdFor fast, friendly, and efficient service

Buy Bernel!704.293.9312

P.O. Box 2438Cullowhee, NC28723

Visa and MasterCard accepted I


Geoftey Brand enjoys a worldwide repu-tation as a conductor ofbands and orches-tras. As a former trumpet player, he bringsan intimate knowledge of the repertofue tohis work and is recognized internationallyas a specialist in the field of band music.

During his studies at the Royal Academyof Music, London, where he won an OpenScholarship, he gained prizes as an out-standing soloist and orchestral player ontlte trumpet while at the same time attract-ing attention as a conductor. He wasinvited to join the Royal PhilharmonicOrchesna and toured the U.S.A. with theorchestra in 1950. Later, forfive years, heplayed at the Royal Opera House in Lon-don.

For 12 years, he was a BBC producer oflight music programs with a special re-sponsibility for brass and military bandbroadcasts. He also conducted the BBCConcert Orchestra in popular programssuch as Friday Night is Music Night andString Sound with the BBC Radio Srings.

InI967, he left the BBC to concentrate onhis conducting career. He has recorded formany of the major record companies andhas won acclaim as a conductor of brassand symphonic bands throughout the world.

Geoffrey Brand is the founder, artisticdirector, and conductor of the City ofLondonWindEnsemble. This highlypres-tigious group is made up of the finestprofessional wind players in London whocome together to record and broadcast. Acompact disc recording of this ensemblewas issued in 1988 by LDR RecordingsLtd., and has been widely acclaimed. Afurther compact disc released in October1989 from the same company has won thehighest accolades.

Prior to his association with the City ofLondon Wind Ensemble, Mr. Brand re-ceived international acclaim for his workwith the Black Dyke Mills Brass Band.This association resulted in many suc-cesses in winning the major British brassband championships, a feat he has alsoshared with other famous brass bapds,


Don't Miss!The Chicago Staff Bandof The Salvation Army

withBandmaster

William Himes

Geoffrey Brand NABBA Brass BandBiographyChampionships XApril 10 & 11,1992Columbus&Dublio, Ohio

* * Plan to Attend, Compete, and Celebrate! * *

The year 1992 is one ofcontinuous specialevents in Columbus, Ohio, as the citycelebrates the 500th anniversary of thediscovery of $re "NewWorld" by Christo-pher Columbus. Major events include thetenth North American Brass Band Cham-pionships.

NABBA's Friday evening clinics and re-hearsals and the Saturday day-long Cham-pionships X competition will be held inDublin High School. This is the samesuburban{olumbus location where t}re 1987

NABBA Championships were held. Thefacilities are super and include severalrehearsal rooms, a large commons for mealsand refreshments (items for sale by thehigh school band boosters), and a beautiful750-seat auditorium. Suggested lodging(to be arranged) will be at hotels very closero Dublin High School.

Gala Concert on Saturday Evening

The Saturday evening Gala Concert willbe held in downtown Columbus at thebeautifully restored Palace Theatre. The2,800-seat capacity probably will be filledwith brass band enthusiasts. Cosponsor-

Celebrate!500th Anniversary of theDiscovery of America

and theTenthNABBA Championships

ing the concert will be the Columbus AreaSalvation fury, the Brass Band of Co-lumbus, and NABBA.

The featured band will the The ChicagoStaff Band of The Salvation Army, con-ducted by William Himes. Geofftey Brandwill be a guest conductor (and also aChampionships adjudicator), and the BrassBand of Columbus also will be on theprogram. There will be an admissioncharge to cover expenses.

Paul Droste and Jeff Keller are the Cham-pionships X Coordinators.

Bands wishing more information aboutthe 1992 Championships should contactDr. Droste by writing to him at 13 10 MaizeRoad Court, Columbus, Ohio, USA,43229.

Geoffrey Brand!Guest Conductor,

Adjudicator, Cl i nician,and Great Manfrom Englandl


DennisEamberCompany President/

I'RAssWINDS?If you didn't buyfrom me. . . You

probably paidtoo much.

It's not just our greatprices you'll appre-

ciate. There's alsoour incredible se-

The MagnificentMarch

In our November 1986 issue, we publisheda favorable review by Don Kneeburg ofDr. Norman E. Smith's book , March MusicNotes. To say this book is one of myfavorites would be an understatement- Ipurchased two copies of the book, just tobe sure I still had one when I loaned theother one. Reading the book is like visit-ing great friends and meeting new ones.

For me, marches are similar to wonderfulshort stories. Musically, they are conciseand almost always have interesting me-lodic, harmonic, and rhythmic content,and usually have good countermelodies.When playing a march, I often have won-dered what motivated the composer tocreate the work, wondered about the life ofthe composer, and wondered about thehistoric context in which the work was


composed. Dr. Smith'sbookanswers mostof those questions for hundreds of marches.

Although not every march composer andmarch could be listed in Smith's greatbook, he is now preparing a new editionand wants o include new listings that willbe valuable to the book's buyers. To besure your interests are considered, we haveincluded in an upcoming NABBA mem-ber survey, a section asking for yourfavor-ite marches. Our survey results will pub-lished in a subsequent issue and will helpDr. Smith select new listings.

You only need to read one page of Nor-man's book to realize the tremendous workof love it is. I asked Dr. Smith to tell ushow he researches the marches. He pro-vided the following research and writinghints and lisrs of selected references, sothatthrough yourown research, you mightbe able to contribute to his book updates,as well as enrich your understanding ofmusic.

May 1991

Program NotePreparation, Part 1

By Dr. Norman E. Smith

Research Hints

l. Start a scrapbook of concert band pro-grams and references to biographies inmusic catalogues, record jackets, periodi-cals, reviews, newsletters, dissertations,and correspondence. Glue on hole-punchedpages or punch each entry. Add name toeach page.

2. Cross-check deails with as many sourcesas time permits. An error-free music bio-graphical dictionary has never been writ-ten.

3. Compile a collection of area composerbiographies for your university library,city library, or historical society. Devise asimple questionnaire which may bephoto-copied as received from composers. En-courage the programming of local works.

4. Seek research assistance from histori-cal societies, U.S. Information Service,genealogical societies, other researchers,relatives of composers, state birth and deathrecords, and newspaper clipping files (e.g.New YorkTimes).


March Music NotesAvailable in AugustAnew 1,000-bookprinting of Dr. Smith'sMarch Music Notes will be available inearly August. The price per book is $24.95(US) plus $2.00 for mailing for the softcover edition, which is tle only versioncurrently available.

Please order from your local music store orfrom -

Dr. Norman E. SmithProgram Note Press909 W. Claude St.Lake Charles, LA 70605

Writing Hints

I . Write for the majority of your potentialaudience - not for other conductors!

2. Kenp the concert site in mind. Popconcert notes, e. g., must be light andshort.

3. In general, discuss the composer firstand the composition next.

4. Include human interest material alongwith biographical facts.

5. Discuss selected points relating to thetitle, inspiration, time andplaceof compo-sition, publisher, arranger, dedication, fustperformance, and eventual popularity.

6. Omit titles (Mr., Mrs., Dr., Capt.) un-less refening to a visiting composer, guestconductor, or soloist.

7. Use a program note for every worklisted to be performed, including marches.Announce encore titles and composers (na-tionality? century?) when practical.

8. Give brief credit to the program notesource when appropriate.

Selected References - Books

The ASCAP Biographical Dictionary ofComposers, Authors and Publislrers. NewYork Jacques Cattell Press, 1980. In-cludes a large number of American bandcomposers and titles of their major works.First published in 1948.

Band Music Guide ,9th edition. Evanston,Illinois: The Instrumentalist Co., 1989.Well-known guide consisting of over 12,000title entries (many are repeated as addi-tional anangements) followed by cate-gory and composer sections. Most pub-lished in the U.S.

Berger, Kenneth. Band Encyclopedia.Evansville, Indiana: Band Associates, 1960.Out of print but available in many librariesand private collections. A pioneer effort tocompensate for previously published workswhich largely ignored band composersand conductors, band recordings, bandhistory, and other band-related subjects.A monumental work in spite of its critics.

Bierley, Paul. Hallelujah Trombone! -The Story of Henry Fillmore;Iohn PhilipS ousa, Americ an P henomenon: The Musicof H enry F illmore and Will H uff ; andTheWorlcs of John Philip Sousa. Columbus,Ohio: IntegrityPress. (Now located at61

Massey Drive, Westerville, Ohio 43081,telephone 6I4.794.16W.) Paul Bierley,the "Nicolas Slonimsky" of the band world,publishes all fourbooks (and others) atln-tegrity Press. In addition to meticulously-researched biographies, much program notematerial is available, particularly in TheWorl<s of John Philip Sousa.

Bly, Leon J. The March in AmericanSociety. Ann Arbor, Michigan: UniverityMicrofilms International, 1980. In addi-tion to short biographies of march com-posers, this dissertation includes some veryimportant information on slow, quick,double quick, and funeral marches; per-formance practices; and American pub-lishers.

Brand, Violet and Geoffrey. Brass Bandsin the 20th Century. Letchworth, Eng-land: Egon Publishers, 1979. Some bio-graphical information but primarily con-cerned with the (past and present) brassbands in the British Commonwealth. Anew (1987) book by the entertaining andintellectual Brands, The World of BrassBands, devotes a chapter on that subject toeach of a number of countries,

Bridges, Glenn D. Pioneers in Brass.Fraser, Michigan: Self-published, 1972.Has biographies and partial record lists ofapproximately 80 mostly American cor-net, euphonium, and trombone players. Atleast 20 were also published composers.Bridges died in 1982, but the book may bereprinted or located in libraries or privatecollections.

Ewen, David. All the Years of AmcricanPopular Music. Englewood-Cliffs, NewJersey, 1977. Ewen is one of America'smostprolific music authors. In addition toinformation on a wide variety of tunesfrom the ballad operas of Colonial days tothe more recent rock musicals, this vol-ume contains biographies of several com-posers whose marches have become popu-lar and/or adopted by our military branches.

Foeller, George and Wernerhobst. B andsof t he Austro -H ung arian Empl're. Normal,Illinois: George Foeller, Illinois StateUniversity Music Department, 1987. Thesubtitle A Reference Work for the Con-cer ned Amer ic an B and M usician summa-rizes the purpose of this highly informedAmerican and German writing team. Adiscussion of the Austro-Hungarian mili-tary bands, civilian bands, music, and dis-

Recently PublishedBrass Band Music(To be reviewed in next issuel

Rosehill Music

Chorale, composed by Ray Steadman-Allen.

The Holy Boy, composed by John Ireland,arranged by Eric Wilson.

AWelsh Lullaby, arranged by Peter Gra-ham.

Wishing lou were somehow here again(from The Phantom of the Opera), com-posed by Andrew Lloyd Webber, arrangedby Stephen Bulla.

River City Suite, composed by JamesCurnow.

Idylle (for euphonium and piano), com-posed by Sir Edward Elgar, arranged byEric Wilson.

Capriccio (for tuba and piano), composedby Rodney Newton.

cography precedes 86 pages ofbiographi-cal material on 79 of the area's most im-portant composers of band music. Infor-mation on German-Austrian march tem-pos and style and a list of the top 50Austrian marches are also included.

Frank, Paul and Wilhelm Altmann.Kurz gefas ste s To nkunstler-Lexila n. W il-helmshaven: Heinrichshofen Verlag. In-cludes a number ofband composerbiogra-phies. Written in German but makes use ofa sandard format and helpful abbrevia-tions, e.g. V. for Vater (father) and M forMutter (mother). Major works are listed.

Fuld, James J. The Book of World-Fa-mous Mwic-Classical, Popular, and FolkNew York DoverPublications Inc., 1985.A recent enlarged edition of a highly-researched book (first published in 1966)which includes interesting program mate-rial for a large number of works now in tlteband repertoire.

Gammond, Peter and Raymond Horricks,eds. Brass Bands, Cambridge, England:Patrick Stephens, 1980. Although this152-page book is filled with material whichis interesting to "brass banders" (including



Minutes of theNABBA Board ofDirectors MeetingApril 26, 1991 inCedar Rapids, lowa

The NABBA Board of Directors meetingwas called to order by President Paul Droste.Introducing themselves were Paul Droste(Ohio), Charles Arnold (Wisconsin), An-ita Collings (New Jersey), Bob Croft(Arizona), Tony Guerere (New Jersey),Ron Holz (Kentucky), Milt Hovelson (Min-nesota), Glenn Kelly (Washington), TomMyers (Ohio), Sara North (Illinois), DalePeckman (Virginia), Don Stine (Iowa),John Thornton (Iowa), Bert Wiley (NorthCarolina), and JohnnyWoody (Michigan).Captain Tom Palmatier, Paul Wilhoit, andAlan Bonsall ftom The United States ArmyBrass Band also attended.

The minutes of the autumn 1990 meetingwere approved as presented by the NABBASecretary Bert Wiley. (These minuteswere published in The Brass B and B ridge,issues 42 and 43.)

TreasurerTom Myers presented his reportand stated that NABBA is solvent ($x,xxxcash in hand) but thatprudent spending toconserve cash was recommended, giventle cunent economy.

Captain Palmatier reported on tle prepa-ration for Championships XI to be held in



Bernel Music is pleased to announcean exclusive sales agreement with

Kirklees MusicFor fast, friendly, and efficient service

Buy Bernel!704.293.9312

P.O. Box 2438Cullowhee, NC 28723

Visa and MasterGard accepted t

Fort Myer, nearWashington, D.C., in 1993.The host band will be The United StatesArmy Brass Band. CPT Palmatier de-scribed the excellent facilities at Fort Myer.The band's two recital halls could permittwo simultaneous judging, if needed.Adjudicators are currently being consid-ered. The band believes the costs of theChampionships willbeminorforNABBA.The Board discussed the likelihood thatseveral overseas bands would want tocompete in the Championships, since theevent is being held in America's capital.

A brief report on the 1991 Video Compe-tition was given. The winning bands werethe Eastern Iowa Brass Band, first placewith275 points, and theWestwinds BrassBand, second place with 233 points. Thevideo competition will be discussed fur-therduring the Board's autumn meetingonAugust 23 and 24 in Columbus, Ohio.

John Thornton, the contest Coordinatorfor Championships IX, gave a very posi-tive report about the next day's activities,indicating that all was in good order, in-cluding finances to support the event. Dr.Thomton and his staff were commendedfor the excellent work done to prepare forthis annual event. The Board of Directorsformally thanked Captain Palmatier andThe United States Army Brass Band fortravelling from Washington to present theGala Concert.

The contest committee, chaired by RonHolz, indicated that all aspects of theChampionships IX appeared ready. Fur-ther discussion of the future Champion-ships will be held during the Board's au-tumn meeting.

Vice President Glenn Kelly and his bandscommittee (Don Stine, SaraCollings, DavidPeckman, and Bob Croft) reported on theactivities of brass bands throughout NorthAmerica. New bands emerging includethose in San Diego, Saskatchewan, BritishColumbia, Rutgers and Butler Universi-ties, Connecticut, and a band that willcompete tomorrow from the University ofNorthern Iowa.

President Droste presented the member-ship chair's report from David Pickett,who could not attend. Band and individualmembership continues to vary, basedprin-cipally on which bands are competing inthe Championships and Video Contest.

While some improvement in that trend hasrecently been seen- giving gleat encour-agement - the subject of membership ex-pansion will be on the agenda for theautumn meeting.

President Droste presented tle plannedactivities for Championships X on April10 and I 1,1992. The contest venue will beDublin High School in a suburb of Colum-bus, Ohio. Excellentfacilities-rehearsalrooms, contest hall, fine food services, andseveral hearby motels - are available forthe event. The Gala Concert will be pre-sented by Bandmaster William Himes andThe Chicago Staff Band of The SalvationArmy. Adjudicator Geoffrey Brand addi-tionally will serve as guest conductor. TheBrass Band of Columbus will participatein the program as well. Following the au-tumn Board meeting, further informationwill be presentedinthe Bridge. CompleteChampionships instructions will be mailedto all NABBA memberbands.

Three cities have been proposed for theChampionships XII in 1994 - Pittsburgh,Milwaukee, and Toronto. The decisionwas tabled until the August meeting topermit further discussion.

A motion passed unanimously that for-mally thanked Yamaha Corporation ofAmerica Band & Orchesral Division forits continuing support. Yamaha's exten-sive contribution to NABBA includessupport for and advertising inthe Bridge,the annual summer brass band workshops,and support for the Championships.

Several subjects will be discussed at lengthin the August meeting - honbrary recog-nition, a possible executive director, elec-tion procedures for Directors, and others.

The NABBA Board of Directors will meetin Columbus, Ohio, on August 23 and24.Any subjects you think should be on theagenda should be sent to the Secrerary byAugust I to P.O. Box 2438, Cullowhee,NC28725.

Minutes of NABBA'sAnnual Membership Meetingon Aprif 27,1991

NABBA's Annual Membership Meetingwas held in Cedar Rapids, Iowa, immedi-ately following the conclusion of theChampionships performances.


President Droste opened the meeting byintroducing the members of the Board. Hethen gave a sincere Thank You! to JohnThomton, the contest Coordinator of Cham-pionships IX. Dr. Thomton thanked allthose who helped in the magnificent andsuccessful event. The Eastern Iowa BrassBand served as the host band for the Cham-pionships.

Dr. Droste explained the nomination andelection process. Those nominated to theBoard (by the required two NABBAmembers) were Brian Bowman @ennsyl-vania), George Foster (Illinois), Ron Holz(Kentucky), Tom Myers (Ohro), Sara North(Illinois), and Bert Wiley (North Caro-lina). The membership was invited tocomplete a nomination form to submit thenames of potential Directors. Subsequentnominations included Beth Hronek (Ken-ucky) and Tom Palmatier (Virginia). Sincesome seats remain unfilled on tlte Board,no elections will be necessary for this classof directors to be seated.

Droste then described the annual meetingof the Board of Directors to be held inColumbus on August 23 and24.

The next Championships were announced- Columbus, Ohio, on April 10 and ll,



Bernel Music is p leased to announcean exclusive sales agreement with

Rakeway MusicThe publisherfor Howard Snell.

New from Rakeway -Candid e 0v e rtu re ( Bernstein/Snelll,

The Flower Song (BizeVSnell),Apres Un ffeve (Faure/Snell),

Le Petite /Vegre (0ebussy/Snelll,plus many other popular works.

For fast, friendly, and efficient service

Buy Bernel!704.293.93L2

P.O. Box 2438Cullowhee, NC 28723

Visa and Master0ard accepted

1992, and Fort Myer, Virginia (Washing-ton, District of Columbia), on April 2 and3,1993. While the location for Champi-onships XII in 1994 will be selected duringthe August Board meeting, Dr. Drostedisclosed that two bands have submittedproposals o host the Championships. Thosebands are the Allegheny Brass Band inPittsburgh, Pennsylvania, and the Milwau-kee British Brass Band in Milwaukee,Wisconsin. Other bids are also likely; aCanadian submission would be welcomed.

Editor of The Brass Band Bridge, TomMyers, suggested that all bands send atleast one major report and one follow-upreport per year to him for the Bridge. Heencouraged each band to volunteer, elect,appoint or otherwise encourage an officialCorrespondent to the Bridge.

Contest Controller and Committee ChairRon Holz introduced the adjudicators forChampionships IX - William Himes fromChicago, Illinois; Stephen Bulla fromBowie, Maryland; and Richard Holz fromAtlanta, Georgia.

The meeting adjourned at 5:14 p.m. andwas followed at 5:20 p.m. by the awardsceremony.

Both re po rts respectf u I ly s u bm itted bySecretary Bert Wiley.

In 1990, he started an International BrassBand Summer School at Christ College,Brecon, Wales, and serves as its MusicalDirector. In only its first two years, thishands-on study week, with outstanding in-strumental tutors in residence, has becomea highly sought-after opportunity for seri-ous brass band enthusiasts, both adults andyouths, who want to be challenged, workhard, and advance rapidly.

His extensive travels as a conductor takehim to Australia, New Zealand, Malaysia,Indonesia, the U.S.A., and Japan, as wellas regularly to the Scandinavian countriesand ttre continent of Europe. During 1990,he visited North America to guest conductand lecture at several universities and at aneleven-state western conference of theCollege Band Directors National Associa-tion in Reno, Nevada. He then flew toHawaii for the Pacific Basin BandFestivaland on to Australia where he lectured andconducted at the New South Wales Con-servatorium in Sydney and worked at theUniversity of Western Australia.

With his wife Violet, Geoffrey Brand haswritten two books,ErcssB ands in the20thCentury and The World of Brass Bands,both published by Egon Publishers.

Heis chairmanofR. Smith &Co. Limited,music publishers. His son, Michael, servesas the firm's manager.

G eoffrey Br a nd B iogr ap hy, conti n uedfrom page 15

including Brighouse & Rastrick and Gri-methorpe Colliery. Gramophone record-ings of Geoffrey Brand conducting brassband music bear testimony to his widerepertoire in this genre. Please see page 10of this issue for Ron Holz's discussion onGeoffrey's recent recording with the Brig-house & Rastrick Band.

Geoffrey Brand's work with young peopleis admired and widely sought throughoutthe world. In 1987, he servedas the GuestConductor of the first World Associationfor Symphonic Bands and Ensembles In-ternational Honor Band. He is a foundingmember of WASBE and served on theBoard of Dfuectors for several years. foreight years, he was Music Director andConductor of the National Youth BrassBand of Great Britain and, since I97l tothe present, has been conductor of theNational Youth Brass Band of Scotland.

May 1991

Program Nota Preparation, Part 1,continued from page 17

the complete list of winning bands and testpieces from 1853 to 1979 and an extensivediscography), thebiographies in the chap-ter by the late William Chislett may be themost helpful.

Goldman, Richard Franko. The Band'sMusic. New York: Pitman, 1938: TheConcert Band. New York: Rinehart, 1946;The Wind Band. Boston: Allyn & Bacon,196 I . The latter two books - standards inband literature sources - are available inmany libraries. In correspondence pre-ceding his death in 1980, Goldman men-tioned that he had written a text containingprogam notes in 1938. A copy of thatbook (found recently in a trash pile in NewOdeans) shows it to be the source for manyof the program notes used by the GoldmanBand for the last fifty years.

Greene, David M. Greene's Biographical


naue.

Encyclopedia of Composers. New York:Doubleday, 1985. Greene is a professor atLehigh University and a long-time con-tributing editor of Musical Heritage Re-view (another pro$am note source), aperiodical which offers both informationand enticement to buy records ftom theMusical Heritage Society in Ocean, NewJersey. Greene combines wit and knowl-edge in his well-written encyclopedia whichmoves chronologically (by birthdates) fromantiquity to the present in profiling thelives of more than 2,400 composers.

International Who's Who in Music andMusicians' Directory,l lth ed. Edited byErnest Kay. Cambridge, England: MelrosePress, 1988. Contains some 8,000 concisebiographies of composers (many of whomhave written band works), teachers, musi-cologists, performers, etc. - mostly fromEurope and the U.S. In order to beincluded musicians had to be recommendedby others and also have enough energy andtime to complete and return the question-

Kallman, Helmut, Gilles Potvin, andKenneth Winters, eds. Encyclopedia ofMusic in Canada. Toronto: University ofToronto Press, 1981. It is most refreshingto come across music encyclopedias whichgive equal status to composers of bandmusic and those who write for other me-dia. In addition to composers, this volumeincludes a seven-page section devoted toprominent Canadian bandmasters; asso-ciations; festivals; discography; and vari-ous bands to the armed forces, police,schools, youth, and municipalities.

The New Grove Dictionary of Music andMusicians. Editedby Stanley Sadie. NewYork Grove's Dictionaries of Music, 1980.Every musician who has ever darkened thedoorof a self-respecting library knows thismulti-volume, century-old set and payshomage to the large majority of the au-thors who are represented. A few yearsago, Roaul Camus voiced his resentmentat the traditional omission of band com-posers and was subsequently appointedband editor for the 1986 edition of TheNew Grove Dictionary of American Mu-sic. Although Camus and his capableassistants (Loren Geiger, Frank Cipolla,Eileen Southern, Paul Bierley, GeorgeGelles, Dorothy Klotzman, R.E. Sheldon,James M. Burk, George Heller, andWileyHitchcock) were disappointed that the

biographies fo 41 very worthy band com-posers and directors were not included,64were. A memorable year for the bandworld!

Pazdirek, Franz. U niver sal-H andbuc h derMusiklit eratur aller kiten and Vollecr, 14vols. Vienna: Pazdirek, 1904-1910.Available at a number of American librar-ies. An immense amount of title, arrange-ment, and publisher information may befound in this "miniature Library of Con-gress." Although restricted to mostly 19thand early 20th century works, the multi-volume set includes works by so-calledobEcure as well as famous composers. Mosttitles arc in the original language.

Rehrig, William. The Heritage Encyclo-pedia of Band Muic (Conposers andTluirMusic). Edited by Paul Bierley. Wester-ville, Ohio: Integrity Press, 1991. Withbiographical information on 9,000 com-posers (including 55,000 works titles) al-ready collected, Rehrig and Bierley's two-volume work has been long awaited andmuch needed by all of us. Its publicationin late September l99l is eagerly awaited.

Schmidl, Carlo. Dizionario Universaledei Musicisti. Milano: Sonzogno, 1928-1929, 2 vols. Suppletrnnto, 1938. Possi-bly the most-respected bibliography onItalian musicians, this book has rathercomplete articles on so-called major musi-cians and brief accounts on others. In-cludes some composers who have writtenfor band. With a reputation for producingmany of the world's most capable musi-cians, biographies of Italy's band compos-ers are extremely difficult to find. InItalian.

Schwartz, Harry Wayne. Bands of Arrcr-ica. Garden City, New York Doubleday,1957. Along with stories of bands, theautlor includes colorful descriptions ofsuch conductor-composers as Gilrnore,Sousa, Innes, Brooke, Creatore, Kryl, andPryor. Lynn Sams, a long-time associateof Schwartz with the Conn Company, hasbeen gathering material for his own bookfor much of his long life. His manuscriptis presently being edited for publication.

Slonimslry, Nicolas, d. Bal<er's Biographi-cal Dictionary of Musicians. 7th ed. NewYork: 1984. Slonimsky, a gregariousRussian-American genius (born in 1894),is still an active researcher. Although his book is a standard for composers of many formsof music, it is sadly lacking in those who wrote only for band. Continued in next issue.

Thank YouVery Much !

The North American Brass BandAssociation gratefully recognizesthe following companies for theirsupport. Please patronize thesefine firms.

Leadership Members($1,000 and above)

Yamaha Corporation of AmericaBand & Orchestral DivisionGrand Rapids, Michigan

Patron Members($500 to $999)

Boosey & Hawkes Buffet CramponLibertWil le, l l l inois

TRW Inc.Cleveland, Ohio

Willson Band InstrumentsFlums, Switzerland

Corporate Members($100 to $499)

Allegro Band MusicAuckland, New Zealand

BernelMusicCullowhee, North Carolina

Boosey & Hawkes Band FestivalsMiddlesex, England

Getzen CompanyElkhorn, Wisconsin

Rosehill Music Publishing GompanyBeaconsfield, Bucks., England

The Selmer GompanyElkhart, Indiana

R. Smith & Go. LimitedMusic PublishersLondon, England

Studio Music CompanyLondon, England

The Woodwind & The BrasswindSouth Bend, Ind iana


More, Recent BrassBand RecordingsRecordings are reviewed in The BrassBand Bridge based on the interestsand time of the reviewer at the mo-ment. Omission of a formal reviewindicates, in this case, only that themany fine new recordings recentlyissued have taxed our capacity to per-form mea ningful reviews.

Boosey & Hawkes NationalBrass Band Championshipsof Great Britain

GaIa Concert - Prelude for an Occasion(Gregson), Orient Express (Sparke), Troz-bone Concerto (Bourgeois) performed byChristian Lin dber g, Lib e r ty F anfar e (Y,l il-liams/Freeh), Strikt UpThe Band (Gersh-win/Richards) , Here's Tlut Rainy Day SanHeusen & BartonlFrceh), Tlterrc from S uper-rnan (W llliams/Farr), H aut p o s aune (Hill-borg) performed by Lindberg, A ShortRide on a Motorbike (Sandstrom),,Iozr-ney Into Freedom (Ball) conducted byHarry Mortimer. Bands performing in-clude Rigid Containers Group Band (Iovey),Murray International Whitburn Band@arkes), John Laing (Hendon) Band(White); conducted for some selections byBramwell Tovey. Heavyweight RecordsHR006/D.

Brighouse & Rastrick Band(de Haanl

Convergents - Mercury - Contest March(Van der Roost), Toccata (Frescobaldi/Curnow), Convergents (Cesarini), l,c Sto-ria (de Haan), Happy Trombones (Ares),Knoxville 1800 (Curnow), Fiesta DellaCosta (Gistel), Variations on "LaudateDominum" (Gregson), Variations on aChord (de Haan). 62:16 minutes. DHMRecords DHM 3006.3.

Desford Colliery CaterpillarBand (Watsonl

Robert Simpson - Energy, The FourTemperaments, Vortex, Vo lcano, I ntro duc-tion and Allegro. Hyperion RecordscDA6&49.


G.U.S. Band (Wilkinsonl

Merlin Master Brass rVolume I - F antasyfor Brass Band (Arnold), Three Figures(Cope's Challenge, Iles Interlude, Rim-mer's Race) (Howells), Variations on aShining Rlver (Rubbra), Ballet for Band(Horovitz). 47:34 minutes. Merlin Rec-ords MRFD 85089.

The John Laing (Hendon)Band (White)

Prisms - Festfanfare (UhlAMhite), TfteAmbassdors (Graham), The Yeomen ofthe Guard (Sullivan/Sargent),The Maid ofthe Mist (Clarke/E. Williams), Orient Ex-press (Sparke), Variations on "LaudateDominurn" (Gregson), H enda n H umore sque(Ball), The Thin Red Line (Alford), TheTeddy Bears' Picnic (Brattan/Roberts),Sarabande (Arnold,tTVhite), Prelude forHampstead Heath @llerby), Marianne@unce/Brabbins), Prl.rns (Graham). 67:30minutes. Produced by the John Laing(Hendon) Band JLB 101.

National Fuel Distributors(Parc and Darel Band (Cosh)

Celtic Brass, Castell Coch - Men ofH ar le c h (/Bennett), S uo - gan (/Belshaw),Goat! - A cautionary tale for brass band(Wills), The Spacemen - Mars (Powell),My Little Welsh Honu ftVilliams/Belshaw),Celtic Suite - Fanfare and Dawns Werin(Sparke), Castell Coch Powell), Bugeil-io'r GwenithGwyn (Watching the Wheat)(/Geehl), Sosban Fach (Wood), AWelshPosy (Holst/Cooper),Hunting of the Hare(Bebb), Dafydd Y Garreg Wen (David ofthe White Rock) (/Langford). 52:09 min-utes. Canolfan Sain @ecordiau) Cyf. SCD4M4.

The Sun Life Band(Newsome & Hurdley)Avondale - March: Avondale (Verner),Show Me (I-erner&Lowe/Richards,/Freeh),The Sorcerer's Apprentic e (Dukas/Bour-geois), Variations on a Tyrolean Song(ArbanAlurdley), Overture : Masaniello(Auber/lVinter), Tom Marches On@ichardson), Prisms (Symphonic StudyN o. 2 for B rass B and) (Graham), From theShores of the Miehty Pacific (Clarke),Angels GuardThee (Berceuse de Jocelyn)(Godard/Ball), Dance of the Comedians

May 1991

(SmetanaAtewsome). Time notindicated.Grasmere Music Ltd. GRCD 41.

lMl Yorkshire lmperial Band(HirstlE nde av our - M ar c h-O pus 99 Prokofiev/G. Brand), En deavour (Sparke), FantaisieBrillante (fubar/Edwards) , Anotlur Op'nin',Ano t her S/row @orter/Roberts), S ere nadefor Toni (Sparke), Appalachian MountainFolk Song Suite (Curnow), Yorl<shireI mperial (W ood),Tangents for B ras s B and(Bulla), klda (Code), Puuin' OnThe Ritz(Berlin/Roberts), W it h Y o u I' m B orn A gain(Shire/Connors), Tr ipty c h for B r ass B and(Sparke). 69:38 minutes. Doyen BrassRecording Specialists DOY CD006.

Sovereign Soloists,accompanied by RochdaleBand (Evans)

SovereignSolalsrs - Performing on Boosey& Hawkes Besson Sovereign instruments:Nicholas Childs (euphonium), Robert Childs(euphonium), John Hudson (comet), Nicho-las Hudson (rombone), Sandy Smith (tenorhorn), Steve Sykes (tuba), Roger Webster(cornet): Believe Me If AllThose Endear-ing Young Charms (/Boddington), ApresUn Reve (Aangford), Concert Variations(I-usher), Facilita (/Hartmann), The WayWe Were (/Barryl, The Bass in the Ball-roorn (Newsome), Two Part Invention(Sparke), Carnival of Venice (/Del Staig-ers), Catari, Catari (/Stephens), I WishYou Love (AMaterworth), Hejre Kati (Sykes) Ave Maria (Gounod),,Ienny Jones@immer), Nuns C hor us (lStephens), Pan-tomime (Sparke). 68:10 minutes. DoyenRecordings DOY CD 003.

Highlights From Festival ofBrass, BBC Radio 3

Britannia Building Society Band (Snell):The New Jerusalem (Wilby); WilliamsFairey Engineering Band (Parkes): Fron-tier! (M. Ball); John Foster Black DykeMills Band (King): Sounds (Golland);lryland DAF Band @vans): ClondcatclwrFel/s (McCabe); Grimethorpe Colliery Band(Renton): Concerto Grosso (Bourgeois).77:29 minttes. Doyen Recordings DOYcD 008.


Brass BandGhallenge 2

By Al Duerig

ACROSS1 Smear5 Strangers in the sky (acronym)9 Music ians 'organizat ion14 Wren anagram15 Charge16 Scottish peer17 Instruments rarely seen except

in brass bands20 Stringed instruments never seen

2122232526283033

in brass bandsType of dealerAirline code for Utah cityLarge vesselsConjunction in Berl inPal indromic mammalSmall part iclesPopular Puerto Rico drinkNABBA section below Champi-onship

36 Anagram for Civi lWar graycoat37 Sailor 's hail38 These are mailed in November41 Types of deer42 Abbreviated abbreviation43 Yankee fol lower44 Hamper45 Translucent yel lowish stone47 Directors give this to musicians48 Star Wars acronym49 A set ofcards51 Cutt ing tool54 Roman goddess of fortune58 Chi ld ish60 Brit ish Brass Band competit ion

venue62 Make law63 Sweet fermented drink64 Chemical suffix65 Mil i tary vehicles66 Groups of tennis games67 Suffixes signifying superlatives

DOWN1 Most worthless parts2 Very bad3 Not al lowed to sel l l iquor4 Bandmembers always followthis5 Extreme6 Latin festival7 Combining form for wine I8 To deluge with data (slang)

9 Venue of first Olympics10 Equipped with footwear11 First name of a Bach12 -Arundel County, MD13 Reps anagram18 Drinking establishment19 Danced a Latin rhythm24 Followed a course27 Troubles29 Spherical body30 Former residents of Zimbabwe31 Tool anagram32 Famous trading place (abbr.)33 Mult i-str inged instrument34 Double reed instrument35 Endurance37 Great baseball family of '70s

39 Flow out40 ltem hung from necklace45 Mature persons46 What you do at da capo48 A vertical pipe or pile50 Coagulated milk52 Distribute

Author of 1936 Mars scarePart of number 20 acrossChapl in 's daughterSouthwestern Scotland lakeHandoutsFormer Korean leaderCompetit ion

Alfred Duerig is the mastermind of thisdiversion. He also finds time [o serve onNABBA's Board of Directors, play basstrombone in the Allegheny Biass Band, andserved as the.Championships VIII Coordi-nator in 1990. The first of his Brass BandChallenges appeared in the ChampionshipsVIII official prognrm.

The solutions to both Challenges will bepublished in the next issue.

53545555575961

.0 a 3

4 5 6

7 8 9

l0

tz r j t4 l5

,.6 ,.7 !,E t9 t0 I l2

,3 w i5 t6 t7

!8 ,9 t0

I t2 t3

w t5 t6 t7

t8 t9 '0 1 i2 i3

,4 t ) ' 6 t7 'E r9

t0 1

t2 t3 A

)) t6 t7


Coda: Satchmo's

The most famous one probablywas Louis Armstrong's.Although it was hardlyoverwhelming, it had a certainpresence and was handled withstyle.

You probably have at least one,perhaps several. What? Acloth, of course, the one thataccompanies your instrument -your handkerchief, rag, fabric,mop, towel, security blanket,protector, pol ishi ng cloth.

Style is more important than youmight suspect. lf your brassband wears black tuxedos withred ties and cummerbunds, your

white diaper is definitely out ofplace. More appropriate mightbe a black towel, a red velvetsquare, or perhaps one of themost luxurious - a Liberty ofLondon scarf of wool chall is(pronounced "shall-ee" - what anice sound) in a mutted red andblack ornate pattern (it will setyou back about $80). Cleanchamois also seems to fit withformal attire and gives you acertain symphonic earthiness.

0n the other hand, if you play ina turn-of-the-century band, thatwhite (l hope) diaper might bequite perfect, as would be a thin

soft quilt. The modern Liberty ofLondon chall is would be out ofplace, regardless of how goodthe Wells Fargo wagon was.

Please send me a postcardtell ing what you use - be asspecific as you can, including thetype of fabric, size, color, and soon, along with the description ofthe clothing in which your bandperforms. l ' l l publish the l ist ofthem in a subsequent issue.Who knows, I might even figureout a real award or two.

Tom

Non-Profit Orga n izationU.S. POSTAGE PAIDAkron, OhioPermit No.327

rII

II

North American Brass Band Association, Inc.The Brass Band BridgeThomas A. Myers, Editor156 N. Highland AvenueAkron, Ohio 44303-1504USA

issue 44 - may

Documents