Composer: Noel Jones
Difficulty: Medium/Difficult
Notes: The march He Lives is one of the ‘classics’ written by Noel Jones. Originally published in the Triumph Series in 1983, it has remained a favourite of Salvationists the world over. Noel has contributed significantly to publications by The Salvation Army and we thank him for re-scoring this march for our five-part series.
Closely following the original scoring the lower divisi parts in the 1st Cornet are optional but will make for a fuller sound. The two tunes used are It’s No Longer I That Liveth and He Lives.
Composer: M. Carian arr. Ralph Jones
Difficulty: Easy
Notes: New Zealand Salvationist, Marian Carian wrote this song in 1999, after a particularly difficult time in her life. This arrangement holds little technical difficulty. Attaining a relaxed legato style with a supportive rhythmic approach from the drum kit will ensure this beautiful song is a great contribution to worship. The two-verse arrangement will work equally effectively as a band message or as an accompaniment for congregational singing. We thank Bandmaster Ralph Jones of the Noarlunga Corps, South Australia for his sensitive arrangement of this lovely song.
Composer: Sam Creamer
Difficulty: Medium
Notes: The well-loved hymn “He Hideth My Soul in the cleft of the rock” is arranged here in a relaxed bluesy jazz waltz setting. To achieve the blues style it is important for the music to be relaxed and not forced. It’s not a fast swing; it’s just nice and easy.
Letter C features a jazz cornet solo which may be read as written or improvised (chords supplied). If desired, instead of the same soloist carrying out the solo for the whole 36 bars, it may be split with another soloist picking it up at the double bar line.
Composer: Rich Mullins arr. Brian Hogg
Difficulty: Medium
Notes: Based on the chorus to the song Our God Is An Awesome God, by Rich Mullins, this piece is essentially a one-movement set of variations on the well-known tune.
After a short, majestic opening the tempo is constant for the remainder of the piece. In several places there are two contrasting, expressive styles required (legato set against a light, staccato articulation). Ensure that the two styles are consistent within the instrumental groupings.
Composer: Sam Creamer
Difficulty: Easy
Notes: Featuring Pack Up Your Troubles and It’s Along Way To Tipperary, this march is a useful piece for bands requiring something which will immediately connect with their audience on ANZAC Day.
Composer: P. Armstrong arr. Ralph Jones
Difficulty: Easy
Notes: This relatively new tune (1984) has been sensibly arranged by Bandmaster Ralph Jones of Noarlunga Corps for the Noel Jones Series. The melody is carefully passed around the band with almost every section of the ensemble having an opportunity to present part of the melodic material.
Composer: T. Mack arr. B. McDonald trs. Wayne Collyer
Difficulty: Medium
Notes: This arrangement of the well-known songster piece of the same name (Sing To The Lord 1994) by Thomas Mack, was submitted to the Music Board in 1996 by Bruce McDonald and has been transcribed by Wayne Collyer to fit the instrumentation of the Jones Series.
Composer: Brian Hogg
Difficulty: Medium
Notes: Many of us would have learnt this chorus in Sunday School and the meaning of the words can still present a challenge to each of us. This setting of the chorus tries to capture the joy we can find in praising and rejoicing. The style should be light and cheerful, even exuberant.
Composer: J. Webb arr. Jared Proellocks
Difficulty: Medium
Notes: Jared has presented us with a full sounding arrangement quite appropriate for the words associated with the music yet there is ample room for soloists to be expressive. Maintaining a full tone quality throughout the piece will enhance the performance.
This piece, written by Joy Webb and performed by The Joystrings, revolves around the unending love and presence of God.
Composer: Sam Creamer
Difficulty: Medium/Difficult
Notes: Sam has revitalised this old chorus into a swinging, fun chart to play and listen to. Your soloists will also enjoy having the ability to ‘stretch their legs’ in the written (improvised) lines.
Composer: Peter Walker
Difficulty: Easy
Notes: Major Peter Walker has provided his own musical setting to words found in 1 Thessalonians 5: 23 (Msg). Peter wrote the music while at the ICO during a time of reflection and prayer. Both the words and the music are eminently suitable for use as a benediction which will find use in many Corps.
Composer: A. Gullidge trs. Brian Hogg
Difficulty: Medium
Notes: Originally published in Triumph Series this Gullidge March will be well known and it is presented here, in the NJS, in the hope that it will provide a useful addition to the repertoire of smaller ensembles. The construction of Exuberance is classic Gullidge; strong melodic lines accompanied by equally robust harmony. The bold, angular bass melody provides a contrast to the final, trio, section. Simple yet profoundly elegant in its construction the composer’s skills are ably demonstrated in the two melodic ideas perfectly balanced as a counterpoint to each other.
Composer: Brian Hogg
Difficulty: Easy
Notes: Colonel Edward Joy wrote All My Days And All My Hours in 1926 when he held the position of editor of the War Cry in Canada West. It was introduced to England the following year and published in The Musical Salvationist in May 1928.
This well-known chorus has long been a favourite of Brian Hogg’s: I’ve always found an elegant symmetry in the construction of the melody: with its simple, ascending melodic line, climaxing with the words … “not a fragment but the whole” leading gently to … “shall be Thine, dear Lord.” The shape of the melody, and its inherent intensity, matches the words so perfectly.
Composer: Sam Creamer
Difficulty: Medium
Notes: Originally written as a Cornet or Flugel Horn Solo this piece will work best with either of these instruments but could be used as a Euphonium solo.
The two tunes used are well known and are presented in an uncluttered and relaxed manner. As with all solos with band accompaniment, there is a need for players to be aware of their role in the music and not allow personal dynamic level to obscure the melody.
The two songs associated with this setting are:
I Am Praying Blessed Saviour and I Believe God Answers Prayer.
Composer: Brian Hogg
Difficulty: Medium/Difficult
Notes: This setting should be playful and joyful and feature a number of soloists from the ensemble. The start should be quiet and relaxed which will allow the music to build naturally as instruments join in. The solo section at 38 has been written with cued parts which will allow a single soloist or several soloists to play throughout the section.
A light swing style throughout the piece should be maintained. Swing is generally played legato with appropriate attention to articulations.
Composer: John Anderson
Difficulty: Easy
Notes: Deputy Bandmaster John Anderson of Ringwood Corps (Melbourne, Australia) has penned a few arrangements but this is the first one to be published. Simple in its construction, "Desire Of My Heart" features two tunes: The Salvation Army chorus "Into My Heart" and Ivor Bosanko's songster piece "His Provision". The arrangement takes the listener on a journey from conversion to allowing the Holy Spirit to lead us in our day-to-day lives. The music needs to be expressive with an appropriate level of rubato to reflect how the tunes would be sung. A confident opening is mandatory.
Composer: Sam Creamer
Difficulty: Medium
Notes: The well known melody, Mine Eyes Have Seen The Glory, has been given a wonderful reworking by Sam and provides an enjoyable piece to play and to listen to. The composer has provided the following Program and Rehearsal Notes: The arrangement has been written in a similar style and feel to the film Les Miserables, despite it being a patriotic American tune. There are references to different parts of the melody throughout the arrangement which should be brought out as a feature each time.
Composer: Brian Hogg
Difficulty: Medium
Notes: The hymn tune St Columba is one of the tunes associated with this well-known paraphrase of Psalm 23. This simple setting, written at a time of bereavement, reflects the positive assurance we have (even in the face of death) of God's care and guidance.
Little technical difficulty will be found within the notes but the music demands that the players be expressive and attempt to capture the truth encapsulated within the words.
Composer: Lindsay Stow
Difficulty: Medium/Difficult
Notes: Bandmaster Lindsay Stow, Warrnambool Corps, provides a welcome addition to the Christmas repertoire available for small bands. We are confident this new work will be used by many bands as they proclaim the message of Christmas. The Midnight Clear was written in 2011 for the Warrnambool Corps band’s participation in a community Christmas parade in Mortlake, a small country town in Western Victoria.
Composer: Noel Jones
Difficulty: Medium
Notes: We are excited to publish this new march from Noel Jones; we are blessed in The Salvation Army to have such a wonderful person and composer in our ranks. Noel's music has reached around the world and its message remains consistent and clear; the final tune used in this march sums up the message succinctly..."Give To Jesus Glory". All the hallmarks of a Noel Jones march are here; clear and singable tunes with little distraction. Toe-tapping music that is sure to please all.
Composer: Sam Creamer
Difficulty: Easy
Notes: A straight forward treatment of the hymn tune Crimond. There are few technical demands being placed on the musicians here yet this is sure to find a place in many band libraries.
Composer: Lindsay Stow
Difficulty: Easy
Notes: Originally written as a Cornet Solo this piece will work with either Trombone, Baritone or Euphonium as well (some octave displacements may be effective for tenor instruments). Lindsay has kept the accompaniment quite sparse which allows the soloist more expressive space, particularly in the opening statements of the melody.
Composer: Sam Creamer
Difficulty: Medium/Difficult
Notes: A New Orleans Street Beat may not be in every drummer's repertoire but once again Sam Creamer is pushing the boundaries of our drum kit players. The overall style is swing, which is becoming more familiar to our bands, but the drum feel is quite specific. There are plenty of examples of the New Orleans Street Beat on the WWW; some research and further listening would be helpful. This chart demands some strong soloists on Soprano Cornet; 1st Cornet; Trombone; all within a New Orleans Jazz style. The accompaniment figures will take some careful rehearsal and work. This is a really fun chart and is bound to please musicians and listeners.
Composer: B. Gott arr. Brian Hogg
Difficulty: Easy
Notes: Originally published in 1984, in a Contemporary Music folder, by The Australia Southern Territory and subsequently produced in Musical Salvationist in 1989 this tune proved to be quite popular and deserves to be revisited and used within our Corps.
Composer: T. Coombes arr. Jared Proellocks
Difficulty: Easy
Notes: ‘Jesus You’re The Sweetest Name I Know’ (Tom Coomes), is a song of praise and adoration, and assurance of Jesus’ constant love and presence. It is presented here as a Bossa-Nova (meaning ‘new trend’); a Brazilian style of music based upon the Samba, and characterised by jazz-like harmonies, rhythmic percussion, improvised solos and smooth melodic lines.
Composer: Brian Hogg
Difficulty: Medium
Notes: The obscure title of this march is dedicated to the Puli Boys Home in Taiwan which the composer visited in 2011 with a group of Salvationist musicians led by Bandmaster Ralph Jones of Noarlunga, South Australia. The opening motif is based on P U L I and is used extensively throughout the music.
Composer: Jared Proellocks
Difficulty: Medium
Notes: In the lead up to Easter every year we reflect on the significance of the cross, and the blood of Jesus, in our faith, and in our own personal lives. In this beautiful hymn ‘Nothing But Thy Blood’, we are reminded of God’s unending mercy and grace, and challenged to ‘cling to the cross’ through all aspects of our lives.
Composer: Donald Mayne
Difficulty: Medium
Notes: This piece introduces a new writer to our publications; Don Mayne hails from Mildura Corps in Victoria and is perhaps best known for his trumpet playing in the Salvo Big Band. Risen is based on the triumphant words of “Christ the Lord has Risen Today” and the tune Easter Hymn.
Composer: Allen Pengilly trs. Noel Jones
Difficulty: Medium
Notes: Originally published in Triumph Series, Balga Citadel was written by Australian composer Allen Pengilly, retired Corps Secretary of the Morley Corps. It was written in 1980 for what was then the new and flourishing Corps at Balga. We believe this new transcription by Noel Jones will be a welcome addition to the libraries of many smaller bands.
Composer: Brian Hogg
Difficulty: Medium
Notes: Now I See is a setting of Amazing Grace which presents four verses to words found in our Song Book. The music attempts to reflect the words, without being too emotive and fluid with the tempo.
Composer: E. Kee arr. Jared Proellocks
Difficulty: Medium/Difficult
Notes: Blessed is the Lord was written in 1995 by Ed Kee. This arrangement is written in a driving rock style. This is a fun piece ( though a little challenging, ) that players and listeners will enjoy.
Composer: Sam Creamer
Difficulty: Difficult
Notes: "Bless 'em all" is a sequel to the highly popular ANZAC March "Pack Up", originally written in 2007 and published in the Noel Jones Series in 2011 (NJS1101). This new and exciting ANZAC March will be a great addition to ANZAC Day repertoires both as a stage or street march.
Buy now: Contact Worship Arts
Composer: Noel Jones
Difficulty: Medium/Difficult
Notes: This march has been written for the Kingston Gardens Corps in Melbourne. Don Sketcher, who is a member of The Salvation Army Melbourne Red Shield Band, faithfully served as bandmaster of this lovely corps. The march commences with a brief reference to ‘Stand up for Jesus’ and features two favourite songs ‘This Is The Day’ and ‘Amazing Grace!'.
Composer: Sam Creamer
Difficulty: Medium
Notes: Originally written as a quartet test piece for a Carindale corps quartet competition night in 2011, "Intrada On England's Lane" was soon expanded to NJS scoring. Based on the tune "England's Lane" (T.B. 277) this arrangement will work best as a prelude or concert opener. The whole arrangement has an English flavour about it and should be approached by imagining it being played by a church pipe organ, fanfare trumpets, and church bells in a truly royal and regal style.
Composer: Jared Proellocks
Difficulty: Medium/Difficult
Notes: This treatment of the hymn tune Covenant is deliberately cloaked in a primitive style of harmony which should conjure up the mood of the American frontier. There are also additional references to rock idioms. Both of these styles require careful attention to articulations, ensuring that accents (>) are treated with plenty of front to the note, but ensuring they are not 'short'. The tenuto (-) markings in music are more commonly associated with 'stress' rather than 'length', and in this piece, it is no exception. 'Lean' through these notes to give the appropriate weight. This arrangement intentionally references Verses 1,2 and 3 of the lyrics in the three verses presented. Reading these to the ensemble and presenting these lyrics to congregations/audiences will help paint a clearer picture of the music.
Composer: Sam Creamer
Difficulty: Medium/Difficult
Notes: Glory For Me is based on the tune "The Glory Song", the title taken from the song's chorus "Oh that will be glory for me!". Originally written 6/4 it is presented here in a bright, driving rock setting, with heavy soul and R&B influences. The introduction is to be legato and flowing with attention paid to where the melody weaves between parts. The change into rock style at bar 7 must be instant - (it may be a suggestion to rehearse the introduction last when piecing the music together in order to solidify a good rock tempo). The 6/8 bars are measured with the quavers keeping the same value - not to be interpreted as triplets.
Composer: Britteny Ling
Difficulty: Medium/Difficult
Notes: Originally written for the South Barwon Youth Band, this features another of those classic Sunday school songs that came to mind when I was searching for a march for the band to play. While the bandsmen and women were young, they all wanted to be counted and make a difference - a noble thought indeed! Even the young can "Stand Up for Jesus," which is why I felt the two songs would go well together.
Composer: Britteny Ling
Difficulty: Medium/Difficult
Notes: This tune appears here intentionally unfamiliar in a 6/8 time and minor key. The opening by the Euphonium hints at the lyrics “Enter, enter…” but feels like the subject doesn’t quite believe what they are “singing” yet - the struggle to allow Jesus to “enter right into my heart,” thus taking it over, is a terrifying thought! The revelation comes later, from bars 44 to 48 and beyond, where a full transformation occurs - Lord, enter now! My desire is that players and listeners will be challenged by these thoughts from such simple lyrics:
Enter, enter, right into my heart, Lord.
Enter now, enter now.
Composer: Noel Jones
Difficulty: Medium/Difficult
Notes: Once again Noel has provided a useful addition to our Catalogue. This tune is well known both inside and outside the Church and this particular arrangement will prove popular with many bands. In his own inimitable style, Noel presents the tune clearly while giving interest within the accompaniment to various sections of the ensemble. Some figures, such as those five bars before 23 may need a closer look by some players but generally fall well ‘under the fingers’.
Composer: Ralph Jones
Difficulty: Medium/Easy
Notes: The popular Hymn Tune Power In The Blood has received an up-tempo swing treatment by Bandmaster Ralph Jones from Noarlunga Corps in South Australia. There is little here to cause too much if any, concern for players; the familiar swing style should be just that, familiar. Remember to play legato unless marked and keep notes before a rest, particularly quavers, compact and tight. A consistent, ensemble wide, adherence to correct articulation and style is essential.
Composer: Alastair McHarg arr. Donald Mayne
Difficulty: Medium/Easy
Notes: Ivy Mawby wrote many beautiful and simple lyrics which spoke, and continue to speak, of the deep, personal relationship we can each have with our Saviour Jesus.
'When I Talk with Jesus, Bring to him my care, With his own sweet comfort Jesus answers prayer'.
The above chorus remains in our current Song Book and first appeared, with the verses, in Musical Salvationist in the late 1940s; they later appeared in Gems 6. The music was written by Alastair McHarg.
Composer: L.V. Beethoven arr. Brian Hogg
Difficulty: Medium/Difficult
Notes: This music, originally written for Solo Piano, is one of Ludwig van Beethovens’ most famous and well-known pieces. It is significant that this year, 2020, we commemorate 250 years since Beethoven's death.
Sonata Pathètique was written when the composer was 27 years old, in 1798, and published in 1799; it has been used in many ways by musicians including Billy Joel and KISS. This transcription remains close to the original though it has been adapted to suit the Brass Band. As a piece for brass, this presents quite a few challenges, particularly for small groups. Endurance, phrasing, intonation will all need extra care when preparing this piece. Subtle approaches to articulations will be required and players will need to be constantly aware of where the melody is as well as their balance and blend.
Audio demo: not available
Composer: Sam Creamer
Composition Style: March
Difficulty: Difficult
Notes: This march features two well-loved tunes; Sagina – a popular accompaniment to Charles Wesley’s hymn And Can It Be – and I Am Not Under Law, But Under Grace which is based on Romans 6:15.
Composer: Charles Hubert Hastings Parry arr. Britteny Ling
Composition Style: Hymn Arrangement
Difficulty: Medium
Notes: Britteny Ling is the Bandmaster at the South Barwon Corps in regional Victoria. She writes about this particular arrangement saying… The first iteration of this arrangement was created at the request of my corps officer, hoping for a short period of online church services during 2020 due to the COVID-19 pandemic lockdown! The words selected were verses 1, 4 and 5 of “Dear Lord and Father of Mankind” penned by John Greenleaf Whittier (1807-1892). I found myself playing and praying over “Lord and Father” as the music took shape, so I invite you to prayerfully consider our Lord and Father as you rehearse and the music progresses. The final refrain “O still, small voice of calm!” is repeated at the end with a moment for breath as we allow God to breathe into us.
Composer: Jonathan E. Spliman arr. Brian Hogg
Composition Style: Hymn Arrangement
Difficulty: Medium
Notes: The Salvation Army has a long history of utilising musical tunes for its own purposes; this is one of those tunes which has been commandeered as a suitable melody for well-known and well-loved lyrics by William Ralph Featherstone (1846-1873)… My Jesus, I love thee, I know thou art mine. Originally written as a poem at the young age of 12-16 these words have found their way into many Hymnals and given Featherstone’s Methodist background it is perhaps not surprising that they have found their way into The Salvation Army Song Book. The tune, originally written for Robert Burns poem… Flow Gently Sweet Afton, was composed by Jonathan Edwards Spilman (15 April 1812 – 23 May 1896), a Kentucky lawyer, minister, and composer. This setting is a simple reflection of the words we so readily now associate with the tune; particularly verses 1 & 3, with verse 2 used as a chorus. The changes of time signature allow for the emphasis on certain words and syllables; so it is crucial that conductor and players know, understand and interpret the words appropriately. Gently is the most important word, not only in the title of the work but in its interpretation.
Composer: Traditional arr. Jared Proellocks
Composition Style: Christmas
Difficulty: Medium/Difficult
Notes: As per many re-workings of tunes in a 3/4 time signature, a movement to 4/4 can breathe new rhythmic interest and drive. This arrangement is presented in a Latin style, similar to the Bossa-Nova. The Bossa-Nova (meaning ‘new trend’) is a Brazilian style of music based upon the Samba, and is characterised by jazz-like harmonies, rhythmic percussion, and long melodic phrases. The melody here is underscored by syncopated harmonies through the ‘middle’ of the band (2nd cornets, horns, baritones, trombones), and a dotted crotchet to quaver bass line. This can be interpreted as the rhythm section in a Big Band, with the ‘middle’ equivalent to the piano/rhythm guitar part and basses providing the bass guitar. Drum kit and percussion is the foundation for the music (and feel) being held together. This style and concept have become increasingly familiar in brass band settings recently and should be accessible by most competent bands. The music should be played ‘easily’ and ‘relaxed’. Ensure that the band is comfortable to play the syncopations without racing through the rests and pay close attention to the articulations.