SHOUT ALOUD! Download

Notes:

Comments by Kevin Larsson

This march is "busy" with many musical lines that need to be brought out independently or sometimes in combination. While there are many opportunities for the band to open up dynamically, taking a lighter approach style-wise is advisable throughout.
Beginning to bar 15: The piece commences with a pick-up beat, then a bar of 6/8 (which should be beat in two), then a 2/4 bar, before proceeding forward in 4/4 time. Like much of this piece, observe the varying articulations and work for good dynamic contrast. The quotes from the march Celebration (bars 7-8) should be brought out.
Bars 16-36: Be sure the main theme in the flugel and horns sits in front of the lively "Hollywood-style" accompaniment. Work for uniform articulation particularly in bars 26-28 . Trombones quote for the first time Lift High the Banner at bars 33-34, surrounded by a brazen Afro-Cuban accompaniment in percussion (using bongos, toms and maracas) with cornets, flugel, baritones and euphoniums. At bar 36, back-row cornets, flugel and solo horn conclude the section with flutter tonguing.
Bars 37-77: A complete presentation of the Lift High the Banner tune is presented first in the euphonium-baritones. The accompaniment pitting the syncopated trombones against the tubas needs to be secure, measured, and never heavy. The cornets need to use a wide range of dynamics with their entrances. The mellows take up the next phrase of the tune at bar 45 in a more traditional legato style. The cornets and trombones entry from bars 48-51 should rise gradually from piano to fortissimo. As this presentation of Lift High the Banner concludes, be sure the cornets and trombones observe the forte-mezzo piano to allow the flugel and horns to be heard at bars 55-56. In typical march fashion, a reprise of the opening theme commences at bar 59 concluding with a full fortissimo finish at bar 77.
Bars 78 to end: A transition section pits the cornets in canon with the baritones quoting Lift High the Banner against a tricky syncopated accompaniment in a long crescendo to fortissimo. Bring out the baritone answering figure so that it is heard. Commencing from bar 86, the original march melody (from bar 15) and the Lift High the Banner tune are combined. The concluding bars (from bar 102) require a scaled crescendo (once again from mezzo piano to fortissimo), as well as careful rhythmic articulation.

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Program Note: This festival march is taken from a larger work written for the "North American Brass Celebration," which brought together all the Staff and Territorial Bands of North America to celebrate the Western Territory Staff Band's 10th year anniversary. While there are references to the classic festival march by Leslie Condon Celebration, the march uses as its principal theme an old Salvation Army tune, "Lift up the banner," with the following words:
We'll shout aloud throughout the land
The praises of our God,
We'll fight beneath our flag unfurled,
Kept by His precious blood.
So we'll lift up the banner on high,
The salvation banner of love;
We'll fight beneath its colors till we die,
Then go to our Home above.

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.]