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JSC Star Lake
Product Code: 4102001214
Comments by Eric Ball
In 1937 the writer was privileged to be a guest at The Salvation Army's Music Camp held at Star Lake, N.J., U.S.A., - a very happy experience indeed.
For the Camp's A Band this March written, very hurriedly, with a squad of copyists sitting round the desk waiting for each new page of the score to be handed to them. The piece was written, rehearsed and given a public performance within a few hours, amidst idyllic surroundings and with a certain amount of enthusiasm. What more could a composer desire? Apart from one or two changes of rhythm, the present version is little different from the original, except that at first the cornet trio work at Section D was made so difficult that even the very efficient soloists of the Vamp Band could not make it sound like music! The March is light-hearted throughout, is to be played at a brisk speed, and must never become heavy, labored, very loud or serious.
(view series guide)
- Introduction — This calls for little comment; the music must spring into life, setting the mood for the rest of the March.
- Section A — In the first two bars the tendency may be to reach the end of the crescendo too soon, a fault often noticed amongst our Bands. The slurred groups in the first time bracket help to accentuate the rhythm, and these should be clearly delineated.
- Section B — Just balance between Cornet and Horn parts, and cohesion in tone and style in the lower part of the Band are the main requirements here. The note-reading is quite easy.
- Section C — Except for the last four bars, this section is an exact repetition Section A.
- Section D — Syncopation is a feature of the melody, but this need not be over-accentuated; in fact, a legato style might be effective here. The Cornet Trio work, must be well-balanced.
- Section E — Once the accidentals have been mastered, this section will quickly take shape. Let the beats for Percussion be played very snappily and without apology! — a sudden fit of shyness on the part of the Percussionists would ruin the effect here, and we have known this kind of thing to happen! See that the Band saves something for the crescendo to fortissimo in the last four bars.
- Section F — Soprano and Horn parts should be very smoothly and intensely played, as should that for the Euphonium, on the whole, The last four bars can be played very snappily by all concerned.
Produced by The Salvation Army, SP&S, UK