Agincourt Song Concert Band - Digital Sheet Music

SKU: A0.1761736

The Agincourt Song or Agincourt Carol was commissioned by King Henry V or England to commemmorate his victory over the French at the Battle of Agincourt on October 25, 1415. The song is often played during the Christmas season, but in Medieval times carols were used throughout the year for all sorts of occasions.

A popular myth holds that the practice of extending the middle finger as a gesture of defiance originated from this battle. The story goes that the French promised to amputate the middle fingers on the right hands of the English longbowmen and put them (the men, not the fingers) to work as field slaves. When the English prevailed, the longbowmen held up their right hands with their intact middle fingers on display.

It makes a good story, but it isn't true. There is no historical evidence that archers' fingers were cut off after a defeat in any battle, or that the English archers made any sort of gesture toward the French after the battle of Agincourt.

The origin of the gesture is unknown, but one credible theory suggests it originated in ancient Rome, where the male genitalia were thought to ward off evil, and forming the hand in such a way was an imitation of that shape. Roman decor of the time often features this element, but it wasn't in an attempt to be nasty; it was for good luck.

That has nothing to do with the Agincourt Song, of course. Maybe I should say more about the music and less about the finger.

Many composers have written versions of the song, and this arrangement is my humble contribution.

This version gives every section in the band a chance to shine. An implication of is that the band needs to have some depth in all sections.

After a fanfare-like announcement by the horns, the theme is stated first by unison trombones, and then bounces around among the sections of the band as the music builds to a tutti climax.

At about 4:10, the sound settles down to make way for a series of small ensemble segments in which soloists in each section perform variations on the theme, accompanied by a percussion ostinato. These include:

1. Oboe 1, Bassoon 1
2. Flute 1, English Horn, Bass Clarinet
3. Trumpet 2, Horn 2, Trombone 2
4. Alto Sax 1, Alto Sax 2, Tenor Sax, Baritone Sax
5. Flute 1, Flute 2, Oboe 1, Oboe 2, Bassoon 1, Bassoon 2
6. Bb Clarinet 1, Bb Clarinet 2
7. Trumpet 1, Trumpet 3, Horn 1, Trombone 1, Tuba
8. Piccolo, Timpani

There follows another build-up to a second tutti climax, after which a woodwind quartet of Flute 1, Oboe 1, Bassoon 1, and Bb Clarinet 1 plays the second half of the melody quietly in augmented time before the band enters full force to bring the piece to a close.

There are 24 soloists in all, and very demanding parts for the trumpets and horns. This arrangement is not for the meek, nor is it particularly designed for young student musicians. But it is kind of a blast to play, if I do say so myself.