Product Description
The Blessing
Meditation
Composer: William Himes
Produced by The Salvation Army - Central Territory
Score Sample
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Score Notes
Notes:
Comments by Staff Bandmaster William Himes, Music & Gospel Arts Secretary, USA Central Territory
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 20th 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.
Other specific considerations are as follows:
Bars 24-44: The hymn tune's first statement (baritones, euphonium) provides an example of text painting (using music to reinforce word pictures.) In this instance the flowing triplets (solo cornet) emphasize the opening phrase, ""Come thou fount of every blessing."" This ""fount motif"" is later tossed around to euphonium and trombones, then back to cornets. The objective must be smooth execution with rhythmic integrity.
Bars 67-74: The second statement of the tune again features some watery imagery, this time a tranquil ripple (2nd horn, baritones) with a slight emphasis on non-harmonic tones (as indicated by tenuto marks), gently supporting the melody in flugel, solo and 1st horn.
Bars 90-end: Observe the poco stringendo, with a hint of pressing ahead. Although the music reaches a peak at 98, carefully modulate the intensity of this moment, taking care not to give it all way until the ultimate peak bar 119. Bars 123 to the end are all about sonority and celebration.
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."" 107-161:?With its flowing lines and gentle sonorities, this section would be rightly classified as a pastorale. Let this serve as a lovely contrast to the fire and majesty of the surrounding movements."
Program Note:
This colorful selection uses three songs of contrasting idiom to portray a progression of the human condition from despair to triumph:
Although this is a more extended work (approximate duration: 9:00), the inclusion of optional introductions and endings provides added usefulness of presenting singular performances of these three songs as follows:
Sometimes I feel like a motherless child: Beginning to optional ending at bars 39-40.
Reach out and touch: Bar 42 to optional ending at bars 110-113.
Storm the forts of darkness: Begin with snare drum roll (can be a pause) one beat before 117. Play to end as written.
Program Note:
This beautiful setting for solo trombones and band of the folk song O Waly, O Waly is often associated with the words of Isaac Watts:Note to the Conductor:
We are pleased to present this sensitive setting as it was initially conceived for solo trombone. Written for the Amsterdam Staff Band's 2005 tour of the United Kingdom, it was later adapted as a feature for trombone ensemble, at the request of Salvationist Publishing & Supplies, where it appears in 2009 as General Series 2059.
We are grateful to SP&S for kindly giving permission to publish this solo version in the American Festival Series. Of this work, the arranger, Olaf Ritman writes: "I consider this song my personal testimony."
Beginning to bar 12: The accompaniment, particularly at the opening and closing of the piece, is atmospheric, with suspended muted chords supporting the rubato trombone solo. The judicious use of percussion (chimes, bass drum and suspended cymbal) will add to the color and mood. Be sure to cue the chimes at bars 3 and 6.
at bar 4, a clear downbeat cure for the bass drum will help clarify tempo following the soloist's pause. Also give attention to the muted sforzando in cornets and trombones in bar 8.
Bars 13-52: Following the ritardando at bar 12, it is essential for the conductor to establish the correct tempo at bar 13, allowing the soloist lyrical freedom and the ability to sustain long phrases as the tune begins at bar 16. The descending scale gesture at bar 39 should be measured, yet not overstated.
Bars 53-74: There is a slight slowing of tempo as soprano, flugel and horns take the theme while cornets, trombones and euphonium adding countermelody.
Bars 75 to end: Returning to the opening tempo, it will again be helpful to give clear cues for the chimes, bass drum and triangle from bars 75 to the end.
[Note: This solo can be heard on the Chicago Staff Band recording,Kurios, performed by Brett Tolcher]
Program Note:
The tune Randolph, by preeminent English composer Ralph Vaughan Williams was first published in 1906 as a setting of Jeremiah Rankin's hymn, of which the first verse reads:
Note to the Conductor:
William Gordon's stunning four verse setting of Randolph progresses from the quiet simplicity of unison cornets and with each succeeding verse builds to a magnificent organ-like finale.
Gratitude is expressed to the publisher and copyright holder, Oxford University Press, for granting permission to publish this brass setting in the American Festival Series.
Beginning to bar 9: A ceremonial snare drum roll is the sole accompaniment to the cornets opening unison rendering of the tune.
Bar 10-17: The mellow instruments (flugel, horns, baritones and euphoniums) provide a beautiful change of color here with 2nd horn, baritones and euphonium seamlessly adding harmony.
Bars 18-26: A two beat snare and bass drum roll signals the entrance of the cornets and trombones in a more brilliant third verse setting. Here the bass trombone is essential (cued in Eb bass). Bring out the rising soprano cornet line from bar 22.
Bar 27 to end: A dramatic percussion roll precedes the "open pipes" organ like sounds of the final verse at bar 27. Be sure to observe the swell in bar 30, followed by a dramatic decrescendo before building to the final climatic chords. Avoid any tendency to overblow while striving for the full sonorities of this majestic finale.
[Note: this setting is especially effective when performed as a benediction "in the round" with players grouped by sections surrounding the audience.]
