Cat No. JM48901
Price £34.95
Composer: Leslie Condon
Category: SALVATIONIST MUSIC

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Comments by Major Leslie Condon
The march was written for the 75th. Anniversary of the International Staff Band in October, 1966. Apart from one or two instances the music is on the whole reasonably easy and should quickly take shape for presentation.

Introduction. The pace is not unduly fast, although the directive, con brio must be evident.
The opening figure is one which is to reappear at different stages during the march. It is declamatory, although quiet at this point, quickly opening out into the full weight of the band. Another figure to receive later prominence is that played by the Trombones in bar six, and Horns, First Baritone and Euphonium in bar seven. Here the wide sweep of must be sensed; see that the length and prominence of the semiquavers are not neglected. Strong sustained Horns in the bar before A will heighten the effect; at this point keep theffvolume right up to the bar line, with no hint of a diminuendo.

Section A. Retain an atmosphere of dignity and purpose, also taking full advantage of extreme contrasts, particularly in bar four. In the repeat of the section the counter-theme for Flugel and Euphonium must be smooth but prominent.

Section B. This section should play itself, generally speaking, although some care should be taken in the descending figure two bars before the first-time bracket. The patterns first encountered in the introduction are again met with in the second-time bracket. Grasp the rhythm securely two bars before C.

Section C. This song was originally published in June 1925. The music proceeds with a dignified and measured stride including the insertions of triplets here and there calling for accurate and unhurried presentation. Resist the tendency to decrease the volume in the last two bars.

Section B. The chorus is here scored in quieter vein; Horns and Euphonium occupy the duet-role featured in the original song, the latter part, however, adding some decoration. Although the melody will be somewhat legato, the Euphonium must articulate his reiterated colouring, a feature which should be almost unobtrusive. In the twelfth bar, however, this section suddenly bursts into a brief but strong fanfare, to be followed almost immediately by sustained imitations of the melody. Note the swell in the Second Horn, Baritone and Euphonium parts three bars before B. The song fails to terniinate in the last bar, being interrupted by a Side-Drum figure with a roll for the Tambourine.

Section E. This short episodic development gathers together fragments and motives used hitherto. Master the intricacies which may be formidable to some, but do not bully the music into submission. Clarity, attention to accents and contrasts, with the rhythmic drive of the march still prevailing, should ensure good effect.

Section F. The chorus is repeated, and although the scoring is unpretentious, the aim is for a good straight marching style. Comets and Flugel contribute some rhythmic and florid three-part close harmony; balance is an important element here. With the phrase ‘We’ll keep the old flag flying, Flying round the world’ the march finishes on a positive note ofjubilation.