JSC THE PILGRIM'S PRAYER

Introduction ﾡﾪ This could hardly be more simple. Inexperienced players may have some little difficulty in intonation, especially as they are starting 'cold', but a useful lesson can be learned in this connection when rehearsing these two bars.

Section A ﾡﾪ The music is hymn tune-like in character, but it should not become stilted, Close intonation is still a point to study, especially in view of the chromatic nature of some of the harmony.

Section B ﾡﾪAim to secure just balance in the accompanying parts, especially in the second phrase, where the 1^st cornets may be inclined to treat their moving part as an independent melody rather than part of the 'color' background.

Section C ﾡﾪ This is a reprise of the first theme, with a different arrangement. The same comments apply, however.

Section D ﾡﾪ Here the music becomes more song-like in style, and provides an interesting contrast. The scoring, too, is more varied, and there are a number of points that call for attention. Note that the 1^st and 2^nd cornets and 2^nd trombone work as a team throughout; see that the pulsating, syncopated background adds to the movement of the music without giving a jerky effect; the new entires in the fourth and twelfth bars are to be made quite smoothly; and do not allow the texture of the music, especially in the last eight bars of the section, to overshadow the simplicity of the main tune.

Section E ﾡﾪ Here the first subject appears again. In the arrangement the color contrasts are quite clear-cut. In order to secure true balance in the fifth and sixth bars, it may be necessary to adjust the amount of tone given by the bass trombone, as this part is not doubled as are the other parts.

Section F ﾡﾪ This section form s a simple but expressive coda.

• Sydney Rouse
• Arr. by Eric Ball

(sample music)
(view series guide)
Produced by The Salvation Army, SP&S, UK