Category: SALVATIONIST MUSIC Composer: Steven Ponsford
Ian Smale's well-known song 'Father God, I wonder' is set to an exciting Latin rhythm in this cornet feature. The title is the Spanish word for 'praise'.
Category: SALVATIONIST MUSIC Composer: Emil Soderstrom
This march was awarded first prize in the 1930 American Golden Jubilee National Music Competition and was published the same year in the first edition of the American Festival Series. It was subsequently re-printed in the General Series of 1984. Soderstrom’s imaginative use of syncopation and chromatic harmony brought a new, American sound to the Salvation Army march. For example, he took the old Salvation Army fight song Hark, hark my soul written and changes its metre from 6/8 to 4/4 while also syncopating it!
Category: SALVATIONIST MUSIC Composer: Emil Soderstrom
This march was awarded first prize in the 1930 American Golden Jubilee National Music Competition and was published the same year in the first edition of the American Festival Series. It was subsequently re-printed in the General Series of 1984. Soderstrom’s imaginative use of syncopation and chromatic harmony brought a new, American sound to the Salvation Army march. For example, he took the old Salvation Army fight song Hark, hark my soul written and changes its metre from 6/8 to 4/4 while also syncopating it!
Categories: TEST PIECES (Major Works), SALVATIONIST MUSIC Composer / arranger: Ray Steadman Allen
Salvation Army Judd Street Collection
At the Edge of Time is a Sinfonietta of three movements. The first is based on The Head that once was Crowned with Thorns, whilst the second is an eloquently vocal cornet solo. The Finale is the closest that Steadman-Allen gets to the impish tonal humour of Heaton and has a glorious surprise ending and reprise of the opening hymn.
Category: SALVATIONIST MUSIC Composer: Ray Steadman-Allen
At the Edge of Time is a Sinfonietta of three movements. The first is based on The Head that once was Crowned with Thorns, whilst the second is an eloquently vocal cornet solo. The Finale is the closest that Steadman-Allen gets to the impish tonal humour of Heaton and has a glorious surprise ending and reprise of the opening hymn.
Category: SALVATIONIST MUSIC Composer: Roger Trigg
"This work was written at the request of Bandmaster Ken Waterworth for the 2011 tour of the UK by the Melbourne Staff Band culminating in a performance given at the Royal Albert Hall during ISB120 Staff Bands in Concert. The opening reflects the history, vastness and majesty of the composer's Australian homeland and introduces a motif taken from the Tomlin/Reeves song, 'The wonderful cross' which is featured in its entirety later in the work. The whole in predominantly joyous and musically easy to digest with occasional references to 'Waltzing Matilda'!"
Category: SALVATIONIST MUSIC Composer: Edward Gregson
Written at the request of David Daws for his solo album The Sound of David Daws, this meditation for cornet and brass band uses the composer's own song Before the cross (originally published in The Musical Salvationist, April 1965), the first lines of which are Before the cross I stand in fear and wonder, and see that all my sirs on Thee are laid. The song was written at an early stage of the composer's career, just before commencing study at The Royal Academy of Music, London. After a brief introduction the melody is heard twice, first played by the soloist, then on Euphonium and Flugel Horn with the soloist adding ornate counterpoint before taking up the melody once again, this time leading to a quiet and reflective conclusion.
Categories: LIGHT CONCERT MUSIC, SALVATIONIST MUSIC Composer / arranger: Peter Graham
Salvation Army Tone Poem
Click on "MORE DETAILS" to view the Solo Cornet part.
Comments by Divisional Bandmaster Michael Kenyon
The title itself is arresting and the word in this context means ‘to proclaim’. John Milton’s hymn Let us with a gladsome mind has for its second verse the opening line, Let us blaze his name abroad. Such fine words deserve a tune of similar stature, therefore Handel’s Theodora provides an ideal setting of this poem.
This major work was written for the International Staff Band Centenary in 1991 and embraces a set of variations on the above tune. The quality of the music demands the best in technique, musicianship and commitment.
INTRODUCTION and THEME - Consisting of recognisable fragments of the main tune the music begins in brilliant style. There is so much detail to be observed and conductors will need to exercise firm rhythmic control. Bar 34 brings quite a severe application of ‘musical brakes’ in order to achieve the required lento in preparation for the presentation of Theodora. In this bar synchronisation of quavers is essential.
Var. I ENERGIA - Clear definition and control of various rhythmic figures should be one of the prime concerns here. Beginning in bar 62 the two-part passage for Baritones is just the first of a number of examples where correct balance is vital. The correct piano level at the opening will aid the subsequent gradations of volume. The directives Energia and later Brioso describe the character of the music. Note the mezzo piano subito at bar 115.
Var. IL REVERIE - Held-over Trombone notes provide a link from the first variation. A sense of continuous rhythmic movement pervades this variation. Satisfactory dove-tailing of parts is an important requirement, and in this respect, two Solo Comet players will feature. There are also important entries for Euphonium, Solo Horn and 1st.Baritone.
Var. III RITMICO - Again there is a link to this variation. The music bristles with rhythmic interest and, as elsewhere in the work, the Percussion section is an important part of the structure. Musical quotations from personalities associated with the ISB can be heard.
Var. IV ELEGY - Important melodic entries are self-evident and it follows that accompanying lines must be supportive without being obtrusive. This music is a tribute to the past.
Var. V FINALE - Preparation of speed and style begins at bar 245 whereas the variation proper begins at bar 263. In referring to a song of praise, Paean (words by Phillip Coutts) the composer looks to the future. Various changes of time-signiture will keep conductors and players alert. The music maintains a sense of excitement throughout and a meticulous regard for detail together with correct balance of parts will be worthwhile for players and listeners.
American Festival Series Nos 40 - 43. This is AFS N0.43 The Blessing - A Meditation, which is part of a set of four pieces published as one journal. The other pieces in this journal are : No.40 - Festival Prelude "IN GOOD COMPANY" by Dudley Bright No.41 - March - THE STARS & STRIPES FOREVER arr. Wm.Himes N0.42 - Transcription - RIGAUDON - option Organ arr. Wm.Himes
Program Note: First written as a processional for the wedding of the composer’s son, the music is based on his favorite hymn, “Come, thou Fount of every blessing” by Robert Robinson (1735-90). The music expresses solemnity, tenderness and majesty and builds to the sweeping grandeur of the bridal entry, coinciding with the text of the final verse: “Here’s my heart, Lord, take and seal it. Seal it for thy courts above.”
Note to the Conductor: Because this music was first used as wedding processional one can anticipate the majestic character of this meditation. Two major influences in this work are the hymn’s inspiring words and melody and an attempt to emulate the noble lyricism of the century English composer, Gustav Holst (1874-1934.) Regardless of indicated dynamics or articulations, the overall objective should be to produce a beautiful and glorious sound of praise and celebration.
The classic Leslie Condon 'Tone Poem', originally written for Tottenham (now Enfield) Citadel Band in the mid 1960's. Based on the old gospel tune 'When the roll is called up yonder', this music became a blueprint of style copied by countless others since. Also featured on Celebration by Croydon Citadel Band.r
Category: SALVATIONIST MUSIC Composer: Peter Graham
Derick Kane specifically asked Peter Graham to write a solo with the title 'Canaan's Land' in response to Stephen Bulla's solo 'Air 'n Variations' written for Aaron VanderWeele, all puns intended! The theme is the song 'Bound for Canaan's shore' and the first variation pays homage to Norman Bearcroft's 'The Better World' which was also especially written for Derick Kane. The slow section makes use of the tune 'A little star peeps o'er the hill' after which follows the finale, in a polonaise style, with further shades of 'The Better World'.
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