Cheltenham Musings and Ideas….

Six bets last week, no winners but a potentially valuable learning experience. I count Lacdoundal, Gidam Gidam and Maktu as good bets; they came 6/21, 6/18 and 4/15 respectively. Chief Yeoman and Group Captain were poor plays.

With hindsight, Witchita Lineman, Something Wells and Russian Trigger had caught my eye but I disregarded them.

My biggest mistake though was to miss Snake Charmer on Saturday. Maktu ran well and might have done better but for being hampered. Nevertheless, I had watched Snake’s previous race and been impressed by his gameness. He was one I had noted but, perversely, disregarded on the big day.

Why was that? After much pondering over the weekend, I find two objective reasons:

Firstly, the ‘6/1 or less’ rule led me onto Maktu as first preference. This rule is soundly based in theory but flawed in practice in that it applies to smaller fields. The maximum sensible odds are a function of the field size and also the spread of the probabilities. Larger and more competitive fields will allow longer maximum odds. There may well be a tabular form for this idea but it is pretty much clear for any particular race. One just has to bear it in mind and see what comes up when the odds line has been made. So, that rule is out and I will go back to looking at any runner that is true value, backing the longest priced of these. In Snake Charmer’s case, that would have been obvious given the ‘11/1 to 25/1′ disparagy.

Obvious, that is, had I seen the odds on offer first and not the forecast line. I don’t have internet at home for the moment, so have to nip to the library to get the bookies early prices. Not a problem except that, in my eagerness, I use the forecast in the Racing Post. Mistake! Of interest, of course, to see how one’s own line parallels any other informed opinion, but practically an error in that it puts a fixed idea into ones mind as to what is likely to be value and by how much.

This gave me Maktu 7/2 to 1/11 and Snake 11/1 to 16/1 not so much in it that Snake stood out. On the other hand, the early prices gave Maktu 7/2 to 11/1 and Snake 11/1 to 25/1 The ‘longest-priced value’ rule is clear here and I should not then have wavered (as, indeed, I did) about getting on Snake Charmer. In a hurry, in fact.

The ‘6/1 or less’ rule is out and no use of the forecast – get the actual prices straight away. These are the new rules then:

Bet the longest-priced contender which is genuine value.

Why ‘genuine’? This means not only 50% (as a guide anyway) but more significantly the differential between the odds and the probabilities. For example, 3/1 = 25% and 6/1 = 14%. This is 3 odds points but 9 percentage points difference, which is significant. On the other hand, 25/1 = 4% and 50/1 = 2%, only 2 percentage points difference in the win probability but 25 points in the odds. Tempting, but really not genuine value. I think 5% has to be a minimum so 11/1 to 25/1 counts (8.3% to 3.8%). This is the origin of the 6/1 rule, a sound principle but to be applied with regard to the field size (bigger in the UK the the US) and odds profile. Judgement is needed but a value offer should be fairly clear in most cases, again, Snake Charmer is a good illustration.

Enough chewing over one’s mistakes. Positive lessons from the week:

1. the above
2. big fields are predicatable for the value bettor and can offer big priced value. Nick Mordin confirms that handicap hurdles, in particular, are chaotic. He takes a ‘most likely winner’ approch though. The value bettor potentially is in betting heaven with these ‘random’ events as the public will go for sentiment and obvious factors such as recent form.
3. I now appreciate the significance of the Cheltenham week in the Jumps calender and will bear it in mind next year.
4. Get to Cheltenham for real sometime. I am a fan of festivals (mostly goth and chess so far) so a whole week must be seriously intense in a good way.

That’s it then. I start now with a clean slate and new tools in my prospector’s toolbox.

Reginald Smith Brindle….

I copy and paste this in it’s entirety from the Guardian Obituary pages – RSB has written some very interesting material for guitar and I have just started working on it as part of my own practice routine, specifically ‘Guitar Cosmos’.

Reginald Smith Brindle
British composer, best known for his guitar works
Guy Rickards, guardian.co.uk, Wednesday 29 October 2003 02.40 GMT

“It is a matter for considerable regret,” wrote James Weir in Contemporary Composers (1990), “that more people know Reginald Smith Brindle as a teacher and critic than as a composer in his own right.” Yet it is his compositions that will in time be seen as Smith Brindle’s primary legacy.
Smith Brindle, who has died aged 86, came relatively late to composing, having initially taken up the guitar – well enough to win a Melody Maker prize in the 1930s – and then found his way into jazz. Parental pressure led him to study as an architect in order to earn a living, acquiring intermediate RIBA qualifications. An organ recital in Chester Cathedral in 1937 revealed to him his true destiny as a composer.

The outbreak of war put a break on his ambitions, but during its latter stages, serving with the Royal Engineers, mainly in North Africa and Italy, he began to compose for the instrument he knew best, the guitar (he was also an able player of the piano, clarinet and saxophone). A stream of nearly 40 short guitar pieces poured from his pen between 1944 and 1952 – 10 of these in 1948 – a body of work unmatched in quality by any other British composer.

In 1949 he returned to Italy to study, first in Rome with Ildebrando Pizzetti – whom he found too outmoded – then in Florence with Luigi Dallapiccola, whose opera Il Prigioniero was a formative experience but whose teaching methods exasperated him. He became an active member of the Scuola Dodecafonica alongside Bruno Bartolozzi, Sylvano Busotti and Alvaro Company, his music consequently undergoing a radical expansion of scale and intellectual rigour with a series of major orchestral works – the Sinfonia of 1954, Variations On A Theme By Dallapiccola (1955), An Epitaph For Alban Berg (1956) and Symphonic Variations (1957).

Smith Brindle’s output of chamber and vocal music, limited in numbers but not quality, also began about this time. His output for solo guitar had reached its peak with El Polifemo de Oro (1956) – Julian Bream’s 1966 recording of which has been Smith Brindle’s often solitary toehold in the recording catalogue. He then branched out with pieces for guitar in duet with other instruments plus works for string quartet, wind quintet and a Concerto For Five Instruments And Percussion (1960).

His early vocal pieces from the time betray a debt to Dallapiccola both in word setting and instrumental layout, reaching a climax with his opera The Death Of Antigone (1969, first produced in Oxford two years later), the choral Windhover (1971) and A Mass In English (1974).

The late 1950s saw the influence of science and science fiction appear in his work, a trait sustained over the ensuing years in works such as Cosmos (1959), Homage To HG Wells (1960), Andromeda – a fine flute solo from 1966 – and the percussion works Orion M42 and Auriga (both 1967). In 1970, he relaxed the strict serialism of his musical idiom to allow for more melodic and emotional invention, a development – ahead of most of his contemporaries – for which he felt no need to apologise. His later works saw a resumption of composition for guitar – including five sonatas – and organ, many of the latter with evocative Latin titles. The zenith of this final phase was reached in his Second Symphony, Veni Creator (1989), but he kept working, even helping to found the Chameleon Group of Composers, based in Croydon, in 1995. He ceased composition in 1999.

As a writer, he made a great impression in the heady avant-garde days of the 1960s and 1970s with a series of books for Oxford University Press: Serial Composition (1966), Contemporary Percussion (1970) and The New Music (1975), in which he proved an eloquent advocate for the more advanced trends in 20th-century music. A fourth book, Musical Composition, followed in 1986.

He was a distinguished teacher, highly regarded by his students. He lectured for 10 years from 1957 at University College of North Wales, Bangor (where he had studied from 1946 to 1949), until he was made a professor. From 1970 he was at the University of Surrey, retiring in 1981.

While in Italy during the war, Smith Brindle met Giulia Borsi, whom he married in Britain in April 1947. She survives him, as do their son and three daughters.

Reginald Smith Brindle, composer and teacher, born January 5 1917; died September 9 2003