On Monday we had the first rehearsal for the London Charity Orchestras Autumn concert. We only had time to play through the Symphony, Tchaik 5. I am playing Bass Trombone (for some reason LCO seem to have loads of tuba players on thoer books but just me on Bass Bone, over the years I have been playing I can't get on tuba even when two are needed) but on this occason no complants at all. This was the piece that first inspired me to take up the trombone.
I must have been about 15 or 16 on a Croydon Youth Philharmonic Orchestra holiday course, at the time I was CYPO's principle tuba but beginning to be pressed hard by Nick Hacket a very talented musician and gifted tuba player. We had, I think 4 of us on tube including Nick and another very competent player, and something like 9 trombones. The trouble was all the trombones where tenors, with the best players on first, then second and only some basic near beginners on third. This symphony needs a proper confident bass trombone, I observed this to our tutor during a break on the first day, he promptly went out to his car, brought in a bass trombone and gave it to me, five days later I played it in the end of course concert. By the end of the next term I was CYPO's Bass Trombone, Nick was in his proper place as the principle tuba and the rest as they say is history.
The orchestral bass trombone is a wonderful sound, and there are many, many well written parts for the specialist to enjoy, but my first love is still the tuba!
Wednesday, 29 September 2010
Saturday, 25 September 2010
All Saints Concert Band
It has just been pointed out to me that I have refered to this band a number of times over the summer, and have not put a link to thier web site. Well thanks Pat! there is now a link on the right.
I recently played with All Saints down in Eastbourne and had a thourghly enjoyable time. there was a decent audience and an entertaining programme, also I was playing Tuba so was a lot more confortable, thanks guys.
I recently played with All Saints down in Eastbourne and had a thourghly enjoyable time. there was a decent audience and an entertaining programme, also I was playing Tuba so was a lot more confortable, thanks guys.
More Hever
I think I may have been a bit unfair on Hever's gardens, I should say that the grounds at Hever are splendid, well maintained, and well thought out. 
It is a great place for a day out with plenty to maintain interest throughout the day. It is just that I think so much more could be made from the idea of a dahlia border.
It is a great place for a day out with plenty to maintain interest throughout the day. It is just that I think so much more could be made from the idea of a dahlia border.
I have found my camera now (in the wife's car!) and can share my shots from that day , make up your own minds
Sunday, 19 September 2010
More stuff and nonsence
Sorry not to have posted much for quite a while now, truth to tell I've just been too busy with all sorts of things, so that by the time I've slowed down in the evening and actually have a bit of time I'm just too tired.
I have been playing and did go down to Hever Castle and enjoyed the day enormously, however I was rather disappointed with the Dahlia borders. This should have been a glory of colour and for, instead all the dahlias were of the same type and more or less the same height. Allowing for the profusion of types and colours available I think a lot more could be made of this idea, I just need a customer with enough space and money to let me try. I did take a few pictures, but after all my busyness now I can't find the camera.
I will try to post something more interesting and coherent when I am a little more settled.
I have been playing and did go down to Hever Castle and enjoyed the day enormously, however I was rather disappointed with the Dahlia borders. This should have been a glory of colour and for, instead all the dahlias were of the same type and more or less the same height. Allowing for the profusion of types and colours available I think a lot more could be made of this idea, I just need a customer with enough space and money to let me try. I did take a few pictures, but after all my busyness now I can't find the camera.
I will try to post something more interesting and coherent when I am a little more settled.
Sunday, 12 September 2010
Why I hate John Fletcher
Well, maybe not quite true, John Fletcher was the finest Tuba player of his generation, and maybe since the instrument was invented. He didn't bequeath us some significant innovation in our machinery - like the Helleberg mouthpiece named after the principle tuba player in the Sousa band, neither did he innovate in how we learn to play and technique, like Arnold Jacobs. He just did it better than anyone else around. Follow this link, listen and see (or rather hear) what I mean, http://www.johnfletcher-tuba.co.uk/Resources/flight.html
So why do "I hate John Fletcher", well he did ruin the classic Boosey & Hawkes Imperial model EEb Tuba by introducing the big bell, but no it's not that, and on the occasions that he heard me play he was very complimentary and helpful, so it's not that. I always found him very friendly, helpful, and enthusiastic, he started and led the Tuba Christmas parties in London and was evangelistic about our instrument, so it's not that. No Fletch was the first Tuba virtuoso whose recordings became mainstream, non tuba players listened to what he did - and liked it. The trouble is they then expected us all to be able to the same., AND WE CAN'T http://www.youtube.com/watch?v=dK58EE5b4qc well I
There are many very fine players around now, the current generation have brought our instrument into the solo field and extended the repertoire, with players such as Walter Hilgers, Sam Piliafin, Jim Gourlay and so many others around we all have the opportunity to hear great soloists playing great solos - but Fletch was first.
Finally a quote from some old programme notes I found
Before John Fletcher the reputation of the tuba as a musical instrument was not altogether grand. It was considered almost entirely as a bass instrument for the brass section of bands and orchestras. Any use of the tuba in a solo capacity was normally in order to gain a laugh.
John Fletcher changed all that by treating the instrument as a vehicle for his remarkable musical talents and establishing that it was after all capable of expressive and technical virtuosity. It was, in his hands, capable of producing the whole gamut of musical expression. His special talent though was not so much what he could do technically but how to use his ability to master the instrument in the service of the music. He had no time for empty flamboyance but loved to provide just the right sound and style for whatever music he was playing.
As a teacher he hated pomposity and avoided the ‘master-class’ situation. He preferred to explore the instrument with his students, avoiding quick-fix answers in favour of discussion of the possibilities. He always managed to present his views with humour and gave the impression that he was gaining as much from the sessions as his students were.
Whenever possible he like to demonstrate through enjoyable performance.
It is still relatively unusual as a tuba player to get to play many "tunes", but certainly the parts I get to play - especially in contemporary wind band music - are so much more interesting than they were, in no small part thanks to Fletch
So why do "I hate John Fletcher", well he did ruin the classic Boosey & Hawkes Imperial model EEb Tuba by introducing the big bell, but no it's not that, and on the occasions that he heard me play he was very complimentary and helpful, so it's not that. I always found him very friendly, helpful, and enthusiastic, he started and led the Tuba Christmas parties in London and was evangelistic about our instrument, so it's not that. No Fletch was the first Tuba virtuoso whose recordings became mainstream, non tuba players listened to what he did - and liked it. The trouble is they then expected us all to be able to the same., AND WE CAN'T http://www.youtube.com/watch?v=dK58EE5b4qc well I
There are many very fine players around now, the current generation have brought our instrument into the solo field and extended the repertoire, with players such as Walter Hilgers, Sam Piliafin, Jim Gourlay and so many others around we all have the opportunity to hear great soloists playing great solos - but Fletch was first.
Finally a quote from some old programme notes I found
Before John Fletcher the reputation of the tuba as a musical instrument was not altogether grand. It was considered almost entirely as a bass instrument for the brass section of bands and orchestras. Any use of the tuba in a solo capacity was normally in order to gain a laugh.
John Fletcher changed all that by treating the instrument as a vehicle for his remarkable musical talents and establishing that it was after all capable of expressive and technical virtuosity. It was, in his hands, capable of producing the whole gamut of musical expression. His special talent though was not so much what he could do technically but how to use his ability to master the instrument in the service of the music. He had no time for empty flamboyance but loved to provide just the right sound and style for whatever music he was playing.
As a teacher he hated pomposity and avoided the ‘master-class’ situation. He preferred to explore the instrument with his students, avoiding quick-fix answers in favour of discussion of the possibilities. He always managed to present his views with humour and gave the impression that he was gaining as much from the sessions as his students were.
Whenever possible he like to demonstrate through enjoyable performance.
It is still relatively unusual as a tuba player to get to play many "tunes", but certainly the parts I get to play - especially in contemporary wind band music - are so much more interesting than they were, in no small part thanks to Fletch
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