Categories: SLOW TUNES, SACRED MUSIC Composer: Jonathan Newman
1861
1861 is a lyric hymn/fantasia for young concert bands, based on the beautiful 19th century Anglican hymn “Lead Me, Lord” (written in 1861 by Charles Sebastian Wesley). The hymn itself features a gorgeous melodic line over biting harmonies and striking counterpoint, and provides the pillars for this work. First is a soloistic treatment, followed with a dramatic full band tutti, and finally a section of evocative humming. Throughout are unique textures and colorful improvisitory accompaniments.
Grade 3. With the possible exception of Mozart, no other composer in the history of music ever surpassed Franz Schubert's genius for melodic writing. His lieder (art songs for voice and piano) were composed at an astonishing rate, and number in the hundreds. Some of Vienna's greatest singers were his closest friends, and he took pleasure in creating his songs for them. One of his most well-known songs, "Ave Maria," was composed in 1825 when he was 28 years old.
In my setting, I considered carefully the problem of translating piano music to the wind medium without compromising the dignity and beauty of the original. To have simply transferred the piano part literally to the winds would have resulted in a timid and thin sound. For me, the solution was to find and connect the multiple melodic layers implied by the piano figurations, creating a richer, more polyphonic texture suitable to the winds. I had lots of fun dissecting and re-assembling the piece, and I took occasional liberties in the process, but I never strayed far from the basic harmonic structure of the original, and I strove hard to preserve a Schubertian elegance and grace.
There are other differences between the two versions. In Schubert's setting, three verses of text are set to the same music. With the absence of the text in my version, it seemed sufficient to state the verse only twice, and it seemed necessary to find other ways to control and vary the dramatic flow. I took liberties with the octave placement of the melody, and rather than repeat the second verse literally, I constructed it as a subtle variation of the first. Finally, and perhaps most obviously, I changed the basic pulse of the original from the eighth-note to the quarter for greater ease on the eye.
Even without its text, Schubert's song sounds more devotional than virtually anything he ever composed. I kept this at the front of my mind throughout the creative process. Above all, I hope my setting reflects the profound sense of reverence and humility expressed in the original.
Categories: SLOW TUNES, SACRED MUSIC Composer: Travis Cross
Windependence – Master Level (Grade 4)
The well-known traditional Irish hymn is here thoughtfully arranged for wind band and optional vocal/choral part. The setting captures the humble, yet majestic, simplicity and deep faith represented by the hymn text, while providing an exceptional opportunity for combining band and chorus. (3:45)
Categories: SLOW TUNES, SACRED MUSIC Composer: Traditional Arranger: Philip Sparke
Grade 3.0 This is an ancient Welsh air that was first published in Relics of the Welsh Bards in 1794. Dafydd (David) Owain was a famous Welsh bard who lived on a farm called Gareg Wen (The White Rock) in Eifionydd, Carnarnvonshire, North Wales. Tradition has it that on his deathbed he called for his harp and composed this lovely melody, requesting that it be played at his funeral. Accordingly, it was later played at the parish church of Ynys-Cynhaiarn. Lyrics were later added by Ceiriog Hughes, which describe the melody's inspiration. This version for concert band retains all the beauty and simplicity of the original.
DOWN TO THE RIVER TO PRAY is a traditional gospel song dating back to the mid 1800s and was featured in the film “0 Brother, Where Art Thou?” It is known by many different titles, including “The Good Old Way,” “Down In The Valley To Pray,” “As I Went Down In The Valley To Pray” and “Down To The River To Pray.” It is an uplifting, feel-good song and should be performed with great joy.
The tempo is marked at quarter equals 126 and a two-beat, cut time feel would also work very well. The half notes in the low brass and woodwinds, measure 1, should lead the listener to the downbeat of measure 2 and beyond. Make sure your students have sufficient breath support as well as clean attacks on these accented notes.
The first statement of the tune is presented by the clarinets, accompanied by the tambourine. Since this piece is based on a song, the style should be rather legato, with a slight space between the repeated notes for clarity. At measure 14, the flute and alto saxophone take over the melody, with the clarinets providing the harmony. The trumpets, marked one level softer than the other instruments, recall the opening three notes of the piece.
Careful attention to the written dynamics is very important. There are many different color combinations of instruments used in the scoring which will also add interest and texture, but the written dynamics will add a lot to the musical performance of this piece. At measure 40, the oldest version of this song the arranger could find, “The Good Old Way,” is presented by full band, with the dynamic changing one degree every four measures as the tune builds. This version is slightly different than the one presented earlier and your students will need to be alert. At measures 43 and 47, allow the last three notes of the phrase to decrescendo slightly. There is a tendency to give that last note a little kick, which is not appropriate for this tune.
The percussion section is very important to this piece. They provide both a steady beat and color; however, do not allow your percussion students to play too loudly. As always, subdivision of the beat is essential to a clean and rhythmic performance. The after beats in the tambourine and the snare drum must be placed exactly to keep the tempo from rushing or dragging.
The note values beginning at measure 63 have .been elongated and will provide a satisfying conclusion to this traditional gospel song without adding an additional ritardando. The decrescendo will end the piece in a very gentle manner.
Above all, allow the spirit of the music to prevail as you introduce your students and your audience to this wonderful song.
Categories: SLOW TUNES, SACRED MUSIC Arranger: Samuel Hazo
Windependence – Apprentice, Advanced (Grade 2-3)
This graceful arrangement of the traditional four-part English chorale is perfect for teacing clear tone concepts to your band. The work is scored for beginning band or beginning string orchestra, allowing for the combination of the two ensembles for a tour-de-force year-end concert. (2:20)
Sir Hubert Parry (1848-1918) is mostly remembered for the marvellous melodies of his hymn tunes, such as Jerusalem and Repton. The latter first appeared in Parry’s oratorio Judith and was adapted as a hymn tune after the composer’s death.
Meditation on a Russian Chant for Symphonic Brass & Tam-tam
Specially adapted for members of the US Air Force Band from his monumental symphony Pascha, this is a brief but moving study in brass sonority. Exploiting the sustaining qualities of the instruments, it builds from a contemplative opening to an eloquent climax of restrained power drawing material from a traditional Russian Passiontide Hymn. A fine choice for your Easter concert, it would also be appropriate for any solemn occasion.
7 minutes
Programme Series – Grade 3.5
Performance time 4.28
This prelude has allusions to the nursery rhyme Oranges & Lemons ( The Bells of St. Clement’s). Following the Second World War St. Clement’s has been adopted as the Royal Air Force church, to which the work is dedicated.
Recorded on QPRM142D FESTIVAL OF MUSIC 2002, Massed Bands of the Royal Air Force)
Grade 1.
With its haunting melody and distinctive harmonies, this traditional holiday favorite adds a nice touch to any winter concert. Johnnie's well-crafted setting is very easy to learn yet effectively scored to sound great with small and inexperienced bands.
Categories: SACRED MUSIC, SLOW TUNES - Grade 3.0 Composer: Peter Graham
Grade 3.0 Duration 3.43
Swedish Folk Song has it's origins in an old Scandinavian melody first adapted by Stuart K. Hine in 1949 to his own hymn "How Great Thou Art". from the quiet opening on the solo flute to the full orchestration of the final statement, Graham balances us between echoes of the past and a vibrant present wherein we discover the beauty of the song or hymn at various levels once again. Grade 3.
A SWEDISH FOLK SONG SETI’ING is based on the familiar Lutheran hymn Children Of The Heavenly Father. The original tune comes from an old Swedish folk song, and the modem words are by Caroline V. Sandell-Berg. The work was commissioned by the 2009 Otsego County (New York) Music Educators Association in memory of Charles England, “a gifted musician, teacher and friend.” Mr. England’s extensive career in music performance included a tour with the United States Army Band (“Pershing’s Own”), and his broad educational training included a master’s degree from Yale in performance and pedagogy. This hymn was a favorite of his, and the composer has adapted the short melody in a varied setting for young concert band. The “setting” includes six different variations of the melody. The first is a simple straightforward setting beginning with a note in the chimes and a solo flute, building to a small woodwind choir. The second is a brass choir setting in minor. After a transitory theme the third is an expansive full band setting in four-four time. The fourth is in a new key and is built over a pedal point in the low winds. The fifth moves up a full step to a new key and in three-four time, like the first setting and the original melody, and features contrasting choirs of brass and woodwinds with the melody extended. The sixth and final setting is much like the opening in reverse, ending with the lone chime note with which it began. The composer is attempting to draw a musical picture of the idea that we come into this life with nothing and leave this life with nothing.
There is little indicated in the way of expression marks and dynamics, leaving most of the interpretation to the discretion of the director. Breath marks have been provided where necessary to outline suggested phrasing. The percussion is not extensive, provides important color elements, but should support and never intrude. Strive for a full, balanced overall sound with good blend and intonation. Play the work with appropriate reverence.
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