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Fred J. Allen has music published by
TRN
Music Publishers
Southern
Music Company
Schorer
Music
(listed in order of publication)
Published by TRN Music Publishers
P.O. Box 1076
Ruidoso, NM 88345They Led My Lord Away. Band, grade 3. 1990. Setting of the hymn They Led My Lord Away. Written for the High School Symphonic Band of the Abilene Christian University Band Camp, Jim Van Zandt, conductor, in 1984.Errata: m. 24 in score and part--the 3rd trombone should have G-flat on the first three notes instead of G-natural. Note: it is the arranger's preference to have the horn play the cued solo in m. 16-18 rather than the trumpet.
This nineteenth century hymn was written by Adoniram Judson Gordon (1836-1895). After graduating from Brown University, he became a Baptist minister. The song is an example of the call-response variety of hymns common in that era. Each verse and refrain ends with the text "Oh, tell me where to find him."
Text:
They led my Lord away, away, away,
They led my Lord away, Oh, tell me where to find Him.
They led him up to Pilate's bar: tell me where to find Him.
But they could not condemn him there. Tell me where to find Him.
[refrain]
Pilate said, "I wash my hands." Tell me where to find Him.
"I find no fault in this just man." Tell me where to find Him.
Tell me where to find Him.
When the Stars Began to Fall. Band, grade 2 1/2. 1992. Setting of the hymn My Lord, What a Mornin'. Dedicated to the Memory of Doris Allen (1922-89), mother of Fred J. Allen.
Note: The word "Mournin'" is spelled incorrectly on early printings of this arrangement. One may find variants of this song published under that spelling, but research shows the earliest written versions were referring to "morning," i.e., daybreak.My Lord, What a Mornin' is one of many anonymous spirituals sung in the fields and in worship by African-American slaves in the nineteenth century. In this setting, sonorities of the band instruments are utilized which express a longing for the end of time, when there would be no sorrow, no pain. The last line of the refrain serves as the title for this setting.
At measure 9 the trumpet figure evokes the text "you'll hear the trumpet sound." Whenever this figure appears, a controlled marcato will provide contrast to the sostenuto style that prevails in the piece. Conductors have some liberty at measure 37 choosing the solo or soli that best suits the ensemble. In the last two measures, be careful that the accompaniment does not cover the melodic bass line or the timpani solo that ends the piece.
Text:
My Lord What a Mornin', My Lord What a Mornin',
My Lord What a Mornin', when the stars begin to fall.
Oh you'll hear that trumpet sound
To wake the nations underground
Sittin' at my Lord's right hand
When the stars begin to fall.
This is my Father's World. Band, grade 1 1/2. 1992. Setting of the hymn This is my Father's World, at the request of Bobby Brown, Director of Bands at Hodges Bend Middle School, Sugarland, Texas.
Tune name: Terra Beata (called Terra Patris in Presbyterian Hymnal of 1933.) Though some have erroneously attributed this hymn to Franklin Sheppard (1852-1930), he himself said that he learned the hymn as a child. It also appears in an English Hymnal as Ruspel.
Fantasy on "Barbara Allen". Band, grade 4. 1993. Free fantasia on two main variants of the folk song "Barbara Allen." Dedicated to Barbara Allen Gould (sister of Fred J. Allen).
There are over 100 variants of the folk song Barbara Allen (Barb'ry Ellen), found both in the British Isles and America. Though elements of the story change from version to version, they are all tales of unrequited love, often leading to revenge. Though they can be divided into two groups, diatonic and modal, even those two main categories resemble each other in melodic contour.
The 7/8 measures in this piece are all performed 3+2+2 and all of the 5/8 measures are performed 2+3. Therefore, this is a good piece for teaching asymmetrical meters. Many directors have commented on how much they enjoy the fact that this piece has so many solos which showcase their young musicians.
Performance note: Most soloists play the cadenzas too slowly. These cadenzas are taken from the original vocal line; they should be played simply and freely, but not so slowly as to sound labored or contrived.
A good tempo for m. 1, m. 7, m. 11 is around 76 for the quarter note.
At m. 45, the quarter note is at 112 and the dotted quarter at 74-75.
At m. 65, the eighth note is equal to the previous eighth note. At m. 107, m. 113 and m. 121 I think it works to slow down to about 66 for the quarter. The section in mm. 121-128 is the heart of the piece. It was actually composed first, long before the rest of the piece. I was influenced by the contrast between parallel major and minor keys as found in the Sixth Symphony of Gustav Mahler.
Moravian Hymn Dance. Band, grade 4 1/2. 1994. Overture based on the hymn Let All Mortal Flesh Keep Silence.
This beautiful hymn appears in the central section of the piece in its original dorian form, but it is also transformed into a major key and a major/minor juxtaposition in the course of the piece. Though the outer sections appear at first glance to be a rhythmic multi-metered dance, virtually all of the lines can be traced to the hymn itself. A paradox lies in the admonition from the text to "keep silence." The predominant feeling is one of joy that simply cannot keep silent, but must express itself in an unrestrained dance.
A recurring element of the piece, first seen in the clarinet parts in m. 5, presents another paradox. Most parts are staccato, but the chromatic line is slurred: the two different styles are supposed to be in contrast.
Balance the three flute voices in mm. 79-86, even if it means redistributing the part assignments for those bars. There is an "accel. poco a poco al giocoso" indicated at m. 104. I had originally thought this section would gradually speed up until m.115, but now I feel differently. After conferring with several directors who have taught the piece, it works better to break the section from 101-114 into segments and tempi as follows:
101-103 Slow, almost a cadenza, about 66-72 for the quarter note
104-106 A little faster, about 84 for the quarter
107-112 Around 100 for the quarter
113-114 With the pick up notes, at about 112-166.Errata: There is a beat left out. This slipped through the proofreading.
Measure 16 should have four beats. Parts which have a quarter rest on beat three should change that to a half rest on beats three and four. 1st Clarinet and Euphonium should move the four sixteenths to beat four, adding a rest where beat three should be. Percussion should add a woodblock quarter note (solo) on beat three.
Touchstone March. Band, grade 1. 1995. Original march for band.
This march is designed as an "etude" for young band, reinforcing the rhythm pattern of a dotted eighth note and sixteenth. All ranges are within grade one capability. The percussion section has a part somewhat advanced rhythmically compared to the rest of the ensemble, reflecting the usual advanced progression of percussionists in most method books. The march is named for Todd Touchstone, who the percussion section leader of the Dimmitt (Texas) Middle School Band in FJA's first year as a band teacher, 1976-77.
Celebration Hymn. Band, grade 3. 1995. Commissioned by TMEA Region I in memory of Sam Watson. Original music incorporating the pitches from the third phrase of The Bluebells of Scotland.
Sam Watson was the a band director whose career influenced not only the thousands of students he taught, but also the many band directors who learned from his wisdom. He was honored as the Phi Beta Mu Bandmaster of the Year in Texas for the year 1978. His widow, Helen Watson, said his favorite song for band was "The Bluebells of Scotland," and she could remember an arrangement his marching band played that incorporated a bell-tone effect. Though the piece is an original composition, it does include the third phrase of Bluebells in several places.
There are three strong elements of the piece. The first element is the first six notes of the third phrase of Bluebells. The second is the sound of bells in the percussion and the bell-tone effect from the winds. Thirdly, the piece ends rather joyfully, becoming in the process a celebration of the life and positive influence of Sam Watson on music making in Texas, hence the title, Celebration Hymn.
Chorale Prelude: Abide with Me. Band, grade 3. 1996. Commissioned by Louisiana College, in Pineville. Chorale prelude based on the hymn Abide with Me.
This chorale prelude is influenced by the chorale preludes of Johann Sebastian Bach and the hymn settings by David Holsinger. Original preluding material serves as an introduction and as bridges between the presentations of the melody. The minor version of the melody (m. 33) works better at a little faster tempo, slowing back down to Tempo I by m.
Errata: m. 3 - 2nd alto sax should have whole note C.
The Martyr. Band, grade 1 1/2. 1996. Commissioned by Northwest Christian Academy in Houston, Texas, Pat Crofton, Director. Setting of the hymn When Stephen, Full of Power and Grace.
The Restful Journey. Band, grade 2. 1996. Commissioned by Tau Beta Sigma, Beta Zeta chapter, at Stephen F. Austin State University in memory of Walter Glazier. Original composition.
Walter Glazier was a saxophonist, so the sax solos in the piece act as a tribute to his years as a performer in bands at Timpson High School and Stephen F. Austin State University.
Bosnian Folk Songs. Band, grade 2. 1997. Commissioned by West Ridge Middle School Band, Austin, Texas. Utilizing two folk songs collected by Bela Bartok in his Yugoslavian collection of folk songs.
Bela Bartok was a Hungarian composer who lived 1881-1945. In the early part of the century, he began collecting folk songs of his native Hungary and from neighboring countries, including what was then Yugoslavia. Bartok took great care to note the ethnic group from whence each tune was collected. There are two Bosnian folk songs in this setting for band. The first is an old song that is well known all over Bosnia. The text begins:
"By Sarajevo there's a green garden.
In that garden there's a well of cold water,
By the well, a marble stone,
On the stone, an aged vase,
In the vase three flowers bloomed."Sadly, was has torn Sarajevo so that the image of a well in a green garden is but a memory to the former residents. The second song used is a song of celebration, used to contrast the serenity found in the first song.
Romanza Semplice. Band, grade 2 1/2. 1997. Commissioned by the Association of Texas Small School Bands for performance by its All-State Concert Band. Original composition.
Romanza Semplice was commissioned by and dedicated to the Association of Texas Small School Bands. The first performance was by the ATSSB All-State Concert Band in February 1997, but the deeper purpose of the commission is to provide bands in smaller schools a new piece of band literature.
The composition is intended to be melodic and expressive, almost vocal in nature. The two unifying features of the piece are the interval of a sixth and a pattern of three step-wise notes. Both of these elements are derived from the opening of the first phrase and are developed throughout the piece.
Thanksgiving Hymn. Band, grade 2. 1998. Commissioned by the band directors of Texas T.M.E.A. Region II All-District Band for their 1997 All-District High School Band. A setting of the familiar hymn We Gather Together.
This tune is a familiar hymn of thanks, which has been sung in American homes and churches for over 200 years. This setting highlights the woodwind and brass choirs of the band. The final verse of the hymn is presented with fanfares from the brass at each phrase ending.
Add as many woodwind parts as necessary in measures 11-26 to balance the woodwind choir, though the preferred version is to use only flutes, clarinets, bass clarinets and bassoons.
The final verse of the hymn begins with the pickup note to measure 64. This area of the piece is still cantabile and legato, except at each phrase end, where the brass figure is marcato. Measure 88 should be the dynamic peak of the piece, then it subsides gradually to the ending.
Quest of the Knights. Band, grade 1. This original composition was commissioned by the Carroll Middle School Bands in Southlake, Texas.
Students from the 7th grade Wind Ensemble provided input for the elements of "their" piece. Results from a questionnaire given to the students defined the three main pitches of the themes, C, G and B-flat. The students also indicated they wanted snare drum, timpani and drum set to have prominent parts. Further input from them requested that the mood of the piece be exciting.
The title refers to the mascot of Carroll Middle School, the Knights, and depicts their quest of the excitement that music brings. The dedication is to the band that helped "create" the piece and their director, Jim Boulet. The drum set part can be played on the concert snare, bass drum and cymbals, but its inclusion will allow bands with an interested set drummer an exciting showcase. The style is "lifted" throughout, except where slurred.
Were You There. Band, grade 4-5. Commissioned by John L. Whitwell. Setting of the hymn of the same name.
Were You There is an example of African-American spiritual songs from the 19th century. The melody possesses a wide range of an octave and a fourth, and is pentatonic except for one note in the final phrase. The text of the song, through several verses, asks the listener to witness the events surrounding the death, burial, and resurrection of Jesus Christ.
This setting was commissioned by John L. Whitwell for his brother, Larry Doyle Whitwell. By way of dedication, the family surname is captured rhythmically throughout the piece, often resulting in syncopation. The piece is contemplative in nature, reflecting the questioning text.
Stylistically, a broad legato style is appropriate. The saxophone solo which begins the first verse at measure 10, should be very vocal in nature, and must have some slight rubato in places where there is no accompaniment (except timpani). The second verse, measures 32-50, should be very intense, yet soft. This entire section of the piece should never exceed mp in volume.
The development that begins in measure 51 should be slightly faster, and should convey a sense of anticipation. A sense of renewal is felt beginning in measure 87. The syncopation here should be rhythmic, yet legato, as the third verse builds to the climax at measure 97. The saxophone soloist can use some rubato in measures 115-117.
The conductor may want to add fermati in measure 117, on beats two and four. Above all, each conductor is encouraged to find a personal interpretation of this music through study of the text and this score.
Sweet Hour of Prayer. Band with horn solo. Grade 2 (horn solo grade 3). This arrangement was commissioned by Melodianne Mallow, conductor of the North Richland Middle School Band, from North Richland Hills, Texas. This band was named CC Honor Band for the state of Texas in 1998.
This well-known hymn provides a message of relief and solace. The melody lies within a comfortable vocal range of an octave and is purely diatonic. This arrangement pays homage to the delicate polyphony of Percy Grainger's Ye Banks and Braes O' Bonnie Doon. The conductor will observe a similarity in the scoring of this setting to the weaving of harmonic lines seen in Grainger's piece. Though each line is important, the piece is primarily a solo vehicle for horn. The horn is allowed the opportunity to display beauty of tone and expression in measures 5 - 20. In measures 25 - 40 the hornist may play more boldly, returning to a more somber nature for the closing solo measures.
Published by Southern Music Company
San Antonio, TXWritten for at least six flutes. Parts five and six require the player have a b foot.
Come, O Come, Emmanuel. Flute choir, grade 4. 1996. Setting of the hymn O Come, O Come, Emmanuel.
This flute choir arrangement requires alto and bass flutes and two piccolos. For a really large flute choir, there are possibilities for off-stage soloists.
Published by Schorer Music
Reichenstaller Strasse 4, D-34308
Bad Emstal, GermanyMillennium Fanfare. Band, grade 2 1/2. Written in honor of John C. "Pete" Kunkel, who was Director of Bands at Longview (Texas) High School for 18 years. The fanfare was first played at a Longview High School band reunion in May 1998.Though only 35 measures in length, this fanfare provides a regal and grand opening and closing, with a subdued, march-like center section.
Pine Forest Festival. Band, grade 2 1/2. 2000. Original work for band commissioned by and for the Southeast Texas Honors Band. Conducted in premiere by the composer in November 1999.
Manuscript:
Symphony No. 2, "Romantic," mvt. 1, by Howard Hanson, transcribed for band with permission of Carl Fischer, Inc.
Fanfare and Chorale. Band, grade 3, 1997. Commissioned by the Cleburne High School Band in memory of Matt Calder. Original composition.
Two hymns are integral to this piece: The Lord is my Shepherd and Praise to the Lord Almighty. Motives and "suggestions" of both hymns are found throughout.
It is possible to add readings at some or all of the fermatas in mm. 5, 13, 18, 27, 74, 81 and 93. Some measures are better suited to this than others. It might also be interesting to precede or follow the piece with the singing or playing of one or both of the two hymns.
For more information, contact:
Fred J. Allen
P.O. Box 13043
Stephen F. Austin State University
Nacogdoches, TX 75962
936-468-4702
fallen@sfasu.edu
School
of Music
Stephen F. Austin State University
Box 13043, SFA Station
Nacogdoches, TX 75962-3043
Phone: 936-468-4602 | Fax: 936-468-5810
Dr. Ron Anderson, Chair
Roni Lias, Webmaster
Last Updated: Tuesday, September 11, 2007