We are once again very excited to publish the latest edition of the American Band Journal with another fabulous lineup of music and composers. Beginning this edition is Kevin Larsson with his exciting opener, Easter Fanfare and Hymn. This new piece is the perfect for the start of a concert program or to begin your Easter Sunday service. Following this is a stunning cornet solo from Andrew Garcia, Voice of Grace. This version has been arranged by Dr. Harold Burgmayer and will be a welcomed addition to any program or worship service. Morgan Juel Stavik is no stranger to the American Band Journal, and we are pleased once again to publish and share his beautiful work, Speak, My Lord. Another cornet solo is added to the list with the well-known song by William Himes, All that I Am. Ralph Pearce has arranged this beautifully and it will undoubtedly have a place in many settings for band.

The last piece in this collection is certainly bittersweet to include. More to Give by Emilee Bennett has been slated for release for some time, but just prior to its release, Emilee was suddenly taken from this world and promoted to Glory. We were deeply saddened to hear this news, but grateful that her music and legacy can live on. This piece uses the simple and powerful chorus, O How He Loves you and me.

Oh, how He loves you and me; Oh, how He loves you and me. He gave his life, what more could he give?
Oh, how He loves you; Oh, how he loves me;
Oh, how he loves you and me.

This edition of the American Band Journal has a wonderful mix of pieces. As you play and perform this music, we pray it will be used to honor and glorify our risen Lord.

Derek W. Lance Territorial Music Secretary


Program Note
The majestic hymn, “Christ the Lord is Risen Today” by Charles Wesley is featured throughout this bright fanfare, mirroring the joy that Christians feel around the world as they celebrate the Risen Lord! Motifs from other well-known Easter hymns are highlighted throughout as believers proclaim, “Up from the Grave He arose”, “He Lives” and “Hallelujah!”

Note to the Conductor
Originally intended to be used as a complete composition to be played in its entirety, this piece can also be used as just a fanfare, finishing at b.29. Additionally, the piece can also be started at b.29 if the situation calls for a gentler start.

When I was writing this piece, I was picturing the fanfare brass across the front of the platform or stage on Easter morning. Measure 29 can be used as a vamp, repeated as many times as necessary to allow the Fanfare brass to return to their seats.

Play the notes to their full value, avoiding cutting notes short. This will add to the majestic feel. The tempo is intentionally stately, and care should be taken to ensure the tempo remains constant throughout. The tendency will be to rush the 16th note patterns which makes it unnecessarily challenging and not in context of the stately nature.


Program Note
The cornet solo Voice of Grace is a setting by Andrew Garcia, as arranged for band by Harold Burgmayer, of the beloved gospel song whose chorus reads:

I’ll follow thee, of life the giver.
I’ll follow thee, suffering redeemer, I’ll follow thee, deny thee never,
By thy grace I’ll follow thee.

Note to the Conductor
This cornet solo with band accompaniment is based on the soloist-piano version by Andrew Garcia first published in the American Soloist Album #8. The arrangement was made for Peggy Thomas with the Chicago Staff Band and was appropriately used on the occasion of Peggy receiving The Salvation Army’s highest recognition, the Order of the Founder.

The band should strive to sensitively support the soloist, maintaining a delicate background. Take care with the ascending arpeggios, accompanied by muted cornets, from b.7 to 10; and then in support of the soloist from b.11. Work for a blend of the muted trombones (and later cornets) with the basses and euphonium. Typically, the verse of this song (“I heard a voice so gently calling”- SASB 589) is sung with a great deal of expression, so the band will need to follow the soloist’s nuances in tempo and dynamics.

At b.35, the full band takes over with the chorus. Don’t allow the band to supersede the obbligato from the soloist and observe the poco agitato and molto rallentando before the band reprises the opening phrase of the chorus at b.47. The soloist responds with a climactic declaration in the upper register

I’ll follow thee, deny thee never, By thy grace I’ll follow thee.

The band should maintain a transparent backdrop behind the soloist through to the quiet conclusion of the solo.


Program Note
Emilee Bennett has beautifully and effectively woven together the messages of two well-known songs known for assuring Christ’s followers of God’s boundless love and grace. After a brief introduction we are reminded of this assurance with a brief reference to Annie Johnson Flint’s He Giveth More Grace using Ray Steadman-Allen’s tune Blacklands. The music then transitions into Kurt Kaiser’s simple yet deeply meaningful song, Oh, How He Loves You and Me which is presented in its entirety twice allowing for reflection on both verses:

Oh, how He loves you and me,
Oh, how He loves you and me,
He gave His life, what more could He give? Oh, how He loves you; Oh, how He loves me; Oh, how He loves you and me.

Jesus to Calvary did go,
His love for sinners to show.
What He did there brought hope from despair. Oh, how He loves you; Oh, how He loves me; Oh, how He loves you and me.

After dwelling on these words one may ponder, “What more could He give?”. The listener is then reminded as the music draws towards a conclusion, “He giveth more grace as our burdens grow greater”. The final musical statement points to the assurance that “He giveth, and giveth again”.

Note to the Conductor
When preparing and presenting this item, the conductor should take care to follow the nuances in dynamic and tempo markings indicated on the score. It should be emphasized that the entire piece is to be played in a legato style. Legato playing will be particularly effective in the ritardando and crescendo in b.55 leading to the fortissimo statement at the “a tempo” in b.56, “What He did there brought hope from despair”. Keep in mind that the fortissimo should be balanced and controlled without losing the overall effect of intentional legato playing. The fortissimo needs to be maintained until the diminuendo indicated in b.59 which brings the band to the mezzo piano statement “Oh how He loves you; Oh, how He loves me” which should build in intensity to the forte affirmation, “Oh how He loves you and me.” Intentional observance of the gradual decrease in volume as the music concludes will bring the listener to a gentle reminder of God’s abundant grace.


Program Note
This piece is an arrangement on George Bennard’s song, Speak, My Lord. It was written at the request of my mother, Margaret, and is dedicated to her.

Note to the Conductor
The mood throughout is consciously subdued. Make sure that the dynamic swells are controlled and not exaggerated. The same goes for the pyramid effects. Although not technically demanding, the piece requires sensitivity in phrasing and a tonal consciousness.


Program Note
A gentle cornet solo based upon William Himes’ deeply personal song All That I Am.

Note to the Conductor
The opening with its motif based on the word “All that I am” should unfold gently with the crescendo being nothing more than a warming of the sound, not forgetting the diminuendo at b.4 making sure that the half notes at the end of b.5 allowing the soloist to appear out of the texture.

The melody is accompanied by very thin scoring permitting the soloist to be heard without needing to force the sound. The change of instrumentation at b.9 should not affect the sound level. There could be a slight rubato at the full bar entry at b.13 giving the soloist an opportunity to breath. From b.14 there again should be care in the texture with the first cornet not dominating the soloist. Perhaps just use two players.

At b.22, flugel and baritone are the preferred inner instruments but only if adequate. During this sections which replaces the “middle eight” again allow the soloist to shine but not glare.

b.40 is a stronger version of the opening introduction preparing for a very light accompaniment. At b.45 keep good balance in the trombones supporting the cornets. Although very quiet the playing should be confident, not weak.

In the build up b.53 make sure the sound does not become harsh. Remember that at b.53 the soloist must still command the ensemble.

At the last two measures should the soloist have sufficient air a great deal of slowing could be acceptable.

Though nine instrumentalists may adequately present this music, it is designed to work equally well or better with full concert band, orchestra, or brass band instrumentation. For nine brass instrumentalists, two cornetists should be assigned to the first cornet part because of the frequent use of divisi, with one second cornet, two horns, two trombones, one euphonium, and one tuba completing the minimum group. The optional parts – soprano cornet, flugel horn, baritone, bass trombone and percussion – are all included in the score. The music is complete without these parts, but their use will greatly enhance the performance as long as the fundamental parts are covered. Download complimentary transposed parts in F and C (TC/BC) online via: www.music.saconnects.org.

The following will be a helpful guide to musical directors who use the ABJ with their concert band or orchestra. Contact the Eastern Territorial Music Department via telephone at (845) 620-7444 or online at www.music.saconnects.org for a free set of transposed parts.


  • Flute
  • Oboe
  • English Horn
  • Bassoon
  • Eb Soprano Clarinet
  • Bb Clarinet 1
  • Bb Clarinet 2,3
  • Eb Alto Clarinet
  • Bb Bass Clarinet
  • Eb Contra
  • Alto Clarinet
  • Bb Contra Bass Clarinet
  • Eb Alto Saxophone 1
  • Eb Alto Saxophone 2
  • Bb Tenor Saxophone
  • Eb Baritone Saxophone Violin
  • Viola
  • Cello
  • String Bass
  • Keyboard

ABJ Part to Play

  • C Instrument (upper octaves)
  • C Instrument (lower octaves)
  • F Horn 1 or 2
  • Baritone, Euphonium or Tuba B.C.
  • Eb Soprano Cornet
  • Bb Cornet 1
  • Bb Cornet 2
  • Eb Horn 2
  • Bb Bass
  • Eb Bass
  • Bb Bass
  • Eb Horn 1
  • Eb Horn 2
  • Bb Baritone
  • Eb Bass
  • C Instrument (divisi)
  • Not provided
  • Baritone or Euphonium B.C.
  • Tubas B.C.
  • C Instrument

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