zbd1960

I think this is where the issues lie. A football club etc is a club or society and it will have members who pay a subscription. They will have some sort of constitution/governing document which will means they are an 'unincorporated society' in legal terms run by a committee. A band is not a club/society but a group of people with a common business interest, which is not the same thing. They aren't going to be able to submit a governing document and list who's the chair/secretary/treasurer etc. They'd have to register as some sort of business structure.

Unfortunately, the UK's approach to the AML and KYC legislation (anti-money laundering and 'know your customer') has been to over react and make it draconian. You are unlikely to get a club/associations account without evidence of a governing document, designated officers, and an extract from committee minutes authorising the setting up of the bank account.

It was first orchestra rehearsal last night with this term's conductor in charge (we use post-grad conducting students for conductors). We looked at first and last movement of Tchaikovsky symphony #3 - I was on cello. There are a lot of notes...

Other than having a member use one of their accounts to handle it all, there are a couple of ways of doing this, but one of them probably doesn't suit your set-up. A small business account is the obvious route. The challenge here is that it's not free and to some extent charges will be based on turnover. The other option, which probably is not a valid one here is if you were set-up as a small society/club, most banks have some sort of 'clubs and charities' account, which below a certain level of activity will offer free banking. If you were running some sort of local 'come and play' thing then that might be a viable option. Downside is you'd have to set up as a club with a constitution etc - which is why I say it's not really an option for you. I mention it as it might suit some people for some types of set up.

Yes, I was singing 1st bass aka baritone.

My first full-blown choral gig for a few years - I've depped in a few concerts, but I've not been part of a group for a while. Saturday's venue was Carlisle Cathedral with a fully pro orchestra plus the cathedral organ for Elgar's Music Makers. Orchestra was brass: tuba, 3 trombones, 3 trumpets, 4 horns; woodwind: usual pairs of flutes, oboes, clarinets, and bassoons plus bass clarinet and contrabassoon; strings including 2 double basses; harp; percussion: timps plus assorted things like bass drum. Audience was more-or-less a sell out.

This week has seen orchestra rehearsals resume, so it's out with the cello. One of the works is Tchaikovsky symphony #3. This will be my first Tchaikovsky symphony. OK here's an example of the cello part, sight reading this was entertaining...

I'd agree that main thing type of mute does (use them on cello as well) is to change the character of the sound.

I may be able to make this as it's about 50 miles away - it might clash with another commitment, need to check. If I can attend, I'll bring the ACG and Manton

Thank you @itu What you do with the frets, except the first (one nearest the nut), is tie them further up the neck i.e. nearer to the nut than where they need to be placed. This means they need stretching to be put into place. The challenge is the first fret. You need to use pliers or similar to pull the ends of the fret gut as tight as you can.

The cello had an outing last night - so the gig was a bit different to most here... orchestra in a church in Carlisle with two operatic soloist. And yes, orchestras have similar issues with sound as bands, even though we're unamplified. Our issues is that church acoustics are almost always awful, overly resonant and leads to mushy sound, particularly in the bass department.... where have I heard that before? Decent audience. Only one on the very tricky opera arias had significant 'moments'

It was gig time last night - concert of operatic music. Instrumental items included Wagners prleude to Act 3 of Lohengrin, suite from Carmen by Bizet, the waltz and polonaise from Eugène Onegin by Tchaikovsky, ballet suite from Faust by Gounod. Two soloists singing various items including the Flower Duet (think BA adverts...). Someone caught me at it...

I wear a 'traditional' / 'classical' harmony hat - I'm not that familiar with what goes on in other genres. I agree it's essentially a IV/I cadential sequence. No key change is inferred as there are for example no pivot chords or attempts to create a new tonic etc.

Chord III is one of the lesser used chords. What's also odd is the heavy chromatic alterations involved in this sequence. You start in G (1 sharp), then B (5 sharps), C, then finally Cmin (3 flats)

There is an article in the Guardian online today about 'like farms' in Vietnam. It was under photography as somehow a photographer got to visit some of these. This is where companies buy 'likes' etc to boost their online profile.