Concert band (Piccolo, Flute 1, Flute 2, Oboe 1/2, Bassoon 1/2, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, Horn 1/2, Horn 3/4, Trombone 1, Trombone 2, Ba) - grade 4
Composed by David Gillingham. Arranged by Geoffrey Brand. Band Music. Platinum Band Series. Score and parts. Duration 9:40. Published by C. Alan Publications (CN.10990).
Item Number: CN.10990
A beautiful hymn setting from David Gillingham. Using the hymn Great Is Thy Faithfulness as a basis, we are treated to a variety of musical settings including a very effective section featuring handbells. Mallet percussion can be equally effective if handbells are not available.
No Shadow of Turning was commissioned by a consortium of organizations at The Ohio State University in memory of Lois Brock, beloved secretary of The Ohio State University Bands. The work is based on the hymn tune Great is Thy Faithfulness, by Thomas O. Chisholm (words) and William M. Runyan (music). Great is thy faithfulness, O God my Father; There is no Shadow of turning with thee; Thou changest not, thy compassions, they fail not; As thou hast been, thou forever wilt be. Refrain: Great is thy faithfulness! Great is thy faithfulness! Morning by morning new mercies I see; All I have needed thy hand hath provided; Great is thy faithfulness, Lord, unto thee. Summer and winter and springtime and harvest, Sun, moon, and stars in their courses above Join with all nature in manifold witness To thy great faithfulness, mercy and love. Refrain. Pardon for sin and a peace that endureth, Thine own dear presence to cheer and to guide; Strength for today and bright hope for tomorrow, Blessings all mine, with ten thousand beside! Refrain. The title of the work is taken from the second line of the first verse which perhaps sums up the meaning of the hymn and the faith held by Lois Brock. The work also features optional hand bells, as Lois Brock was an avid hand bell player in her local church. The work begins quietly and somewhat mysteriously on a motive using the interval of the falling fourth of the refrain of the hymn. This material grows and gathers texture and then concludes softly on a rolled G major chord in the marimba. A chorale follows, played by the vibraphone and bells and/or the hand bells. I call this chorale the "Lois Brock Chorale" as it exhibits the warmness of her ever-loving spirit. An interlude follows utilizing motives from the hymn and leads to the flute playing the verse of the hymn. Pursuant to this quiet rendition is a rather aggressive section featuring the timpani and percussion that play with the opening motive of the refrain. This leads to a fugue on the same motivic material that grows in intensity and segues with the trombones playing the hymn tune in march-like style against fanfare-like motives in the trumpets. All this subsides and the hymn is now played by the trumpets against the horns playing the Lois Brock Chorale. The full band joins in on the refrain that rises to a glorious pinnacle and then concludes softly by the euphonium. The material from the introduction is then restated and leads to a final statement of the refrain followed by a peaceful and heavenly benediction.