TORCHSWINGERS Download

Notes:
Comments by Staff Bandmaster William Himes, Music & Gospel Arts Secretary, USA Central TerritoryThis swing approach to Eric Ball's march classic is likely to raise a few eyebrows on the faces of SA music purists. However, there are two points to be made regarding the viability of this setting: First, as a close friend of Eric Ball, I had the opportunity to discuss this arrangement with him in 1987 (yes, it has been around that long!) and he was delighted with the idea and gave his enthusiastic blessing.Secondly, one of the characteristics of great music is its ability to be reworked in many forms and idioms. The swing vocal settings of Bach and Mozart by the Swingle Singers, and Duke Ellington's transformation of Tchaikovsky's Nutcracker are two examples that quickly come to mind. In this context there can be no doubt that Torchswingers is equally credible.That being said, here are a few technical points to keep in mind when rehearsin!r Bar 8: Make sure the trombone smears have lots of character, starting ahead of the beat and well below the pitch destination (at least from third to first position.)Bars 21-22: Be attentive to the pp entry in soprano. solo and second cornets, with its controlled crescendo, to create an effective nuance.Bars 37-39: Carefully balance the trombone bell-tones as a background to the cornet/euphonium melody.Bars 51-64: The trombone solo is intended to be played quite literally, while still sounding improvised. The solo will be more effective acoustically and visually if performed standing.Bar 87: Note the rhythmic timing of the smear in the first and second trombones. It is important this be played precisely together otherwise the effect will be lost.In general: There are two major factors that can affect a successful performance: First, a steady, authentic and tasteful swing style provided by the drum kit. Besides establishing the tempo and style, the drum kit is virtually the driving force behind the entire piece. Equally important is the band's attention to the abundant articulations and dynamic effects needed to assure an authentic jazz/swing style.

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Program Note: Eric Ball's classic march, "Torchbearers," first published in 1933, Is transformed in this setting arranged in swing style.

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.]