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Helping others, whilst trying to help myself

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This is the first time that I’ve ever undertaken anything like this, however, as I’m currently struggling with mild long #covid issues (i.e. fatigue, muscle weakness etc.) I’m trying to get back to my “normal” self and thought this would be the incentive that would help not only me, but others at the same time. Please support if you can. Diolch. Thanks. https://www.facebook.com/donate/258218412931367/

Any suggestions for new music to listen to whilst I’m trying to do this challenge would be greatly appreciated, so please drop me a line. Current playlist includes Snarky Puppy , the Berlin Phil https://www.youtube.com/c/berlinerphilharmoniker and Voces8 https://music.youtube.com/channel/UCesDD6l7ZQ8NiHN3d4Lz_6w

#charityfundraiser #charityfundraising #help

https://www.facebook.com/donate/258218412931367/

Are the Arts and Culture a waste of time and money – a luxury for the rich and the elite?

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For those of you who are interested in continuous professional development (and looking to treat yourself for Christmas I can’t recommend this book highly enough. As a musician and business owner I try to push myself and my thinking beyond the boundaries of “normal” and this book certainly opens your mind to that.


Interestingly, the author refers to a study conducted by Michigan State University that “… compared Nobel prize-winning scientists with other scientists from the same era. The Nobel Laureates were twice as likely to play a musical instrument, seven times more likely to draw, paint or sculpt, twelve times more likely to write poetry, plays or popular books and twenty two times as likely to perform at amateur acting, dancing or magic. Similar results were found for entrepreneurs and inventors”.

And to think that the arts and culture are not classed by many politicians in the UK as viable and are a luxury? 

Thank you to all of you who have read my blog in 2020. It’s been an horrendous year for so many freelancers and people involved in the arts, including Music for You, but many have suffered far worse so I count my blessings that I’m still here – alive and well! Let us now hope and pray that the new vaccine will be the catalyst that brings an end to this Covid nightmare and sees us return to some semblance of normality very soon.

I wish you all a safe and peaceful Christmas and hope that you will be able to share some time with your loved ones. Now bugger off 2020 and let’s see what 2021 has in store for us!

Merry Christmas/Nadolig Llawen!

Open letter to Welsh brass band colleagues (No.2)

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Dear colleague,

I hope that you and your families are safe and well and are surviving these strange times. Please forgive the long post so you might want to get a coffee and settle down to read!

Owing to the pandemic, brass banding has, like many other activities taken a huge hit due to lock-down and the restrictions on playing brass/wind instruments indoors. It is now coming up to 5 months (March 22) since I tried to arrange a gathering of interested parties to meet in Cardiff, to discuss the formation of a unified Welsh brass band organisation. Sadly lock-down was implemented just before we were able to meet therefore we initiated Plan B and met online through a Zoom Meeting. This was admittedly with limited success owing to technical issues and was met with some scepticism and even derision from certain quarters.

Music For You

A unified Welsh brass band organisation. Can we turn a dream into reality?

 

My reason for writing is that since then, absolutely nothing has happened in moving this proposal forward and I don’t think I’m over-egging the pudding by saying that the movement is in a significantly more precarious position, than we were 5 months ago, with the prospects of “normal” banding as we know it a distant dream as things stand. There is also the concern whether players (particularly the younger ones), conductors  and officers will return to the fold, having now discovered other activities and interests to occupy their time and attention. Concert/Contest venues may not even be in existence for us to perform anywhere decent in the future and with further public spending cuts highly likely, to cover the huge costs of the pandemic; music in education will be non-existent. We are also approaching the Autumn months, meaning our potential activities will be curtailed even further, further affecting revenue and membership retention/recruitment.

I have been “encouraged” by a few colleagues (some who were a part of that initial meeting in March, as well as some new faces) to once again ask the question whether now is the time for action and get the ball finally rolling, before it gets too late to salvage what is already a serious situation for brass banding in Wales. The meeting on March 22 was the warning call that an “iceberg” was on the horizon and action was required. Covid-19 happened and I believe we have now truly hit that “iceberg” and if we don’t act now, then with no representative body the “ship” WILL eventually sink, with almost all hands on board.

The response following the last meeting was to wait until restrictions and lock-down etc. had ended and then to have a face-to-face meeting to discuss the matter. Great, who’s going to suggest an appropriate central venue in Wales and then jump in the car for a potential minimum 2-3+ hour drive, plus the drive back, plus to agree a convenient date to wipe off their schedule, so that we can discuss things? It was a minor miracle that I got 20+ people to agree to meet initially in Cardiff. Yes Cardiff, not central I grant you and I got it in the neck for that too, but the geographical spread of respondents able to attend meant that it was the BEST place for those to attend.

So, is there anything really wrong, now that people are so much more tech-aware and receptive to Zoom or Teams, that we can’t meet once again, being older and wiser with it all and get things moving finally?

OR DO WE INDEED LOOK AT PREFERRED PLAN A?

PLAN A

Are you truly happy to invest in the future of Welsh banding? To invest your time, money and energy by jumping in the car and driving to Newtown or somewhere similar in order that we can discuss these matters face to face? I believe the Welsh Regional Council met this week (observing social distancing of course); therefore it seems people are prepared to get out and about in the name of Welsh banding! Either way, the choice is yours.

The “encouragers” who have prodded me to write to you have also added that as nobody else has initiated any progress do we need to wait for the approval or blessing of others? Frankly, no we don’t and as long as we can gather a decent sized cross-section of the banding world in Wales to get things started in a democratically and constituted manner, then why not? The detractors will continue to detract, the whingers will whinge and the cynics and critics will be ever cynical and critical. In fact the cynics probably won’t bother turning up because “what’s the point, nobody else will?”!!!! We are no longer a brass band movement as the hand-brake is well and truly up. We need action and fast!

This is a massive undertaking; however change can only be implemented by drawing a line in the sand and making that first step, followed by one more step, followed …… I hope you see where I’m going with this? But, yes it is really as simple as that!

We may well be looking at the long term goals, where a Welsh Brass Band Organisation is able to; organise the 2025 Welsh Youth Brass Band Festival, to provide online resources for member bands covering a geographical area from Ynys Môn to Chepstow to Pembroke Dock, to secure funding streams from Arts Council Wales on behalf of member bands or to send a Welsh Representative to the next European Brass Band Association AGM however, if we have no central organisation with proper governance, these will be just “dreams”.

If there is a majority agreement from you to have another go and make a fist of things, great, then let’s crack on with it. If not, that’s fine too, as I’m not claiming to have all the answers or any magic spell to make things right, however to sit back and suck our thumbs whilst watching the ship go down, in my view is a dereliction of duty to the pastime that we so love. By the way, did anyone ring the coastguard to say we’re sinking? Perhaps we should have a vote as to who rings? No, let’s wait until we can meet face-to-face!

This is not intended to be a “join me or I’ll have a hissy fit, throw my toys out of the pram” letter, but it is to encourage you to do SOMETHING. If I’m not your cup of tea to do something, fine, just find someone who is and who will take that first step in making some progress and I will be happy to pitch in and help them if asked.

Canva - White tablet and cup of coffee (1)

So let’s do something and get things started!

 

So after all that sabre-rattling, I will close by inviting you to take action and join me and other willing participants for a meaningful and productive discussion:

When: Saturday 12th of September 2020

Time: 11.00am – 4.00pm

Where: Plas Dolerw

Milford Road,

Newtown,

Powys,

SY16 2EH

Or Online where we hope to live-stream the meeting for those who can’t travel.

Yes, I bit the bullet in an effort to appease everyone and it’s provisionally booked!

The venue can safely accommodate a maximum of 12 people observing social-distancing. “But that’s limiting how many can attend!” I hear the whingers and nay-sayers immediately cry! I’ll counter that with “So what if I book the Royal Albert Hall and only 8 people turn up ….?”

I’d be delighted if we were over-subscribed, but on current track-records, people won’t be queuing round the block!

So if you’re ready, willing and able to commit, please respond ASAP to andrew@andrewjonesmusic.com or call 07973 869621 or easier still, fill in the contact form below.

The clock is ticking! Tick-tock, tick-tock ……..

Yours optimistically.

Andrew Jones

 

What’s the thing on the back of your uniform for? Quirks and traditions of the British Army.

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The various Regiments of the British Army have, since their inception, been steeped with customs and traditions, many of which are still observed and implemented to this day. 

Often these “quirks” are unique to certain Regiments or even particular individuals within the Regiment. Take for instance the rule regarding the wearing of beards. The Pioneer Sergeant is one of the few positions within the British Army allowed to have a beard when on parade. Pioneer Sergeants have existed since the 1700s and the tradition began when every British infantry company had one ‘pioneer’ who would march in front of the regiment and that ruling still applies to this day.

Sgt Walters 1st Battalion Royal Welsh Regiment (Rory Lewis Military Portrait Photographer London (2006)

Portrait By Rory Lewis (Soldiery British Army Portraits Book Available from Amazon).https://amzn.to/2VOTxvW

Variations which can also be found within Regiments are the rank titles used, or drill protocols, such as when to salute and how to address senior ranks. Nothing highlights this better than the following short film clip! I defy you not to at least smirk when watching this!

Another tradition for some Regiments is that at Mess Dinners those dining are not required to stand for the “Loyal Toast” as it is taken as read that their loyalty is never in question, therefore there is no requirement to demonstrate it.

For my own Regiment, The Royal Welsh, we too have many of these traditions. One particular quirk relating to our uniform relates to the five silk ribbons found attached to the collar on the back of the Ceremonial uniform called “The Flash” and is unique to the Regiment.
Harking back to the late 1700’s, the soldiers would have their hair tied into a pig-tail and then greased and powdered as opposed to washing it. This however would have marked their tunics, therefore their hair was tied up in a “queue bag” or “flash” so as to protect their uniform.

The “Flash”

The Flash itself consisted of five overlapping black silk ribbons (seven inches long for soldiers and nine inches long for officers) on the back of the uniform jacket at neck level. In 1808, this practice was discontinued when the Army decided that hair for all soldiers be cut close to the neck.

The Officers of the Royal Welch Fusiliers however decided to retain the ribbons on their uniforms and continued wearing the Flash. In 1834 however, whilst inspecting the 23rd Foot, a less-than-impressed General  complained about the “superfluous” decoration on the collar of the coat and the matter was referred to none other than the King himself. The General’s main objection being that the Flash presented a potential target to the enemy. King William IV however took a difference stance to the General and was keen to approve its use, stating that no Welshman would turn his back on the enemy, therefore such a problem would never exist! Therefore the Flash was approved as “a peculiarity whereby to mark the dress of that distinguished Regiment”.

The Flash as seen on the uniforms of the Regimental Band and Corps of Drums of The Royal Welsh

This was worn up until 1900, only by Officers, Warrant Officers and Colour Sergeants, but then was extended to all ranks of the Royal Welch Fusiliers when in full dress, and then in 1924 was further approved for wear on Ceremonial Parades and when walking out.

Queen’s Birthday Party – Rome 2019

Many of you by now will be shouting out loudly at my lack of care and proof-reading in spelling Welch as I did, therefore cue the next explanation.

The use of Welsh and Welch has over the centuries been used side by side, either accidentally or deliberately and as a result, regiments maintained tradition and identity and dug their heels in by sticking resolutely to their preferred spelling. Following the Great War, two senior ranking Officers made an official application to the Army Board for official sanctioning of the spelling of “Welch”. This was granted by the War Office in 1920.  

Since then and as various Regiments have amalgamated, the more conventional spelling “Welsh” has been adopted and the current Regiment (that has been in existence since 2006) is known as “The Royal Welsh”.

These are just a handful of the many traditions that make the British Army so unique and special and I hope that you’ve enjoyed reading about them, as much as I have researching them.

Thanks for reading the blog. For further information regarding the Regimental Band and Corps of Drums of The Royal Welsh please click on the link.

 

Memorial Day

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The last Monday in May is a federal holiday in the United States of America, known as Memorial Day.

On this day, (as we do in the United Kingdom on Armistice Day) the American nation unites to honour those military personnel who served in the Armed Forces and paid the ultimate sacrifice whilst serving their country.

Buglers and trumpet players across the United States will proudly perform their musical tributes to The Fallen by sounding “Taps” at cemeteries and War Memorials. This is the American equivalent of The “Last Post” and has been used by the United States Army since 1862. As with the Last Post, Taps is traditionally played on a Bugle (therefore does not require any valves) and consists of only 4 different pitched notes (compared to the 5 used in Last Post).

Music For You

A Military Bugle

The origin of the Bugle call’s title – “Taps” – harks back to approximately the 17th century, and is linked to when British troops were stationed in The Netherlands. There the older Dutch custom called “taptoe”, from which comes the term Tattoo as in Military tattoo, was used to signal the end of the day. The taptoe’s origin was in actual fact for signalling the moment that beer taps had to be shut, hence that the drinking day had ended and the revellers were required to vacate the premises, similar to “Last Orders” in British pubs. It comes from the Dutch phrase “Doe den tap toe”, meaning “Close the tap”.

Click on this link to hear a recording of “Taps” which I made in 2019. 

 For more information about the Last Post and Taps, please contact Andrew on 07973 869621 or visit the web-site 

 

 

 

 

 

 

 

 

How do the valves on a trumpet work?

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Despite the trumpet having been around (in its various forms and guises) for a few thousand years, it may surprise many people that the development and addition of valves (the buttons to change notes) to the instrument didn’t occur that long ago, with the early versions dating from approximately 1825.

Adolphe Sax

Regardless though of who actually should be credited with the honour of inventing the valve as we know it today, one thing is certain and it is  that the addition of piston valves to brass instruments –in particular the cornet and trumpet – allowed the instrument to increase the extremely limited range of notes it could play.

Prior to the advent of valves, when performing the music of Purcell, Handel and Bach, certain adaptations were made to the Natural or Baroque Trumpet to enable modifications to keys and pitch, such as the addition of crooks – which were additional lengths of tubing to change the pitch or Harmonic Series (see below) available to the player – or the addition of holes (similar to a recorder) in order to improve intonation and make certain notes more “listener friendly”. There was still however a massive gap in the range of notes that the instrument could deliver. 

The next major development was supposedly from Viennese court trumpeter, Anton Weidinger who is reputed to have invented the keyed trumpet in 1770. This instrument was the catalyst for Joseph Haydn writing his much-loved Trumpet Concerto in Eb Major for Weidinger in 1796 and revolutionised what the Trumpet was capable of performing. The instrument however was to have a short lifespan, as due to its design flaws the tonal quality was deemed too unsatisfactory.

A Military Bugle

Playing the Bugle would be the equivalent of playing the modern-day trumpet with no valves pressed down (open valves), and a relatively experienced player would expect to be able to play a pattern of 5-7 notes (called the Harmonic Series) i.e. Bottom C, G, Upper C, E, G, Bb and High (Double C) as shown below. 

No valves pressed down (Open valves). Stomvi “Elite” D/Eb 3-valve Trumpet

The method of securing these notes is a separate blog in itself, but for now we’ll keep it simple and say that as the notes get higher, the player adjusts the air velocity by buzzing their lips faster.

The Harmonic Series (Open/no valves)

So back to the trumpet and the use of valves. When pressing the 2nd valve down, the air is diverted through a small length of tubing attached to the side of the valve, making the initial note sound half a step (semi-tone) lower. Therefore, this creates a new pattern of notes (or Harmonic Series) and instead of Bottom C, G, Upper C as above, the new series of notes is: Low B, F# (F sharp), Upper B, D#, F#, A, High B.
The slide attached to the 1st valve is the one closest to the player’s mouth and is twice the length of the 2nd valve slide, so when pressing down the 1st valve, the notes descend by 2 semi-tones (a whole tone). This creates the following Harmonic Series of Bb (B flat), F, Bb, D, F, Ab and High Bb.

Still with me so far? Good!
The 3rd valve slide is the equivalent in length to both the 1st and 2nd slides combined, so now you’ve a Harmonic Series 3 semi-tones lower and the ability to mix and match i.e. any note played on 1st and 2nd valves can also be played on 3rd only, facilitating “cheats” in difficult passages of music or when trills (a form of ornamentation, moving from one note to another rapidly) is easier to play on a “false” fingering.
You can then take the combinations further, with 2nd and 3rd valves; 1st and 3rd valves and finally 1st, 2nd and 3rd.
As a result, your Harmonic Series now looks like this:

The Harmonic Series using all valve combinations

For those of you who are one step ahead and thinking of the 4-valve Piccolo Trumpet from a previous blog that I wrote Why are there 4 valves on certain trumpets?, the 4th valve is used to add further notes to the range of the instrument and it can also be used instead of 1st and 3rd for better tuning and intonation, plus using it in combination with other valves, again facilitates an easier life for the player in certain tricky passages of music.

A 4-valve Piccolo Trumpet (Model is a Stomvi Elite) (Instrument Pictures courtesy of Paul Fears Photography) 

I hope that this has demystified “the valve” a little and given you a better understanding of how any valved brass instrument works. Thanks once again for reading the Music for You blog and would love some feedback from you in the Comments Section, including any future topics you would like to read about.
For further information about Andrew Jones, please visit my web-site.

What’s the point?

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It’s sounding a bit of a cliche now, but these are truly unprecedented times. Not only for me, but for millions of people all over the world. The Covid-19 (Corona Virus) pandemic has affected us all in ways that we could never have imagined possible and has made us re-evaluate the things that are truly important in our lives.

A quick trawl through my social media channels has highlighted the very best and also the very worst traits of the human species. These have ranged from kindness, bravery and self-sacrifice to selfishness, arrogance and sheer idiocy. We have suddenly become virtual prisoners in our own homes – that is if we’ve been true to Government guidance about self-isolating and social distancing – with boredom and a lack of freedom to do what we want, when we want to and where we want to being the major focus of our lives. Unless you count stockpiling ridiculous amounts of toilet paper sufficient to deal with a worldwide dysentery a major worry!

Thankfully during this period of virtual lock-down, Mrs. Wife and I have been perfectly safe and secure here at “Trumpet Towers” – with sufficient (but not excessive!) quantities of pasta, tinned tomatoes and loo rolls to keep us away from the shops. She is an avid reader – a book a day is not uncommon – and I have my music to keep me going. Thank God for my music!!!

It’s funny how music always ends up being the “uniting force” or “glue” that brings communities together and puts a smile on peoples’ faces during times of adversity. Footage of residents in Italy (subject to lock-down) standing on their balconies and singing was broadcast all over the world and my friends at the Cory Band featured on national television, when their players recorded remote individual recordings of “Chitty Chitty Bang Bang”which were was then skilfully combined to make a complete band performance online, which vent viral (no pun intended!) overnight.

For musicians, whilst there is no replacement for performing together in public to an audience, or in a rehearsal, there is great comfort and satisfaction still to be derived from playing or singing at home on one’s own. Granted, it’s not the same, but it does fill the void and those endless monotonous days pass with less pain and angst, than those who don’t have a meaningful and fulfilling pastime to fall back on.

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Tools of the trade (Stomvi and Eclipse Trumpets)

So despite having my music – this saving grace, my refuge, my mental and spiritual sanctuary – this week having realised that I’d missed 2 consecutive days of blowing my trumpet, I had a moment of real full-on “what’s the bloody point?” The mind goes into over-drive. “I’ve got plenty of books waiting to be read, the attic needs clearing out and that box of archived memorabilia and “stuff” desperately could do with a sort out. Why bother practising? I don’t have any gigs in the book, there are no rehearsals I can attend, I don’t get paid to practise. Why should I bother?” So I didn’t and binge-watched “Murder 24/7” on Sky Crime or something similar.

The following day, having maxed out on my TV fix and now being thoroughly conversant  with Police custody procedures, forensic techniques and how much of a mug’s game crime actually is, I had a large reality check and got that Trumpet out for my daily parp.

Why? Because I realised that life without my music, in whatever form it takes – group, individual, home, abroad, practise, performance – is just a part of me. The period of no gigs and not being paid are (sadly) part of the territory, even when there is no pandemic to worry about. Indeed if musicians charged clients for the work “off camera” and “behind the scenes” in terms of preparation and maintaining standards we’d all be blinking millionaires. Imagine a builder excusing themselves from the family viewing of “Sound of Music” on Christmas Day to go and lay a few rows of bricks because they need to keep their hand in, as they’re building a wall on Boxing Day!

That said and done, it’s what we do, it’s who we are and it’s what makes us tick. Therefore by writing this blog, it’s been a cathartic experience. I’ve answered my own question really! The point is …… because we’re musicians and we love it!

PorthcawlPavilionBigBandPictures016

The Phil Dando Big Band Trumpet Section in action.

So the next time you ask a musician how much they charge for performing at a Wedding or to provide music for a Corporate Event, you’ll know that the fee doesn’t just cover the 3 hours the musician will be at the engagement, or the travel time and costs, or even to purchase the music, to arrange that special tune you requested or for buying that very shiny Trumpet. The cost reflects a lifetime devoted to the pursuit of excellence (I’m still chasing it incidentally!) and maintaining those extremely high standards, rightly expected by clients but demanded of the performers themselves.

I hope that all of you stay well and safe during these strange and difficult times and look forward to that first rehearsal or gig, whenever that may be.

Car Practice

Needs must! Martini practise session – “Any time, any place, anywhere”

Returning to your roots and giving something back.

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Going back to your roots, whether it is researching your family tree (as I have recently started doing), visiting your old school or driving past a former home, I always find to be a rather surreal experience. It doesn’t matter whether some or all of the people have long gone, there still remain some sights, sounds and even smells that that can trigger a myriad of deep-seated memories, which have lain dormant for countless number of years, transporting you in an instant back to a bygone age.

My “blast from the past” has been a return to both my spiritual and musical roots. One might argue that they are one and the same, as they are inextricably linked.

I was brought up in the small village of Llangyndeyrn in the Gwendraeth Valley – a very rural part of Carmarthenshire, Wales. So rural in fact, that the last bus into Carmarthen (5 miles away) and any semblance of civilisation, left the village at 5.05pm. Even worse was the last bus back left at 5.45pm, thus curtailing any potential fun and nighttime revelry, before it had even started!

Bearing in mind that the local Primary School only had a total – yes total! of 14 pupils at the time I attended it, one had to be fairly creative as a result, when it came to childhood “recreation” and “entertainment”.

My good luck and salvation was music. Both my parents were extremely musical with my Mum having sung in the London Philharmonic Chorus, under the great maestros such as Beecham, Boult and Barbirolli. Dad meanwhile was a keen singer too, having sung on the Eisteddfod circuit, with a certain degree of success too. In addition to this, he also played in the local brass band – Crwbin Silver Band (The difference between Silver and Brass I hear you ask? Silver was deemed posher, as it was a more valuable commodity than brass, therefore gave the band a tad more credibility).

So at the age of 7 and with a limited number of friends in the village to fulfil any meaningful sporting activities – cricket or rugby played by 3 people has its limitations you know! – and with a suitable number of trees climbed (and fallen out of), one looked to new horizons and took the obvious choice of learning to play an instrument in the local band. I was given a cornet to play. Like Father, like Son.

Lessons commenced, with my first teacher being my Uncle Stan, who also conducted the Band. Although I viewed him more as a grandfather figure, he was certainly no soft-touch and ensured that all who attended behaved and put in some hard work each rehearsal. Hymn tunes were the first melodies attempted once we had “mastered” enough notes and my first public performance was on the hymn “Hursley”, quickly followed by “Whitburn”.

Opening new bandroom

Stan Jones (pictured left) who was my very first brass teacher. He is pictured at the opening ceremony of the new band room in Crwbin.

Much practising and hard work followed over the next couple of years and this was eventually rewarded with “promotion” to the full senior Band. Now things got serious as rehearsals were held 3 times a week – Tuesday, Thursday and Sunday afternoons if memory serves me correctly. Hard to imagine a Championship Section Band attempting that sort of commitment nowadays, not to mention a Fourth Section Band, but it certainly beat 1-a-side cricket and falling out of trees, so this was my pathway to a lifelong musical journey. No chance of getting bored now!

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Yours truly sat in front of the Bass drum. Stan and my Dad are either side of the Drum, with my Cousin Julian in the back row (6th from right).

So, back to the reason for the blog. Having started my musical journey some cough, splutter, ahem years ago – okay, okay it was 45 years ago, happy? It was a huge privilege, buzz and pleasure to be asked back to the Band as a guest conductor a couple of years ago, with the working relationship getting stronger especially over the last few months, as the previous Musical Director had moved on to pastures new.

The return to the old band room where it had all started did indeed reignite all those memories with a sensory overload to boot. Apart from many friends who are still members in the Band, my cousin Julian (Stan’s son) also still plays, so a stronger link from past to present you couldn’t wish for. Pictures of family and friends (and one or two of me) on the wall, as well as memorabilia from times past, the view of the Gwendraeth Valley down to my home village, not forgetting the “Welshness” of the surroundings, where Welsh is still the main language spoken most of the time. Something I rarely get a chance to do even though I still live in the Principality.

Crwbin 3

Crwbin Silver Band c. mid 1960’s. (Back row 4th from left is my cousin Julian, centre front row in the bow tie is my Uncle, Stan Jones (Bandmaster) and on the right hand end of the front row is my Father, Morley).

Imagine my delight then last weekend (03.08.19) when the Band were crowned 2nd Champions at the National Eisteddfod of Wales in Llanrwst. This was a true return to my roots in every sense, allowing me the opportunity of giving back and thanking the organisation and some of the people who helped nurture me into the person that I am today.

Diolch Seindorf Arian Crwbin.

Thank you Crwbin Silver Band.

National Eisteddfod Llanrwst 03.08.19

Crwbin Silver Band – 2019 National Eisteddfod 2nd Section Champions

For more information about Andrew Jones and Music for You, please visit http://www.andrewjonesmusic.com  Contact andrew@andrewjonesmusic.com or 07973 869621.

Music for You – it’s just that!

 

5 Trumpets and a Flugel Horn

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Following on from my last post, where I shared a recording I made of Thomas Morley’s  “It Was a Lover and His Lasse”, here is another track, but from a totally different era.

This one will be instantly recognisable to many of you (especially of a certain age and generation), however the title may well be unknown and l can almost hear the cogs whirring as you try to remember where you’ve heard it from. To find out the answer, you’ll need to read the programme notes at the bottom of the video.

As for the arrangement, it was done by a colleague and friend of mine, Mike Linskey, who I met when I was a student at the Welsh College of Music and Drama in Cardiff (way back in 1985-89). Mike ran his own brass quintet and was a real whizz at arranging an assortment of pieces for the quintet and I asked him to arrange this for a Concert I organised at the College with my Trumpet Ensemble. He scored it for 6 Trumpets, but I added a little extra colour with a Flugel Horn on the 6th part, just to give an added bit of tonal contrast.

Flugel Horn

As always, thanks for your continued support and I hope that you enjoy it!

Click here to view the Video

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It’s been a while – to say the least! – since I last posted. Life has been extremely hectic and often things gets in the way of projects that we plan to carry out.

During this period, I’ve been trying to fulfil certain goals and among these goals was a project to record some further music tracks of Trumpet repertoire, both solo and ensembles. If truth be known, it was a bit of a vanity project, however there was a serious aspect to it too, in as much that during the quieter periods of work, one needs to keep playing standards to the highest levels possible and not lose focus on maintaining core skills, such as technique, stamina, range, as well as the ability to swap from one instrument to another.

The track entitled “It Was a Lover and His Lasse” is by English Renaissance Composer Thomas Morley (c.1557-1602), who was Organist of St. Paul’s Cathedral in London and one of the foremost composers of his time, particularly in the writing of Madrigals. It was recorded by James Clarke at Ty Cerdd Recording Studio, at the Wales Millennium Centre in Cardiff.

I hope you enjoy it!

For more information about Andrew Jones, please visit http://www.andrewjonesmusic.com