Music Ministries Newsletter April 2013

Music Ministries Unit

Welcome to this edition of the mmu newsletter.

It doesn’t seem possible that we are into spring time (except for the weather). The weather was not an issue a few weeks ago when Andrew Blyth (Assistant Territorial Music Director) and myself undertook a trip to Brazil. This was a special trip sponsored by the Leslie Condon Trust to whom we are indebted. We could have filled a whole issue with Brazil anecdotes however, you will get a flavour of our visit from the article in the newsletter.

I was in Germany a couple of weeks ago and spent the weekend with our friends from the German Staff Band. A reminder indeed of the internationalism of The Salvation Army.

Events again are at the forefront of our work. The Easter Music Course, being held in a new venue, will be highlighted in the next newsletter. Our Territorial Music School has a new venue too, Monkton Combe School in Bath. The special guest for the week will be Bandmaster Ken Waterworth (Melbourne Staff Band).

The USA Western Territory Staff Songsters

Contents Derick Kane Issue 40 -

Publishing news The upcoming publications here at MMU

Apriill 2013

will be touring the UK Territory later in the year 1st-9th June. Their tour will include the Gospel Arts Concert at the Royal Albert Hall. Their itinerary is as follows: Saturday and Sunday, June 1&2 - Southsea Monday, June 3 - Bristol Easton Tuesday, June 4 - Southport Wednesday, June 5 - Consett Thursday, June 6 - Norwich Citadel Friday, June 7 - Chatham Saturday, June 8 - Gospel Arts Sunday, June 9 - Music Leader’s Councils Visit www.salvationarmy.org.uk/music for more information and to buy tickets for concerts.

Please contact me if you have items of news you wish to be included in the newsletter.

Thank you for your continued support.

Derick Kane

Events Territorial Youth Band and Choir course 2013 in pictures; write-up on recent trips to Brazil; Kenya East Territory Band Training Camps 2013.

Training Article giving 12 conducting tips, and a new resource; The contemporary guitarist.

Other Information on Regent Hall’s evening concerts and International Staff Band’s new recording.

INNOVATE RESOURCE DEVELOP ENCOURAGE

Music Ministries Unit Newsletter APRIL 2013

Music Ministries Unit Newsletter

Unity Series - June 2013

APRIL 2013

(Five-part scoring, concert pitch parts and demonstration CD available 3 issues per year) March - I’ll be true (Derick Kane) Carol Reflections (Noel Jones) Caroll off th the bells (Gordon Elliott) C b ll (G d Elli tt) Somebody Prayed (Dean Jones)

Upcoming Publications (W)sps-shop.com (T)+44 (0) 1933 445 445 (E)mail_order@sp-s.co.uk

Sing to the Lord (mixed voice series) Volume 20, part 2

General Series - April 2013

(Songs for SATB choir, demonstration and accompaniment CD available - 3 issues per year)

(Full band scoring - 3 issues per year) Guardian of my soul (Darren Shaw) Festival March - Temple 125 (Kevin Larsson) Trombone Solo - Nothing but thy blood (Harold Burgmayer) Begone, vain world (Michael Davis)

Friends of Christ (Yvonne Field) It’s simply Jesus (Andrew Maycock) Prayer for the King (Isobel Robinson/Ian Robinson) What a Saviour! (Richard Slater/Paul Drury) Everlasting (Janet Martin/John Martin) Let everything that has breath (Rich Gomez arr. Nicholas King) Come to my heart, Lord Jesus (Emily Elizabeth Steele Elliott/ Karen Krinjak)

Sing to the Lord (children’s voices series) Volume 20

Twelve Scripture-based Songs Volume XIV

(Songs for children, up to 3 parts, demonstration and accompaniment CD available - 1 issue per year)

(Scored for Triumph Series, for use within worship and congregations 1 issue per year)

He’s the best! (Ian Clarke) Yes, Jesus loves me (Anna Bartlett Warner Oscar Case, Carla Hills, Samuel Jenkins,Thomas Nielsen & Christopher Richards) He knows my name (Tommy Walker, arr. Nicholas King) Children of Jerusalem (John Henley/Gillian Pomering) A melody of love (Elton Menno Roth/Dean Jones) There is none like you (Lenny Le Blanc, arr. Mark Feltwell) Thank you, Father God (Hayley Greetham, arr. Ian Loxley) Every Second (Trevor Ranger, arr. Rachael Power) Singing with the angels (David Edmonds/Neil Winton) A Christmas blessing (Richard Mingay)

From the Assistant Territorial Music Director Andrew Blyth It has been an interesting and varied 2013 so far during which I have seen many different spheres of Salvation Army music-making. You will see included in the newsletter Derick’s article about our visit to Brazil which was an unforgettable and humbling experience for us both.

I enjoyed a weekend at Hendon Corps, which included the Hendon Highlights concert at the Queen Elizabeth Hall. This event is now an integral part of the calendar for many Salvationists and this year’s programme was full of variety and high quality music. Hendon Band were in superb form during the weekend and both Sue and I enjoyed leading the meetings on the Sunday. I have also enjoyed working with the London North East Fellowship Band (Ken

Twelve Scripture-based Songs arranged for Brass Band Volume XIII (Triumph Series)

Faithful One Hide me now (Still) I know he rescued my soul (My redeemer lives) I will praise you Lord, with all my heart I will worship (You alone are worthy of my praise) Jesus shall take the highest honour The candle of the Lord The way it’s gonna be There is an endless song (How can I keep from singing?)

When the spirit of the Lord (Dance like David) Your grace still amazes me Zephaniah’s Song (I’ve found the pearl)

Published by SP&S, a division of Salvation Army Trading Company Limited, 2012

Hillson) at Hadleigh, Sheffield Citadel Band (Keith Wileman), Margate Citadel Songsters (Chris Blyth) and leading Leicester South Songster Weekend (Songster Leader LieutColonelTrevor Davis). It is very evident to me that there is so much to be thankful for within our music sections and that the mission and purpose of the groups I have visited is clear and well-focused.

I would also encourage you to support our Territorial Music School (details are included in this newsletter). We are in a new venue and have the opportunity to share with Melbourne Staff Bandmaster Ken Waterworth. Music Schools hold a special place in the heart of our young people and we would hope that this can only benefit the life and ministry of the local corps.

These next few months see the on-going work

A God-raised and Spirit-filled Army Blesséd Assurance Hear the call of the kingdom Joy to the world Lord, you are good Once in Royal David’s city Praise is rising (Hosanna) See amid the winter’s snow Soldier, rouse thee!

Water you turned into wine (Our God) Without You You are my strength when I am weak

for the new tune book as well as our regular journals. The next edition of the First things first tutor book is available very soon and I would urge you to consider this publication as a real viable start to brass players’ development.

The journals continue to include well-known names such as Noel Jones, Erik Silfverberg, Kenneth Downie and Ray Steadman-Allen.

These composers, amongst the many that still submit music for publication, are vital in the continuing success and quality of the music produced for our movement. I am very grateful for the undoubted compositional talent that we still possess within The Salvation Army and the fact that they are willing to share this gift for the wider ministry within our Church.

Please do not hesitate to contact us if there is any support that the MMU can provide.

YOUTH MAKES MUSIC 2013 DVD Available end of April. www.sps-shop.com

Territorial Youth Band tro

mbone section play Danc

ebeat

Laura Nicholson sings Smile

rform O happy day

Territorial Youth Choir pe

Territorial Youth Band and Territorial Youth Choir join together for their rousing Finale

Music – Mission – Mosquitos A report on recent visit to Brazil by Derick Kane & Andrew Blyth

We arrived at Rio de Janiero airport late at night to be met by the Territorial Secretary for Programme, Major Teophilo Chagas. Major Chagas was trained here in London and was for some time the officer at Minster corps.

The next morning we met with the Divisional Commander Major Edgar Chagas for a music school meeting where we also met Wilson Oliveira. Wilson is the main motivation behind this music school and had put a lot of time and effort into organising our trip.

With the Rio temperature rising to a comfortable 30 degrees, it was time to drive to the camp. We arrived at the ‘Sitio Espaco Vicenzo Camp’ for what was to be our musical home for the next five days. The school was situated a couple of hours west of Rio, on a hill with lots of trees and green spaces. There were 50 students and staff - some who had travelled over 13 hours by car to get there! However, before the auditions/ rehearsals began, Andrew found out that he had no accompaniment, no music and no idea of the language... HELP! As part of an afternoon lecture series, we gave a presentation on SA music history and its relevance today. We then had a massed rehearsal. Brass rehearsal was on the patio next to the barbecue in 34 degrees heat. The band was in the shade and I was in the sun!

Just before the evening activity, the camp was plunged into darkness. The evening meeting was rearranged to be on the patio beside the hill with the help of torches. This was a lovely evening. We slept well although we were attacked by some mosquitoes during the night.

Alas, we had been bitten! The next morning was made up of rehearsals and then a talk on composition to the instrumental group. Massed

chorus followed, with us learning Hear the call of the kingdom with the brass and then Master, Speak.

A ‘well-deserved’ drink at Copacabana beach

The Divisional Commander seemed to have put us in charge of prizes for the final evening. So, we then proceeded to empty our bags for any suitable prizes we could muster. Let’s hope the students enjoy brass bands as we only had ISB CDs and DVDs! For talent night, the hall was bedecked with balloons with a specially erected stage for the acts to perform on. We had various items including a violinist who has gained a scholarship to study at one of the universities in Rio. She and her family live in a Favela.

She also asked Andrew to accompany her. I think Andrew must have pressed the piano’s transpose button in panic and thus we spent five minutes trying to tune the violin, until realising the transpose button was on!

On entering the hall for the final meeting, we found that all the school were in camp T-shirts apart from us! No one said anything and we had already packed our cases...never mind!

There was an altar in the shape of a cross laid

out and an invitation made to come and rededicate again our lives with our instruments.

We finished with Master, Speak with the school singing around the cross.

We left the camp with many happy memories. We were then taken for the evening to the Copacabana and had the chance to see the sights. The evening was lovely with beautiful weather and we even had a coconut to eat and drink!

Later, we headed up to visit the iconic statue, Christ the Redeemer (Cristo Redentor).To begin with it was very misty and we thought we would not get a full experience of Cristo but the clouds broke and we experienced truly one of the wonders of the world, something that will stay with me for the rest of my life.

The next 4 days were spent in Sao Paulo, where we conducted rehearsals, visited 2 corps retreats and led various meetings, including a Sunday morning service at the San Jose Baptist Church.

This was an unforgettable experience, with part of us left in Brazil, and part of Brazil, forever, with us. The Music, the Mission, and indeed, the mosquitoes will live on!

Whole school photo by the pool

Our special thanks to our friends in Brazil for all their hospitality throughout our visit, however, we acknowledge too, the financial support of The Leslie Condon Trust, without whose help our trip would not have been possible. We are indeed grateful for their interest and investment in supporting and encouraging the music work in Brazil.

Creative Conducting: 12 Conducting Tips As a conductor, you have one of the most creative jobs in the world; you sculpt sound with your hands! You evoke, shape, and inspire sound with your conducting. If you were given the task of inventing conducting, would you pound the air on every beat regardless of the musical impetus? Or, rather, would you craft a set of gestures that indicates all aspects of the music, not just the meter? If you choose the latter, imagine your conducting as the artistic catalyst to inspire music-making.

1 – Conduct the music, not the pattern.

Conduct only that which is in the music no more and no less. There is much more to music than the meter. Time-beating usually results in over-conducting. Even lovely gestures, if not called for in the music, should not be present in the conducting.

2 – Conduct the music, not the musicians.

Allow each musician to assume responsibility for maintaining pulse, subdividing, entrances, and releases. You initiate and define the time, cue entrances and releases.

3 – Display the information in the tip of the baton. Imagine paint flowing from the tip of your baton on to your imaginary canvas. It flows smoothly in legato passages, creates dabs in normal articulations and dots in staccato passages. The pulse should not be in your elbow. Preparatory beats should not be given with your head. By focusing on the tip of the baton, your body will automatically adjust to the most efficient movement.

4 – Don’t use your entire arm to depict light or

www.salvationarmy.org.uk/music

normal articulations. Use the smallest hinge appropriate for the task: fingers, wrist, elbow, shoulder, body. By using the smallest hinge appropriate for the music, you avoid overconducting, beating the air and large patterns.

impetus. The more pronounced the musical articulation required, the more vertical the beat. The less pronounced the musical articulation required, the more horizontal the beat.

5 – Address your ensemble. Conductors often

11 – Do not mirror. Develop independence

allow the baton to point to the left side of the ensemble. Hold the baton comfortably in your hand. Relax your fingers and wrist with just enough tension to maintain control of the baton.

in your gestures. There is rarely a reason to mirror. If your left hand is not adding to the musical interpretation, it is adding to the confusion. Imagine your left hand:

6 – Stay grounded. Avoid going up on your toes by keeping your feet flat on the podium.

This often occurs on preparatory beats.

7 – Avoid deep knee bends. Allow your knees to be relaxed, yet stable.

8 – Move your baton up and down at the same rate of speed. All beats have some type of upward and downward impetus that emulates the laws of physics. If you flick your baton up too quickly, you will become an ‘upbeat conductor’. The pulse will appear to be on your upbeat instead of your downbeat.

9 – Release with your left hand. A motion with the left hand clarifies your intention for a release. Right hand motions may be interpreted as an indication to play the next note. When releases occur at the end of sections or movements, right hand releases are perfectly acceptable.

10 – All beats should move up and down, not in a straight line. All gestures that describe a beat should have an upward and downward

• • • • • • • •

Resting comfortably at your side.

Cueing entrances.

Releasing sound.

Increasing or decreasing volume.

Signaling attention something is going to change.

Shaping a phrase.

Sustaining sound.

Encouraging a musician.

12 – If the air keeps moving, your hands keep moving. When you stop your hands, the musicians tend to stop the air. If you intend for the sound to sustain, keep your gestures in motion.

Final comment – Trust your performers. Allow them to come with you. Train them to watch and respond. Teach them to internalize time.

Expect that they will assume responsibility for the music. You will get exactly what you expect from your ensemble. This is true of young musicians as well as more experienced musicians.

www.salvationarmy.org.uk/music www.salvationarmy.org.uk/music

We watched We watched man kill the Son of God, We the Host of Heaven with tears in our eyes, And our swords drawn, Stood there and watched man kill the Son of God. We would have attacked and destroyed them all, At His voice command, we would have, But He said, forgive them, and then He died.

We watched as men took Him from His cross, And laid Him in His tomb, And we watched over Him. Then came that grand and glorious morning, When the Son of God burst forth from the tomb, And we the Host of Heaven rejoiced, We who watched man kill the Son of God.

The Contemporary Guitarist New Resource This new resource is designed to take a beginner through to a worship leader in a short space of time.

Included in the book are lead sheets for popular hymns, charts, related scriptures, photos of hand positions etc. It is a DVD-driven resource with progressive 15-20 minute lessons.

The book has been written by Assistant Music Director Jimmy Cox (USA South), who majored as guitar performer.

There will also be a forthcoming Level 2 & 3 for this resource.

We will feature a review of this book in a future newsletter, however, any immediate enquires about this should go to: Nick Simmons-Smith Music and Creative Arts Education Secretary The Salvation Army, USA South Territorial Music Department Atlanta, GA, USA

ISB recording session at All saints Paris Church East Finchley ISB recording: The ISB have again been in the studio continuing the ‘Heritage’ series of recordings.

This time it was music from the 1970’s (my personal opinion – best selected choice to date).

These newly recorded tracks will be supplemented with a compilation disc of previous recordings, including the iconic Life’s Pagaent played by Terry Camsey. The track listing is as follows:

KENYA EAST TERRITORY BAND TRAINING CAMPS 2013 For the past two years I have been able to visit Kenya to conduct band training camps, first in Mombasa and in 2012 in Nakuru. These have been hugely appreciated and have brought together would-be bandsmen as well as some who already have some playing experience.

In 2011 I worked with about 60 bandsmen and women; we studied basic theory as well as all aspects of playing a brass instrument.

In 2012 I worked with about 40 – Nakuru is a much more rural area than Mombasa and musicianship is less well developed. Reports printed in both The Salvationist and the SA

Marche militaire Francais e The Witness Faith is the victory The southern cross Guardian of our way Wonderful Healer The good old way Just like John New Frontier The warrior psalm The Lord is king

Bandsman show just what a difference these training sessions made to the African musicians.

Building on the success of these two camps, I have been asked to go back this year and to run three back to back training sessions. These will be in Thika Division, Embu Division and Nairobi Westlands Division.

In 2011 I received support from the Condon Trust and this was much appreciated. I covered all my own travel and accommodation costs, and in 2012 I covered all costs myself.

camps. I am expecting a total of 120 musicians.

Would your band or any individual be willing to sponsor a bandsman/woman? These camps enable Salvationists, often from rural areas to come together and to develop their musical ability. All the camps culminate in Sunday morning worship – in real African style!

I invite you to be part of this experience by sponsoring an African bandsman.

For further information contact: John Vincent – Hendon Corps d_john_vincent@yahoo.co.uk

Running three training camps is a bigger undertaking! I estimate that it costs £25 for each bandsman/woman to attend for the three day

Music Ministries Unit Newsletter APRIL 2013

Friday Night Ba

ndstand at Reg

The name of Stephen Maw may be known to some as a professional bassoonist and as a former member of the Regent Hall Corps. Although no longer a member of The Salvation Army, Stephen still has a very strong interest in our movement and a real passion for Salvation Army music. He conducts the Royal Greenwich Brass Band and regularly features SA music on their programmes.

Some twenty years ago, Stephen was inspired to set up what has since proved to be a highly successful series of weekly Friday lunchtime concerts that take place in The Salvation Army's Regent Hall. A constant stream of orchestras, soloists and instrumental and vocal ensembles, including professional and student performers, vie for the opportunity to be a part of this long-running and highly successful concert series, which is still coordinated by Stephen. The concerts are advertised in the London press, they are well attended and provide an excellent opportunity for musicians to perform in public.

I recently met Stephen at one of the Royal Greenwich Band's concerts in Charlton House and we chatted about an idea that he has had for another series of Regent Hall Concerts.

This time, his idea is to involve Salvation Army bands in a series of monthly brass band concerts at Regent Hall which will take place at 7:30pm on the first Friday in each month

ent Hall

Conditions • Each band will have access to the hall for set up and rehearsal from 5pm till 7pm at which point the stage area must be cleared of personnel.

• Chairs, stands, timps, drum kit, bass drum and stand and the Steinway Concert Grand piano will be available for use, but to be used with care.

• The gallery is closed except for PA and recording.

• Each performers are expected to bring their programme on A4 to be photocopied on the day (unless they choose to print in advance).

• The main hall will be open to the public from 7pm.

• Entry to these concerts will be free of charge, with a retiring collection which will be used to cover the running costs and staffing of Regent Hall (expenses cannot be given).

• Concerts will last for a maximum of two hours ie. 9:30pm finish and should include a 20 minute interval.

• The Regent Hall coffee shop will be open before the concert and during the interval for

the sale of hot and cold drinks and snacks • We would ask each visiting group to bring 2 people to assist with stewarding and the performers are welcome to sell CDs if they have them.

Programme content • After the band is seated a Regent Hall representative will welcome the audience, and performers.

• The whole range of Army music should be considered including instrumental and vocal solos and band songs, ‘Sunday night selections’, and the large scale band classics from the treasury of SA band repertoire which deserve many more public performances.

• Performers may wish to bring a visiting soloist or compere to raise the profile of the event.

• Each piece which has a basis in song book should have the words included in the printed programme.

A number of the available Fridays evenings have already been allocated, so if you are interested, please email either Paul Sharman (paul.sharman@salvationarmy.org.uk) or Stephen Maw (stephenmaw@aol.com) for further information.

Contact Information: MMU is commited to helping and resourcing wherever possible. Please do not hestitate to get in contact with us.

For all enquiries please phone 020 7267 4965 or visit our website on www.salvationarmy.org.uk/music

Music Ministries Unit Newsletter APRIL 2013

Adverts NORTH YORK TEMPLE BAND Tour Dates: May 11 - Reading Central (All Saints Church) 7pm May 12 - Reading West & Lower Earley 10.45am; Reading Central (All Saints Church) 4pm May 13 - St Paul’s Cathedral 1.15pm-1.45pm; Peterborough Citadel 7.45pm May 14 - Sunderland Millfield (Elvet Methodist Church) 7.30pm May 15 - Belfast Sydenham (Bloomfield Presbyterian Church)7.45pm May 16 – Exeter Temple 7.30pm May 17 – Llandaff Cathedral, Cardiff with Cory Band 7.45pm May 18/19 – Boscombe 7.30pm / 11am & 6pm

Friday F Fr rid day 1 17th 7t 7 th May May 7.45pm Ma 7.45p 7.

45pm 45

In Concert with Cory Band Llandaff C L Cathedral, C Cathedral C Close, C Cardiff, CF5 CF5 2 CF 2LA LA LA Tickets: TICKETS £10 (unreserved seating) & £8 (cons.)

CONTACT DETAILS: 0207 367 4860 nytbUKtour@mail.com proceeds to support Salvation Army Kenya

The Salvation Army is a church and registered charity (Registered Charity No. 214779, and in Scotland SC009359; Social Trust: Registered Charity No. 215174, and in Scotland SC037691; Republic of Ireland: Registered Charity No. CHY6399)