Don’t come on Monday 16th February…

because it’s half term and there will be no rehearsal that evening!

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Bum notes from the brass – further thoughts

First a definition: A bum note is a note that is wrong by pitch, dynamics or timing. It includes the correct note but played in the wrong octave, too loud, not loud enough or at the wrong time not to mention the wrong pitch caused by ignoring the key signature or an accidental. Wrong timing means misreading/miscounting note or rest values. And in some cases it’s a beautiful note, dynamically perfect, in tune, but at the wrong time (an inadvertent solo). Or of course it’s the absence of a note when one is written.

I was congratulating a violinist on his performance in the orchestra at a recent Ashford Choral concert. Enjoying the moment, he joked that he had played every note of the Sibelius violin concerto – “at one time or another”. I was reminded that like him, I have perpetrated every type of bum note – “at one time or another”.

A couple of our concerts ago, Wes introduced the next piece as ‘sounding like fog horns on the Thames’. Harsh. It starts with low notes on horns and trombones to be played softly. Had they been marked forte, then we would have enjoyed them. Brass players generally like blowing loud raspberries. But soft ones are difficult. Inexplicably, the instruments don’t ‘speak’ instantly under these circumstances. Thus, during rehearsals, we often began with unpleasant noises. In fairness, they might have seemed to resemble fog horns – but only by uncharitable people with warped senses of humour. No, I’m not accusing Wes of being uncharitable, nor of having a warped sense of humour. Where he may have gone adrift is in imagining that there were fog horns on the Thames during the lifetime of the composer.

Any road up, after the gratuitously offensive introduction, both trombones and horns made ‘false starts’. Genuine bum notes. Wes called a halt to proceedings – hoping for a better start the second time around. Recalling that we had all watched athletics on TV and watched the fate of runners who made false starts, I raised my hand and asked ‘Shall I be disqualified if I make a second false start?’

Luckily, we’ll never know the answer. Poking fun at myself had raised a laugh from the audience and released the tension for everyone. Which is my point in this blog. The atmosphere at our rehearsals is light. We often cause bum notes, but they are treated with sympathy. We all know that everyone of us often makes a bummer and that it would be counterproductive if we started pointing the finger at each other.

David Worsley

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And now for something completely different…

The son of a friend had been accepted into the Music University in Warsaw to study clarinet. We were talking about the differences in playing horn v. clarinet and I was surprised to learn that they are supposed to maintain as steady a pressure whether playing notes that are high or low.

He then surprised me by introducing me to an x-ray of a horn player’s mouth as he played. Fascinating!

David Worsley

If only as a curiosity, follow the link to the YouTube video:

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Carolling with the Carrolls and co

Credit to Howard Turtle

Credit to Howard Turtle – Susan Elfkin at work!

Credit Howard Turtle

The whole ensemble…

It was with a mixture of incredulity, excitement and trepidation that I presented myself, dressed a bit like a Christmas elf, for Ashford Sinfonia’s Christmas Spectacular at the Tower Theatre in Folkestone on 21 December. I hadn’t played in a concert in a “proper” venue for over 40 years and I’d found much of the music very – ahem – challenging in rehearsal.

In the event it was an unexpectedly upbeat (pun very much intended) occasion with a full auditorium and a delightful family atmosphere. The orchestra was there as a guest of Hythe Salvation Army band, of which our conductor Wesley Carroll is a member and is conducted by his father Richard. Many Carrolls across three generations took part along with lots of other Salvation Army clans and we were all made to feel part of a joyful extended family – especially over a splendid buffet tea between the rehearsal and the concert.

The orchestra played three pieces and accompanied some audience carols. Of these the theme music to the 2004 film The Polar Express, by Alan Silvestri and Glen Ballard, arranged by Jerry Brubaker, was, from where I was sitting anyway, definitely the most demanding. Stringed instruments do not play comfortably in keys with half a dozen sharps or flats and in a very high register – and the piece requires all of that and more. We had, however, worked very hard at it both together on Monday evenings and in many manic practice sessions at home. On the night it seemed to come together surprisingly well, with some lovely work from the brass and woodwind sections, and was – although I never thought I’d say this – finally quite fun to play. It seemed to go down well with the audience too. Also enjoyable was A Most Wonderful Christmas, a collection of familiar melodies with lots of tempo and key changes. And as for the Christmas Medley, written and arranged by Wes, well it was such a joy to hear his fabulous piano continuo that it was quite hard to concentrate on one’s own part.

Wes’s outstanding pianistic ability also shone through in the semi-improvised accompaniments to the three Christmas songs warmly sung by Steve Hawkins and in music to accompany the collection taken by the Salvation Army – to be split between Folkestone and Hythe Operatic Society which runs the Tower Theatre and the Army’s own causes.

The Salvation Army band itself delighted us with Joy to the World as well as playing with us in A Most Wonderful Christmas and their choir gave a lot of strength to audience (and sometimes orchestra) singing.

Other highlights included children singing Away in a Manger, three young girls performing with tambourines, Richard Carroll’s expert compering, and thoughtful seasonal inputs from Salvation Army leaders.

All in all it was a highly successful evening and I hope very much that I can look forward to taking part in a similar Spectacular in eleven months’ time. I’ll keep practising my seventh position semi quavers in F sharp major meanwhile.

Susan Elkin

 

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Reminder from the Secretary

Dear fellow musicians

Our first rehearsal of the New Year will be this Monday, Jan 5th, at Highworth.

And just to remind you as you plan your holidays, our concert dates for the next two terms are Sunday March 29th and Sunday July 19th.

See you on Monday,

Helen

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2014 in review

The WordPress.com stats helper monkeys prepared a 2014 annual report for this blog.

Here’s an excerpt:

A San Francisco cable car holds 60 people. This blog was viewed about 3,600 times in 2014. If it were a cable car, it would take about 60 trips to carry that many people.

Click here to see the complete report.

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Something for the cello section…

http://www.classicfm.com/artists/2cellos/news/iron-maiden-trooper-rossini/

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Folkestone and Hythe Orchestral Society

Another Christmas Concert…. FHOS Christmas Concert

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The things our maestro has never told us – by his dad.

Richard Carroll

Susan asked me if I could write a piece about Wesley. She jokingly suggested that it could be along the lines of “Now get out there and practise or Father Christmas won’t bring you any presents” but I can’t. That certainly wasn’t our experience.

Wesley was born with a piano attached! My younger daughter, Wendy, is also a very good pianist and she was Wesley’s driving force. From the age of eight all he wanted was to be better than Wendy. But Wendy can play only with music so Wesley decided that to be better than Wendy he would need to learn to play “by ear”.

To achieve this he borrowed a copy of the first cornet tune book used by our band. This has only the melody line – no chords. Wesley sat and practised until he could play the tunes with harmony. And the rest, as they say is history.

However Wesley hasn’t sat one grade exam on the piano because he always said he wasn’t good enough. He passed all his grades on the euphonium. In fact that was what he studied at Goldsmiths College. Yet his piano playing has taken him into Europe, on a couple of tours to the USA and he has played in concert halls all over the UK including the Royal Albert Hall. He has also performed for Royalty. He was the MD for a professional singer, and has appeared on network TV, arranged the music and produced CDs.

PRACTICE? I’m sorry to say that practising was what he did almost 24/7. When he was at uni, he worked as a pianist for a dance school – everything from tap to ballet. On his first day the teacher decided that the warm up session would be “colours” starting off with red. “Wesley could we have some red music please? “What would you like me to play?” he asked. Teacher: “Oh just play something red.” So off he went. Then every few minutes she would call out “Now let’s be….” and would name a different colour and Wes had to just launch into blue, yellow and so on.

At the same time he was the resident pianist at a number of hotels in the area, including Eastwell Manor, Ashford International and others in Folkestone. Because of this he commuted to uni, but that meant he wouldn’t get home until 9.30pm. While he waited for his tea he would go into our back room and play the piano. Even on days when he hadn’t been to uni but had been playing at the dance school ALL DAY it was straight out to the piano.

Anne and I didn’t mind. In fact we loved it. Our home has always resounded with music. As well as Wes, my wife, two daughters and several grandchildren are all into music making and I don’t think I could live without it.

PS I hope this is ok – he will probably kill me – so it’s been nice knowing you.

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Yes, music really does change lives

Steph Batchelor

So, I’m sat in my kitchen on another Monday evening, desperately trying to keep myself awake after a day of school and a meeting after work, wondering just what it is that keeps me going to Ashford Sinfonia (almost) every week after all these years. I’m going to try and sum it up here.

After Uni, there were several years where my violin case was never opened. I was busy with work and having children. I reached a point where I’d convinced myself that I couldn’t even remember how to play. Eventually it was my old teacher, Layne Aviss, who forced me to try, She was conductor at the time, and I went back to make up the numbers for a concert. My hands shook so hard I could hardly hold my bow.

Anyway, I stuck it out, mainly because I’m stubborn and it got me out of the house. It was also partly because I’d forgotten how much fun playing in an orchestra is and because the group of players I had joined was so welcoming and friendly. No one made me feel as if my mistakes were the end of the world. The priority was making music, not being the Royal Philharmonic!

Skipping forward a couple of years and another baby, I found myself working at Highworth School, not initially as a teacher, but with the chance to start getting involved with the music at school. The confidence I had regained by playing regularly helped me convince the school that I was worth training as a teacher, amazingly, specialising in music. I honestly would never have believed it possible only a few years before.

So, Monday nights still come and I still keep playing. I do it because I have the best laugh of the week trying to watch our “genius” conductor without getting caught. And because I genuinely enjoy trying to fit all the semiquavers in the bar when the music has been ordered from some library without anyone thinking to look at the fiddle parts first.

Mostly I do it because this orchestra, which has given us all the chance to play when many of us wouldn’t, actually did change my life.

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