Product Description
Sing Praises
Selection
Composer: William Gordon
Produced by The Salvation Army - Central Territory
Score Sample
Notes
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Score Notes
Notes:
Comments by Staff Bandmaster William Himes, Music & Gospel Arts Secretary, USA Central TerritoryThe added bonus to this colorful and exciting score is its functionality. The composer offers optional endings so that any of the three sections can be presented separately or as part of a continuous work, thus providing opportunities for use in services and meetings as well as festivals. The structure is as follows:?Most of this music is straightforward and relatively easy to anticipate from a rehearsal standpoint. However a few specific comments are offered which may be helpful:
- 1-106: Ellacombe
- 107-161: St. Francis
- 162-end: Lobe den Herren, Old Hundredth
?Bars 1-40: The opening section should be vigorous and exciting. Emphasize the accented, syncopated patterns. This will be more easily achieved if the volume of the non-accented notes is understated.?Bar 29-35: Although much is going on here rhythmically, take care that the players do not confuse energy with volume. The dynamic for all (including snare drum) is mp.?Bar 60-63: The syncopated rhythms in the horns and 1st baritone must synchronize with the moving eighths (quavers) in the euphonium and solo horn parts.?Bar 106: As previously mentioned, this bar can serve as an optional ending by ending abruptly with the martellato (^) on beat three, or as a link through the fermata on beat four.?Bars 107-161: With its flowing lines and gentle sonorities, this section would be rightly classified as a pastorale. Let this serve as a lovely contrast to the fire and majesty of the surrounding movements.?Bars 162-206: Note the restrained tempo and strive for a dance-like quality throughout, with a discernable pulse on the strong beats. This is especially necessary for those parts playing the repeated rhythmic ostinato, such as the flugel, solo horn, baritones and euphonium in bar 162.This attention to pulse also applies to the melody (Lobe den Herren) wherever it appears.?Bars 206-207: This is the first of several meter shifts in this piece. The conductor must anticipate these with mathematic precision, in this case shifting from 6/8 to 4/4 with the speed of the eighths (quavers) remaining consistent.?Bars 211-226: The final theme (Old Hundredth) should be played in a sustained style in order to effectively project the theme over the rhythmic, staccato accompaniment.?Bars 226-227: The meter shifts back to 6/8 with the same eighth (quaver) equivalent. As in the first instance (206-207), the conductor would do well to practice conducting through the two meters with a metronome clicking the eighth pulse (184 per minute). Eventually calculation will be taken over by a natural feel for the change. (Try not to over-think this or provide complex explanation to the players. If the conductor is confident, the players will usually be able to play it!)?Bars 234-235: Another metrical challenge is presented here-this time with the pulse remaining the same (two beats to the bar). The shift is from 6/8 to 4/4 in alla breve. (Again, the metronome exercise-now set at 92-should help.)?Bars 235-262: Given the long sweep of the melody, along with the rhythmic complexity of the background, It is important for the pulse of this section to be felt and conducted in two.?Bar 263-264: This time the metrical shift is accomplished through a molto ritardando (but note the 6/8 tempo arrived at in bar 264 is the same as the previous section!)?Bars 271-272: This section calls for a final shift into 4/4, which is achieved in the same manner as in bars 206-207. What follows is an exciting finish, the key to which is the percussion in the final two bars.?Program Note:This scintillating collection of timeless praise themes includes "I sing the mighty power of God," "All creatures of our God and King," "Praise to the Lord, the Almighty," and "Praise God, from whom all blessings flow."ments by Staff Bandmaster William Himes, Music & Gospel Arts Secretary, USA Central Territory
Program Note:
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.]
