BANDSMEN’S NOTES.

New Zealand Times, Volume XXXIII, Issue 7419, 22 April 1911, Page 8

BANDSMEN’S NOTES.

(By "Alasonta."} coming events. Sousa's Band—" Wellington Town Hall, August IJtli to 10th. Band contest, Christchurch—About November. .Baud conlcst. Gisborne—March, 1912. BAND DISCIPLINE. Discipline, as a term, is often used in a variety of ways (remarks a Home baud journal;. Speaking in a general sense, wo may say that band discipline generally includes the various influences and combined agencies brought to bear upon the individual while under the charge oi the conductor or bandmaster, in order to induce in him such a state as is most conducive to the success of a musical training; and to so far affect him in the present: as to mould character, train hin( to independence, and leave him well strengthened and equipped for a future career. The foundation of all good discipline is tho authority os' the band teacher, including both his power of control ami the way in -which he applies this to those under his charge. To have duo weight, authority must be recognised almost instinctively, not paraded before one for contemplation. AH such outward show tends to that familiarity which we all have learned to recognise as the breeder of contempt, and lias much more of weakness in it than strength. To administer discipline well requires knowledge of men, keen insight, careful observation, a large stock of that virtue called patience, and a considerable amount'of experience. It is not, as is often supposed, a matter of mere force of character, though this is an important factor. Justice in praise and blame, charity in the interpretation of motives, consistency of action, and mercy in dealing out punishment, all have much to do with tho successful exercise of authority. These, combined with forco of character on the part or the conductor, should make the discipline of tho band a thorough success. A martinet can never bo a success if disliked by the men; his authority is merely transient, and cannot last any length of time. SOUSA ON CONDUCTING. Wherever the name of John Philip Sousa is known, —and his name has become onojof those household words habitual to civilisation, —his method of conducting has been commented on. Some describe his gestures as antics; to somo they find classification with the homely liomeogcnity of the cakewalk, while some regard the beat of the famous composer with its accompanying physical manifestations as quite psychic in its influence upon the spirit of his band. At any rate, it is sufficiently distinctive to ren J dor his remarks on the art of conducting" of special interest. He says: —"For my part, I have always believed in the effectiveness of conducting in curves. Take us an illustration, or precedent, if you like, the method of the trained orator. The orator may be absolutely passive for the first five minutes, but afterwards ho must indulge In some pantomimic gestures to reinforce what he says, or his audience will become cool. I think the orator is, perhaps a very good man to follow from tho standpoint of the conductor of a band. In a composition of a sensuous nature, if you conduct •with angularity tho effect is spoiled. I The music breathes one feeling, and your action suggests another. Conducting within a small circle to me appears most effective, and if a man's mode beating time absolutely belongs to himself it can never seem incongruous to those who look at it. But if on© stands up before a body of people, and has not the authority of his own individuality, ho is ineffectual, his gestures will ;b© somebody else's; he, will -be -imitating Brown, and people resent that. We see that fact demonstrated on the stage; an imitation leaves no impression, yet from the standpoint of mechanics the performance, may have been excellent. He may faithfully follow every action and tone of the other inan, but his performance is entirely unsatisfactory. Ami must be yourself/' Certainly Sousa is "himself/' He has tho courage to be anything, but ho is at least that. ,And it will be Sousa himself whom wo are’shortly to see this side of the line. Admirers have acclaimed him -as the greatest bandmaster that has ever lived, and assert that at the present moment ho is presiding over the greatest band ho has ever led. Be that as it may. in face of the almost endless controversy at Home over tho art of conducting in general, and J.F. Sousa's method in particular, the visit of the '‘March King” and his band to New Zealand will-be invested with more than ordinary interest.

FEILDING BRASS BAND. "Band Lover’’ writes:—Some fenweeks ago my attention was drawn to an attack pn the Foil ding Brass Band by one signing himself "Old Bandsman." I have been connected with the band for many years as a supporter, and must admit it has not always been a happy family, and up to the last six months one would hardly have known that Feilding possessed a brass band. But through good And bad I have always given my mite towards a body that really needed it, and was always willing to do. its best to lend some colour to our outdoor sports, etc. It is known to members of any society what trouble it is to' get a full muster at all times, as bandsmen cannot afford to lose a day’s wages, or perhaps the "sack,” to convenience the public. The Feilding Brass Band has put through a good many conductors, and tho agitation carried on by some of these learned gentlement against the band has given it a big uphill fight. But I am pleased to notice the hand treats'them .with the contempt they deserve, and tho Feilding public have had more pleasure from the hand this last six months than ever before. X sincerely hopo it will continue giving open-air concerts, and judging by the many complimontar-y remarks passed by the audiencp on tho bright performance rendered last .Sunday on the rotunda, I don’t think “Old Bandsman’s" shot at the band made, ior is likely to make, any impression. . 01/LA PODIIIDA. Modesty is. not always a characteristic of music, but Boieldieu (composer of the “Caliph of Bagdad”) seems to have been an exception. After tho very successful performance of ono of his operas he chanced to meet Cherubini, who said, “Alalheureux! Arc you'not ashamed., of such undeserved success?’’’ Instead'of flaring up at this, Boieldieu calmly asked Cherubini for instruction. , After a searching course in counterpoint his ability was greatly raised. The death is announced at Brooklyn, U.S.A., of Louis Conterns, sou of the well-known American bandmaster Ct. Conterns, and himself a military band conductor of repute. Sousa’s band has engaged the Town' Hall .for its Wellington season and the King Edward Barracks for the Christchurch season. Though nothing has been definitely settled in regard to the proposed band contest in Christchurch, it is understood that’the project is likely to bo launched in the course of a few: weeks. It has been suggested that the contest should bo held about the end of November next. Writes a Wanganui correspondent to a southern paper:—“Our fellows have not forgotten Palmerston North, nor aro they likely to forget it. Now that the sting has gone they are philosophic, and resigned to tho footstool position pitchforked to Wanganui Garrison by Mr Short. Blade Dike, Besses, ; lrveil Springs and other-crack bands in England have had similar experiences, and our fellows are just as good as they were at Ballarat, despite the-fiat at Palmerston North.” , A band scribe gives the following use-

ful Lints, which every bandsman -should “read, mark, learn, and inwardly digest’':—lf von have a piece of new music to play” at sight, the first thing you should do is to notice the changes of key, then the expression and repeat marks. This will take a few seconds only, and will give you a certain amount of confidence. You should “look before .you leap," and always/if possible, know what you are going to do before you attempt to do it. Good reading is the result of carefulness and attention. The mind must be concentrated upon the work in hand. The continual playing of the same pieces is detrimental to good reading, because such pieces do not demand sc much attention as those with which the bandsman is unfamiliar. Learn to concentrate your mind upon the work you’ have in hand. Be careful: pay attention; watch the expression marks: mind the changes of key; look out for the accidentals; try to - take four or live bars at a glance. Never look at a new piece of music without trying to .form some idea of its melody. Alter you have looked it over, try it on. your instrument and note where you were mistaken. Become acquainted with tho different intervals used in music, such as nmijor and minor thirds, perfect fifths, major and minor sixths, etc., so that when you see them on paper you will bo able to sing, whistle or hum them at sight. The careftil practice of new music will help to make you a good reader. It will be seen then that the ability to read at sight is gained by practice and experience. You must bo confident, try to do your best, and give music your individed attention.