Product Description
Festival of Thanksgiving
Selection
Composer: Kenneth Downie
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
As one would expect of the music of Kenneth Downie, this work abounds with color and energy as well as some technical challenges. Nevertheless, bands will find that thorough rehearsal will be well worth the effort as this praise setting comes to life.
Introduction: Opening with a transparent rendering of the hymn tune, "Monkland," give careful attention to the tuning of flugel and solo horn at bar 3, with its intentional dissonance and resolution.
Bars 12-19: The second rendering of the tune is full and sonorous, yet slightly quicker. The little fanfare at bar 14 (1st baritone, 1st and 2nd trombones must be clear, precise and measured.
Bars 20-81: This bright allegro section will require lots of attention to the sudden dynamic sweeps (i.e., bars 32-33) and technical demands that are tossed to virtually every section, but from bar 39 keep the tune, "To God be the glory" to the fore.
Bars 82-98: This section transitions to the tranquil, reflective scene to come with a large-scale rallentando from bar 85 to 98. The composer has provided helpful "mile markers" along the way to give a clear sense of proportion as the pace slows. Be alert to the references to "Praise, my soul, the King of Heaven" sprinkled throughout. Note the first reference at bars 81-82 where it appears in solo cornet and Bb bass - four octaves apart!
Bars 99-114: The well known chorus, "Thank you, Lord, for saving my soul," is presented in here with tenderness and simplicity. Let the flugel solo establish the mp dynamic level with the accompaniment movement and sonority in hushed support.
Bars 115-121: This section serves to bring the mood to a quiet conclusion with a relatively quick transition to the allegro vivo which follows. The first hint of something to come is provided by the soft articulation in 1st and 2nd horns (with bells) at bar 120. Then it is up to the euphonium to quickly accelerate in just one bar to the next section.
Bars 122-151: The energy of this section can tempt players to play louder than the music asks. While there are some important dynamic sweeps - especially in the trombone section - give care to restrain the excitement so that the declarative presentation of ""Now thank we all our God"" at bar 130 is no more than forte. This leaves some room for the sudden fortississimo at bars 135-140 with the percussion leading the charge.
Just as suddenly, the music drops to mp at bar 141, but with no loss of tempo. Meter changes in bars 142-151 will need to be carefully worked out, keeping the eighth-note (quaver) speed constant.
Bars 152-166: This section features sonorities that are at once huge and balanced, along with a gradual slowing and softening of sound and mood. Another accelerando follows, but this time arriving at a noble pace for the final statement of the hymn. Again, observe the composer's helpful tempo indications.
Bars 167-end: "Now thank we all our God" returns with quiet solemnity. Observe and carefully pace the indicated dynamics, saving the ultimate fff for the final bar.Program Note:
Written to commemorate the Chicago Staff Band's 100th anniversary (1907-2007), this vibrant work utilizes several themes of praise from universal and personal perspectives to express our thanksgiving to God. Traditional melodies include "Let us with a gladsome mind," "To God be the glory," "Thank you, Lord, for saving my soul" and "Now thank we all our God."
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.]
