Grade IV, Kjos Concert Bandworks

Composer:

Dr. Jack Stamp is Professor of Music and Conductor of Bands at Indiana University of Pennsylvania where he conducts the Wind Ensemble, Symphony Band, and teaches courses in undergraduate and graduate conducting. Dr. Stamp received his Bachelor of Science in Music Education degree from IUP, a Master's in Percussion Performance from East Carolina University, and a Doctor of Musical Arts Degree in Conducting from Michigan State University where he studied with Eugene Corporon.

Prior to his appointment at IUP, he served as chairman of the Division of Fine Arts at Campbell University in North Carolina. He also taught for several years in the public schools of North Carolina. In addition to these posts, Dr. Stamp served as conductor of the Duke University Wind Symphony (1988-89) and was musical director of the Triangle British Brass Band, leading them to a national brass band championship in 1989.

Dr. Stamp's primary composition teachers have been Robert Washburn and Fisher Tull, though he was strongly influenced by his music theory teachers at Indiana University of Pennsylvania and East Carolina. Recent studies include work with noted American composers David Diamond, Joan Tower and Richard Danielpour.

He is active as a guest conductor, clinician, adjudicator, and composer throughout North America and Great Britain. His compositions have been commissioned and performed by leading military and university bands across the United States. He has won the praise of American composers David Diamond, Norman Dello Joio, Samuel Adler, Robert Ward, Robert Washburn, Fisher Tull, Nancy Galbraith and Bruce Yurko for performances of their works. He is also a contributing author to the "Teaching Music Through Performance in Band" series released by GIA Publications.

In 1996, he received the Orpheus Award from the Zeta Tau Chapter of Phi Mu Alpha for service to music and was named a "Distinguished Alumnus" of Indiana University of Pennsylvania. In 1999, he received the "Citation of Excellence" from the Pennsylvania Music Educators Association. In 2000, he was inducted into the prestigious American Bandmasters Association.

Two CD recordings on the Citadel label entitled "Past the Equinox: The Music of Jack Stamp" and "Cloudsplitter" by the Keystone Wind Ensemble with the composer conducting feature his band works. He is founder and conductor of this ensemble, and also leads them on the Citadel releases, "Night Fantasy: The Wind Music of Robert Ward", "Divertimento: Wind Music by American Composers", "Celebrations", "Wind Visions: The Music of Samuel Adler", "Songs of Abelard", "Pageant", and "Cornerstones".

(Biography from <http://www.arts.iup.edu/facmus/jestamp/>)

Selected Works:

Gavorkna Fanfare (Kjos)- 5

Four Maryland Songs (C. Alan)- 4

Pastime (Kjos)- 5

Past the Equinox (Kjos)- 4

Elegy and Affirmation (Kjos)- 4

Cenotaph (Kjos)- 3.5

Divertimento in F (Kjos)- 5

Ricercare (Kjos)- 5

Composition:

The piece is based on the hymn tune “Slane”, more commonly known as the hymn “Be Thou My Vision”. The tune is ancient Irish in origin. Slane Hill is about ten miles from Tara in County Meath. It was on Slane Hill around 433 AD that St. Patrick defied a royal edict by lighting candles on Easter Eve. High King Logaire of Tara had decreed that no one could light a fire before Logaire began the pagan spring festival by lighting a fire on Tara Hill. Logaire was so impressed by Patrick’s devotion that, despite his defiance (or perhaps because of it), he let him continue his missionary work. The words, although not a part of this composition, are also ancient Irish. They are attributed to Dallan Forgaill (8^th century) and were translated into English by Mary E. Byrne in 1905.

Be Thou my Vision, O Lord of my heart;
Naught be all else to me, save that Thou art
Thou my best Thought, by day or by night,
Waking or sleeping, Thy presence my light.

Be Thou my Wisdom, and Thou my true Word;
I ever with Thee and Thou with me, Lord;
Thou my great Father, I Thy true son;
Thou in me dwelling, and I with Thee one.

Be Thou my battle Shield, Sword for the fight;
Be Thou my Dignity, Thou my Delight;
Thou my soul’s Shelter, Thou my high Tower:
Raise Thou me heavenward, O Power of my power.

Riches I heed not, nor man’s empty praise,
Thou mine Inheritance, now and always:
Thou and Thou only, first in my heart,
High King of Heaven, my Treasure Thou art.

High King of Heaven, my victory won,
May I reach Heaven’s joys, O bright Heaven’s Sun!
Heart of my own heart, whatever befall,
Still be my Vision, O Ruler of all.

The piece is listed as both grade IV and grade III. It was written for the Wind Ensemble at Arkansas State University, and first published in 1997. Other arrangements of this tune include works from all difficulty levels. Composers include Gillingham, Cross, Kidd, and Wagner.

Irish folk music is well entrenched in our culture. Perhaps the most famous Irish tune is “Danny Boy”, but other popular ones include “Londonderry Air”, “The Irish Rover”, and all Metallica fans are familiar with “Whiskey in the Jar (Kilgary Mountain)”. “Be Thou My Vision” is a slow ballad, and is similar in style to “Danny Boy”.

(http://www.cyberhymnal.org/htm/b/t/btmvison.htm)

Historical Perspective:

The idea of using chorales and hymns is not new. Bach is one of the major composers to have perfected the chorale prelude genre, as well as using hymns as the basis for compositions. English and American composers often use hymns as the basis for sets of variations. “Simple Gifts” (Ticheli, Zdechlik) is a tune that is often used in this manner, as well as “Amazing Grace” (Claude Smith, Ticheli), “Dona Nobis Pacem” (Sudduth, Del Borgo), and “Eternal Father, Strong to Save” (Smith, Coachman), to name only a few of the more popular ones. A J.W. Pepper band music search for “variations” will produce 226 results, of which most are hymn tunes.

Technical Considerations:

This piece is not technically difficult for students accustomed to playing grade III and IV music. Stylistic aspects, such as the bell tones in the beginning, middle, and end of the piece (1-11, 27-34, 84-end), which are eventually played by all instruments, require control and might be more difficult for younger players to achieve. Students must also be able to play individually, due to some open scoring and the canonical section in measures 35-47. The ability to play powerfully in the chordal, majestic section, measures 68-83, is imperative. This section also presents more challenges, as the students must be able to play at a ff volume, yet still have a good tone and blend with the ensemble, while at the same time being careful to balance the sound. There is also an extended English Horn solo. This solo is cross-cued if sufficient instrumentation is not available. An E-flat clarinet part is included, which may not be a part of some younger bands, but this part is always doubled in another part. In the final section, the first trumpet has a high C, and the French horn has a top line F. These notes might present a challenge for some younger instrumentalists. Two 5/8 measures (51-52) as well as minor syncopation may trip up younger bands. Stamp also changes meter throughout the piece, which could be an initial problem with some bands. Accidentals are used to create different harmonies. The accidentals themselves should not be a problem, but the harmonies they create might be unusual to some players. Care should be taken to ensure that they are playing the correct notes and hearing the right things.

Stylistic Considerations:

Due to the complex and changing harmonies in the piece, proper balance is essential. This includes the internal lines which create harmonic interest and must be heard. This is particularly true in the final chorale section.

Measures of interest:

mm. 68-73, 81 in the French horns

mm. 75-83 in the low reeds/tuba

Style matching is also very important. In the introductory, transitional, and coda sections, each attack should be bell-like, so that the initial attack is heard clearly. The notes should be sustained to preserve the harmonies, but should not overpower additional attacks. In the hymnal setting, the woodwinds should play with a smooth, singing style. Each part should be heard equally. The canonical section (mm.35-47) requires the players to match style exactly. Each part that is added must sound the same as the initial statement. In the chorale section, the players should perform with a majestic style. It also must be matched across the ensemble in order to achieve the maximum effect.

Style markings are written in the score. It is important that the performers follow these, as they add greatly to the mood of the piece.

Musical Elements:

This piece involves several different compositional techniques. The introduction, based on the first six notes of the hymn tune, includes octave displacement and melodic/harmonic stacking. The octave displacement involves hearing the melody in at least 2 octaves. In this case, it is the first six notes, played as bell tones. It is important for the conductor to pay close attention to balance on this section, due to the displacement. Each note brings in another instrument or group of instruments, in ascending score order. This opening theme is repeated three times, each time moving down a whole step. It is based primarily in the woodwinds. As each note is sounded, it is sustained, creating a harmony from the melody.

At measure 11, the woodwinds present the tune in a full hymnal style. Some important considerations for the conductor in this section include the counter movement in measure 12 & 13; the suspension between 13 & 14 in the 3^rd clarinet and tenor sax; the 3^rd clarinet syncopation in 15; bringing out the 16^th notes in the bass clarinet, bassoon, and bari sax in 17; the importance of the tuba entrance into 19; the suspension in the 3^rd clarinet and tenor sax between 19 & 20; and the 3^rd clarinet and 2^nd alto sax movement in 22. The cymbal roll in 26 must be brought out in order to create the necessary lead-in to the next section.

Measure 27, a transition into the development, brings the return of introductory material in the brass section. These notes should be played as bell tones, with care taken to bring out any moving notes. The suspended cymbal rolls and crescendos should also be exaggerated to create tension. This section ends on a dissonant cluster/polychord, so the conductor must be careful to maintain the balance of the ensemble.

The development section is based on the third phrase of the hymn, and is highly canonical and contrapuntal. New statements begin every two measures, so bring these entrances out. In measure 39 and 40 the bass clarinet and tenor sax have a syncopated rhythm that should be brought out. There is also a suspension form 40-41 in the 2^nd clarinet and alto sax. Measures 43-47 become busier as the music pushes to modulate to A-flat. Make sure that all parts are equally heard and that students do not shy away from dissonances, such as the suspension into 44. In the polytonal measures of 53-55, make sure all parts are equally brought out.

The English horn enters at the end of the development with a reflective quality. The chords in the low woodwinds should not be allowed to overpower the solo. Exaggerate the gradual crescendo at 64 in order to create drama for the upcoming majestic section.

In the majestic chorale section, beginning at measure 68, the composer uses “substitute chords” to make this section interesting and powerful. Bring out syncopations in measure 69 and 71, as well as moving 8^th notes that appear at various times in most of the parts. The crescendos in the timpani and suspended cymbal are important, as they push the music toward the next phrase. Be sure that these are heard. At measure 75, the basses have a suspension leading into an accented, syncopated part. This should be brought out as well. The accents are removed at 78, but return for short 8^th note statements in many of the parts. Make sure that there is a distinction between these notes and surrounding notes. Continue to bring out the bass syncopation, as well as the accented 16ths in the English horn, alto sax, and French horn. The final measures call for the moving 8ths in the basses to take precedence over the chords, as they add interest. The suspended cymbal roll should also be heard.

The final section has the ensemble restating the introduction. Any moving 8th notes should be brought out, and accents should be exaggerated. The suspended cymbal roll is once again very important to the movement of the music. In measure 89, the sfz in the basses and timpani should be brought out before resolving to a loud, full tonic chord at the end.

Form and Structure:

Measure Event

1-10 Bell-like introduction of first phrase of hymn with octave displacement and harmonic stacking. The first phrase is repeated three times, each time moving the tonal center down a step. Dynamics grow with each statement as well, beginning at piano.

11-26 Full statement of tune with traditional harmonization in E-flat major. This section is completely woodwinds, excepting the addition of the tuba for measures 18-23.

27-34 Transition in based on introductory material. Brass and percussion are added in. The first statement is in E-flat, while the second statement adds accidentals to create a sense of D-flat Major.

35-46 Canonical, contrapuntal development section based on third phrase of hymn tune. Texture is thin, and includes only the woodwinds. This section builds toward the end.

47-57 All instruments enter. Texture is much thicker, and accidentals are utilized to create a bitonal sound. Measures 51 and 52 are in 5/8 time. This section decrescendos in preparation for the English horn solo.

58-63 English horn solo with clarinet and saxophone accompaniment, still based on the third phrase of the hymn tune. A small ritardando is written in to aid in expression.

64-67 The original tempo returns. Other instruments join in and modulate to B-flat. This is achieved by repeating the same motive four times, moving in stepwise motion through related keys. A pedal tone of F is presented by the tuba and timpani, providing continuity. A molto ritardando at measure 67, accompanied by accent markings and a fortissimo dynamic level, adds to the drama and majesty of the upcoming chorale section.

68-83 Majestic chorale setting of hymn tune with elaborate harmonization. The key signature suggests B-flat Major, which is the key of the melody. Accompaniment parts bring in many accidentals, both sharps and flats, which contribute to the intricacy of the harmony. Style is very important in this section. It is also important for the moving lines in the horns and tuba to be brought out.

84-end “Coda” based on opening section. Once again, the six-note introductory phrase is presented in three tonal centers (B-flat, G-flat, and E-flat) before ending on a B-flat major triad.