see 183918

Commissioned by the band students at Olivet Nazarene University for the retirement of their director, Dr. Harlow Hopkins, this arrangement includes his two favorite hymns: “In Heavenly Love Abiding,” and “It Is Well With My Soul.” Written in a choral-prelude style, this delightful arrangement features the woodwinds with a creative motif throughout. Various treatments of the hymns include a fugue, augmentation, stretti and imitative counterpoint, along with a dramatic and flowing treatment of the melody which reads in part, “When peace like a river attendeth my way.”

see 183920

Built On A Rock provides opportunity for a variety of compositional treatments. The opening is presented as a three voice canon, followed by a pyramiding of the first measure. A slow section features three instruments in chaconne form. Throughout the work the underlying theme is embellished by woodwind runs and trumpet accenting devices. The piece concludes in brilliant fashion.

Presented in a traditional band overture, an introduction based on motives from the themes starts the work. Then in character befitting each of the hymns depicting dedication they are presented in order: I Am Thine O Lord, A Charge To Keep I Have, He Leadeth Me, and Take My Life and Let It Be. The coda reaffirms the themes involved in a fanfare style.

see 182907

Purely a novelty… with what Noah might have had to put up with. It begins with a flowing theme based on the call of the meadowlark, followed by the antics of the cuckoo. Then comes the arrogance of the woodpecker theme, concluded by the cacophony of all these “birds” carrying on at once. A “L’ark?” for Noah?

Presented as a nationalist tour on the theme through variation styles of: Oriental, Scottish, Russia, Latin, and a touch of an American Sousa march. The coda even makes a point of its own.

Written in the style of a Sousa march, the march includes I Know I Have Believed and Trusting Jesus for the first two strains and incorporates Faith Is The Victory for the Trio. The traditions of Sousa are present along with some typical Sousa deviations.

Based on Haydn’s Austrian Hymn, this arrangement of Glorious Things Of Thee Are Spoken consists of an eight measure introduction and eight measure coda based on a sequence of the theme’s first measure. The original key states the theme twice with brief two measure bridges of the sequence. Suitable for congregational singing.

see 181911 From Handel’s 1746 opera, Judas Maccabaeus this familiar hymn has survived even though the opera has not. It is found in many hymnals as This Is The Glory Risen, Conq’ring Son. Active percussion helps define the strong martial character. In (Eb) and (F.)

see 181911

see 181910

Intended for students with one or more years of playing experience, this arrangement features a very interesting but not difficult countermelody for low instruments, and will sound full even with a minimum of players. The main theme is featured twice, first in concert Bb with the melody in treble parts, and then in concert Eb with melody in lower instruments, along with a creative obbligato for upper instruments. The harmonies include an occasional chromatic treatment setting it apart from many traditional young band arrangements. Rhythm includes half, quarter and occasional eighth notes.

The selection opens with a declamatory fanfare. Following, the theme is presented in solo clarinet and later joined with a flute obligato. The lower wind parts present the theme with fanfare flourishes followed by woodwind counterlines. Block chords give a feeling of strength and conclusion and then ends with the fanfare that it began.