Mark Freeh Christmas Editions

James McLeod reviews the latest offerings of Christmas sheet music from Obrasso publications.

Jingle all the Way

James Pierpont 
- Arranged by Mark Freeh

Mark Freeh is a name that might
not be familiar to every brass band player, but his arrangements, usually of big band and swing style pieces, are performed worldwide. His take on Jingle Bells, here entitled Jingle all the Way, is a fun, but challenging work.

Passing through many keys and requiring a fair bit of technical work from the band, especially from cornets and soprano, it’s not the easiest arrangement.

Full of fun from the percussion (whip and cowbell included) and with a nice carillon effect between the euphonium, baritones and trombones, there’s a little bit of something for everyone.

The cornets, soprano and tenor horns are all required to play above the stave a fair amount (second horn on top Cs at the end), so unless you are very con dent about the ‘chops’ of your players, conductors would be well-advised to programme this one early on!

With multiple top Cs for soprano, it is perhaps a part for a budding trumpet player although, if necessary, an octave lower would not detract.

This piece is definitely worth exploring for Section 2 bands and higher, which are looking for a short and effective take on an audience favourite!


Voluntary on Two
 Christmas Carols

Traditional - Arranged by Mark Freeh

A slightly more serious piece than most, one well-known Christmas carol, Ding-dong Merrily on High and the American tune, Angels from the Realms of Glory, combine into an effective three-minute work full of character.

Some really quite technically demanding playing is required from the principal cornet, and later from the trombone and the whole cornet section (in five sharps too!).

After an introduction with a lot
of dynamic contrast, the Ding-
dong Merrily on High is heard in
a ‘trad’ setting before solo cornets and soprano ornament a second hearing. The solo cornet then plays
a tricky obligato over trombone accompaniment before Eb bass takes the lead.

A reprise of the introduction material is heard before Angels from the Realms of Glory comes to the fore. Due to the scalic nature of the melody, it almost sounds like an extension of the bell-like melody of ‘Ding-dong’ and the seamless way in which elements of both tunes are used at the same time is a testament to the arranger.

With a rousing finish to the work too, this piece fits nicely
in amongst old favourites in the festive programmes of most bands.