Product Description
Blessed Assurance
Flugel/Trumpet Solo
Composer: Stephen Bulla
Produced by The Salvation Army - Central Territory
Score Sample
Notes
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Score Notes
Notes:
Comments by Staff Bandmaster William Himes, Music & Gospel Arts Secretary, USA Central TerritoryThere are few specific technical points to cover in this fine orchestration. Bear in mind that although the andantino is a respectful 58 beats per minute, a lilting 9/8 pulse must be maintained throughout, particularly in the horn/euphonium line.?Bars 1-28: With the flugel featured in the low register, much is demanded of the accompaniment in terms of control and finesse. There is much going on in the accompaniment-but all of it must be unobtrusive. (Note the "second time only" indications in the cornets and trombones.)?Bars 30-36: Although the flugel plays in the higher register in this slightly quicker (poco piu mosso) section, the solo can easily be overpowered by the accompaniment. One solution is to have the melody (solo/1st cornets) "pull away" intensity when landing on the long tones of the melody in bars 31, 33 and 35.?Bars 36-47: This section represents the only true "band break" in the piece. Therefore the band should take the lead while the soloist changes instruments from flugel to trumpet ( or cornet). The change of meter (but not tempo) in bar 42 is easily achieved if most of the attention is given to the syncopated accompaniment in the trombones and basses.?The ritardando at bar 46 should be dramatic, with the timpani roll in the following bar having all the flair of an Academy Awards announcement!?Bars 47-55: The soloist now enters on trumpet to an accompaniment style that is punctuated and brilliant.?Bars 56-66: Quickly reduce the intensity in this contrasting section. The carillon effect in the cornets (second time only) will require careful rehearsal to achieve an effect that is precise, yet glossy.?Bars 67-end: The full band accompaniment is in a marcato style, yet must not be so heavy as to cause the soloist to overwork while playing up in the stratosphere. Strive for a finish that is dramatic and inspiring.?Program Note:An inspiring setting of the immortal 19th century gospel song of Fanny Crosby and Mrs. Joseph Knapp, this solo was written for Philip Smith (principal trumpet, New York Philharmonic), who gave its premiere in 1989.
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.]
