ROCKY MOUNTAIN CENTENNIAL Download

Notes:
Comments by Staff Bandmaster William Himes, Territorial Music SecretaryWith a quick glance through this march, one will see why it is so appealing to audiences and bands alike: it abounds in rhythmic and harmonic interest, contains well-known melodies and is just difficult enough to be a challenge without being insurmountable. In rehearsal preparation keep these things in mind:

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Intro: Beware of the "deadly unison" in cornet and trombone sections. This brief reference to "Home on the range" must be confident and accurate.

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Meas. 9-24: This happy theme must be light and energetic, with a bit of a "kick" on beat 3 and the following syncopation in each measure.

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Meas. 25-32: The same idea continues here with the addition of the florid countermelody in solo horn, 1st baritone and euphonium parts. These players must save themselves for meas. 28 , the most technically demanding part of this pattern.

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Meas. 33-46: "I'm living on the mountain" is given a straightforward treatment. Students of orchestration technique will be interested in the countermelody scoring in meas. 41 - 42, as it includes the upper Eb bass with the horns and euphonium.

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Meas. 47-58: With so much vitality in this section, care must be taken to be sure the soprano, 1st and 2nd cornets and flugel are the "balance point". (If other players cannot hear this theme, the music is out of balance.) Be sure to get the sudden drop to mf and its succeeding crescendo in meas. 55-57.

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Meas. 67-82: Careful study will be needed when sorting out the indications of "2nd time only" and "both times". This is especially prevalent in soprano and solo cornet parts. Euphoniums face the dual challenge of playing in the high tessitura while keeping the melody in tune with flugel and solo horn.

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Meas. 83-90: There is nothing of grave consequence here, other than to point out evidence of the composer's sense of humor with a veiled reference to "She'll be coming 'round the mountain" in meas. 87-88!

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Meas. 93-end: Give sufficient rehearsal time to the ending, particularly to the competing rhythms of meas. 93-94 in the cornet and trombone sections.

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Program Note:This jubilant, vigorous march was first performed by the Chicago Staff Band in Denver, Colorado in 1987 to honor the centennial observances of the Inter-Mountain Division, headquartered in that city. Because of its distinctive geography, the composer has cleverly incorporated several themes referring to the mountains and prairies of the area, including "I'm living on the mountain," "Climb up sunshine mountain" and "Home on the range".

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.]