Categories: SALVATIONIST MUSIC, SOLOS - Euphonium Composer: Edward Gregson
Solo for Euphonium & Brass Band
Comments by Lieut-Colonel Dr Ray Steadman-Allen This work maintains a strongly lyrical style, and whilst the variation element is a fundamental feature, the close adherence to thematic material and recapitulative ‘echoes’ create a cohesive whole, making the conception satisfyingly unified.
The theme is that of an old song: So we’ll roll the old chariot along, And we won’t drag on behind.
As far as the end of section A the music takes on the form of a long opening statement, introducing thematic fragments and phrases rather than being an ‘introduction’. Noteworthy motives are the opening figure for the soloist with its four-semiquaver rise to a frequently encountered pattern, best identified by its associated words ‘chariot along’, and the three opening notes of the tune (solo comet bars 6 and 7) from which a good deal of the subsequent music springs. Section B — There are interesting touches in the accompaniment to this plain establishment of the theme; for instance, the flugel horn augmentation appearing from bar 7 which linics the end of the theme to repeated fragments of it for full band. Section C — This episodic section is robust, its rhythmic nature offering contrast to the comparative simplicity of the theme presentation. Keep everything well-controlled; such episodes can sometimes be allowed to degenerate into a careless blare. The episode is very much part of the action and is marked only forte. Sections D and E — It may be found helpful, in rehearsal, to establish the accompaniment independently of the soloist. It will be noticed that the ostinato figure is derived from the three opening notes (with which the soloist begins the lyrical variation). In design the variation falls into three sections, the middle section having the melodic line allocated to the part for full band while the soloist plays a florid obbligato. Section F — Just prior to this section the basses begin to create another ostinato by repeating a figure developed from the 14th bar of B. When the soloist commences at F there will be some conflict of pattern but the basses should be well enough established for there to be no problem. Obviously a degree of flexibility will be required from the soloist; the passage is one of warm emotion but beware of maudlin sentiment! Some care will be needed in working out the cadenza but the notation of the music is clear. Sections G and II— These sections continue the long sweep of melodic utterance, the soloist part becoming more complex. At all times ensure the clarity of thematic fragments such as the motifs in the first four bars of G.
Category: SALVATIONIST MUSIC Composer: Dean Goffin
Specially written for the Diamond Jubilee Celebration of The International Staff band in 1951 concluding with 'Praise my soul, the King of Heaven' and a phrase of 'Give to Jesus glory'.
Categories: Duets, SALVATIONIST MUSIC Composer: Ivor Bosanko
Cornet and Euphonium Duet.
Following the popularity of the composer's earlier cornet and euphonium duet, 'I'll Not Turn Back', this duet was written for The International Staff Band's 2000 recording, 'Renaissance' on which the soloists were David Daws and Derick Kane.
Category: SALVATIONIST MUSIC Composer: Peter Graham
Duration 8.00
Commissioned by the Melbourne Staff Band - bandmaster Ken Waterworth, in celebration of the band's 125th. Anniversary in 2015.
The work gives special promence to the well established Salvationist Songs -
I'll Go In The Strength of tThe Lord ( Turney & Bosanko)
I'll Not Turn Back ( Gowans & Larsson ).
As the band celebrate and reflect on the past 125 years of service, the message of the songs serves as a reminder of the continuing journey and mission of the Melbourne Staff Band in the 21st. Century.
Category: SALVATIONIST MUSIC Composer: Kenneth Downie
A thoughtful treatment of Envoy Ferguson's simple yet powerful song, the first verse of which reads 'You must go home by the way of the cross, to stand with Jesus in the morning'.
Categories: Trios, SALVATIONIST MUSIC Composer: Stephen Bulla
This double trio (three cornets and three trombones) was written for the National Capital Band of The Salvation Army in memory of Colonel William Maltby and is based on his own chorus, 'Keep on marching with a fighting faith'.
Each solo part is of equal importance so six competent soloists will be required in order to make the piece sparkle!
Category: SALVATIONIST MUSIC Composer: Stephen Bulla
This double trio (three cornets and three trombones) was written for the National Capital Band of The Salvation Army in memory of Colonel William Maltby and is based on his own chorus, 'Keep on marching with a fighting faith'. Each solo part is of equal importance so six competent soloists will be required in order to make the piece sparkle!
Categories: LIGHT CONCERT MUSIC, SALVATIONIST MUSIC Composer: Wilfred Heaton
Click on MORE DETAILS to view the Solo Cornet part and listen to an audio extract.
The brass music of Wilfred Heaton has always been forward looking, and it was not really until the 1970's that the band world was ready to accept his exciting and uncompromising language. His earlier pieces are now being re-discovered, and the true genius evaluated. Toccata was first conceived as a brass sextet in the 1940's and later adapted for full band. It is full of wit and humour of Rossini, and is really a showcase for brass - the absence of percussion being an express intention f the composer. The work is based on the Salvationist hymn " Oh the Blessed Lord" which is in turn adapted from J. Bland's "Oh dem Golden Slippers". duration 6.16
Category: SALVATIONIST MUSIC Composer: Andrew MacKereth
This overture draws its inspiration from the story of the first Household Troops Band. It tells the story of the 1887 band, the subsequent lull of nearly a hundred years and the re-awakening of the Troops phenomenon in 1985. It was originally written in 1995 and featured prominently by the band on its North American tour of 2002. Given the history of the Household Troops Band, it is fitting that this composition is preoccupied with marching. It begins with a marching song played by a solitary muted cornet, symbolic not only of the call to bandsmen to join the evangelical effort but also a muso-dramatic device to indicate the steady increase in members and technical ability! The music quickly develops into stirring versions of 'A robe of white' and 'Storm the forts of darkness' with two early day Salvation Army tunes crucially adding to the narrative; 'Marching on in the light of God' and 'Soldiers of our God, arise!' The second section is a reflective setting of the Herbert Booth song, 'The penitent's plea'. This song serves to represent the many people who were 'saved' during those early day campaigns. The expressive music transports the listener through a period of uncertainty and angst until finally reaching the song, 'There is a message, a simple message, and it's a message for us all'. The final section deals first with the emergence from the annals of history with the muted cornet figure again before, symbolically, the present day band bursts forth with an emphatic statement of 'Would you be free from your burden of sin? There's power in the blood'. The stirring climax represents a fitting tribute to those gallant pioneering musicians and their equally impressive and dedicated contemporaries.
Category: SALVATIONIST MUSIC Composer: Kenneth Downie
I believe in transformation, God can change the hearts of men, And refine the evil nature, till it glows with grace again'. So wrote John Gowans in the second verse of his great hymn, 'I believe that God the Father, can be seen in God the Son', written specifically to affirm Salvationists' beliefs. It is sung to the tune Bethany and in seeking to explore this great subject at the heart of the Christian gospel in musical terms, the composer has used this fine tune as the basis. Although it never appears in its entirety, it is seldom out of the picture and much of the work is derived from it. The other main source of material is the lovely, simple chorus, 'Some day I shall be like him, changed to heavenly beauty, when his face I see'. This chorus is especially prominent in the middle section but there are important references to it throughout. There are also brief references to Charles Wesley's hymn, 'Love Divine' and, in particular, the telling lines, 'Changed from glory into glory, till in Heaven we take our place'. The work suggests that, at times, the process of being transformed is a struggle, portrayed with many passages of fraught and demanding music. Considerable reserves of stamina and technique are required while, in contrast, the chorus, 'Some day I shall be like him' provides the warm, gentle centre of the work. The premiere of the work was given by The International Staff Band of The Salvation Army in Cadogan Hall on Friday 3rd June 2011, as part of the band's 120th anniversary celebrations. 30079
Categories: Solos, SALVATIONIST MUSIC Composer: Chris Mallett
This cheerful and energetic solo includes two Salvation Army songs, 'Travel along in the sunshine' and 'Sunshine', the composer having emigrated from the UK to 'sunny' California. (Look out for musical quotes from 'California, here I come')! The solo was written for himself to play during a return visit to the UK hence the witty quote from 'Raindrops keep falling on my head'.
Categories: LIGHT CONCERT MUSIC, SALVATIONIST MUSIC Composer: Eric Ball
Salvation Army tone poem
This ever popular Eric Ball 'classic' is played as much today as it has ever been. Composed in the wake of the Munich crisis and the return of British Prime Minister Neville Chamberlain after his talks with Hitler, this tone poem juxtaposes music of urgency (the chromatic opening subject) with Eric Ball's own hymn for peace, 'Peace in our time O Lord'.
Categories: Solos, SALVATIONIST MUSIC Composer / arranger: Erik Leidzen Difficulty level: Championship
Solo for Bb. Cornet.
Originally published in the Festival Series in 1933 and written by the master of solo writing, Erik Leidzen, this has become, in Salvation Army circles, a 'standard' for all aspiring cornetists, exploring the full range of the instrument from bottom F# to top D.
Category: SALVATIONIST MUSIC Composer: Stephen Bulla
The definition of a tunesmith is a person who composes popular music or songs. Howard Davies is such a person, having written dozens of songs (words AND music) for The Salvation Army. This overture takes a handful of his most popular melodies and turns them into a captivating Broadway-style medley which includes the light and witty 'God's Still the One' and 'The Good Lord Brought Him Through' as well as the devotional favourite, 'The Wonder of His Grace'.
Category: SALVATIONIST MUSIC Composer: Steven Ponsford
The geographical position of Plymouth (the composer's home city) means that, at various times in history, the city has been the United Kingdom's first line of defence. A series of forts around the coast bears testimony to this and forts have featured on the city's coat of arms ever since. However, the city's forefathers believed that physical security was worthless without a faith in God's protection and this is reflected in the city motto; Turris fortissima est nomen Jehovah (The name of Jehovah is our strongest tower) (Proverbs 18:10). Written for Enfield Citadel Band's tour of the USA in 2007, the music attempts to portray this assurance with the use of the tune Ein' Fest Burg (A mighty fortress is our God) along with the more contemporary Blessed be the Name of the Lord and Shout to the Lord. There is also an apt reference to Dean Goffin's My Strength, My Tower as the music builds to its dramatic final bars.
Categories: LIGHT CONCERT MUSIC, SALVATIONIST MUSIC Composer / arranger: Kevin Norbury
Set as the SECOND SECTION TEST PIECE for the 2015 Regional British Brass Band Championships.
This is the three trombone version. Click on MORE DETAILS to view the Solo Cornet part.
Comments by Kevin Norbury
The well-known theme on which these variations are based originally became popular as the basis of a ceremonial-style chorus, See, the con quering hero comes, in Handel’s oratorio, Judas Maccabeus. The oratorio owed its inception to the victory of William Duke of Cumberland over Charles Edward the Pretender at the battle of Culloden in 1746. The melody has since been drafted into service by Christians as a hymn tune along with other tunes by Handel — Gopsal and Joy to the world spring immediately to mind. After the strong unison opening, the entire tune is treated in full — the two halves are contrasted dynamically and stylistically. Don’t be afraid to explore the lower dynamic levels which are a feature of the first seventeen bars. Allow the rhythmic inner parts to be heard in a well-balanced ensemble at bar 18 and aim for a real sense of climax at bar 22. Ensure that the diminuendo at bar 25 is graded steeply enough so that the Flugel entry can be heard easily.
Variation 1 — The key word with respect to this variation is scherzando. Aim for lightness and clarity, and try to engender a sense of fun in the performance of this music. However, these comments are made with the proviso that the rhythm remains metrononic throughout.
Variation 2 — This variation forms a complete contrast with the previous one, and is, in fact, the emotional core of the piece. The style here needs to be very broad with a sense of restraint Once you have worked through the variation, hopefully the progression of moods from somewhat pessimistic introspection to quiet acceptance of a joyous optimism will become self-evident. There should be no sense of hurrying, although a feeling of freedom within the pulse will enhance the solo lines from bar 106 onwards.
Variation 3 — Again, this is a contrast in mood and style which is intended as a release from the intensity of the chorale. Try to capture the style straight away and aim for ‘Viennese’ lightness whatever the dynamic level. After a subdued middle section, the music builds to a vigorous conclusion maintaining the impetus right through to the end of the movement.
Variation 4 — In some ways, the opening of this variation echoes the opening of the whole piece with its declamatory unisons. The accelerando which commences at bar 243 is quite steep and will probably require a lot of rehearsal before it sounds natural. This passage is the subject of the Jiighetta and it is imperative that this theme can be heard clearly each time it appears if the logic of the music is to be realised. This variation is probably the most technically demanding part of the piece and will require some work if the music is to move along at the required speed. From bar 312 onwards the tempo gradually slows until a point of repose is reached at bar 340. At bar 341 the pace of the music increases rapidly until bar 347 where the fugue subject is referred to briefly in a modal version. Observe the stringendo at bar 353 and the sudden meno mosso at bar 357. Note the complete break at bar 362 before the final treatment of the tune. Bring the running passages through and highlight the dissonances which occur throughout this section — paint a broad canvas here. The Coda commences at bar 386 and the tempo you adopt here will ultimately depend on the capabilities of the players at your disposal. The dynamic scheme is essential to the texture in the first twenty-six bars and will require careful rehearsal. Aim for a crisp articulation in the reiterated bass pedal notes at bar 412 and gauge the crescendo over the next twelve bars so that a true sense of climax is achieved at bar 424. Maintain the momentum until the Timpani solo at bar 432 and use these two bars to move into the final phrase. The music fmishes triumphantly and on a note of exultation.
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