GOWANS AND LARSSON OVERTURE Download

Notes:
Comments by Staff Bandmaster William Himes, Territorial Music SecretaryThis vivacious overture is certain to be a popular addition to our brass band literature. Abounding with idiomatic diversity and harmonic variety, this work should prove to be a good challenge as well. When preparing this piece, keep the following in mind:

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Intro: The skill of double-tonguing will be a necessity to capture the excite?ment and pace of the opening. When working on this section, emphasize that the rhythm pattern is repeated every two measures.

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Meas. 8-13: Coordinate the rhythmic patterns of the euphonium and Eb-Bb basses into one pulsating, composite ostinato.

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Meas. 22-31: This being in swing style, the trombones should be less literal in their execution of the dotted-eighth and sixteenth rhythms. This idiom calls for more of a "6/8 feel" to be convincing.

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Meas. 32-46: The snare drum is a vital factor in keeping the forward mo?tion of this tempo. Nevertheless, the overall band timbre should be mellow here.

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Meas. 55: Note the fp crescendo comes back to just mf.

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Meas. 70-73: Give attention to the detailed articulations the composer has provided for the euphoniums and baritones, as well as the answering trom?bones.

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Meas. 74: Syncopated "shot notes" will likely need rehearsal "in four" to build confidence before bringing the tempo up to the given "alla breve." Strive for attacks that are firm and detached.

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Meas. 103-106: Make the most of the exaggerated tempo changes.

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Meas. 114-121: The solo cornets provide a florid descant which is rein?forced in bits and pieces by the 1-2 cornets, flugel and horns. Synchroniza?tion is the objective! (The same holds for the euphoniums/baritones at meas. 122-133.)

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Meas. 174-end: The sting of the ffp should make it possible for these parts to get out of the way, postponing the returning crescendo until the rising chromatic scale is well established.

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Program Note:With true Hollywood style, this talented West Coast arranger has created a delightful potpourri of melodies from Army musicals from the team of John Gowans and John Larsson.

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.]