Categories: Christmas Music, SALVATIONIST MUSIC Composer / arranger: Kevin Norbury
A Christmas mini-overture featuring three medieval carols; 'Coventry Carol', 'Gaudete' and 'Unto us a boy is born'. A fun piece for player and listener alike.
This is one of three titles published as one volume or journal, contained in what the Salvation Army call their FESTIVAL SERIES.
The three pieces are ;
1. SWEETEST NAME (Journal 594)by Martin Cordner
2. GLORIFICO AETERNUM (Journal 595) by Dean Jones
3. SURSUM CORDA (Journal 596) by Brian Bowen.
Click on "MORE DETAILS" to view the Solo Cornet part.
Comments by Bandsman DEAN JONES
This piece has a central theme that is paramount to the Christian: the opportunity to offer glory and thanksgiving to God, in return for his great love to us that will last throughout eternity. His presence in the life of the Christian can mean many things, but a thankful heart is the basis for all he requires from us. So close is the love and care of God, that not only does he reveal himself through his word, but through the lives of other people. It is at that stage we recognise the gift of being nurtured and prayed for by those around us who love him too. These thoughts, emotions and gifts are portrayed in the music which seeks to bless, move and excite both player and listener.
The piece is not too technically demanding on the player, although every part does have importance and will feature prominently at one stage or another. The contrasting styles of music will need to be quickly adapted to. There are some moments which will require merronomic precision from the band, whilst in contrast, other sections of the piece call for rubato and feeling.
Programme note
Dedicated to the memory of Retired Bandmaster Jim Hopkin, ‘Glorifico Aeternum’ is built around a combination of traditional and contemporary worship songs; ‘Now thank we all our God ‘Somebody prayed for me ‘Overall the earth’ and ‘The King of love my Shepherd is".
Categories: Solos, SALVATIONIST MUSIC Composer: Norman Bearcroft
Solo for Bb. Corent.
Written originally in the early 1970's for Deryck Diffey, of the Canadian Staff Band, this solo has now become 'the property' of the incomparable David Daws. Full of examples of the virtuosity one associates with David's playing, and requiring a real flexibility of style. Warning! - Before tackling this solo, practice your lip trills!
Categories: LIGHT CONCERT MUSIC, SALVATIONIST MUSIC Composer: James Curnow
Salvation Army Tone Poem
Comments by Lieut-Colonel Ray Bowes
This fine work has much that will be of interest to players and conductors and should bring a measure of musical satisfaction when played. The directives of the message contained therein should appeal to those who listen. It is thought that the comments of the composer should prove helpful and these are therefore given.
‘Inspired by reading Marching to glory, a history of The Salvation Anny written for the 1980 National Congress in the USA by Professor E.H. McKinley, who taught history at Asbury College in Kentucky, the composer has endeavoured to capture the spirit of early-day Salvationists as they gave themselves completely to ‘the great salvation war’. The phrase itself appeared in the Pacific Coast edition of The Salvation Army’s newspaper, The War Cry, on 1 January, 1888, and was often used by the pioneers to describe their daily struggle against Satan and his legions.
The songs employed in the tone poem represent, first, the strength and determination of the pioneer Salvationists and the power of the Holy Spirit to overcome all odds (‘Stand like the brave!); second, complete commitment to the Lord, to trust only in him for power and direction, even in the darkest and most trying times (‘In thee, 0 Lord, do I put my trust’); and last, the triumphant reaffirmation of the Army’s one great purpose (‘Rescue the perishing’).’
Categories: LIGHT CONCERT MUSIC, SALVATIONIST MUSIC Composer: Eric Satie Arranger: Brian Bowen
This is a transcription for brass band of the first, and most well-known, of Erik Satie's three Gymnopedies for piano which were composed in 1888. All three are similar melodically and pianistically. However, the first and last are more well-known, partly due to the later orchestrations by Debussy. Tenor Horn and Eb Bass mutes are requested by the arranger and will enhance the transcription if available.
Category: SALVATIONIST MUSIC Composer: Lorne Barry
Triumph Series Band Journal,
March 2008 - Numbers 1175 - 1178
This is a compilation album in which you get four complete compositions as follows :
No. 1175 The Hallelujah Strand (Lorne Barry).
A bright, light-hearted arrangement of the well-known song, 'They'll sing a welcome home'.
No. 1176 Selection - No Limits, No Measure (Erik Silfverberg).
Three tunes form this composition; 'Trust in God', 'Crimond' and 'Blacklands'. They are all connected with songs about God's amazing love and grace, and the title is derived from words associated with the last tune; 'His love has no limits, his grace has no measure'.
No. 1177 In His Presence (Andrew Mackereth)
A selection using two songs that relate to being in the presence of God, particularly during our prayer time; 'As we are gathered' and 'In the secret of thy presence'.
No. 1178 March - S.C.B. 125 (Dean Jones).
This piece was written at the request of Scarborough Citadel Band to commemorate their 125th anniversary. The inclusion of the tunes 'Southport' and 'From strength to strength' was also requested.
Categories: Solos, SALVATIONIST MUSIC Composer: Erik Leidzen
This composition was awarded first prize in the Theme and Variations Section of the 1926 Salvation Army Band Music Competition and has remained popular with cornet soloists and audiences ever since. This was the first in a trilogy of cornet solos with the word 'day' in the title written by Erik Leidzen, the others being 'Happy all the Day' and 'Wondrous Day'.
Category: SALVATIONIST MUSIC Composer: Kenneth Downie
This is a setting of a chorus that the composer remembers being sung in Scotland as a child. The words encapsulate the truth of the Christian gospel in one sentence; 'He can break every fetter, He can set you free!'. Starting with trombone quartet, two more statements of the chorus follow, each in a new key. The final, extended, cadence emphasizes the spiritual release declared in the text.
Categories: Solos, SALVATIONIST MUSIC Composer: Leonard Ballantine
A traditional gospel spiritual originally written in 1905 by Civilla D. Martin and Charles H. Gabriel, the song is most associated with actress-singer Ethel Waters. The song has been covered extensively in gospel music, with notable versions by Shirley Caesar, Marvin Gaye, Kirk Franklin and the Family, Lauryn Hill and Tanya Blount (from Sister Act 2), Mahalia Jackson, Sister Rosetta Tharpe, Dottie West, Barbara Mandrell and Jessica Simpson.
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