 | | | Fanfare Prelude: O Worship The King | |
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Worship can take many forms, from joyous praise to reverent adoration. "Fanfare Prelude: O Worship The King" explores both possibilities. Using the well-known hymn tune "Lyons", this arrangement begins with an energetic statement of worship. The middle section is contemplative in nature, representative of the times when a person is involved in quiet, reverent worship. The conclusion returns to a dramatic, joyful statement of the hymn tune, ending with a bold statement of worship.
Technical Notes: The keyboard percussion part is labeled "Mallet Percussion", is written for two players and contains the xylophone and bells parts. The timpani part is written for two timpani, pitched in F and C. The 1st percussion part is for snare drum and bass drum. The 2nd percussion part is for triangle, tambourine, crash cymbals and suspended cymbal.
Note to the Conductor: The opening statement of sixteenth notes in the upper woodwinds and the xylophone form the backdrop of the entire introduction. It is important that these sixteenth notes be measured carefully to avoid rushing. The entrance of the trumpets, F Horns, and alto saxophones in measure 2 is a motif based on the opening notes of the hymn tune "Lyons". This statement, as well as the one beginning in measure 5, must be the dominant musical feature throughout the introduction. A dramatic crescendo in measures 10 - 11 climaxes with ff in measure 12 - the high point of the introduction. Beginning at measure 16, there is a straightforward presentation of the entire hymn tune. The melody is passed around to several different groups of instruments. Make sure that the melody is clearly distinguishable at all times.
Measure 31 begins a transition into the more tranquil section, which begins at measure 33. The rallentando occurs over a fairly short amount of time (two measures), so be quite deliberate in this process. At measure 33, it will be important that the interplay between the clarinet solo and the alto saxophone solo be easily heard. Be sure that the remaining harmonic and rhythmic background indeed stays in the background. The dynamic contrasts in measures 37 through 41 add an important element to the expressiveness of the melody. From measure 41 through measure 47, fragments of the hymn tune are used to bring this section to a conclusion, as well as a short restatement of the melody from the second section. There should be a noticeable period of quietness after the fermata in measure 46, representative again of another form of worship: silence.
Measure 47 begins the transition into the final statement of the hymn tune, this time in 4/4. The forte-piano crescendo is this section is important to allow other elements of the band to be heard. There is substantial use of syncopation in this final statement. Be sure that this syncopation is not rushed - there will be a tendency to rush into the second half of the beat. At measure 53 the ostinato rhythm in the upper woodwinds and xylophone is important. However, the main melody is found in the trumpet section. At measure 56, the roles are reversed. It is important that the trumpet section observe the forte-piano so that the upper woodwinds, trombones, and xylophone dominate. This same process repeats in measure 58 through 62.
From measure 70 to the end, there are fragments of the hymn and one last restatement of the middle section melody that used to bring this arrangement to an exciting conclusion. A deliberate rallentando will add a sense of finality over the last 4 measures. Maintain that intensity all the way to the end, especially focusing on the forte-piano crescendo in measure 74, which will help provide energy as the tempo decreases.
Estimated Performance Time: 3:35
Composed By: "Fanfare Prelude: O Worship The King" was composed by Timothy Johnson.
Published By: "Fanfare Prelude: O Worship The King" was published by Curnow Music Press.
Series: This piece is part of the series "Curnow Praise And Adoration Series".
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| Instrumentation | | 1 | - | Full Score | | 8 | - | Flute | | 2 | - | Oboe | | 2 | - | Bassoon | | 6 | - | 1st B Flat Clarinet | | 6 | - | 2nd B Flat Clarinet | | 1 | - | E Flat Alto Clarinet | | 2 | - | B Flat Bass Clarinet | | 2 | - | 1st E Flat Alto Saxophone | | 2 | - | 2nd E Flat Alto Saxophone | | 2 | - | B Flat Tenor Saxophone | | 2 | - | E Flat Baritone Saxophone | | 4 | - | 1st B Flat Trumpet | | 4 | - | 2nd B Flat Trumpet | | 4 | - | French Horn | | 3 | - | 1st Trombone | | 3 | - | 2nd Trombone | | 2 | - | Euphonium T.C. | | 2 | - | Euphonium B.C. | | 4 | - | Tuba | | 1 | - | Convertible Bass Line | | 2 | - | Keyboard Percussion | | 2 | - | 1st Percussion | | 2 | - | 2nd Percussion | | 1 | - | Timpani |
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| | Other Pictures | | Front Cover | | Conductor Score | | Instrumentation | | Descriptive Page |
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 Difficulty 2 on a scale of 1 to 6 with 6 being the hardest.
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