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SHORT ITEMS
Recitals to feature top Yamaha artistes
John Myatt Woodwind and Brass in association with Yamaha - Kemble present a
series of informal recitals featuring Yamaha artistes at The Studio, North Herts Music
School, Highbury Road, Hitchin.
Each event starts at 6.30pm and will feature around an hour of music followed by
questions and answers and an opportunity to try Yamaha instruments and talk to Yamaha and
Myatt staff. There will be various special offers on Yamaha instruments at the events.
Admission is by ticket only from shop@myatt.co.uk
please specify which event you require tickets for.
Wednesday November 1st 2000: Nick Cox: clarinets
Nick is principal clarinet with the Royal Liverpool Philharmonic Orchestra and
has also worked with the BBC Symphony Orchestra, the Philharmonia and the City of London
Sinfonia among others. His duo with pianist Vanessa Latarche have had pieces written
specially for them by Richard Rodney Bennett, Hugh Wood, Jonathan Lloyd & Edison
Denisov.
Wednesday November 8th 2000: Simon Bates: saxophones
Simon has played with a vast variety of musicians including Lulu, Billy Ocean,
D-ream; Chaka Khan, Eddie Floyd, Sax Appeal, Peter Erskine, Jim Mullen & the
Zapatistas. Simon is a long term and enthusiastic evangelist for the Yamaha Custom series
of saxophones. He should be accompanied by Paul "Harry" Harris on the piano;
Harry is a prolific player and composer (jingles for Mastercard, Do It All and Freemans
among other compositions) and their duo is regularly featured on "The Big
Breakfast".
Wednesday 29th November 2000: Paul Edmund-Davies: flute
Paul has been principal flute in the London Symphony Orchestra since 1987 and
also regularly plays with the ECO & LPO and the Academy of St Martin in the Fields. He
has worked with Bernstein, Rostropovich, Tilson Thomas, Previn, Daniel Gatti, Kent Nagano
and Ion Marin among others. His accompanist is John Alley, principal keyboard player with
the LSO; John has also worked with the London Sinfonietta and the Chamber Orchestra of
Europe and many top composer/conductors including Boulez, Berio, Lutoslawski and Oliver
Knussen.
Date to be confirmed: Rod Franks: trumpet
Rod is principal trumpet in the London Symphony Orchestra; his musical career
started on cornet as a member of the Brighouse and Rastrick Band and then the Black Dyke
Mills Band. He studied trumpet with Maurice Murphy and joined the Bergen Symphony
Orchestra in Norway. On his return to England he played with the London Brass and the
Philip Jones Brass ensemble before joining former tutor Maurice Murphy in the LSO. He has
worked closely with Yamaha in the design of the YTR6335HII heavyweight trumpet which he
uses with the LSO. We do not yet have a confirmed date for Rod's recital but if you are
interested let us know and we will get in touch once details finalised.
We would like to thank all at North Herts Music School for their help in staging
these events.
These top quality reed cases are available exclusively from Myatt's and are
available in a leatherette covering or actual leather.
They are of the highest quality and have been selling like hotcakes! As well as a range
of double reed cases, they make single reed cases which keep the reeds flat on a sheet of
glass, bassoon crook cases and clarinet mouthpiece cases.
The following article is taken from the Summer 2000 edition of Double Reed News,
the journal of the British Double Reed Society and is printed with the kind permission of
the editor. The BDRS is a non-profit making organisation established to further the
interests of all involved with the oboe and bassoon. The BDRS acts as a national forum for
debate and the exchange of ideas, information and advice on all aspects of double reed
instruments. It also fulfils an important role in encouraging greater interest in the
instruments, and securing their place in the wider cultural and educational environment.
They have a comprehensive web site at www.bdrs.demon.co.uk and can be contacted by
email at enquiries@bdrs.demon.co.uk.
Membership enquiries to 165 Hanover Road, London. NS10 3DN. 0208 459 4847.
FLYING FOXES AT TRINITY
Jeffery Cox reports on the London bassoon event run by John Myatt in March.
At 3.30 on 13th March, some 30 guests gathered expectantly in the Bantock Room of
Trinity College of Music in London. They were there at the invitation of John Myatt to
hear Alan Fox, President of Fox Products, talk about his company's bassoons, and John
Miller, of Bubonic Bassoon Quartet (and Minnesota Orchestra) fame demonstrate them.
There was an impressive selection of instruments on display - permutations of long and
short bore with standard and thicker walls, different diameter tone-holes, and variations
in cone profile, as well as the distinctive polypropylene instruments which are unique to
Fox. John Myatt began by welcoming the assembled company, which included players from many
of the London orchestras, the Chamber Orchestra of Europe, the Band of the Royal Marines,
teachers and enthusiastic amateurs (including your DRN correspondent). BDRS Chairman,
Deirdre Dundas-Grant was present, also Bill Waterhouse.
Alan Fox then took the stage and talked about the origins of Fox bassoons and the
thinking behind the different variants. He mentioned that his father, who had been
Principal Bassoonist in the Chicago Symphony in the 50s, had been unhappy about some of
the Heckels which were being imported into the United States at that time, and felt
inspired to design an alternative. The Fox business came into being in 1960 (Alan was
unique in the family in being an engineer rather than musician!), and now produces some
2000 instruments a year, of which 150 are the specially hand-finished Fox professional
models. Fox reckons that 25% of bassoonists in American orchestras play Fox, and about 5 -
6% in orchestras world wide.
It takes 3 weeks to build one of the Fox instruments and about a third of that time to
complete a Renard. The polypropylene instruments are selling well in the student market
and had found a niche in situations where wood was unsuitable - some outdoor situations
and extremes of climate (Alan also mentioned that Heckel had made plastic bassoons for
Rommel's Desert Corps!). Asked what part computers had played in the development of his
instruments, Alan said that they were used to control some of the lathes, but not in
determining the design.
To give us a feel for the characteristics of the different designs was the task of John
Miller, who set about it by playing the opening bars of Mozart's concerto on each
instrument in turn. This also gave him the opportunity to show off his all but unique Fox
finished in grand piano black with gold plated keywork - very striking! It was then the
turn of the audience to try the instruments for themselves, both on their own, in a frenzy
of free improvisation, and in a more disciplined series of quartets and a quintet led by
John.
Finally, we were all invited by John Myatt to mull over our impressions and slake our
thirsts as his guests in a nearby pub. Excellent Draught Guinness and a selection of
hearty finger food completed a memorable afternoon.
This was a nicely judged occasion which provided the opportunity to sample fine
instruments in a relaxed and convivial atmosphere. DRN wishes John Myatt and his bassoon
specialist, Helen Tumelty, every success.
John Myatt adds:
The event at Trinity College was our responsibility as sole distributor of Fox
instruments in the UK, and we were very grateful to Trinity College London's Head of
Woodwind for our generous reception there. On the following day John Miller gave
masterclasses at the Royal College of Music and Guildhall, mainly on audition technique.
In these he went into meticulous detail on various standard excerpts such as Bolero and
the Rite of Spring and his tips were inspirational. He explained that many of the players
on original recordings of these works would not succeed in even making the short list in
today's highly competitive world. This was all part of a tour by Alan and John to the main
European distributors of Fox instruments so, having arrived from Norway they left for
Holland, Belgium and the rest of Europe then back to the USA for tea at the weekend!
John Miller
John Myatt, Deirdre Dundas-Grant & William Waterhouse
John Myatt & Chris Gunia
Alan Fox
John Myatt & Ron Waller
Gordon Laing & Michael Chapman
Neil Black & Deidre Dundas-Grant
Three Buffets chasing a black Fox
The following article is reprinted from Crescendo and Jazz Music - a bi-monthly
magazine established in 1962 covering the jazzier end of the musical spectrum and full of
informative and interesting material. Crescendo can be contacted by email at DenMatCres@Aol.Com; by phone on 020 7405 7472 or by
post at 40 Lambs Conduit Street, London. WC1N 3HQ. Reed Clinic is a regular feature of
interest to saxophonists written by John Robert Brown.
John Robert Brown is the author of How to Play Saxophone (St Martin's Press), and
has many folios of jazz transcriptions in print (IMP) He writes the monthly Reed Clinic
for Crescendo Magazine and since 1975 has worked as a lecturer and administrator for Leeds
College of Music.
John is highly acclaimed for his contemporary jazz seminars, for group
participation, designed to cater for all instruments and all abilities. More information
on 0113 225 2298, or by email at xsa22@dial.pipex.com
By John Robert Brown
"Always be sure to do up your zip".
Perhaps that is not the sort of advice you'd expect to find in Reed Clinic. However,
the speaker was KeizoYamada, repair engineer for Yanagisawa Saxophones in Japan. The zip
is the one on your soft saxophone case. Mr Yamada tells me that many damaged saxophones he
sees in his repair department at Shinjyuku-ku, in the centre of Tokyo, are the results of
unzipped cases. As the careless saxophonist energetically shoulders his open bag, the
saxophone flies out and hits the ground. Instruments bounced to the floor in this way are
usually badly bent. So...do up your zip! (editors note: we have had two professional
instruments damaged at the shop in the past 12 months for this very reason so take heed of
Mr Yamada's advice)
During October I spent a couple of weeks working in Japan. Wally Evans, of the British
company Barnes and Mullins, helped me to contact Yanagisawa's Manager of International
Trade, Mr K Sakurai. Thus I spent a saxophonist's dream afternoon, enjoying a personal
guided tour of the world-famous Yanagisawa saxophone factory.
Our first stop was at the Yanagisawa Sax Studio, the repair premises and first-floor
showroom where Keiko Yamada works. This is the Yanagisawa company's Tokyo showroom, just a
few steps from the large Shinjyuka railway station. They display their entire range of
saxophones here and, in one of several soundproof booths, you can try before you buy.
There are no other wind instruments here, for Yangisawa make only saxophones. They offer
only the main members of the saxophone family, no C Melody, no bass. However, there is a
sopranino, the choice of either curved or straight soprano and the option of a baritone to
low Bb, made to special order. They make saxophone bodies in brass, bronze or silver, and
Yanagisawa have led the way in offering a choice of crooks (necks) to go with each
instrument.
After briefly trying a beautiful new soprano (don't you hate playing in shops and
repair places?), and chatting to Mr Yamada, we said our farewells and headed down the
stairs to the street to take a taxi to the north part of the city of Tokyo, to visit the
factory. As we left the premises, I casually remarked to Mr Sakurai that many
internationally famous saxophonists must have climbed these stairs. "Yes", he
replied, and went on to recite a list of the young players who had visited. These included
Antonio Hart, Greg Osby, Kenny Garrett, Vincent Herring and Anton Rooney. All possess a
Yanagisawa saxophone. Mr Sakurai displayed an encyclopaedic knowledge of which player
plays which horn. Antonio Hart has a solid silver instrument; Vincent Herring has a
gold-plated alto and soprano; Greg Osby has both soprano and alto in solid silver. There
is a trend towards solid silver instruments among the younger players. They all seem to
find that the projection is excellent, and the quality of sound is good. Solid silver
instruments are fitted with brass keys.
Tokyo is an enormous city. Thirty million people live within thirty miles of the city
centre. That is a quarter of the total population of Japan! To write of the city centre is
a little misleading. The city is a jumble of high-rise buildings, concrete flyovers,
extensive underground shopping malls - and people, people, people. It seems to have no
centre. Though not quite as centreless as Los Angeles, it does remind one of the
Californian sprawl. The recorded music heard when out in the city is most interesting. The
background music in shops and restaurants is usually western, and mostly of good quality.
During one week in Tokyo I dined to the recorded sounds of Thelonious Monk and Charlie
Rouse, James Galway playing French chamber music, and one breakfast bar entertained me
with a complete Haydn string quartet. Ten minutes before shops and public buildings close,
an orchestral version of Auld Lang Syne is played, to warn visitors that it is time to
leave. Why Auld Lang Syne? Well, it is a pentatonic (five-note) tune, in common with much
traditional Japanese music. It is a farewell song, and therefore appropriate to use for
dropping a polite hint to customers that the shop will soon be closing. Here, all is
politeness. I have no explanation whatever for the frequent occurrence of John Brown's
Body, heard in several stores. The most unlikely setting was in a state-of-the-art
computer shop. As customers browsed futuristic hardware and software, gazing longingly at
computer screens that were flat and slim, at mobile phone-linked linked palm-top computers
and dazzling portable printers, they were treated to the cheesiest two-beat version of
this tune imaginable. Perhaps the clue lay in the Japanese words, which I couldn't
understand.
The Yanagisawa factory is in the suburb of Itabashi-ku, a twenty-minute cab ride away
from the densely packed downtown area. During the journey Mr Sakurai told me how he
develops the suggestions of the major saxophonists he meets. For instance, it was Lew
Tabakin who mentioned the importance of the saxophone neck. It is almost as important as
one's mouthpiece, as anyone who has swapped crooks with a friend will have discovered. Mr
Sakurai took the hint. Yanagisawa now offer a choice of four crooks with many models of
their saxophones.
When we arrived at the factory, it surprised me that the Yanagisawa works is neatly
housed in what appeared to me to be a series of interconnected city houses, in a
residential suburb. Mr Sakurai led me from room to room, upstairs and downstairs, each
work area an example of efficient space use. The production methods are a model of
clinical tidiness and good practice. The central conical section of the saxophone is
rolled from the flat sheet, and heat joined. Tone holes are first cut as an ellipse, with
the long axis of the ellipse vertically in line down the body. The narrow axis is across
the body. This was a surprise to me. Because the tone holes are not joined on, but are
integral, the ellipse of the hole cut in the cone allows for the drawing up (bending up,
if you prefer) of the part of the pipe that meets the pad - the 'chimney'. This taught me
that I had never really thought carefully about the geometry of a cone and the
requirements of a flat junction where chimney meets pad. Think about it. At the stage
where the cups and pads are fitted to the body, a light-on-a-stick is used to check for
leaks. There is no testing by blowing, Just a pair of steady cotton-gloved hands and a
leak light. A weak flame is used to play on the pad cups and adjust any ill fitting pads.
All the workshops were surprisingly quiet. There was little conversation, hardly any
industrial clatter, and no music. A few of the forty or fifty people working on the
premises had a Walkman and earpieces for private entertainment. I wondered whether they
were listening to saxophone music. Perhaps they could have had an appropriate CD? The
Milestone Alto Summit with Phil Woods, Vincent Herring and Antonio Hart would be an good
choice!
In the mouthpiece room three men were working on pieces in both brass and ebonite. They
automatically mill the brass pieces to approximate shape from bar stock, and then
hand-finish. The hand work throughout the manufacture of both saxophones and mouthpieces
is considerable. Mr Sakurai offered the opinion that the only way that a company such as
Yanagisawa can prosper is by offering a top quality product. Stick to quality and you
can't go wrong, as the old saying has it. Considering the high living standards in Japan -
and therefore presumably high costs of skilled labour - it surprises me that they can
produce and export saxophones for the prices that they currently charge.
One advantage of the individual craftsman approach is that a degree of custom building
is possible. I have already mentioned the choices of materials and finishes. They can also
vary the height of the left-hand palm keys to special request. So if - like me - you have
long fingers, they can raise the palm keys to fit the size of your hands.
Next we came to a small room where two men worked alone. For once this was a room that
was not crammed with dozens of instruments. Work here was on a one-off basis. Mr Sakurai
explained to me that this was the development department. Here they introduced and tested
modifications and improvements, some of which are still secret. There was very little
electronic equipment, and no evidence of computer-aided design (CAD). Mr Sakurai confirmed
that development work is done largely on a traditional cut-and-try basis, and by asking
the players. "The sound is the most important thing," he said.
This wasn't the first time I have seen common sense and practical experience used to
develop a world-class saxophone product. It is similar to the approach used by
world-famous English mouthpiece maker Geoff Lawton, who calls it using "horse
sense". "You can go a long way by using a little horse-sense," he once said
to me. Quite. Incidentally, it was pleasing to see Lawton mouthpieces on sale in Tokyo,
and hear that Japanese musicians acknowledged that they were a very high quality product.
Finally we mounted a flight of steep stairs to the office of Mr Yanagisawa himself. Mr
Yanagisawa senior, the founder of the business, died last year, and his son, Mr Nobu
Yanagisawa, now runs the company. He is president of the company, and his wife also works
in the administration. I talked to Mr Yanagisawa through the interpreting skills of Mr
Sakurai. This wasn't the first time that I regretted my very limited ability with the
Japanese language. You can guess what one of my New Century resolutions is going to be!
My own job in music calls for a considerable amount of travel, but this was my first
trip to Japan. Novel experiences were plentiful, from heated toilet seats to
seaweed-wrapped biscuits, from delicious take-away lunch boxes (bento boxes) to the
Japanese version of Macdonalds, from the the 270 km/h Shinkansen bullet train to free
Internet access at a local science exhibition. The relative prices of goods were not
always consistent with Northern European prices. On one occasion I paid over four pounds
fifty pence for one cup of coffee (maybe coffee is regarded as a delicacy?), and I saw
melons on sale at prices upwards of thirty pounds each! I didn't dare say that I regularly
eat half a melon for breakfast in England. The thought occurred that one could take a
suitcase full of melons, rather than luggage, to finance a Japanese visit!
Those are extreme examples. At the other extreme the Japan Rail Pass would be a bargain
anywhere. It gives unlimited travel anywhere in the country for seven days, for around 150
pounds. One of my train journeys, a sleeper from Osaka to Sapporo, took 22 hours, so the
Rail Pass was a true money-saver, and much appreciated. The route goes to the northern
island of Hokkaido via the Seikan Tunnel, the world's longest undersea tunnel, an eerie
53.85 km long. Much of this Reed Clinic was written during that train journey - the first
Reed Clinic written underwater!
Throughout all of this shone the kindness and good manners of the Japanese people.
There is no tipping at all, and constant good service, helpfulness and much thanking and
bowing. Ask the way to a local store or restaurant and you are likely to be escorted along
the street to ensure that you are heading in the correct direction. It was this spirit
that characterised my unforgettable visit to the Yanagisawa saxophone works. Thank you
Wally Evans. Thank you Mr Sakurai. Thank you Mr Yanagisawa. And thank you, Mr Yamada, for
the advice about the zip.
By Nick Walker
Saxophonists have always been aware of the vast range of sounds and
responses made possible through different mouthpiece and reed combinations from belting
R&B to French conservatoire and all stops in-between.
So after months of trying this and that you finally arrive at what you consider to be
the perfect blend of reed make and strength coupled with the mouthpiece fashioned from
ebonite, metal or even crystal; tip opening to match your embouchure, and chamber to give
you the tone required for your own particular musical situation. The search is over right
well maybe, because at your next gig the sax player next to you says 'that new mouthpiece
sounds great, but you know it would sound much better still with a xxxx ligature'. Is he
or she right?
Ligatures can in fact make a tremendous difference to the sound a sax makes; they are
after all, along with the mouthpiece itself , a major point of contact with the reed.
Generally they work on the principle of most contact with the reed - darker sound; less
contact with the reed - lighter sound. Having said this, the material used in contact with
the reed can throw up some surprising results.
The VANDOREN OPTIMUM ligature, while not a particularly recent addition is worth
consideration particularly by players of Vandorens' ebonite mouthpieces. Made to
Vandorens' usual exacting
standards it comes with 3 different pressure plates, each offering a different contact
with the reed and therefore at least 3 different sounds from the same mouthpiece/reed
combination.
The WINSLOW ligature has been a favourite amongst Myatt customers for some time.
Probably the most 'high-tech' of all the currently available products, it too offers the
player the opportunity to vary the sound by altering the position and amount of
reed/cushion contact. The immediacy of response is outstanding and can transform even the
most ordinary of mouthpieces into something quite special. As with most makes there is a
specific coded ligature to suit each individual mouthpiece.
The OLEGATURE from Rico employs a gold plated mesh to secure the reed. The mesh and
reed vibrate together enabling superlative projection and power. The dual screw adjustment
allows you to precisely set the reed tension to your own requirement, however there is no
scope for varying the reed / ligature contact....you either like the sound or you dont.
The LIGAPHONE has been around for a little while but is a relative newcomer to Myatts.
It it almost as low-tech as you can get... a metallic band in either gold plate or matt
black finish with a fabric strip in contact with the reed. It is tightened by means of a
nylon cord. What is unique about this ligature is that it fits ANY mouthpiece. Further
choice is offered by the Classique or Orchestral versions, the only difference being the
thickness of the fabric strip which is greater on the Classique giving it a darker sound.
I can only say that playing is believing - these are sensational!
Talking of low-tech, the JAMES M PYNE ligature resembles a serviette ring made of woven
black string. There is no tightening mechanism, it simply slips over the mouthpiece and
reed until secure. However unlikely this may all seem this product actually works
remarkably well and allows the reed to vibrate with considerable freedom. Don't ask me
about a cap though!
FOOTNOTE
Over the years, two mouthpieces have proved particularly problematic with regard to Rovner
and BG ligatures fitting correctly. These are Vandoren (presumably because they want you
to buy their own) and Berg Larsen which must have a unique girth. As a generalisation; in
my experience it seems that ebonite mouthpieces of large or small chamber respond more
dramatically to a change in ligature than a high baffle metal mouthpiece.
FOOTNOTE 2
In compiling this article, I must offer congratulations to people who write the
brochures to accompany the products. I have read every conceivable adjective to describe
the sounds that these ligatures enable the player to achieve. Space does not permit me to
include any so that's it for now.
The latest development of our web site will enable customers with internet
access to purchase any of the items listed in our catalogue/web site on line.
All order details are protected by secure software and we anticipate this becoming a
popular alternative method of placing orders, particularly for overseas customers. This
system will be activated before the end of the year. If you would like to be informed as
soon as its operational please click here.
Trevor James have introduced "Millennium" models of the Cantabile and
Virtuoso.
For a small additional cost the instrument is supplied with a handmade head joint and
pointed key arms; these models are available for limited duration only. Yamaha have just
introduced a new series the 514, 614 and 714 respectively with silver head, silver tube
and silver throughout. They have a new scale (type 4) and a nem model EC head, and are
semi-hand crafted. Iwao are another Japanese flute maker, we have recently started to
stock their silver head model which plays beautifully. Boosey and Hawkes have ceased flute
making in the UK; the eagerly awaited up-dated Buffet models will be manufactured at the
Schreiber plant in Germany. Accessory wise there are various new stylish cases, case
covers and gig bags available - see listings for full details.
The main news is the appointment of our new oboe specialist, David Fisher and our new
bassoon specialists, Thomas Simmonds following the departure of Kate and Helen (see below). Selmer (USA) have introduced the "Signet" a new
resonite student oboe which is apparently the same as the old Selmer Bundy; and from
Germany we have a new intermediate instrument from Adler - we have tested a prototype
which seemed very good value. Fox sales continue to outstrip supply - the short reach
model 51 plastic instrument, the intermediate 242D and the 240D Artist have been the most
noticeable successes. The new cor anglais is still eagerly awaited.
On the clarinet front the Jupiter has established a niche in the market as a good
quality cheap beginners instrument in a price bracket below the starter Yamaha and Buffet
instruments. Buffet basset horns have been selling like hot cakes following the success of
our short term rental scheme. Yamaha have just introduced a new model alto saxophone the
YAS275 which replaces the YAS25 and has keywork modifications, a new crook based on the
YAS62 crook and is much more competitively priced. We await with interest the retro Selmer
Reference tenor saxophones which are available in two models; a balanced action and a Mark
VI version. These are NOT identical copies of the original Mark VI and balanced action
(they both have high F#'s for example) but are described in the Selmer publicity as
"merging some nostalgic features and sound with the modern instruments design and
quality manufacturing". The limited edition Selmer Millennium model alto is a series
III style instrument in silver plate and with a silver crook.
Accessory wise the Ligaphone ligatures have created much excitement - for full details
see Nick Walker's write up above. Neuranter Bb clarinet reeds at yet another choice for
the discerning clarinetist and Rico Grand concert reeds are now available for bass
clarinet and alto and tenor saxophone. Pomarico have added a fifth lay od crystal
mouthpiece the Nigun which joins the already established Emerald, Ruby, Sapphire and
Diamond models. There are a number of new cases and gig bags available; of particular
interest are the Soundwear clarinet gigbag/cases and the very stylish Besson Bullet
aluminium alto and tenor saxophone cases.
We are delighted to now be stocking Michael Rath trombones; top quality professional
instruments actually manufactured in the UK to the highest of specifications (the Bb/F
supplied with Hagmann valve). The B&S alto trombone is a high quality budget alto
which has been very well received. Yamaha's new intermediate trombone series the 445, 446
and 448 have also proved to be an instant success. The new Leblanc/Holton Arturo Sandoval
trumpet has been very well received, as has the Martin Urbie Green trombone model. Selmer
Paris have brought out a limited edition Millenium trumpet, available only in silver plate
it blows beautifully and will be much sought after. The Calicchio IS-7 and IS-2 trumpets
have also proved popular over the past year following last years price reduction. B&H
have ceased production of the 600 series trumpets and trombones temporarily - we expect
them to be available again shortly but from an overseas source. The Holton 478 french horn
is going to be a very popular addition to the Holton range - it is basically the 378 but
with a screw bell.
Soundwear gig bags are a very interesting addition to the vast array of cases and gig
bags on the market - they are available for trumpet, cornet, trombone, all horns,
euphonium and bass. The Besson Bullet trumpet cases are very stylish lightweight aluminium
cases also worth a look. Bach gig bags; leather and fabric.
The Music Industries Associations "Campaign for Music in the Curriculum" (see
article in our 1998-99 catalogue for full details) led to the government agreeing to
retain music as a compulsory foundation subject in English schools up to Key Stage 3 (14
years old). Following this commitment the MIA's Education Committee was consulted by the
Qualification and Curriculum Authority to look at the detail of what should be expected
from pupils in each of the three key stages. The conclusions which are due to be
implemented by schools from September 2000 can be summarised as follows:
Key Stage 1 (to age 7): Pupils should be taught how to play tuned and untuned
instruments. They play musical instruments and sing a variety of songs from memory, adding
accompaniments and creating short compositions, with increasing confidence, imagination
and control.
Key Stage 2 (to age 11): Pupils should be taught how to play tuned and untuned
instruments with control and rhythmic accuracy. They should play instruments with
increasing confidence, skill, expression and awareness of their own contribution to a
group or class performance. They improvise and develop their own musical compositions.
Key Stage 3 (to age 14): Pupils should be taught how to perform with increasing control
of instrument specific techniques. They should deepen and extend their own musical
interests and skills, perform and compose music in different styles with increasing
understanding of musical devices, processes and contextual influences. They work
individually and in groups of different sizes and become increasingly aware of the
different roles and contributions of each member of the group.
The MIA suggest that although these requirements have been set it is up to interested
parties to ensure that every head teacher and head of music is aware of the new
requirements. It remains to be seen how they will be put into effect but should mean even
on the most conservative predictions a number of new recorder players. Unfortunately
things do not always turn out as intended: the recent increase in funding for music
education was interpreted by local authorities in different ways: in most it was treated
as a genuine bonus for instrumental teaching but in others the local authority reduced
their contribution by a corresponding amount. All with an interest in the promotion of
musical education need to remain vigilant and ensure that the intentions outlined become
reality.
Further information on the national curriculum available on www.nc.uk.net
Each year we seem to say goodbye to staff who have been with us forever, and
this year is no exception.
Helen Tumelty joined as as a Saturday helper while still at school, and finishes this
month (July) after having been both our bassoon and flute specialist (her expertise on tin
whistle, recorder and piano also deserve a mention). She played a crucial role when we
took over the sole distribution of Fox bassoons in the UK and without her help and support
it would have hardly been possible. Not only did she become a close friend of mine during
that period, she also got to know Alan Fox well and showed him that we could handle his
instruments with flare and efficiency. Peter and I bid her farewell with sadness, and wish
her all the best in the new directions she discovers for her work.
I met oboist Kate Le Page through my work with BASBWE and having seen her husband
Brendon take on the editorship of Winds magazine and then the job of administrator, I
offered Kate a job as one of our specialist team. After a short time I became aware that a
vacancy existed for an administrator of the Music Masters' and Mistresses' Association of
which we are corporate members, and I put her name forward for the job. The M25 became
just about impossible to negotiate, and the MMA job is done mainly from home, so it was
goodbye and best wishes Kate. I still see her as we have co-opted her onto the executive
of BASBWE.
Clive Reeves has been our most successful manager, also building up our brass
department until it is almost equal to the woodwind of my original shop. He was with us
for three years, and saw me subside into semi-retirement, from which I have been dragged
screaming to help with the transition to a new regime after he leaves. He is joining one
of our main suppliers Arbiter as a rep selling Arbiter student instruments and Leblanc,
Holton and Vito wind instruments. We wish him the very best in his new job and look
forward to placing our first order with him!
Chris Gregson joined our accounts department in 1994 as a temporary assistant working
with Margaret Wilson our financial controller at that time. On Margaret's departure Chris
took over the financial controller role and has done a wonderful job over recent years
looking after our accounts, heading the office team and instituting and overseeing the
continuing updating of our computerised accounts. He was the resident footballing
authority at the shop and his expertise and punditry are greatly missed.
We are very fortunate in having three new members of our team taking over from Helen,
Clive and Chris. Bassoonist Tom Simmonds is our newest recruit - a graduate of Birmingham
Conservatoire he has studied with Lyndon Hilling, Andrew Barnell, John Schroder, Gareth
Newman and Martin Gatt among others and has played in a number of highly rated ensembles.
Dave Fisher joined the staff in March as oboe specialist after twenty four years with the
Welsh Guards Band and became shop manager in July; in his spare time he conducts the
Salvation Army Band in Letchworth. Helen Osborne took over from Chris as financial
controller in January and looks after all aspects of accounts in house; producing
management accounts and continuing the up-dating of the computer accounts system.
Full a full line-up of current staff (with photos) click here.
Chris Gregson’s last day at the shop; Christmas Eve 1999 with a selection of
present and past staff: (standing left to right - Pete Biegala, Neil Crossley
(Graham’s ex-assistant), Val Cheesman, Pete Myatt, Margaret Wilson (ex accounts
supremo), Graham de Vere White, Helen Tumelty, Nick Walker, John Myatt, Al Cardy, Jo
Moore, Annette Hoar, Simon Lee & John Shenoy (Graham’s assistant);
sitting/crouching - Des Taylor, Dave Kyle, Chris Gregson, Andy Pratt, Clive Reeves). Photographer
Elaine Turner
One result of being in the hot seat is that you establish some very firm friendships,
some new and some renewed from history. My successor as chairman is Guy Woolfenden whom I
have known for many years, and we have worked closely together during the hand-over
period. Guy is doing a wonderful job, and has succeeded in sorting out the tangle I
bequeathed him. I was amused when I was able to second the proposal that he carries on for
an extra year as chairman: will he equal my record I wonder? I have continued to work with
my dear friend Charles Hine as one of the trustees of the BASBWE Educational Trust, and I
hope that the two bodies will continue to prosper with more new members for BASBWE
providing extra funding for the work the Trust is able to carry out in encouraging both
new compositions and new and better bands.
The Manchester International Wind Festival is the 2001 Conference which runs from April
6th-8th at the Royal Northern College of Music, Manchester and as always is crammed with
performances, workshops and masterclasses as well as the Boosey and Hawkes National
Concert Band Festival.
Full details from Ian Duckworth, BASBWE/RNCM Conference Administrator, Royal
Northern College of Music, 124 Oxford Road, Manchester. M13 9RD. Phone 0161 907 5249 FAX
0161 273 7611 email ian.duckworth@rncm.ac.uk
THE ALBANIAN CONNECTION
June discovered on her travels that the plight of musicians in Albania, having been
well nigh impossible, is getting even worse. She set up a charity to try to help in any
way possible and has supplied music, instruments and accessories to some fine musicians
with literally nothing to buy them with. The stories she tells of their difficulties make
the problems we have to cope with seem very minor. They have even managed to sponsor
Albanian students to take up places at specialist schools and colleges in the UK. June's
next fund-raising event takes place in YORK on 9th September 2000 and is a mass bassoon
blow to raise funds. I shall be there with lots of friends and hope to see our customers
joining us.
More details from June at Emerson Music (tel: 01439 788324, fax: 01439 788715,
email: JuneEmerson@compuserve.com).
SMALL INSTRUMENT UPDATE
I have taken an interest in the development of instruments to encourage
children to start playing at an earlier age than previously thought possible. Some have
proved better than could possibly be anticipated, others not so successful.
Both Yamaha and Aulos produce fine fifes, which are the best example of a start for
young players that is both easy for small hands, and equally for small purses. Play it
successfully (especially using Liz Goodwin's excellent tutor) and you know whether the
child will be wasting time to go on to the flute proper. I am astounded that this
opportunity is not taken up by more schools and instrumental teachers.
The curved head flute is still used by many teachers to enable children to start
playing about two years earlier than they could otherwise do. There is no compromise on
technique, and the transition to the straight concert flute is very simple and easy. The
cost combines with the fact that this is a temporary step toward the flute to make it
preferable that the school stocks a set to pass from one pupil to another.
The Lyons C clarinet is still the most controversial and innovative attempt to enable
children to start playing four or five years earlier than otherwise possible. As well as
its size, it has the advantages of being very light to hold, and it is a non-transposing
instrument. Despite its appearance as a very different instrument from the standard Bb
clarinet, it is capable of making an excellent sound (in an accidental blindfold test one
of our specialists asked if a customer was playing a Buffet Prestige!) Why do most serious
clarinettists reject it? Mainly for aesthetic reasons and through sheer irrational
prejudice. It has not proved as indestructible as Graham Lyons hoped, and needs to be
handled with the same care deserved by any serious instrument. It does appear to be very
expensive considering its appearance as a sophisticated toy, but players such as Julian
Bliss have proved that it can both produce beautiful music and lead a promising player on
to very early success. If more people had taken the plunge and tried it, it would by now
be selling at half the price, but who can blame them for not risking their pupils' or
schools' cash on an experiment?
The latest entry to the market is the mini-bassoon, and I have listened to impassioned
arguments on its behalf. Sadly I am not yet convinced on this one, firstly because I have
yet to hear it approach the beauty of sound of a bassoon (even in the hands of an expert),
and secondly because it does seem a large expenditure on a temporary stop-gap. If I were
still teaching I would try to persuade the young player to start on the recorder, then
move on to the clarinet and finally to play a short reach instrument owned by the school.
I would love to be proved wrong on this one!
The Boosey and Hawkes small single horn seems to be a very successful attempt to
encourage younger horn players without any compromise musically. But I have to confess I
succeeded recently almost against my better judgement on a brass sale: almost for a joke I
took a slide trumpet to an exhibition as a possibility for starting trombone playing much
earlier than before. My father had bought me a slide trumpet and an alto trombone to help
me learn trombone early, and I remember playing tenor horn parts on alto trombone in the
school brass band. A friend insisted on buying this slide trumpet for her four year old
grandson, and got my old friend Tony Parsons to teach him. Lessons are about to start, so
watch this space for results.
This Powell flute illustrates clearly why we recommend paying for insurance if sending
instruments - although carefully packed a lorry clearly ran over it between its home and
Hitchin!
It is advisable to ensure that your instrument is insured. This can sometimes be be
effected by adding to your household policy as a "specified valuable" but check
the small print with care as there are often exclusions which could render the insurance
useless to you e.g. if the instrument is out of the house, at school, in your car, being
used professionally, at a gig etc.
There are a number of policies designed specifically with the musician in mind which
cover some or all of the aforementioned eventualities - we can recommend the British
Reserve policy (proposal printed in our catalogue) and the Brass
Band Insurance Services policy (proposal form available from the shop) as being worth looking at.
Rented Instruments
Owing to prohibitive costs we do not cover rented instruments - if you are renting an
instrument check that it is covered or look at one of the policies above!
Instruments on Approval
Instruments on approval are not covered, but for a small additional fee we can arrange
cover £5 for instruments up to £3000 and £10 for instruments £3000-£7500 in value.
Please note that the policy only covers instruments while they are at the customer's home.
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