Judd: Steadily Forward March

This march is derived from the chorus of the same name and, in addition to using it in its entirety, phrases of the chorus appear several times during its course.

Judd: Supremacy

This challenging work leads us to contemplate the need we have to acknowledge Christ as supreme in our lives. The three tunes contained are all strongly associated with words which speak of supremacy with the finale, based on the hymn tune 'Pembroke', outlining words penned by William Booth 'My Lord who reigns supreme'.

Judd: Sweet By and By

Judd: Symphonic Rhapsody for Euphonium

This is a developed solo in which lyrical and variation elements are contrasted and combine. The theme is an old song 'So we'll roll the old chariot along, and we don't drag on behind'.

Judd: Symphony of Thanksgiving

Specially written for the Diamond Jubilee Celebration of The International Staff band in 1951 concluding with 'Praise my soul, the King of Heaven' and a phrase of 'Give to Jesus glory'.

Judd: The Armour of God

Steven Ponsford

Judd: The Call of The Righteous

Judd: The Challenge

Originally written for trumpet and piano in 1935, this solo exploits the character of the trumpet to good effect. It is a measure of the quality of Eric Ball's music that 'The Challenge' stands up today as fresh in its brass band guise as it did in its first published version.

Judd: The Covenanters

In 1638, many members of the Presbyterian Church of Scotland signed a document called the National Covenant. By doing so, they were declaring that they acknowledged only Jesus Christ as the spiritual head of their church, and not any king or queen. This had become necessary because the Stuart kings believed in the Divine Right of Monarchs and saw themselves as head of the church. In the previous year, Charles I had forcibly introduced the Book of Common Prayer, invoking the wrath of the common people who faced the threat of torture, transportation or execution if they did not use the new liturgy and worship at their local church. The net result of this was that many met illegally in the countryside or in barns and large houses. These meetings became known as 'conventides' and many took place in the south-west of the country. Anyone caught attending was at risk of execution by the muskets of the dragoons who were employed in the area for that specific purpose. This music was written to honour the bravery and loyalty of these Christians to their faith, in the face of extreme danger, in the hope that it will inspire us also to be faithful. There are overtones of military threat, secrecy and solidarity. An old pentatonic tune is used, which the composer heard as a boy being sung to the words The Lord's My Shepherd.

Judd: The Ellacombe Chronicles