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Learn about the ensembles I've had involvement in:

• Harlequin Brass Ensemble
• Leeds College of Music Wind Ensemble
• National Saxophone Choir of Great Britain
• Nottingham Symphonic Wind Orchestra
• Phoenix Concert Band
• Yorkshire Wind Orchestra

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Harlequin have been in existence since 1995 and I got involved with them when trumpeter Brian Winter asked me, during a Yorkshire Youth Wind Orchestra course, if I would take an evening rehearsal for them.

I was quite impressed with the individual ability of the players and with the type of music they wanted to play. I was less happy with their approach to ensemble playing, levels of attack and phrasing. The music tended to sound bright, loud and brassy, regardless of the musical style required by the score. Don’t misunderstand me; they were capable of playing the dynamics and they observed them very well. The problem lay in the approach to the notes.

I was privileged to be taught both Trumpet and Art of Ensemble classes by the late great Philip Jones, who was the master of control over the level of attack. He physically played notes in different ways to achieve the most appropriate enevelope to the notes for each situation. He practised what he preached and the results can be heard on some of the PJBE recordings from the 1970s.

Many brass players use the tongue as a note production tool. It follows that pp sections end up having a similar note production to louder sections. Not only do the attacks of the notes sound similar, but the way the note sustains is always the same. Music needs a wider variety of approaches to the note shape; especially ensembles of one type of instrument. Of course it is the embouchure combined with air flow from the diaphragm which produces our sounds and the tongue is only there to artistically and characteristically define the attack.

When these principles are used constantly and incorporated into the ethos of the ensemble, a transformation takes place. It was a slow process with Harlequin but the point was well proven one fine day when the group were playing an outdoor concert prior to a Band/Fireworks Performance. They were playing very well; good subtle, varied and musical throughout. Then during the final piece something bizarre happened. I noticed the group grow tense. They started to play louder and more aggressively. The tempo began to increase and the control vanished. I was horrified by the end and they seemed to know that they had collectively thrown out all of the principles that I had been teaching them. When I turned to bow to the audience, I saw the whole of the Brighouse and Rastrick Brass Band, standing in a semi-circle, arms folded, and I realised that my little group had reverted to type in an almost primal way. They had resorted to Fast and Loud and it showed. In the dressing room afterwards they were not happy about the lapse but they also said that it was a stark illustration of the difference in their approach that we had engendered.

In order to make a single instrument type ensemble concert work, every piece must be approached in a different and appropriate manner so the audience can be fully engaged in each work. All groups like Harlequin are keen to build up a loyal following and it is essential that the programme is varied in content as well as approach.

Harlequin have come a long way and they now have high expectations of themselves as regards ensemble skills. It is interesting that even very good players have to think hard when the play with the group as it is not simply a matter of reading the music. Anyone who does not carefully consider their attack and playing style will really stand out.

Apart from their musical skills, the players in Harlequin are terrific people and they can be great fun. A recent tour to Holland brought the best and worst out of them. They are never dull! My “Harlequin Dances” written to celebrate each of them is available for Sax ensemble from SAXTET Publications.

Harlequin Brass intend to record a new CD in the autumn and it should be available by December 2006.