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Notes:
Comments by Staff Bandmaster William Himes, Territorial Music SecretaryThis hymn setting should not pose a great technical challenge for most average-sized bands, but it is hoped that the playing of this glorious theme will be a source of blessing and inspiration.

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Intro: While the opening is full-sounding, strive for warm sonority, rather than startling brilliance. This will be helped if the cymbal player is cau?tioned not to over-do.

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Meas. 5-19 provides the setting of the first verse. It might be helpful to picture a formal liturgical setting, where the priest intones a chant fol?lowed by a response from the assembled worshippers. Such should be the interplay between the solo cornet and the answering full band. Meas. 20-35: This section must contrast the preceding hymn. It should be lyrical and expressive, yet have motion without being frivolous.

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Meas. 36-39 return to the opening statement, this time to provide a tran?sition to the darker key of Ab concert. This is achieved by abrupt changes in timbre (cornets/trombones to horns/baritones) and dynamics (forte to mezzo-piano). The Eb bass will need poise and finesse to "pick out of the sky" the quiet, high F in meas. 38.

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Meas. 40-55 call for a blended sound between the horn and trombone sections. Meanwhile the basses should lay a steady rhythmic foundation, giving special attention to the staccato, which should emulate the rounded separation of a string bass pizzicato. Above all, the solo cornet should soar with lyrical abandon.

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Meas. 56-67 offer some motivic development with sharp contrast heard between the allargando peak of meas. 58-59 and the tender flugel solo of meas. 60-63, followed by the transition into the final verse.

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Meas. 68-75 begins a long and steady climb to the peaks of this noble theme. The gradual crescendo should come without effort, as parts enter one at a time, "sneaking in" under the dynamics of the instruments already in play, until finally, the entire band focuses its efforts on the cli?max at meas. 82.

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This fortissimo level should prevail to meas. 85, where a steep diminu?endo - coupled with a rallentando - brings this setting into tranquil repose.

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Program Note:Based on the 19th century melody of the same name by Dr. J.B. Dykes, this three-verse setting draws its inspiration from the familiar and majestic text of Reginald Heber:

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Holy, holy, holy, Lord God Almighty!All thy works shall praise thy name in earth and sky and sea;Holy, holy, holy, merciful and mighty,God in three persons, blessed Trinity!

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.]