Something a Little Different is a brief excursion into bi-tonality for tenor sax and piano. It’s a little bit jazzy, a little bit impressionistic, a little bit 20th century, and, well, something a little different. Suitable for intermediate and above players, this is a fun to piece to play and to hear. While it is unique and modern in its stylings, Something a Little Different is easy on the ears and very accessible for all kinds of audiences. It makes a great recital piece for the up and coming saxophonist to show off, or would work as a transition movement in a concert program, or for any program needing 21st century works.
Scherzo No. 1 in C-minor is a short, rapid-fire, and light-hearted piano solo for nimble fingers. Despite the minor key-center, the heavy syncopation, headlong tempo (allegro furioso!), and brief foray into F-major, give the scherzo a happy and amusing disposition, which is fitting for scherzo’s original meaning of “musical joke.” The piece is not complex but its pace requires good dexterity to play it well at tempo. Scherzo No. 1 will provide an excellent change of pace/mood for a concert or recital program.
For Flute, Horn or Trombone, Piano, Drum Set, Strings/Synth
Fairest Friend is a medley of two beloved hymns, Fairest Lord Jesus and What a Friend We Have in Jesus. It is set as a flute and horn (or trombone) duet with piano accompaniment. Optional rhythm and strings/synth may be used if available or to add color but the piece works well with the three principal instruments.
OK, to answer your first question, call it “suh-JEE-nuh.” Rhymes with Regina. This arrangement is a colorful and moving setting of the Charles Wesley hymn, “And Can It Be,” for traditional orchestra. The beauty of the music, the prominence of the familiar tune, and the text painting of Wesley’s poignant lyrics will find immediate acceptance in the hearts of its hearers. Aside from frequently shifting asymmetrical meters the difficulty level is very basic yet your musicians should still find it interesting and fulfilling to play.
In 1825, Thomas Campbell published a collection of twenty-three tunes under the title of The Bouquet. Campbell gave each of these tunes the name of a botanical species. One, titled SAGINA, was named for the family of flowering plants that includes baby’s breath and carnations.
Almost a century ealier, in 1738, Charles Wesley wrote six stanzas for his hymn titled “And Can it Be” as a reflection on his conversion to Christianity. By the mid-twentieth century, Campbell’s tune had become irrevocably wedded to Wesley’s verse in Christian hymnody. Two of Wesley’s stanzas along with the refrain, shown below, were chosen as inspiration for the music in this arrangement of the classic hymn tune.
Three accommodations make the music more accessible to church and community orchestras. First, important passages are liberally cued to keep the music workable even without full instrumentation. Second, several optional parts for band instruments are provided to allow current and former band musicians take part beside your orchestra players. And third, the piano/synthesizer part doubles key passages from most of the less common instruments such as harp, vibraphone and chimes.
Plenty of music is available for advanced ensembles, and some music is available for beginning and early music students. But what is available for a mixture of the two? This arrangement of Let All Mortal Flesh Keep Silence aims to provide that solution.
As originally written for an actual church ensemble with a mixture of professional, advanced amateur, and student string players, this piece can fit many different ensemble mixtures of a septet or larger. It features solo parts for violin and cello that will interest advanced players mixed with simple accompaniment by the ensemble at large. Whether you have a studio of mixed ability students, a faculty/student ensemble, or just a real-world church ensemble, this piece can work for you.
Near the end of his career, Erik Satie wrote five pieces for piano designated as nocturnes. Contrary to most of his oeuvre, these five pieces lack the satire, wit, and non-conformity Satie usually exhibited. Still, they are unmistakably Satie: soothing,floating, and very French. This work is a straightforward arrangement of Satie’s 4th Nocturne, applying the color and dynamic ranges of the orchestra to his piano writing while maintaining the enchanting dance-like character of the original work.
This solo piano setting of the beloved Christmas carol applies fresh and distinctive harmonies to the traditional melody. A haunting and slightly dissonant introduction sets a contemplative mood that heralds a unique approach to the carol. Set in ABA form, lush harmonies and delicate lyrical phrases contrast with the syncopated and ornamented melody of the uptempo B section. The work is within the grasp of the intermediate to advanced pianist without extensive rehearsal but still contains sufficient challenge to provide a rewarding experience for performer and listener alike. The First Noel is an excellent piece for offertory, instrumental praise, candlelight service, or any occasion reflecting on the miracle of Christ’s incarnation during the Christmas season as well as being perfectly at home on the recital or concert program.
Reviews
There are no reviews yet.