The Trombonist - Winter 2014

winter 2014 ÂŁ5.00

the most successful TV programme of recent British history

Austonley Brass - Forging Ahead Tribute to Sheila Tracy - Celebrating an extraordinary woman Making dissonance sound correct - Improvising help from Jeremy Price New Member Discounts - Let the BTS save you money

BUMPER-sized winter issue

WIN AP BONE

contents Regulars 6

Presidents Column

Christian Jones gives his final message of the year.

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27

features 17

Our top 6 smartphone apps for musicians.

Amelia Lewis - Star of the Future.

Top Apps

32

News, Event Reviews & Previews

G&T

11

profiles 22

Competition results, new appointments and a look at the recent BTS days.

Jazz by Jeremy

Find out how to take your improvising to the next level.

36

What’s On

Matt and Mark’s highlights for the next three months ahead.

tribute

25

history

Renaissance & Baroque with Ercole Nisini.

28

Barber: John Barber Jazz Solo Transcriptions: Bob McChesney Jazz Transcriptions: Michael Dease 18 Canons & Chorales: Helen Vollam Permanent Transience: Justin Clark Music for Brass Septet: Septura.

Resources 12

FAST TALk

4

Strictly Come Dancing’s trombonists Pete Beachill and Andy Wood.

31

The Bass Bone Files

tips from the top

18

Spotlight

Tributes to BTS Past-President Sheila Tracy.

See what trombone activities are happening in your area over the festive period.

Benny’s Basics Part 3.

Rising Star

Roger Argente profiles Los Angeles session player Bill Reichenbach.

37

A minute with…

Chris Binns.

Reviews

Welcome to your bumper ISSUE OF THE trombonist

We’ve been getting into the Christmas spirit (hence the tinsel and santa hat!), and since we’ve been getting so many great comments about how you’re liking your magazine, we decided to give BTS members a small gift: more pages in your magazine, and more exclusive member discounts.

There have been some great entries for the Facet mute competition, and we’re pleased to announce that the winner is James Buckle with his amusing photo of his cup mute upon a beer tap!

Congratulations James - your mute is on its way.

This issue we’re excited to have a magazine competition for members to have the chance to win a red pBone - what a great prize. Turn to page 15 for more information - first correct entry wins, so get a move on!

Next year, the BTS celebrates its 30th year, so get ready for a fun-filled tromboney year ahead. Keep an eye on the hashtag #BTS30 on Twitter, throughout 2015.

With best wishes, for a jolly Christmas and prosperous New Year, Carol & Simon drop us a line: editor@britishtrombonesociety.org

page 13

page 33

The Trombonist Magazine Editors: Carol Jarvis & Simon Minshall editor@britishtrombonesociety.org Sub-Editor: Peter Chester Publishing and Distribution: HMCA Reviews Editor: Ross Learmonth reviews@britishtrombonesociety.org Advertising: Wesley Tatton advertising@britishtrombonesociety.org Design: Sian Nowley sian@hmca.co.uk The Trombonist is published quarterly Any views expressed in ‘The Trombonist’ are those of the individual contributors and do not necessarily represent the views of the British Trombone Society.

Contributors in this issue: Roger Argente Chris Binns Rob Egerton Matt Gee Kevin Holbrough Alison Keep Simon Minshall

page 18

Ercole Nisini Jeremy Price Jane Salmon Mark Templeton David Thornber Robb Tooley Rupert Whitehead

page 22

page 37

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winter 2014 the trombonist

president’s column

We are nearly in our thirties! The BTS was founded in 1985 and next year will see a host of features and recollections tracing our history. Look out for the BTS30 celebrations across our website, Twitter feed and Facebook page!

Looking ahead, we are using our recent charitable status as a springboard to further develop the BTS website. Having drawn up an upgrade specification, the Committee has contacted a number of website providers (naturally including our incumbent, PennInk), in order to keep us at the vanguard as technology moves forward. I will keep you up to date with any developments.

Our warm thanks go to Ben Bouzan and Oundle School for hosting the BTS AGM and East Anglia trombone day back in October. Proceedings were opened by observing a moments’ silence to reflect on the remarkable lives of George Roberts and Sheila Tracy, who both passed away at the end of September. Following this, our BTS 2014 Annual Award winners were announced:

Student of the year: Currently in his second year at the RNCM with Adrian Morris, Josh Cirtina shot to prominence this summer as the first ever UK student to win the ITA George Roberts bass trombone competition in Rochester, New York.

Player of the year: An undeniable prodigy, yet with both feet firmly on the ground Peter Moore was the youngest ever winner of the BBC Young Musician Competition, aged 12.

Now 18, he’s also the youngest ever member of the LSO, an ensemble founded in 1904!

Teacher of the year: Birmingham Conservatoire Head of Brass, Volkwang Hochshule

Essen Professor of Trombone and Brass Ensembles, Chris Houlding is also a Visting Professor at the GSMD in London. Active worldwide as a performer, conductor and teacher, Chris has continually nurtured students with passion and commitment, underpinned by his breadth of brass playing knowledge.

Outstanding contribution: An icon of the trombone, Jiggs Whigham is an artist

British Trombone Society www.britishtrombonesociety.org

The British Trombone Society is a Registered Charity. Reg No. 1158011 Honorary Patron: Gordon Campbell Board of Trustees President: Christian Jones president@britishtrombonesociety.org Vice-President: Liam Kirkman vicepresident@britishtrombonesociety.org Past-President: Carol Jarvis pastpresident@britishtrombonesociety.org Chair: Matt Gee chair@britishtrombonesociety.org Vice Chair: Alison Keep alisonkeep@britishtrombonesociety.org Secretary: Geoff Wolmark 01377 202209 1-3 Church Street, Hutton, Driffield, Yorks, YO25 9PR secretary@britishtrombonesociety.org Treasurer: Simon Minshall treasurer@britishtrombonesociety.org Development Officer: Stewart Drummond stewartdrummond@britishtrombonesociety.org staff Membership Manager & Bookkeeper Chris Sowerby 01924 437359 membership@britishtrombonesociety.org 1 Ullswater Road, Dewsbury, WF12 7PH Webmaster: Edward Solomon 07903 152148 webmaster@britishtrombonesociety.org Please submit news and events items for the website to: Ross Learmonth news@britishtrombonesociety.org Representatives Scotland: Chris Stearn 01360 860220 scotland@britishtrombonesociety.org Wales: Jo Hirst 07729 144690 wales@britishtrombonesociety.org

whose astonishing recording, teaching and performing legacy spans six decades. Until recently the President of the ITA, Jiggs has moved and inspired audiences wherever he goes. Those at Band on The Wall back in March felt privileged to hear this gentleman and consummate musician, who happens to play the trombone.

North East & Yorkshire: Simon Mansfield 01484 602401 northeast@britishtrombonesociety.org

The afternoon at Oundle saw Bob Hughes and Don Lusher competition winners Josh Cirtina and Owen Dawson delightedly receive brand new Rath trombones; we are indebted to Michael Rath for their very generous sponsorship of an R9 and R10 as first prizes!

East Midlands: Paul Emmett 07974 137693 midlands@britishtrombonesociety.org

In other developments, following another hugely successful Wessex BTS day in September, Bruce Fraser has stepped down as our regional rep and will be replaced by Bournemouth SO 2nd trombonist Robb Tooley. Many thanks to both Bruce and Robb for their invaluable commitment to the BTS. Lastly, I’m delighted to welcome Fodens’ Principal Trombone, soloist and freelancer John Barber to the Committee, along with Hallé bass trombonist and RNCM professor Adrian (Benny) Morris. We now number ten members, a larger group than recently, to further broaden our representation – and spread the workload!

Wishing you all the best for Christmas and the New Year,

Christian 6

president@britishtrombonesociety.org Christian Jones BTS on Facebook @CJones_BTS on Twitter

North West: Kerry Baldwin 07920 022395 northwest@britishtrombonesociety.org

West Midlands: Martha-Ann Brookes 07966 416198 westmidlands@britishtrombonesociety.org Northern Ireland: Stephen Cairns 02892 602646 northernireland@britishtrombonesociety.org South: Matt Lewis 07849 774777 south@britishtrombonesociety.org South West: Pete Smith southwest@britishtrombonesociety.org East Anglia: Ben Bouzan 07970 502509 eastanglia@britishtrombonesociety.org Wessex: Bruce Harding 01202 880814 wessex@britishtrombonesociety.org Brass Band: Paul Woodward 01924 823840 brassband@britishtrombonesociety.org Jazz: Jeremy Price jazz@britishtrombonesociety.org Young People: James Howard 07906 392992 youngrep@britishtrombonesociety.org

event news

ews reviviews pre

reviews & previews Wessex Region Trombone Day

The Pimperne Village Hall is ideally situated for such a gathering, being quite well away from any unsuspecting passer-by or resident and it is a pleasant hall, ideal for the purpose.

Kevin Smith, bass trombone with the Bournemouth Symphony Orchestra, is also the Musical Director of the Verwood Concert Brass and, with his inimitable humour, he introduced the band and the pieces to be played.

The band sounded great, not least of all the solo trombone Emma Button, who had been ‘stitched up’ to play a solo of Cry Me A River in front of a hall full of trombonists and just after Kevin Morgan’s solo! Well done her, and a lovely performance it was too.

Bob Hughes Bass Trombone Competition.

The competition between finalists Josh Cirtina, Alex Kelly and Joe Walters was fierce, but after a difficult fifteen minutes Josh was declared the winner and took away a Rath R9 bass trombone.

We would like to thank the judges for both competitions; Bill Geldard, Liam Kirkman and Kieran McCleod, Andy Lester and Christian Jones.

In short, we enjoyed an excellent day, organised to perfection, and once again supported by the Bournemouth Symphony Orchestra Trombone Section and Verwood Concert Brass.

Oundle Trombone Day & AGM The day started promptly with Robb Tooley (2nd Trombone with the Bournemouth Symphony Orchestra) explaining his concept of a warm-up, and very enlightening it was too.

After refreshments, Bruce introduced Kevin Morgan (Principal Trombone with the Bournemouth Symphony Orchestra) to the enthralled gathering and we went through some pieces that had been arranged by Helen Vollam.

Players were plucked from the ensemble to join in and it ran like a master class, with both Kevin and Robb questioning and giving critiques of the interpretation and playing.

Next came the rehearsal for the two pieces that we were later to play with Verwood Concert Brass. Two numbers were scheduled, and one of them just had to be Seventy Six Trombones.

The Tenth Annual East Anglian Trombone Event took place at Oundle School on Sunday 5th October and the day began with the AGM and was followed by a massed blow for everyone. Christian Jones treated us to some lovely playing whilst everyone sorted themselves out.

Ray Wordsworth (trombonist with the late Humphrey Littleton’s band) gave an informative demonstration of swing and improvisation with a backing rhythm section and the day ended with the Oundle School Jazz Orchestra accompanying first Owen Dawson as current winner of the Don Lusher Prize and then Kieran McCleod, previous winner, with the Massed Trombone Choir providing the finale.

Chethams’ Trombone Day

Twitter and Facebook for news about our Manchester day to be held again at Chethams’ School of Music, following on from last year’s highly successful day.

After a short break, the final of the Don Lusher Jazz Trombone Competition took place with finalists Owen Dawson, Jasper Rose and Richard Leonard. After much deliberation Owen Dawson was awarded 1st prize and a new Rath R10 Trombone.

After lunch it was time for the final of the 7

hot winter 2014 the trombonist

PRESS

OFF THE

BTS Competitions

t he ho t offess pr

Chris Binns Appointed at Black Dyke

The BTS would like to extend its congratulations to Chris Binns who has been appointed the new Principal Trombone at the Black Dyke Mills Band.

Chris hails from Rochdale, Lancashire and began his studies at the RNCM in 2013 under the tuition of Robert Holliday and Adrian Morris.

Left to right: Christian Jones, Owen Dawson, Josh Cirtina, Bill Geldard

Chris had this to say: “It is a huge honour and I am really looking forward to starting my next musical chapter with the Black Dyke Band. I would like to thank Milnrow Band for six amazing years and all that they have helped me with during that time” Turn to page 37 to learn more about Chris.

The BTS would like to congratulate two of the UK’s rising stars, Josh Cirtina and Owen Dawson, who won the Bob Hughes Bass Trombone Competition and the Don Lusher Jazz Trombone Competition respectively.

Josh, a student at the Royal Northern College of Music says: “Taking part in the 2014 BTS Bob Hughes Bass Trombone Competition was a really great experience.

I had a really fantastic day enjoying the events put on by the BTS at Oundle school, and it was a huge honour for me to win the competition and also be presented the BTS Student of the Year award.”

Owen, currently studying at the Royal Academy of music had this to say: “It was a privilege to be announced the winner of the Don Lusher award at the Great Hall of Oundle School. It was, if not a little cold, a beautiful acoustic to perform the set pieces (Lush Slide and The Very Thought of You) in. Thanks to the accompanist David Mortlock, the panel of judges and Chris Beaumont from Rath trombones for the prize trombone.

“I’m particularly grateful to Diana Lusher for presenting the prize and inviting me to the Ted Heath band’s Christmas lunch to be formally presented with the award.”

LPO Brass Christmas Carolling Every year, our very own columnist, Mark Templeton, organises for the LPO Brass to go Christmas carolling at Waterloo Station and every year the group seems to get bigger. December 2013 saw a huge group of trombonists, thanks to Mark Templeton drawing us all in! L-R: Meredith, Minshall, Freeman, Connington, Lewis, Higgins, Berry, Gibbs, Knight, Learmonth, Templeton.

The event this year was held on the 8th December and was a huge success, with commuters missing more than a couple of Trombones of LPO Brass trains to stop and listen.

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Chris Binns

gary macphee joins the philharmonic

The BTS would also like to extend its congratulations to Gary MacPhee who has been appointed 2nd trombone of the BBC Philharmonic Orchestra, based at Media City in Salford, Manchester.

The BTS wishes both Chris and Gary all the very best in their new positions.

Gary MacPhee

hot PRESS BTS Awards OFF THE

The BTS would like to extend its congratulations to the winners of the BTS Awards. These awards are given annually to trombonists who have made an exceptional contribution to the world of trombone in different ways. The awards and their winners are: Outstanding Contribution to the Trombone – Jiggs Whigham Teacher of the Year – Chris Houlding Player of the Year – Peter Moore Student of the Year – Josh Cirtina

Jiggs Whigham had this to say: “Just a note to thank you and all members of the BTS for choosing to award me – I’m deeply humbled and very grateful.

It’s really enough just to be a regular member and have the opportunity to be in contact with our membership but the award truly makes me glow!”

t he ho t offess pr

Does the way we speak influence the way we play trombone?

Matthias Heyne, Christchurch, New Zealand

First of all, many thanks to Carol Jarvis for contacting me and giving me the opportunity to submit this short article to the BTS magazine. I’m a Ph.D. student at the University of Canterbury in New Zealand researching The Influence of First Language on Playing Brass instruments. Although I had had some thoughts about the relationship of brass playing and spoken language while studying bass trombone in Germany, my Ph.D. project really came about through the availability of Doctoral Scholarships and the acquisition of an ultrasound machine by the New Zealand Institute of Language, Brain and Behaviour, here in Christchurch.

For my research, I’m looking at what trombone players do with their tongue while they play and while they speak.

As you would know, the tongue plays a really important role not only in producing speech sounds, but also while playing brass instruments, so to acquire this data, I record players while reading a wordlist and while playing some simple etudes. All recorded tongue shapes are then extracted and averaged across different vowels and sustained notes, enabling me to plot them together and look for possible patterns and/or correspondences. I have found some interesting individual differences

Trombones Against Breast Cancer Along with the Butlins Mineworkers Brass Band Championships, Kevin Holdgate is organising a charity massed trombone choir for “Trombones Against Breast Cancer”. This event is being held in order to thank all of the people involved in helping his wife, Anita, in her fight against this horrible disease. We are delighted to hear that she is currently in remission. The event is to raise money for the Breast Cancer Campaign which will be donated through the wonderful ladies of the Boobs and Brass organisation who have already raised £125,000 for the charity.

Trombone Against Breast Cancer will take part at the Butlins Mineworkers Brass Band Championships Festival in January 2015.

Kevin would like to invite all trombone players to take part in the choir and also to donate to this incredible charity through his Just Giving page – www.justgiving.com/kevin-holdgate.

Mattihas Heyne

between a New Zealand English and a Tongan player, which seem to be related to the vowel systems of their native languages, but of course I need more data to make any substantial claims regarding the hypothesis underpinning my Ph.D. research.

Although it would be highly interesting to record trombone players from the UK, working with ultrasound requires costly equipment and data analysis is very time consuming, so I have to concentrate my efforts on a limited number of languages more readily accessible to me.

I am, however, also running an online questionnaire on my topic which you can easily find by visiting my website languageandmusic.info and clicking on My PhD research. If you have any questions or comments please don’t hesitate to contact me at matthias. heyne@pg.canterbury.ac.nz.

Sheila Tracy passes

(see page 22 for a full tribute to Sheila) The BTS are deeply saddened to hear of the death of Sheila Tracy who sadly passed away on the 30th of September 2014.

Sheila was a Past President of the BTS, an active supporter of the Society and a regular attendee at the bi-annual Don Lusher Jazz Trombone Competition.

Due to Sheila’s dedication to the Society, there is a tribute to her on pages 22 and 23.

We send our deepest condolences to Sheila’s family.

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jazz by jeremy

What can you hear?

In response to readers’ feedback via email, I’ve decided to dedicate this issue’s jazz article to expanding your ears beyond the ‘correct’ consonant sounds. A couple of queries in particular indicate that some of you are looking to break out of playing the diatonic note choices and want to know how to access more refreshing and interesting sounds. I appreciate that when you hear jazz, you may enjoy the dissonance and complexity of the melodies but then, when you play it, you might be underwhelmed by the sound of plotting your way through the harmonic sequence playing off academically worked out scale choices.

Before you read on, I think its worth saying, however, that this is very much a matter of stage of development, so if you are working on sorting out some of the basics, don’t be discouraged.

The basics never go away in any field, and will always need maintaining, regardless of which staging post you are at.

If you’ve started a modest bit of research into improvising, you will have found out that chord/scale relationships are important. This information is easily available, from the back cover of a Jamey Abersold book to any number of internet searches. The basic premise is that every chord can be filled out with the passing notes to make a scale, and every scale can be arpeggiated to make a chord. So you usually end up with a scale of seven notes, which are presented as a ‘resource’ of notes that you can play that won’t sound wrong!

Well, we actually live in a twelve tone world. What about the other five notes?

While I would say that chord and scale relationships are essential to know, if you are craving a little more spice, then chromatic embellishment is a good place to jump in.

Take any sonority that you know the seven note scale to and for which you have a good amount of instrumental dexterity.

By Jeremy Price

Let’s use F major as an example. All the notes of the scale are the white notes of the piano except Bb instead of B .

You can hear that you can make melodies using all seven of these notes when improvising on Fmajor7, but what about the other five notes? How are you going to make F#, G#, B, C# and D# sound good? Make them work as upper or lower chromatic neighbours, passing notes, or accented passing notes, or try different types of ‘chromatic enclosure’.

Chromaticism in jazz is often used so that you can pace the landing of a resolution without disrupting the melodic flow. The so-called ‘be-bop scale’ is a good introduction to how this works as it merely adds a chromatic passing note to the mixolydian mode (sometimes called the dominant scale) so you have an eight note scale that comes out on the beat. Once you understand this basic principle of embellishment, you’ll hear it in all your records and will feel ready to put it into your own playing as a matter of course.

Whilst chromatic embellishment frees you up a great deal and allows the melodic invention to flow, the sound remains quite consonant to 21st century ears. So for readers who have asked about adding more spice and dissonance, probably in a modal setting, here’s the next concept.

From the very earliest stirrings of jazz, more than 100 years ago now, superimposing one sound on top of another has always been around.

The primary example is the blues, and understanding how the blues scale works over an ordinary dominant is your code breaker for getting into more exotic areas.

Looking at C7, the mixolydian scale of seven notes would be C, D, E , F, G, A and Bb. The blues scale that also sounds good is C, Eb, F, Gb, G, Bb. The Eb and the Gb sound good despite them not

LET’S JAZZ IT UP! being in the chord. The fact that the Eb sounds edgy against the major third E, and the Gb sounds edgy against the fifth is the whole point. Phrasing them with a hard and deliberate articulation makes sure that the listener knows they are fully intended and you are not just playing wrong notes.

These notes go beyond chromatic embellishment and are deliberately super-imposed dissonances. This opens the door to you playing whatever dissonances you like over any sonority, but the secret to success is to know what you are doing and phrase in a way that makes it sound intended.

On the F major example earlier, try playing ALL of the five notes outside the scale. You’ll find they are a pentatonic scale in their own right and can start to sound like you are playing in B against F. That’s just one of the infinite options. Exotic enough for you?

You can experiment with dissonance either by ear, guess work or a systematic approach. For the systematic approach, try George Russel’s book, Lydian Chromatic Concept, but you’ll probably need a lie down after the first chapter.

It’s a systematic approach to playing all the wrong notes and making them sound good!!

For listening, try Larry Young’s album Unity that has Woody Shaw on trumpet, who moved this whole area forward in a very natural and clear way. For trombone, have a listen to Hal Crook, who completely understands all of this and uses it all freely and organically.

His album Only Human is a must have.

Lastly, it is important to emphasise that none of this will work unless you can hear it, hence the title ‘What can you hear?’

Let your ear lead you, or as Stan Getz said once, “Your ears are the last court of appeal.”

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winter 2014 the trombonist

SKILLS FOCUS

benny’s basics - part 3 BY Adrian Morris

There are many chapters of study books dedicated to expanding and improving one’s lower register, but I thought I would introduce you to a simple recipe that I have used over the years. I use this personally and many of my students have too.

Tenor trombonists sometimes think that pedals and low ‘trigger’ notes are the domain of the bass trombonist.

That’s certainly not true these days.

Tenors are required to have a better low facility now than ever before, with more and more adventurous solo repertoire being composed all the time. To be honest, avoiding the pedals has never really been an option, with even such standards as the Gordon Jacob Concerto and Saint Saens’ Cavatine exposing poorly practised low notes.

I don’t think that just blasting random low notes is ever going to help you improve in that register.

What I propose may seem difficult or dull at first, but with perseverance, it should help you develop a more comfortable low end facility.

It is simply a set of slurs starting on a low Bb. Yes, that’s it. I suggest that you do your normal warm up, as prescribed by your teacher and use these as an “add on”. Don’t start your daily routine playing with these exercises.

Many trombonists either ignore the valve notes altogether or rarely work at them. Not so here, you need to immerse yourself in the Adrian Morris

intonation fun and sound variation of the valves and work at smoothing out the differences.

For today we should maybe ignore the tuning of low F on the valve in first position. My trombone has a perfectly in tune low F in first position, so too do most modern instruments.

If you have a flat F in first just ignore it for now. Once you move to second position there is no excuse and you can play perfectly well in tune as you move down the slide. I tune my low F to be a really good useable note in first position and C to be played just a little lower on the slide, in a flat or long first position.

The exercise is simple. Play an mp low Bb and slur gently between notes as per the example.

Your goal is to move smoothly between the notes, ending on a pedal Bb, without forcing anything. This is crucial. Don’t force!

Here is the detail of exactly what you want to achieve: A perfect legato between notes, with no gaps, bumps and keeping the sound the same on each note. Simple!?

So, the sound on the Bb and C should be the same. (Not different as the C is on the valve.) Then slur back to Bb and as you lower to the F and Pedal Bb a little more air is required to support the journey across the bigger harmonic interval. Keep a constant flow of air, and don’t diminuendo or leave any gaps between notes. It should sound like liquid chocolate!!

I know the idea of this exercise is to help develop your low register, but at the same time it is imperative that you match the sound on the different harmonics of the trombone. You really can make the trigger notes the same quality as the notes on the open instrument, and the pedal doesn’t have to leap out of the picture like something totally foreign.

As you go down the slide the tuning will become easier as you can move the slide. The notes on the valve may feel a little unnatural to start with, but in time you can develop these and they will be become familiar and useful notes.

I regularly find a use for Bb in a flat 3rd position and bass trombones will know how important a low G is on the valve for the glisses in Kodaly’s Hary Janos.

So, that’s it. Continue these exercises down the slide, concentrating on a good, well supported legato, a matched sound on the valve and the open trombone, and well supported intervals to the pedals.

Once you have done the excercise down to 6th position, do exercise B. This just adds another note to the exercise for you to match the sound. Enjoy making the legato good and the sound even and consistent.

Simple studies but good practise.

BY David Thornber

The Season of mists and fruity pedal notes With the first flush of autumn in the air, 44 bass trombonists from 13 countries converged on the small Dutch seaside town of Katwijk aan Zee. The magnetic pull of heavy brass brethren towards the Netherlands coast was the 5th Dutch Bass Trombone Open, or DBTO.

Since its conception, the DBTO has been devised, managed, and hosted by two passionate players of the bass trombone, Marcel Schot and Bert Damsma. Marcel and Bert are an amazing package of bon viveur, raconteur and organising supremo, who, with Artist-in-Residence Ben Van Dijk, Bass Trombonist of the Rotterdam Philharmonic, have created a unique event for bass trombonists which, like Dutch cheese, just keeps getting better with age. The DBTO is a weekend of learning, friendship, performing, socialising, and above else, fun.

Each morning commenced with ‘waking up’ warm-up sessions…

Brandt Attema, Jos Jansen, Martin van den Berg and Mattis Cederberg.

The weekend got off to flying start with Marcel and Bert arranging a children’s train, to whisk us off to our first massed blow, followed by the first of many opportunities to socialise, and sample of some of Holland’s finest brews.

Each morning commenced with ‘waking up’ warm-up sessions, delivered by Ben and Denson respectively – two great players and teachers, who reinforced the all-important fundamentals of relaxation, breathing, sound, and articulation.

There was opportunity to experience ring-side performances from the DBTO teachers; fireworks from Matyas, playing Hit It by Rick Peperkamp, and a sparkling performance of Steven Verhelst’s Devil’s Waltz with Ben. Denson gave an exquisite rendition of one of Bach’s Cello Suites and also ran entertaining, and curiously-titled sessions, such as the ‘Five-fingered discount’ and ‘Keep your hands close to your ears, but keep your finger out of your nose’. Legend of the Dutch big band scene, Erik, delivered a workshop on swing-style playing, rounded off with a performance of his composition for solo bass trombone, Marcel’s Moonwalk, dedicated to Marcel Schot.

This year’s stellar line-up of teachers was: Ben Van Dijk, Denson Paul Pollard, Matyas Veer, and Erik Van Lier.

Previous DBTO teachers have included: Charlie Vernon, Csaba Wagner, Bill Reichenbach, Phil Teel, Douglas Yeo,

It wasn’t all brass on the face. Bert and Marcel also organised a beach social/ team building exercise, and a riotous ‘quiz-show’ – ‘Knowing me, knowing you’. This involved the DBTO teachers having to guess key facts about each

…a unique event for bass trombonists which, like Dutch cheese, just keeps getting better with age.

The weekend concluded with an open-air concert in the middle of the campsite’s children’s playground, playing to a large gathering of bemused children and their parents. The audience was treated to fullthrottled performances, skilfully directed

by Ben Van Dijk, of Getting Medieval (Reichenbach), Game of Thrones (Djwadi), and Benedictus Dominus Deus Saboath (beautifully arranged by David McLellan). No children were harmed as a consequence of this event, but we may have won a few converts to the bass trombone.

The DBTO is an all-inclusive event, at which bass trombone players of all nationalities, levels and abilities can learn something new. Just bring along an open mind (and your bass trombone) and you will come away from the weekend recharged, with a range of tools to improve your playing ability and enjoyment of your instrument - as well as having met some lovely people, with whom I am sure you will want to stay in touch.

Dates for the next DBTO have not yet been fixed, but the event is likely to take place in September 2016. In the meantime, online resources from this and previous DBTOs, can be found on the Facebook page: www.facebook.com/dbto.nl To remember the words that we heard most during the weekend .... Relax, breath deeply, blow and enjoy.

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Photographs courtesy of Marcel Schot

Marcel and Bert’s hard work aside, the event would not have been possible, without the kind financial support from Michael Rath, Antoine Courtois, and Thein.

For the lucky few there were teaching and masterclass sessions, but all of the DBTO teaching staff were willing to engage with participants, regardless of ability level, and always ready to dispense nuggets of wisdom, and words of encouragement and support, to players wanting to improve.

other, e.g. what Ben whistles in the shower each morning, and competing to see who could give the best impersonation of an oboist playing Gabriel’s Oboe.

winter 2014 the trombonist

BTS member privileges See the full list on our website!

The BTS is adding even more discounts to the growing list of offers exclusive to members. From magazine subscriptions to instrument repairs; from clothing to websites, we hope you will find something pleasing!

Just visit www.britishtrombonesociety.org and log in, to see your full list of discounts!

The Brass Herald is delighted to be working in collaboration with the British Trombone Society.

As a result of this collaboration, you as a BTS member will receive a 10% discount on any purchase; subscriptions, current issue or back issues. Log in to the BTS website to find your discount code, which you use when you make a purchase.

Members of the British Trombone Society are able to take advantage of the preferential membership rate of £18 on offer to us through the BTS affiliation with the ITA.

For over 90 years Gramophone has been the world’s leading authority on classical music.

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14

Win a red pBone!

You could win a red pBone in time for Christmas!

Turn to page 38 for the Christmas crossword - the first person to send us a photo or scan of the crossword correctly filled-in, is the winner!

Email your photo/scan to: editor@britishtrombonesociety.org The winner will be announced in the next magazine.

You’ve got to be quick to win the pBone in time for Christmas!

Eligible for BTS members only

15

Rising stars: Amelia Lewis

g risin s star

Meggie Murphy Amelia Lewis

Name/Age/Current School/Grade

What music do you like to play and listen to?

Amelia Lewis, 11 years old, Rastrick High School, Grade 5 Distinction

I like playing classical, big band and brass band music. I listen to pop music, such as Maroon 5, Adele, Bastille & the Vamps.

I also like Coldplay.

I play in: Elland Silver Youth Band Elland Silver Training Band BD1 Brass Black Dyke Junior Trombone Quartet School bands How old were you when you started playing the trombone, and why did you choose it?

8 1/2 years old. Because my mum and dad are brass players, and the cornet didn’t work for me

What make of instrument to you play?

Trevada open-wrap large bore.

Would you like a career in music?

Yes, I would like to be a professional singer. I sing with Halifax Young Singers and Rastrick Junior Choir.

What are your other hobbies?

Singing, playing the piano and reading. I really like loom bands, and I also like acting.

Who are your teachers?

I was taught by Christopher Wood, but now I go to Christian Jones.

17 11

winter 2014 the trombonist

by alison keep

A day in the life of a trombonist in the ‘Strictly’ Band ‘Strictly Come Dancing’ has been running since May 2004 and is now in its 12th series. It is exported to over forty countries and has won many awards, including Best Talent Show, Best Entertainment Programme and Best Reality Programme.

Nominated for BAFTAs many times, it won a Television Craft Special Award in 2014. It was first produced in the Television Centre at White City and last year moved to Elstree where the BBC hired a studio. Big Brother is actually recorded in the yard next door.

‘Strictly’ clearly has many attractions, but for musicians it is unique in one respect: it has a live band led by their Musical Director, David Arch, who took over from Laurie Holloway.

Basically it is a big band format, although over time the music has gradually changed the style from ‘big band’ to a more modern ‘pop’ style. Being a big band, of course it has trombones. Barnaby Dickinson was in the trombone section with Pete Beachill for four years before leaving to go on tour with Kyle Minogue and at that point Andy Wood came on board. I recently caught up with Pete and Andy to get some idea of what it was like behind the glitz and glamour.

When Pete first started with the band all the music was played in a more conventional big band setting, but over time, headphones with click-track feeds were added, to ensure that tempos were strict and exactly the same as those on the original recordings from which the arrangements are made. Everyone has to play wearing headphones, which the musicians themselves don’t like too much, as it is less like playing in a conventional live band.

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Dave Arch arranges all the music for each show during the preceding week. All the numbers are more or less ninety seconds in duration, so that no single couple on the dance floor has any time advantage over another. In Pete’s opinion, this means that the musical edits of the tracks are sometimes odd because they have to fit this criteria. Dave Arch hand-picked the band and is meticulous in his writing for all the instruments, but the arrangements are transcriptions from original records, as the producers of the show want the band to reproduce what the original track would sound like. This sometimes causes a challenge for the players; an eight-bar phrase of extremely rapid tonguing, for example, would be sampled and inserted on the original recording session, but this then becomes ninety second’s worth of playing on the live show. This takes an exceptional talent to pull off, so it is no surprise that all the musicians in the band are at the very top of their game.

The band sees the music for the first time when they arrive on Saturday morning, the day of the show, although if there is something particularly tricky for an individual player, Dave will give them advance warning during the previous week.

After the usual sound checks, the band then rehearses with the dancers. This is the first time the couples will have been able to dance to the live music as they practise their choreography to a CD edit during the week. Not surprisingly, they tend to find that dancing to a live band is a little different. The couples have two run-throughs with the band during which any final adjustments to the music (or dance routines!) are made.

Following that, there is only the dress rehearsal before the show goes out live on prime time television – no pressure then…..!

winter 2014 the trombonist

a day in the life continued...

So, aside from the fact that the band has the best seats in the house, what is life like for a ‘Strictly’ trombonist?

I asked Andy and Pete about their day.

What time do you get up and what is the first thing that you do?

A: “On some Saturdays we have to start rehearsing at the studio at 8 am, so I’ve had to set the alarm for 6 am – and the first thing I need at that time in the morning is espresso.”

P: “It depends on call times. Sometimes we are in at 8 am, sometimes 11 am.”

Breakfast? Full English or orange juice and toast?

A: “As we are having a Strictly Come Dancing brass section weigh-in each week, there’s definitely no fry up for me!

It’s porridge every time.”

P: “Tea only.”

How long does it take to reach the studio and how do you get there?

A: “I live in NW London and the studio is in Elstree, so the journey isn’t too bad – about twenty minutes, maybe a bit more on the initial weekday launch shows.”

P: “I live in Cambridgeshire, so my journey is about forty-five minutes, possibly a little longer on the launch shows.”

What time do rehearsals start?

P & A: “In previous series’ we’ve had start times of 7.30 am!

This series the earliest has been 8 am.”

What is the atmosphere like during the day?

P & A: “The rehearsals can be exhausting, but the buzz of doing a live show to 10 million people is always fun.”

Do you rehearse only on the day of the broadcast, or are there other sessions throughout the week?

P & A: “The rhythm section comes in the night before and sorts out feel, sounds, and so on, but the horns only come in on the day, although when we leave the house and it’s still dark, it still feels like the night before!”

What is your schedule throughout the day?

P & A: “It varies hugely. We have very long days as we record the results show after the main show, so 8 am until 11 pm is not out of the question. We get short ten-minute breaks every four hours or so and Cathy Giles, our fixer, brings a kettle and a toaster for our band room so that keeps us going.”

Lunch break?

A: “We get an hour for dinner, normally, before the live show and there’s no catering for us on site, so if we make a dash for it, there’s a Turkish restaurant opposite the front gate we can get a takeaway from – it’s all very glamourous … really.”

P: “The singers are catered for on site, but not the band”

Is there much down-time, or hanging about while everyone gets into position?

P & A: “There can be a lot of waiting, but then it’s straight into whatever we’re playing and no excuse for not playing it perfectly.”

Is there a camaraderie amongst the band?

A: “We spend lots of time laughing – as well as being fortunate enough to have some of the best musicians in the world sitting around me, they’re also very nice and funny people.”

P: “We keep ourselves amused in the usual brass section way.

After all, the trumpet is the natural enemy of the trombone!”

How much, if any, of the show is prerecorded?

A: “Some of the guest acts are pre-recorded. Virtually all the acts mime to a backing track, which is very annoying when there’s a great band sitting behind them doing nothing.”

P: “When Tony Bennett and Jamie Cullum came as guest performers, they wanted to sing with the band, but the production team said No”.

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What happens whilst television viewers are watching the dancers’ training sessions recorded during the week, during the off-air time during the show?

on the state of the music business and its pressures. Pete, for example, considers that there should be much more live music, fewer pre-recorded shows and fewer people wanting to be famous just for the sake of it.

P & A: “Our MD, Dave Arch, will be sometimes giving us notes, checking the click-track of the upcoming song.

We could be changing instruments and maybe trying to quietly blow a few notes. Sometimes we’ve got tenor trombone, bass trombone and tuba and we’ve had trumpet too on a couple of shows, so we get about 45 seconds to make sure everything is working properly.”

Andy made the point that the music industry is increasingly difficult, as people are becoming more and more used to not seeing live musicians on TV and when they do, artists are often miming. The days of shows where the singer is surrounded by an orchestra, and where the end credits include the same recognition for the arranger or musicians as for the guest

What do you enjoy most about the ‘Strictly’ band?

‘Strictly’ album recording sessions.

A: “The fact that I’m playing with such incredibly talented musicians and the fact that we have to play all styles of music to the highest level, hopefully, live and with no retakes.”

P: “The challenge of playing live to 10 million people.”

artists, are long gone. People think music just comes from thin air and don’t realise what goes into making it. Feature films without Symphony Orchestra scoring would be nothing, yet it seems even the people who make the tea get credited, but the musicians are never listed. Andy finds it quite disheartening and thinks it is actually becoming worse.

Receiving the BAFTA award

What happens after the end of the show?

A: “We’re all ready to drop! Normally straight home and collapse into bed.”

P: “We are usually all exhausted. The first show is live and we are all on a high after that, but then we pre-record the results show which is stop-start, so we all go back to TV mode.”

How does your day end and at what time?

A: “Load everything back into the car and back home for a slice of cheese on toast and bed.”

P: “Usually about 22.30 I jump into the car and drive up the motorway with Radio 3 on.”

Anything else?

A: “The brass section weigh-in is going well this year – our band room is now equipped with weighing scales (as well as toaster and espresso machine) so we’re desperately trying to be healthy.”

P: “We are still on a live show, with two trombones – that’s a rarity!

What of the future?

Being hard-working musicians in a popular show is clearly something both Pete and Andy enjoy and are pleased to be doing, but their busy life also gives them chance to reflect

Pete recalled that he had recently started watching an episode of Live at the London Palladium but had to turn it off when he saw that the orchestra pit had actually been boarded over.

He finds it ironic that X Factor is a music show with no band and Strictly Come Dancing is a dancing show with a live band.

He is also nostalgic over Sir Bruce Forsyth who at least used to do his own warm-up and would sing a big band number with the band. Regrettably this doesn’t happen with the current presenters.

To improve the situation both Pete and Andy believe we need to see musicians on live TV. Live music, well played by top-class professional musicians, like those on “Strictly”, adds energy to a show. Everyone likes seeing musicians perform, it’s just we are not given the chance to be seen. The music and the performace has to be about the quality, not just the bottom line of lowest cost. It is increasingly the case that performers in West End shows sing along to pre-recorded tracks.

These shows should have open orchestra pits so that live musicians can be seen. They are, after all, a central part of the show. It surely can’t be good for audiences that each performance with a recorded track is exactly the same as the last, with no element of ‘risk’ or spontaneity which is an essential part of an exciting live performance.

For now, at least, Strictly Come Dancing enjoys enormous popularity and the great band, with Pete and Andy in it, is an essential part of that popularity. Long may it continue, and give them both some special attention next time you watch.

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winter 2014 the trombonist

January 10th 1934 – September 30th 2014

SHEILA TRACY tributes by Jane Salmon

Much-loved BBC broadcaster and former BTS President Sheila Tracy was a talented broadcaster who enjoyed a strong rapport with musicians of many traditions.

Her career took off in an era when a television in the home was a rarity and live performances drew audiences who liked what they had heard on the “wireless”. Although a trailblazer for women on the television, it was in radio – particularly the world of Radio 2 – that she found her final niche.

Sheila studied trombone under Sidney Langston, along with violin and piano, at London’s Royal Academy of Music.

Choosing trombone as her specialist instrument, she remembered, “Down in the string section at the Royal Academy, it was all girls. Up in the brass were all the boys! I had never played a brass instrument before, but it all worked out.

I have never been out of work.”

Sheila joined the Ivy Benson All Girls Band in 1956. While in the band, she paired up with trombone player and vocalist, Phyll Brown to form the duo ‘The Tracy Sisters’. The act’s first big break occurred when they replaced the Kaye Sisters on a tour with brothers Mike and Bernie Winters, the English comedy double act. This led to regular radio and television broadcasts, appearing on popular shows such as ‘Workers Playtime’ and ‘The Black and White Minstrel Show’. Their cabaret jobs took them all over the world, including a three-month engagement at the Great Eastern Hotel, Calcutta.

22

weekly broadcasts, the band played up to 60 concerts a year and for non-broadcast performances, Sheila was even known to join the trombone section. In the end Sheila spent over two decades with Big Band Special.

Angela Rippon, Sue Lawley, Sheila

Tracy

The subsequent invitation of a sixmonth contract in Las Vegas was too much for Brown, who declined, and the duo broke up.

At her mother’s suggestion, Sheila applied to the BBC for a job. She was accepted, and in the 1960s began her television career as one of the last in-vision announcers. After arguing passionately that the nation was ready for a female newsreader, Sheila made her radio debut in a late-night Radio 4 slot in July 1974, making radio history as the first female newsreader with the BBC. Three years later, Sheila transferred to Radio 2, where she pioneered the music show ‘Trucker’s Hour’, an idea borrowed from the US. Presenting this popular overnight show gained Sheila a cult following and she later insisted it was “the most successful show I’ve ever done”.

Sheila was to enjoy even longer-lasting popularity as the presenter of Radio 2’s ‘Big Band Special’. From its inception in 1979, the show was centred on the BBC Big Band, which was then a contracted BBC Orchestra.

As well as the show’s

Sheila was also the long-serving presenter of Radio 2’s National Big Band Competition. Her producer on Big Band special, Bob McDowell, explains that: “True to form, she wouldn’t just show up for the Winners broadcast – but always attended the judging session and took a genuine interest in what the next generation of musicians were doing”.

Sheila was also a supporter and judge of the British Trombone Society’s bi-annual Don Lusher Competition.

Sheila wrote two books about jazz and big bands. The first, Bands, Booze and Broads, published 1995, collected a series of interviews she had carried out for Radio 2 documentaries, each featuring top American bands and players from the 1930s, 40s and 50s.

Talking Swing: British Big Bands, which followed two years later, put the spotlight on British Bands of the same era. Preceding these publications, were two reference books Who’s Who on Radio (1983) and Who’s Who in Popular Music (1984).

An introduction to the world of brass bands came in the late 1970s when Sheila compered a series of concerts at the Colston Hall, Bristol. Having developed an interest, she became part of the first female adjudicators panel for the 4th division National Brass Band Championships in 1994. Following this engagement, Sheila regularly announced the results and compered the Gala concerts for the championship finals at the Royal Albert Hall.

both socially and professionally.

She was very helpful to Don and I in the last months of his life, when he became ill. She will be one of those people who will be remembered affectionately with a giggle for many years to come.”

In 1997, Sheila was made a Freeman of the City of London and an Associate of the Royal Academy of Music.

In 2002 she was awarded the Alan Dell Trophy for Services to Music and one year later, she was one of two overseas broadcasters to be honoured by the Big Band Academy of America in Los Angeles.

Sheila left Radio 2 in 2000 and moved to newly-formed Primetime Radio where she hosted her own weekly show, ‘Swingtime with Sheila Tracy’, until 2008. Subsequently she had shows on the US internet station Pure Jazz Radio and on Age UK’s station, The Wireless.

Personal messages from friends of the British Trombone Society

Bill Geldard recalls: “Sheila was a complete professional in everything she did. If she was the presenter of a show that you were involved in, you knew you were in safe hands. She’d be at rehearsals, talking to all the musicians about the show, and then using little anecdotes that would make the show more interesting qualities that are rare these days.

She was also a very kind person.

I have fond memories of her friends and colleagues at her home, sitting down to her home made Cornish pasties, home made bread sandwiches and so on.

They were very happy days that we will miss. I feel privileged to have been a friend for so many years.”

Musicians have always worked hard for their money, but Sheila was old enough to remember a world of constant touring and buzzing provincial halls. Her great breadth of experience as a performer helped her develop a natural presence as a presenter.

On a personal level, she knew what made life worth living for performers. All these qualities will be missed.

Sheila with Urbie Green and

his 20 trombones!

diane lusher recalls: “Sheila didn’t suffer fools gladly, as we all know, but under the often firm exterior lay a very kind heart. I often think back to the happy times with her,

The Tracy Siste

rs

23

by Ercole Nisini (Translation Henry Howey)

PER IL TROMBONE ALLA BASTARDA Alla bastarda refers to the late Renaissance practice of performing diminutions (divisions) that derived their sources from all of the parts or voices of a motet or madrigal.

Simple diminutions could be performed on any part of a pre-existing piece by breaking longer note values into passages that were constructed of smaller note values, often using pre-defined formulas. The premier instrument at the turn of the 16th to 17th centuries was the Viola bastarda, a type of Viola da Gamba whose range enabled it to be used to perform any part of a vocal work from bass to soprano. The ability to play diminutions that derived their materials from all voices of a polyphonic work were thus classified as “alla bastarda.”

There are many tutors for performing diminutions, most famously by Giovanni Bassano, Riccardo Rognoni, Bartolomé de Selma and Diego Ortiz. The chief author of a fully bastarda-oriented tutor was by Rognoni’s son, Francesco

whose Selva de varii passaggi secondo l’uso moderno, per cantare, & suonare con ogni sorte de Stromenti (Milan 1620) sets forth several works clearly defined as alla bastarda. Chief among these is a diminution based on Orlando di Lasso’s Susanne ung jour, which is entitled Susana d’Orlando - Modo di passegiar per il Violone Over Trombone alla Bastarda. It is a diminution that encompasses all five voices of the motet and the title marks the piece as the first work to be identified as intended for a solo trombone.

In early Baroque Venice, a great deal of music was composed explicitly for trombones…

The range is BB-F’ with two-octave leaps. The technical difficulty of such a diminution is enormous and it bears vivid testimony to the trombone’s performance level in the early 17th century.

Given that Michael Praetorius had already indicated that the tenor trombone of the period was in A, the BB-flat to F’ range of Rognoni’s Susana suggests that it might not have been the

intended instrument for its performance.

There are several clues that suggest an answer. One is from Praetorius himself, and the others are scores of Renaissance and Baroque paintings that can be found throughout Italy. Michael Praetorius’ words about the Tromboni or Posaunen quoted from his DE ORGANOGRAPHIA (Syntagma Musicum II Wolfenbüttel, 1619) give the best description of the Trombone alla Bastarda: “There are such players (among them the famous master from Munich, Phileno), who, thanks to assiduous practice, are so advanced in playing the trombone that they can play down to low D and high in the soprano voice without particular effort and commotion. Otherwise I have heard one from Dresden, Erhardum Borussum, who is said to be now living in Poland.

He so managed his instrument to play high like a cornetto, and low like a ‘Quart Posaun’ (bass trombone) down to A’ with such swift coloratura just like it is possible to play and present on the Viola Bastarda and on a cornetto.”

Continues on the following page.

25

winter 2014 the trombonist

PER IL TROMBONE ALLA BASTARDA continued...

The Museum of Musical Instruments at the Accademia filarmonica di Verona has a beautiful trombone built in 1579 by Anton Schnitzler from Nuremberg.’

In early Baroque Venice, a great deal of music was composed explicitly for trombones, or composed per sonar con ogni sorta de stromenti, “to be played with any kind of musical instrument”, including trombones. Giovanni Gabrieli, Dario Castello, Giovanni Picchi, Giovanni Battista Riccio and many more composed famous and glorious works which represent one of the most fruitful periods of our musical history in the field of trombone music.

The Museum of Musical Instruments at the Accademia filarmonica di Verona has a beautiful trombone built in 1579

by Anton Schnitzler from Nuremberg. It has the physical length of a trombone in G (a = ca 466 Hz), and is thus one tone lower than the gemeine rechte Posaune (“the common rightful trombone” as Praetorius calls it), which was tuned in A during Renaissance and Baroque times.

Another G trombone, built in 1631 by Hanns Heinlein in Nuremberg as well, can be seen in Leipzig’s Museum of Musical Instruments. In practical operation it becomes clear why a large part of the Italian trombone music composed around 1600 and written in the baritone clef should ideally be played on a trombone similar to the Schnitzler trombone – this trombone seems to be the best one for playing “alla bastarda”.

About the Author:

Quoting the October, 2012 review in DAS ORCHESTER: Ercole Nisini has appeared as soloist and leader with his ensemble Instrumenta Musica in such famous festivals and concert halls as Dresden’s Frauenkirche, The Lower Saxony Musiktagen, the Black Forest Music Festival, the Rheingau Festival, the Sklholt Island Summer concert, The Heinrich Schütz Musikfest, The Brandenburg Summer Concerts, The WDR Radio Concerts in Cologne, the Regensburg Tage Alter Musik, and the German Trombone symposium, as well as on 9 CD Productions for 26

Its wonderful Baritone pitch is well suite for playing the so-called “alla bastarda” repertoire.

Ercole Nisini edited the Rognoni’s Susanna d‘Orlando per il Trombone alla Bastarda for publication by Kamprad Editions Group in Altenburg, Germany (www.querstand.de) and recorded the piece using an Ewald Meinl G tenor trombone pitched at 465 Hz on the CD The Renaissance Trombone (CD Label Querstand). This CD is the first of four and part of the project , The Historical Trombone which will explore and recreate the repertoire for the trombone between 1553 and 1837.

More information about the Susanna music score and the whole project are available at Ercole Nisini‘s website www. ercolenisini.com/music-scores

the Labels RAMÉE, Querstand, Christophorus, Carus, Rondeau and SONY. After receiving his degree in trombone performance from the Santa Cecilia Conservatory in Rome, Ercole continued his studies in classical trombone with Abbie Conant at the Musikhochschule in Trossingen in 2001.

In 2006 he added the study of historical performance practice in the same place with Wim Becu. In 1999 he was one of 20 chosen to be performers at Joe Alessi’s seminar in New York. He also had regular lessons in England and Italy with Denis Wick. In 2001, Ercole won by audition the position of second and acting solo trombone with the Orchestra Sinfonica in Milan, under the direction of Riccardo Chailly. Other successful

auditions and substitute positions followed with the Orchestra Sinfonica Nazionale della Rai (Turin), Orchestra del Teatro Regio (Turin), Orchestra del Teatro Comunale di Bologna, and the Süddeutschen Philharmonie in Konstanz.

All of these have enhanced his career as a trombonist. In addition to many recordings with famous European ensembles, Ercole’s discography has grown readily as both leader and soloist since 2008.

His latest project seeks to present the trombone as a solo instrument throughout music history - Renaissance, Baroque, Classic, and Romantic - in a series of four CDs with the Querstand label.

Further, each CD will be accompanied by his own editions of music for the trombone published by Velagsgruppe Kamprad.

Our top 6 Smartphone apps Got a favourite useful music app? Let us know: editor@britishtrombonesociety.org

ForScore This manuscript reader app has it all.

Best viewed on a tablet, open any PDF document in the app. The tools include a built-in metronome, create playlists, annotate your parts with different coloured markers, and lots more.

Why not scan in your repertoire so that you have it all in one place? You can even sync an AirTurn™ Bluetooth pedal to the app to turn your pages by a tap of your foot! iTunes App Store Price: iPhone: £4.99 iPad £6.99

Decibel 10th Ever wondered how loud it is sitting in the trombone section in your local band or orchestra rehearsal? This app may frighten you, but it’s handy to know if you need to look into some ear protection. At 91 decibels, your ears can tolerate up to two hours of exposure.

Log in to the BTS website to get your exclusive BTS member discount on professional custom made hearing protection. iTunes App Store Price: Free

iBone A fun app but also a useful teaching tool. There are some basic tunes to play along to in the app, but seeing all notes by their corresponding slide position is useful for finding easy alternate slide positions in your work.

It may inspire your students to practise too! iTunes App Store Price: £1.99

iReal Pro For the budding jazz musician.

Learning lots of jazz standards in every key is a huge job, but this app makes it easy. The melody line isn’t included in each chart, but you can change the tempo, style, key, and adjust the volume of each of your rhythm section to play along to.

You can even type in your own chord chart and play along to that. iTunes App Store Price: £8.99

ABRSM Lite There is a lot to this app, including tests for each of the Associated Board of the Royal Schools of Music Grades.

You can test yourself on your intervals, listen to specimen tests, sing back phrases, check your progress and a chance to purchase a more in-depth version of the app. iTunes App Store Price: Free

Cleartune There are lots of good tuner apps out there. This one is based on a dial, and doesn’t ‘snap’ to the nearest note, so is extremely accurate. It’s possible to calibrate to whatever tuning you are using (i.e. A 440) and there is a variety of choice of temperaments too. iTunes App Store Price: £2.49 27

winter 2014 the trombonist

by Roger Argente

Can you tell us a little about your bone when background? I started to play the trom jobs since I was 15. I’ve been playing recording type ic in Mus of ol Scho I was in college at the Eastman from been have ld Rochester, N.Y. So I guess that wou 1968. Is that 46 years? ? In the early How did you come to work in LA musician in 1970’s, if a person wanted to be a recording City and Los the U.S, the two choices were New York somewhere Angeles. I figured that if I was going to go in L.A if I er warm be ld and start from scratch, it wou with some ing play r had to sleep on the sidewalk. Afte nd Vince lege horn of the L.A studio greats like French za and Men Don DeRosa, Kai Winding, Larry Bunker, live ld shou many others, I pretty much knew where I after that.

especially Do any events stand out as being career? r you in le yab memorable and enjo tion is ques this gh throu I think the best way to work was ss” “Ma stein in chronological order. The Bern stein Bern memorable for many reasons. Although was around didn’t conduct the live performances, he ucted the during the rehearsals and staging and cond recording sessions. use of the The Mangione albums were memorable beca e Gadd Stev ded inclu ers music, and some of the play y Gerr t grea the and , on drums, Tony Levin on bass lead the was I s; Niewood on various saxes and flute player for these projects. early part Generally, during my college years and the a bass of my working career I was always primarily r too. I played trombonist, although I played a lot of teno bass trombone the Vaughan-Williams Tuba Concerto on d by Walter ucte cond nic with the Rochester Philharmo wearing tails! , man East at Hendle during my senior year months in 7 my I wish I had a picture of that! During t’s for a Scot Buddy Rich’s band, we played at Ronnie an rded reco couple of weeks and toured England. We h whic on k It” album while I was in the band called “Stic I played the “Wave” solo. ing the jazz Shortly after coming to L.A, I started play Big Band. ckin Taba /Lew chair on the Toshiko Akyoshi

28

Bill Reichenbach

tours to Japan Over the next several years, we did a few band that I and recorded several albums. It was in this Bobby Shew met Jerry Hey, who came on as a sub for calls to do ng getti ed start for a few gigs. When Jerry and this me use to ded horn charts for records, he deci en, sudd a of All er. super-charged my recording care Foster id Dav s, Jone we were doing projects for Quincy and others.

week at Can you give us an idea of a normal “normal”. work? I’m not sure what would constitute couple of The business can shift from nothing for a recurring e som had I’ve day. a weeks to 2 or 3 dates “American ”, Guy ily “Fam ”, shows like “The Simpsons le of other coup a also are e Dad”, and “Cleveland”. Ther ce Upon “On d calle d shows which we’ve just complete a little ably Prob ld”. a Time” and “The Agents of Shie busier than “normal”. also play As well as the Bass Trombone you , can a whole host of related instruments e days, I prefer you tell us a bit about these ? Thes rd dates to play mostly bass trombone. On the reco r. On the teno tly mos play I on, with a small horn secti On the ra. cont and bass tly big movie dates, I play mos ce to chan a have I If . tuba cartoon dates, I play bass and the play I , band l smal a go out and play some jazz with bass trombone and bass trumpet. uential Who are the most inspiring and infl rked with? trombonists you’ve heard or wo ence on Overall, the player who had the greatest influ Isele. He was me was probably my second teacher, Bob hington, the soloist with the U.S Marine Band in Was around him with ying stud ed D.C for many years. I start d the hear I n whe and band the time he retired from the ever had I ing noth like first note out of his horn, it was was him with ies stud heard before. Playing the Rochut d aske have d coul the greatest legato and sound study I in g inuin for. After doing these things with Bob, cont ington was the same style at Eastman with Emory Rem called “10 quite natural. Early on, I owned a record This album Trombones Like 2 Pianos” by Pete Rugalo. on it. had most of the L.A greats from the early 60’s and bass jazz play to ing want my to This is the starting point ever. how bone trom bass on trombone, not necessarily jazz

The Bass Bone Files : TOP SECRET

Bass Bone Files

What is your view of the diverse nature of the music business today ? From the standpoint of playing, when I started out in this business, there were not very many players who doubled on tenor and bass trombone, much less on tuba and contra bass.

That’s all changed. Most tenor players now play at least some bass. Most bass players play some tuba and there are a surprising number of contra bass trombones in L.A now.

The music business is a mess! The big film companies would be very happy if we came in and played their scores for free and paid them a little bit for the honou r of being there. The cartoons remain among the few TV projects with all new scoring by live orchestras.

I’m one of the lucky ones and have seen your “man cave” at home and your beautiful collection of instruments mounted on the walls. For all those Boneheads out there that just need to know, can you tell us a bit about what you regularly use ? My bass trombones were made by Gary Greenhoe. He came through the Eastman/Remington school of playing and is actually a great player himself. The horns that he made are a Conn style. I had a 62-H at Eastman when they first came out and I loved it and I still do. Gary’ s horns are like that but a lot more. They are so efficie nt that you get more out of them with less effort and I really believe in less effort. I have a Haag Contra Bass.

My tuba is an older Besson Eb 4 valve compensating with the smaller bell, it’s a great recording tuba and

pretty good for jazz playing. The tenor I’ve used most for the last 30 years or so is a New York Bach 6 bell with a newer Bach 16M slide. Euphonium is a Yama ha YEP-321 and Bass trumpet is a New York Bach. Vario us other horns from my collection of antiques – Conn Eb Alto Cornet, Isaac Fiske Bb Tenor Horn, Conn Eb Alto Valve trombone, Conn Bb Tenor Valve trombone, Boston Eb Tuba, and more.

My bass mouthpiece is a George Roberts SO model.

Many years ago, George had a small selection of mouthpieces made and sold with his name on them.

There was a copy of a New York Bach 1 1⁄2 G, a copy of a Mt. Vernon Bach 1 1⁄2 G, a copy of a Conn 3B, and the one that I have, the SO, which means “slightly oversized”.

How do you keep your chops in shape ?

I think it would be generous to say that my chops are ever “in shape”.

The Bass Bone Files : TOP SECRET

What music do you like listening to ? I don’t get as much time to listen as I would like, but over the years, I’ve enjoyed a lot of early (pre-baroque) music .

A lot of that music has found new life in brass ensem ble transcriptions. Also, I’ve always had an interest in early jazz recordings. Some of the first Duke Ellington records are very interesting to me. I’ve listened quite a lot over the years to music by Vaughan-Williams, Hindemith, Copland, David Amram, some film composers like John Williams, Jerry Goldsmith, Bernard Herrmann, Erich Korngold.

Name two inspirations, one musical, one non-musical ? Bach and his Cello Suites are in my opinion the greatest music that a single note instrument will ever have access to. If I was sent to a desert island with one piece of music to play, it would have to be these.

I’m also very lucky to have found a partner in life who inspires me to be generous and honest and kind, Fran.

She’s not always successful, but mostly…

What does the future hold for you ? I’m going to keep working on this playing and writing thing till hopefully I can feel like I don’t suck. I guess I’ll be working to some extent in the recording biz until they stop calling me.

But the kinds of things that I do to be able to get throu gh the gig are long tones, flexibility, single-tonguing, etc.

Old-fashioned stuff, but mainly long tones. One of the things that I find gets out of shape the fastest is tongu ing on the smaller horns in the extreme registers.

Do you have a website ? Yes, but it is under reconstruction. www.Billreichenbach.com Any new CD releases we can mention? I would be remiss if I didn’t take this opportunity to promote the Trombones L.A “Carols From the Bells” CD that is available on CDBaby. It’s a project we did a few years ago with about 35 of the L.A trombone community as a fund-raiser for The Hearts of Music Fund. I recently played on an album called “Intrada” by the Dave Slonaker Big Band. I played bass trombone and had a bass trumpet solo on “It’s Only a Paper Moon”. Another interesting project is Frank Macchia’s “Grease Mechanix” which is kind of a New Orleans Brass/Funk band with a lot of pretty good jazz playe rs.

Any particular tracks our readers should try to get hold of ? Going back into prehistoric times, there’s the Buddy Rich “Stick It” album with “Wave”. Don Menza Sextet “Horns A-plenty” with tenor jazz solos and probably my first recorded jazz solo on bass.

In the studio with Aerosmith

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PARKER’S IS MOVING! Following 23 years in it’s current premises in Crawford Street in the heart of Marylebone, the UK’s most well known Brass Specialist is moving to a brand new, larger shop just a mile down the road. From 5th January 2015, Phil Parker Ltd. will be one of 3 separate specialist companies taking residence in a huge new building at 85 Hampstead Road NW1, just 2 minutes walk from Euston Square tube on the Metropolitan line and just across the road from Warren Street tube on the Northern and Victoria lines. The new super centre of over 10,000 square feet is called SaxWindBrass and will be the home of Phil Parker, Sax.co.uk and The Vibe (a new flute and woodwind showroom from All Flutes Plus). The companies will remain totally independent of one another, each having its own dedicated facilities. The coming together of 3 of the UK’s leading specialist music retailers in one venue will ensure that the new super centre will become a destination for musicians unlike any they have seen before. In a prime central London

location, the new venue boasts large, luxurious display areas, 15 testing rooms, repair workshops, practise rooms for hire and even a small master class / recital room.

Will Hodgson of Phil Parker Ltd. said “Parker’s has a heritage going back to 1945. It has always been an important part of the UK’s brass playing world with it’s expert staff, huge stocks and famous repair shop. This move is a fantastic opportunity to create a new home to accommodate the increasing national and international interest in brass. We look forward to welcoming everyone there” Parker’s will open its doors at Hampstead Road on January 5th 2015. It will be trading as normal from Crawford Street until then and through the Christmas break. A grand launch party and gig is planned at the new venue in the early part of 2015.

Phil Parker’s Christmas opening hours can be found at www. philparker.co.uk – or by calling 0207 486 8206.

reviews Barber – john Barber Reviewed

by Mark Templeton The thing that struck me first when listening to John Barber’s CD was that I was listening to a fine musician first and then a great trombone player.

Straight out of the blocks, John gives us a taste of things to come with a panoply of flavours served up in Andy Duncan’s 3 movement Concerto. A beautifully controlled lullaby in the second mvmt is sandwiched by a powerful first mvmt and a brilliant finale of real skill.

From this point on, our ears are treated to such an eclectic mix of sounds and styles that it’s impossible to get “Trombone overload”. The contribution made by Foden’s Band to this cause is immeasurable: playing with a clarity of sound through all genres proves that they are a first class ensemble. Variety and sensitivity of vibrato and attack from them feed into the rich tappestry perfectly.

One of the highlights of this CD for me is a euphoric arrangement of John William’s “Can You Read My Mind” from Superman in which John instantly transports us light years away with his sweet tone and uncomplicated vibrato.

Another high point is the Larsson Concertino delicately arranged for brass band with it’s intelligently played 1st mvmt, flowing 2nd mvmt and blisteringly fast 3rd providing fireworks and a little comic effect.

Throughout the CD, John maintains musical control, captivating the listener with some awe-inspiring trombone playing and moments of real intimacy, especially in his self composed (and

performed) piano interludes. Listen out for the underscoring on two tracks of spoken word with brass band legend Dick Evans.

I accidentally left John’s album in the CD player of the car when my wife was driving and apparently, the kids (3 and 6) didn’t ask for it to be replaced by the soundtrack to Frozen for at least 20 minutes. Need I say more.

Bob McChesney Jazz Solo Transcriptions By Rob Egerton Reviewed

by Kevin Holbrough Jazz Solo Transcriptions is a wonderful collection of Bob McChesney solos transcribed

by Lincolnshire-based brass tutor and trombonist Rob Egerton. These solos are taken from a number of sources: his own quartet album No Laughing Matter and also his own playing as featured soloist with such groups as the Bob Florence and Chris Walden big bands.

Rob’s incredible accuracy and clear notation, coupled with the inclusion of chord sequences to each tune, allow aspiring jazz trombonists to follow such solos and gain an understanding of McChesney’s thought process in improvising.

ews i v e r

some helpful notes and tips on how to transcribe jazz solos, which is a great way to learn and develop jazz language.

I thoroughly recommend this publication not only as a study aid to help develop jazz language, but also as a wonderful book to follow, listen to and enjoy.

Michael Dease ‘Coming Home’ Jazz Transcriptions (Warwick Music TB1028) Reviewed by Rob Egerton Transcribing the solos of great players is an extremely useful way to learn the jazz language and an effective way of internalising it quickly. However, if you are not skilled or patient enough, there are an increasing number of quality transcription books available, and this latest publication from Warwick Music is one of them.

It is intended as a companion to Michael Dease’s latest solo album Coming Home, and is an impressive collection of transcriptions by one of Dease’s pupils, Seth Weaver. The transcriptions include a lead sheet of the head arrangement, where the composition is an original, and full chord changes. They are also very accurate representations of what is played.

Overall, the book is a well-balanced mixture of fast swing, Latin and slow tempo tunes. Despite being very technical in his use of harmony and technique, Bob has a wonderful ability of always sounding musical.

As a welcome addition, at the back of the book Rob Egerton has also included

Continues on the following page.

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ews i v e r

Reviews continued...

Michael Dease continued...

If I were to be ultra-critical, I could say that the type-setting is a little small when viewed from the stand and, if you are clever (or mad) enough to try and play along, there are some impossible page turns. That said, if you can keep up with Mike Dease, the odd page turn won’t worry you!

Not only should Michael and Seth be congratulated on this superb addition to jazz trombone pedagogy, but credit must also be given to Warwick Music.

The publication of transcriptions is a notoriously grey area copyright-wise, so well done to them for seeing the worth in this project and taking the time and effort to bring it to print.

Permanent Transience Justin Clark Reviewed by Simon Minshall

It is so great to see a continuing surge in solo Bass Trombone recordings, and this latest release from Berne Symphony Orchestra’s Justin Clark does not disappoint. Each track on the album has been carefully chosen to reflect Justin’s artistry and passion for solo music, with accompaniment provided by his selfformed ‘Tranzient Ensemble’, featured heavily in Daniel Schnyder’s concerto: subZERO. There is a notable ease in which Justin gets around the instrument and whilst 32

giving us the excitement of what one would expect from a bass trombone recording, with the use of mutes we are able to discover the many different tone qualities Justin has to offer.

In addition to a busy orchestral career Justin has performed the album in the USA and Europe to great acclaim.

For more information about Justin Clark and to purchase this fantastic album visit: www.justinthattromboneguy.com

18 Canons and Chorales Franz Schubert Arr. Helen Vollam Reviewed by Robb Tooley These eighteen short pieces are originally for three part male voice choir, so it is not that surprising that they work beautifully for three trombones. Musically they are really rewarding, but, crucially, they will be within the technical abilities of many players.

Not only have we enjoyed playing through them as a section at the Bournemouth Symphony Orchestra, but I have also used them in a workshop with attendees at the recent Wessex BTS day.

Despite being sight-reading, we were able to talk about musical issues straight away, which is a great testament to their accessibility. It is a sensible practical consideration that the clearly printed and separately bound parts are available in any clef at the point of order.

A complete score is provided with the set too.

They make excellent practise material for any trombone section. In her

introduction, Helen describes the arrangements as a “good exercise in phrasing, intonation, blending sounds and matching articulations”.

I would wholeheartedly endorse that, whilst adding that they could fit very successfully into a chamber concert programme.

Music for Brass Septet – Septura Reviewed by Rupert Whitehead Septura’s debut disc is a reimagining of 19th century sacred music as if originally written for brass.

Throughout the record the playing is exceptional, unsurprising given that the group comprises some of the brightest stars of the UK brass scene. In the two organ works the array of sounds created ranges from the majesty of a large cathedral organ to a more intimate chamber instrument.

The use of mutes to reproduce the timbres of the organ’s various registers is particularly effective. In the choral works the influence of the text on the phrasing is clear. The Schumann and Brahms’ Geistliches Lied are beautifully played. The interpretation of the Bruckner works deserves special mention. There is nothing over the top, yet the music loses none of its splendour.

It is a joy to hear Bruckner played in this way. This is a superb album, full of thoughtful and intelligent music making at its best. Septura’s next CD, concentrating on Baroque theatre music, is due for release in 2015.

Available for purchase from amazon.co.uk and download from iTunes.

Austonley Brass Austonley Brass is a 10-piece brass ensemble, based in the North of England, that proudly boasts some of the most sought-after brass musicians and educators in the country.

Austonley Brass is the brainchild of Garrath Beckwith and James Garlick, formed with the aim of entertaining audiences all over the UK and further afield with excellent brass music played by some of the very best British Brass instrumentalists.

There has always been a long-standing tradition of high quality British brass playing and Austonley Brass endeavours to continue this British legacy by bringing together brass musicians in the UK in special collaborations with music festivals, concert societies, concert promoters, choral societies, education establishments and recording companies.

The personnel of Austonley Brass are equally at home on the concert platform or in the recording studio, having performed live and recorded numerous albums, TV shows and radio.

Members have also performed with ensembles such as the Hallé Orchestra, the BBC Philharmonic Orchestra, the Royal Liverpool Philharmonic Orchestra, the Orchestra of Opera North, the Remix Ensemble, the Grimethorpe Colliery Band, Elbow, the Black Dyke Band, Liverpool-based rock band The Wombats, Corrine Bailey Rae, Hallé Brass, the Syd Lawrence Orchestra, the Andy Prior Big Band, Andrea Bocelli & Bryn Terfel, Manchester Camerata, the Northern Sinfonia, the Orchestra of Welsh National Opera, Dame Shirley Bassey’s Orchestra, the British Philharmonic Orchestra, and the Royal Variety Performance Orchestra amongst others. This gives you a real sense of the quality that is behind the ethos of Austonley Brass: to entertain audiences to the very highest standards.

Our repertoire is varied, spanning every musical genre literally from Bach to the Beatles and Handel to Hendrix. We have our own ‘in-house’ arrangers but we are always looking to promote new material and arrangements. If you would like to write something for the group please get in touch via our website and the social media details below.

This gives you a real sense of the quality that is behind the ethos of Austonley Brass TROMBONE SECTION SPOTLIGHT… The trombone section of Austonley Brass are a versatile bunch of chaps who form a trombone quartet as part of all Austonley Brass concert performances. Below is a little more information about the section:

CHRIS GOMERSALL Chris is from South Shields in the North East of England.

He is a former student of the Royal Academy of Music where he studied the trombone with Ian Bousfield, Denis Wick and Dudley Bright. Chris works as a freelance trombone player and Continues on the following page.

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Austonley Brass continued... soloist performing with a wide range of ensembles including the Britten Sinfonia, the Northern Sinfonia, Brighouse & Rastrick Band and English Brass. Chris is currently the principal trombone player of the Grimethorpe Colliery Band.

Chris is a highly versatile musician who arranges music for different brass ensembles. He plays the euphonium and bass trumpet, as well as the alto trombone and piano. Chris also likes collecting trombones.

The trombone section of Austonley Brass are a versatile bunch of chaps who form a trombone quartet as part of all Austonley Brass concert performances.

Brighouse & Rastrick Band. James studied at the RNCM and was taught by Nick Hudson, Chris Houlding, Andy Berryman and Rob Holiday. During his time in Manchester, James worked extensively as a freelance trombone player, working regularly with the Hallé Orchestra, the Royal Liverpool Philharmonic Orchestra and the Orchestra of Opera North, as well as trialling and touring with the BBC Philharmonic.

James taught trombone at the Junior RNCM and has a strong commitment to musical instrument education. He enjoys conducting, arranging and recording music, when time permits from his full time job, teaching challenging young people in Manchester.

James is a founder member of Austonley Brass and is also a ‘dab hand’ on the euphonium.

RYAN WATKINS Ryan is originally from Selby, where his early music-making was with the highly successful Carlton Main Frickley Colliery Brass band. Currently Ryan is a second year student at the RNCM in Manchester where he is studying the trombone with Simon Cowen. Ryan is one of the most notable young trombone players in the UK and recently he was a finalist in the BBC Radio Young Brass Award. Ryan is currently the principal trombone of the Brighouse & Rastrick Band. He also has a keen interest in Jazz, performing with the RNCM Big Band and RNCM session Orchestra, and the Candela Salsa Band, as well as performing with his own function band, Pretty Young Things. Ryan is the youngest member of the group and alongside his passion for music he has a strong passion for KFC!

JAMES GARLICK Like every member of the Austonley Brass trombone section, James is a product of the Northern Brass Band scene. At a very early age he was the principal trombone of the Carlton Main Frickley Colliery Band and also the trombone soloist of the 34

GARRATH BECKWITH Garrath hails from Saddleworth and in his early musical years he played for a number of the country’s finest brass bands, most notably the YBS Band, BNFL Band, Williams Fairey Band and more recently the Grimethorpe Colliery Band.

Garrath studied at the RNCM in Manchester and has always had a strong passion for brass chamber music. Whilst at the RNCM he studied the bass trombone with Benny Morris, John Iveson, Chris Houlding and James Gourlay. On leaving music college, Garrath worked with many different musical ensembles and artists, such as the Hallé Orchestra, the BBC Philharmonic, Hallé Brass, the Syd Lawrence Orchestra, the British Philharmonic, the Andy Prior Big Band and Dame Shirley Bassey’s Orchestra. Garrath was a member of the orchestra for the UK tour of Beauty and the Beast and was invited to perform in the Royal Variety Performance Orchestra on three occasions. Garrath now works in music education and has recently been appointed the Head of Music at Saddleworth School, right in the centre of the brass band universe.

If you would like to see Austonley Brass live, discuss a performance opportunity and read testimonials about the group please feel free to visit our website www.austonleybrass.co.uk If you are a fan of social media sites, please like and share the Austonley Brass group page on Facebook, follow and favourite @AustonleyBrass on Twitter, watch our videos by subscribing to the Austonley Brass YouTube channel, and you can also listen to us on the Austonley Brass soundcloud channel.

Photography courtesy of Betina Skovbro Photography courtesy of Betina Skovbro

G&T

by Matthew Gee & Mark Templeton

Welcome to the latest instalment of G & T. We’ve tried to side-step the standard trombone excerpts in favour of works which would even make the pros. do their homework!

First up are the BBC Philharmonic.

They tackle one of my favourite pieces, Schonberg’s Pelleas und Melisande.

It is more Richard Strauss than Second Viennese School, so do not be put off, while an enlarged trombone section are sure to delight you. February 7th, The Bridgewater Hall, Manchester.

On 28th February Carl Davis is putting the orchestra through a feast of Gershwin, including Girl Crazy and Rhapsody in Blue. Some challenging brass writing both technically and stylistically. Liverpool’s Philharmonic Hall, 19:30.

Matthew Gee from the RPO and Mark Templeton from the LPO share with us their selection of orchestral highlights for the trombone this winter.

You need a special player to deliver this concerto, and Simon has it in spades!

Not to be missed.

For those hankering after a more tradition ‘excerpts’ concert, the Hallé are ticking all the boxes at 19:30 on 21st March, again in the Bridgewater Hall: Zarathustra, Finlandia, Saint-Saëns’ Organ, Valkyries. Over to you Mark.

Thanks Matt. There’s some meat on those bone parts. Here’s my choice of lip-busters and lung-stretchers.

Starting with the Philharmonia on the 4th February. The orchestra are playing Carmina Burana at 7.30 at the Royal Festival Hall. This is a good one for stamina and breath control for the trombones. It’s not all about the famous O Fortuna.

My star pick is in Glasgow where the RSNO perform both Tchaikovsky’s and Sibelius’ Sixth symphonies. Despite being one of his truly great works, the Sibelius is rarely heard. Søndergård conducts, March 7th, Glasgow Royal Concert Hall.

Shostakovich 4 is one of my favourite blows; One has to be in top shape to play one of the maddest, most schizophrenic solos in the repertoire ranging from mock-military bombast to circus-clown slap-stick. This certainly fits into the “Need to practice” category. The London Philharmonic Orchestra will be playing it at the Royal Festival Hall on the 13th February at 7.30.

The lucky folk of Ayr also get to hear Simon Johnson perform David’s Trombone Concerto with the BBCSSO on 30th January in the town hall.

The BBC Symphony Orchestra will be playing Bruckner 8 on February 28th at the Barbican. A regular feature in G&T but technically, this is a challenge

not just for the face but for ensemble.

Timing all the grace notes and pick up semiquavers throughout the brass section can be tricky but rewarding when spot on.

And finally to my Star Pick. Sir Simon Rattle, London Symphony Orchestra, Stravinsky’s Rite of Spring and 3 Fragments from Wozzeck by Berg. My chops would be screaming “Start warming up now” if it was in my schedule. I hope (with no schadenfreude at all) that Dudley and the gang get to do some of the meaty bits from Wozzeck as it makes so much more sense in context than in an an audition scenario. The Rite of Spring has it all but the rhythms can be made hell with a dodgy carver, which Sir Simon certainly isn’t. 15th January Barbican. 7.30.

Here endeth the G&T for another issue.

If you do make it to any of these shows, I bet you’ll leave thinking the players made it sound easy. That will be because we do all practise (despite what some would have you believe).

Cheers.

Follow Matt by visiting www.matthewgee.info or on Twitter @Geetrombone Follow Mark on Twitter @mbonetempleton

MT

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Follow the BTS on Twitter: @britishtrombone and Like us on Facebook to receive regular dates for your diary Submit your own events on the BTS website www.britishtrombonesociety.org and they will be included on social media, the BTS website and right here in the magazine.

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fast talk...

What is the best technical advice you could give a student?

Make sure everything you play is the most musical it can be.

What’s your name? Chris Binns.

What’s your current job?

2nd year student at RNCM. Also Principal Trombone with Black Dyke Band.

What model of trombone(s) do you play? At the present moment, Conn 88H. What mouthpiece(s) do you play on? Conn 5G. How old were you when you started playing? 8 Years old.

What was the most amazing gig you’ve ever been involved in?

It’s a tough decision between playing Shostakovich 7 with the RNCM Symphony Orchestra at the Bridgewater Hall (June 2014) and the NYBBGB at the BBC Proms (August 2012).

What was the last record you bought? Funnily enough it was The London Trombone Sound CD!!

What is the best advice you could give someone who is just starting out freelancing?

Be adaptable and versatile.

What was your first pro gig and when? If you can count playing with Black Dyke as being professional, then it was the 7th September 2014 at the Symphony Hall in Birmingham, the

60cond seterview in

day after the Band had won the British Open.

Where has been your most favourite place to perform?

Royal Albert Hall What are you currently working on work-wise/ repertoire-wise? I have a couple of auditions coming up later in the year and also a very busy concert schedule with Black Dyke. Somewhere I’ll find time to look at college stuff!

What’s your favourite colour?

Blue.

What’s your favourite food?

Mixed grill.

Give us an interesting fact that people might not know about you… I am (for my sins!) a loyal supporter of the football league’s most unsuccessful club - Rochdale AFC. Thanks for your time!

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Win a red pBone! www.trombonemusic.co.uk

ACROSS 4 Palindromic note (5) 6 I cannot speak, but I can transform the sound (4) 10 Cu + Zn (5) 12 Cue Moth Pie (anag) (10) 13 Solid Sang (anag) (9) 15 A French key (4) 16 Snooker (3) 20 Normally normal (7) 21 Part of the heart (5) 24 Father Charles Goes Down And Ends ______ (6) 25 Ding dong (4) The first person to send us a photo or scan of the crossword correctly filled-in, is the winner!

DOWN 1 Mark’s nickname (LPO) (5) 2 Sshh! (10) 3 Take it easy (4) 5 DIY (9) 7 Rum bee ouch (anag) (10) 8 Careful not to cut yourself (5) 9 Pre-performance (9) 11 Locks and Unlocks (3) 14 Historic instruments (8) 17 Cheesy (not wotsit) (6) 18 Playground apparatus (5) 19 Speech impediment after a few drinks (4) 22 Between the lines (4) 23 Lost its fizz (4) 25 Interval venue (3)

Email your photo/scan to: editor@britishtrombonesociety.org The winner will be announced in the next magazine. You’ve got to be quick to win the pBone in time for Christmas!

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