ENDLESS PRAISE Download

Notes:
Comments by Staff Bandmaster William Himes, Music & Gospel Arts Secretary, USA Central TerritoryThis selection, written in overture style, features three well-worn hymns and presents each with an unconventional twist. There should be plenty here to keep the band busy with music intended to connect with the audience. Attention to the following areas should assure an effective performance:Introduction: The driving rhythmic motif in basses and timpani should be clear and energetic, yet light on the tongue. This is contrasted by a bold "battle cry" in the cornet section beginning at bar 9. Strive for confidence with accuracy in this unison trumpet call.Bars 19-55: The mood is bright; the style should be bouncy.Bars 56-67: Making an effective transition here is key to the success of the following section. While the music doesn't appear to be difficult, experience has shown this to be a treacherous patch indeed! To pull this off, keep the following in mind:The rallentando in bars 56-57 is controlled primarily by the basses. At bar 58 the tempo should be steady and unhurried, with careful balance of accompanying horns and baritones so the cornet, euphonium and flugel entrances can be heard without difficulty.Bars 61-67 features a trio (soprano, solo cornet and 1st trombone) presenting a transparent, ethereal motif, emphasizing the text "I stand amazed in the presence." It is vital that the conductor take the opportunity at bar 67 to establish the new tempo that will be revealed by the basses and percussion in the succeeding bars.Bars 67-151: The success of this samba section will largely depend on the effectiveness of the percussion section as well as the articulation style of the band to be effective. Considerable effort has been made to provide clear articulation markings here. Conductors will want to distinguish between the usual accent, tenuto, staccato and martellato (^) markings. The latter is achieved with the tongue starting and stopping the note with the syllable "doot."The main thing is to strive for a relaxed sound and style with careful attention to the balance of the jazz harmonies in abundance here.Bars 148-151: Again, the percussion and basses control this gradual ritardando with a sultry conclusion from the cornets. Following the pause on the first two beats of bar 151 the conductor should cue the timpani on beat 3 in the allegro tempo of the final section.Bars 167-174: The unison unaccompanied melody in 1st and 2nd cornets and flugel should be sustained yet well marked.Bars 187-221: Here the familiar "Ode to Joy" (Europe) is twisted around a bit with this 3/4 setting. In spite of the frequent syncopation the approach should be light and cheerful. In contrast to the theme, the occasional trio entries from solo cornet and soprano should be timely and suave.Bars 245-248: The accelerando should be just enough to reach a comfortable alla breve tempo at 249. The opening rhythmic motif returns here (cornets, percussion) as an ostinato over the rest of the band, playing the theme in a warm, sonorous style.Bars 265-end: The conductor should strive for three things here: First, a careful but brilliant balancing of cornet and trombone harmonies at bars 269-70 and 273-74. Secondly, a controlled accelerando at bars 271-77 so as to avoid getting too fast, too soon. Finally, the 3/4 bars 281-86 will require careful attention to the opposing cross-rhythms and syncopations in order for the music to reach an unwavering and exciting finish.

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Program Note: This cheerful collection of three we/I-loved hymns, "My Saviour's Love," "Blessed Assurance," and "Joyful, joyful we adore thee" is reflective of the spirit and character of two friends for whom this was especially written: Commissioners Raymond and Merlyn Cooper, former leaders of The Salvation Army's Southern Territory, based in Atlanta.

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.]