Area Pieces 2012

Discussion in 'The Adjudicators' Comments' started by markh, Sep 16, 2010.

  1. Thirteen Ball

    Thirteen Ball Active Member

    For the reasons laid out earlier it's often not practical ro re-write older pieces to remove well-known errata.... but perhaps the selection committee could insist on a certain standard of typesetting quality for new publications in order for them to warrant selection?

    I suppose the problem then is that when a new commission is undertaken for the finals etc. a lot of the time it's not complete at the time of the announcement - so there's no way to know what the end result will look like.
  2. Martin Cordy

    Martin Cordy Member

    if the piece can not be re-written to correct known issues, could previous errata not just be issued with the music?!!
  3. Thirteen Ball

    Thirteen Ball Active Member

    I would hope that would be the case. If it isn't, then there's not really an excuse for that. I suppose a large part of the problem is that the bands simply find errors, and correct them amongst themselves, so the publishers may not always know there's an issue.

    But where they are aware, and a re-engraving is not practicable, then surely it's not a lot to ask to include an extra sheet of known errata.

    In which case, make sure you're updating the publishers with any errors you find.....
    Last edited: Jan 26, 2012
  4. winterman

    winterman Member

    This thread is inspiring me to try and restart my "Library" project which was aimed to be a central resource for sheet music and especially a properly managed and well maintained Errata database.. A few composers/arrangers/publishers were potentially interested in using it as their central source for such information and were prepared to update it themselves.

    Unfortunately work got in the way, but I am happy to start it up again!

    Anyone interested in joining me or think they would use it? Totally free of charge to use for users and publishers alike too of course!!
  5. euphman1

    euphman1 New Member

    Perhaps the championship section could be set a task to find a trace of a melody line in Steadman-Allans "Amaranth". I couldn't at Wembley in the 1992 nationals. Has this piece seen light of day since then?
  6. Thirteen Ball

    Thirteen Ball Active Member

    I'll help if you like, Mic?
  7. MoominDave

    MoominDave Well-Known Member

    This could usefully attach to, which has an extensive database of used test-pieces linked to contest results. Maybe drop Tim Sawyer a line at the site?
  8. Bass Trumpet

    Bass Trumpet Active Member

    Only one lady owner, drove to church and back etc. etc....
  9. tsawyer

    tsawyer Member

    Happy to add space on the test piece page for it, if it helps everyone.

  10. stevetrom

    stevetrom Well-Known Member

    blew through Mounting Views - yes 'Mounting' Views is now the official title

    bass trom errors are pretty obvious (unless I didn't notice them?)
  11. WoodenFlugel

    WoodenFlugel Moderator Staff Member

    Oi! That's my trademark - courtesy fo my iPhone's predictive text. At least give me a credit....;)
  12. stevetrom

    stevetrom Well-Known Member


    yep, an inspired spelling error and just too good to miss.
  13. Thirteen Ball

    Thirteen Ball Active Member

    One thing I've begun thinking about 'Devil' is that the real Key to it is going to be control of dynamic.

    OK, all that blistering technique, and daft-high solos are pretty horriffic stuff to get through, granted that's what makes it a tehnical challenge - but all that really isn't helped by the dynamic at which a lot of it's written.

    As things get louder, certain intruments will tend to rush, others will drag, and that can rock a band a beat or so out very easily and lead to disaster... so keeping that dynamic in check is going to be key. As is usual, any section/player that decides to be a 'hero' on the day is likely to lose more points than they add, but I think devil is particularly bad for this effect. Because so much of the first half of the piece is written loud, it's easy for solo lines to think they have to out-blow the rest of the band, rather than the rest of the band coming down to let them through - due to the overall F, FF, FFF dynamic range of the section from figure 5 onwards.

    If sections don't drop out of the way when their part is not one of the more important ones, this tends to lead into a 'how loud can you go' contest between sections that can only ever end in calamity, as it kills the tuning, rhythmic accuracy and balance instantly.

    I suspect it'll be better to have a good, clean, balanced performance at a slightly lower dynamic, but keeping the relentless nature of the piece, than to risk having nowhere left to go for the sections where a band really has to let rip, which will inevitably lead to overblowing while chasing the FF and FFF dynamics.

    This is especially true when up against bands like a few of those in yorkshire, who really do have the ability to 'go up to 11' (in spinal tap terms) when required.
    Last edited: Jan 30, 2012
  14. Anno Draconis

    Anno Draconis Well-Known Member

    All fair points, but ones which equally applied to big chunks of Paganini and English Heritage, both of which can become a razz-fest. Where it'll show is in the reprise of the "All kinds of everything" tune near the end, with the ff fanfares - back row parts with top As and Cs, thanks very much Mr Bourgeois! Those bands with not a lot of power/stamina who have shot their bolt by blowing their minerals off in the fugue won't half feel it when they get here... tuning and sustaining of notes will go out of the window as breath is sucked in through every available orifice ;)

    (speaking as someone who has no stamina, power or upper register to speak of, and is regularly knackered by this point!)
  15. Pav

    Pav Member

    All of which is made more noticeable by moving the front row onto the tune just as the back row fanfare parts get higher and the last bit of stamina drains out of your lips. Nice.

    Fellow stamina and upper register sufferer. Never knowingly been underpowered though. :)
  16. Anno Draconis

    Anno Draconis Well-Known Member

    If, at your area contest, you see a scruffy bloke in trackie bottoms looking like he should have a dog on a string and 2 litres of White Lightening in a paper bag - that'll be Bourgeois, 'ave a word with him :)
  17. Thirteen Ball

    Thirteen Ball Active Member

    A very fair point, and kind of what I was trying to allude to - albeit better put than I managed. Your point about other pieces is certainly correct, I just feel that the relentlessly big nature of the noises required in 'Devil' make it even more likely than the examples you've picked out to illicit this sort of reaction from players. And yes, that does then mean that a good many will have shot their bolt before the slow section even starts, which could very well lead to some painful Horn solos and cornet fanfares.....

    I wonder how he is at maths. When the basses take over the main tune, just before all that fanfare stuff, the BBs pick up on two semiquaver low G's (f1 on a piano) At 152 crotchets per minute, that means your lip has time to go back and forth a whole 4 times for each note..... which isn't even enough to establish the note before you're over with it. Thankfully you've got the timp player, EB bass and bass trom braying hell out of the same notes an octave above, so it disguises it pretty well....
  18. winterman

    winterman Member

    Good good Andi, thought you might be up for it! :D
  19. rutty

    rutty Active Member

    Having played through Mountain Views a few times now, I can't help but think that this might just turn out to be a bit of a blastothon at the area. Lots of FFs and some FFFs too. Some nice music, but most bands should be able to play the majority of the notes, so the emphasis will be on making the most of the style and dynamics.

    Hope that doesn't mean everyone blowing their proverbials off
  20. MoominDave

    MoominDave Well-Known Member

    The main challenge is not to underestimate it, I reckon. It's pleasant music, but there are fourth section bands up and down the land that could play it nicely. So scrappy performances that can't be bothered will come way down the placings, and the prize lists in every area will feature one or two attention-grabbingly unlikely bands.

    This is probably good for our karma...