Publisher notes:

Comments by Colonel A. H. Jakeway
Songster-Leader Morley Calvert of Montreal, Canada, is the arranger of this short but acceptable contribution to the already fine list of such pieces. The song used for treatment is an old favourite and has been the means of much blessing in devotional meetings.

Introduction. The verse of the song is implied in these eight bars of introductory music, which prominently feature the entire cornet family for the first few bars. Balance and blend are essential factors here. Where other instruments join or take over, let there be an avoidance of joint-showing.

Section A. Just a simple but effective setting of verse one.

Section B. Only a few instruments are employed for the most part of the chorus which must flow easily and naturally along. The last four bars where the full band enters are important, particularly in the final cadence where a new key change is planned by the use of the flat sixth.

Section C. Here the key for verse two is A major, the melody being allotted to tenor trombones. Except for occasional colour, cornets are tacent.

Section D. Horns take over the melody for most of the chorus, first cornet and flugel completing the final phrase.

Section E. Verse three, now in the original key of F major, is scored for full band, and much intensity is demanded.

Section F. The chorus continues on much the same lines, except where the word 'Waiting' is implied. Here only a quartet of instruments are used for these bars, after which the full band resumes. It will be noted that in the final bars a figure independent of the melody is allotted to solo cornet. Let the music in these bars die away naturally.

Salvation Army