FMPNmBnr14

An Album for the Carillon

in   Two Volumes
Hymn Tunes, Folk Songs
& Ceremonial Music, Settings & Arrangements
~*~
For Carillonneurs, Keyboard Players, Harpists &  Music Lovers
For Beverly Buchanan, Carillonneur, Christ Church Cranbrook  (1964-1988)
And in memory of  Thomas More Storke  (1876-1971)
[Carillon Donor, University of  California, Santa  Barbara]

 Volume 1  
( 39  pages of music )       

Table of Contents

Three Verses on
           America  
(3  pages)
Quodlibet & Aria
on
     
*  Brother James’ Air, Mit Freuden Zart, & St. James  (5  pages)
Three Verses
on
          Bunessan 
(“Morning has broken”)  
(2  pages)
Hymn, Toccatina & Variation
on
          Deus Tuorum Militum

Reflections & Prayer
on
          Finlandia  
[J. Sibelius]   (3  pages)
Rondo
on
        “Forty Years On” (The Harrow School Song)
 
(3  pages)
Rondo
on
        “Gaudeamus  Igitur” 
(4  pages)
Fanfare
 on
     
*  Gloria,  Air & Fugato on Personent Hodie in Rondo  (5  pages)
Variations
on
          Greensleeves 
(6  pages)
Variations
on
          Hermas  
(3  pages)

Volume 2   
( 39  pages of music )       

Table of Contents

Three Verses on
          Jerusalem
  [C.H.H. Parry]  
(3  pages)
Four Verses on
          Land of Rest  
(3  pages)
An Arrangement of
          Larghetto  
[G.F. Handel, Xerxes]  (2  pages)
Sonata on
          Marion
and The Ashgrove (5  pages)
Two Verses on
          National Hymn  
(2  pages)
Reverie on
          From The New World 
[A. Dvorak] (3 pages)
Three Verses
on
          Pomp and Circumstance  
[E. Elgar]  (4  pages)
Chorale Prelude
on
     
*  Rosa Mystica  (3  pages)
Chorale Prelude on
     
*  Rosa Mystica  
(3  pages)     [Simplified Pedal Line]
Fanfare
on

          Saint Anne 
(3  pages)
Three Verses on
          Simple Gifts
 
(4  pages)
Hymn on The National Anthem –

          The Star-Spangled Banner 
(3  pages)

Notes

         An Album for the Carillon  includes settings of some familiar and some not-so-familiar hymn tunes and traditional songs, along with transcriptions of five exerpts from the classics (Elgar, Dvorak, Handel, Parry, and Sibelius).  This new publication includes all of the contents of the loose-leaf edition dating from 2003, augmented by several settings of varied nature.

        Many of the scores in this collection were prepared for Cranbrook-Kingswood Schools' graduation ceremonies at Christ Church Cranbrook in 2000, while numerous others have been added to encompass Christmas and other celebrated holidays, occasions and seasons. Three settings that originally appeared as A Jamesian Suite have found their way into An Album for the Carillon; they set six different hymn tunes in varied styles and are starred in the Table of Contents. Some movements in the album are more extended than others and offer greater technical challenges, notably the Variations  on  Greensleeves,  Quodlibet  and  Aria  on  Brother  James’  Air,  Mit  Freuden Zart and St. James, and the Sonata on Marion and The Ashgrove.  The three verses on Deus tuorum militum and the New World Reverie are the two most recent additions, prepared for this new edition. In many cases, individual component sections from some of the larger settings can easily be extracted from their context in order to meet individualized performance needs and time limitations.


        N.B. 
 In some instances, lower bass pedal notes and bells available only on larger carillons have been included, with their alternative octave pitches notated (in parentheses) for standard instruments. Performers will wish to make careful choices between optional notes and octave substitutions for some instruments, with an eye and ear to providing smooth inner and outer voicings; where no alternative pitch has been provided, a rest can be substituted.  °  Tempo markings are of  a  general  nature  and will allow great adaptability from one performance and instrument to another.  ° Please note that whenever a grace note appears, it is intended – more often than not – to be sounded on the main beat to which it is attached; when used in conjunction with a vertical wavy arpeggiation line, the grace note pitch should lead the arpeggiation or tremolo; the performer will ultimately determine the most appropriate choice from one instance to another between open-handed rolled chords and alternating fist keyboard arpeggiations.


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