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Notes:
Comments by Staff Bandmaster William Himes, Territorial Music SecretaryIf there is anything one can expect of the music of Brian Bowen, it is the unexpected. While following the traditional march form, this work abounds with rhythmic and harmonic diversity and will require thorough rehearsal to achieve a convincing performance.

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Intro: Strive for an accurate shift between duple and compound rhythms presented in the opening measures, saving a brilliant burst of brass for bar 6.

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Bars 7-17: Overall, this strain should be light and carefree, avoiding the tendency to "hammer away" at 16th notes (semi-quavers). Trombones should bring out their solo moment in the 1st ending with a firm marcato style.

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Bars 18-30: As this lilting melody is briefly presented, the 1st cornet must be careful to blend into the mellow timbre of flugel and horns. The rambunctious ff response which follows should come as a surprise and recede just as suddenly. Strive for precision from cornets, trombones and basses at bar 30, beat 4.

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Bars 31-42: The chorus, "Make Jesus King", is presented in a straightforward manner. Be careful to bring volume to an understated mf at bar 35 to heighten the contrast of the second statement in the section which follows.

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Bars 43-54: While playing their rolling eighths (quavers), euphoniums and basses should give emphasis to the strong beats (1 & 3) in bars 43-46. Avoid the tendency for cornets to rush their ascending pattern as they reach the upper register in bars 49-50.

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Bars 55-64: A return to the theme of the first strain follows with a bit of gymnastics added by the euphonium, which should endeavor to sound light and effortless, especially in bar 57.

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Bars 65-80: While the melody (1st baritone, euphonium) is a model of simplicity, a proper sense of phrasing, leading to the first beat of each bar, is essential to bring this theme to life.

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Bars 81-88: There are basically three independent elements of this "break strain" which will require individual attention followed by coordination and integration: 1) the tune motif (trombones) 2) ascending 16ths (semi-quavers) (cornets, euphonium) 3) marcato fanfare (1st cornet, horns, baritones).

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Bars 89-100: Clarity of scoring will be most effective when the sostenuto style of the melody (1st/2nd cornets, flugel and baritones) and ascending scales (solo cornet, euphonium) is contrasted with the percussive effects (soprano, solo/1st horns, trombones, basses and percussion.) Be sure to bring out the trombone motif in bars 97-100.

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Bars 101-end: The conclusion is an amalgam of virtually all the melodic elements introduced. Savor the brilliant half-note chords in bars 103-104 while give priority to the tune motif appearing in the low brass (bars 103-104 and 109). The final bars should be majestic and dramatic.

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Program Note:Written to commemorate the New York Staff Band's centennial anniversary in 1987, this bright and majestic march features the chorus, "Make Jesus King."

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.]