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.
Make His Praise a Glorious Thing is a new setting of the English language’s great doxology from the pen of Thomas Ken. It builds on his words with references to the Psalms’ multitude of exhortations to exuberantly praise God in manifold ways with glorious praise. The character of the piece reflects this with a joyous and spirited aesthetic above a driving tempo. The text also juxtaposes our contemporary praises within the historic stream of doxologies from saints past and future as a precursor to the eternal, magnificent, and heavenly doxologies portrayed in Revelation 5 and 7. The melody correspondingly has roots in the traditional Old 100th Psalm tune as well, although it will take a keen ear to catch it.
Although set for SATB choir, it is hoped that this accessible melody will find a place in your congregational singing also. Make His Praise a Glorious Thing is a wonderful call to worship, responsorial, or sacred concert opening or closing.
8 Ball is an exploration of the emotional swings of grief — shock and sorrow, emptiness and isolation, pain and finality — mixed with wistful, treasured memories recognizing the blessing of sharing life with a loved one, and added to this the hope of eternal reunion. It’s written in memory of my brother, Tex, who we lost to COVID in 2020. In homage to his passion, dirt track racing, there is a contrasting section of paint-swapping, fender-bending frenzy, which comes to an all too sudden end as did his life. The title has nothing to do with billiards but refers to his long-tenured racing number and logo. The music uses unconventional scales which are actually six-tone pitch sets treated as different key centers that produce a lush mixture of consonance and dissonance that at turns feel comforting and unsettling. Writing 8 Ball was a cathartic experience to explore my own emotions, cement my brother’s proper place in my memories, and produce a tangible expression of my love for him. It was written as an assignment in the 2023 summer composition workshop at Tarrant County College. I’m grateful to my instructor, Dr. Aaron Kline, the music department at TCC, and the musicians of our performing quartet for their part in bringing this music to life.
A Prayer of Beauty is a re-imagining of “America, the Beautiful” written for professional, college, or advanced high school brass quartet. Independent lines, mixed meters, and adventurous harmonies will challenge musicians. But the familiar melody, rich colors, and glowing resolutions provide a delectable reward for the effort. The pathos, introspection, and hope found in the music will also leave listeners feeling enriched for the experience.
The music’s message is timely and urgent and works well for programming as commentary on current events but is also sufficiently broad and deep to complement varied concert themes. It has sufficient artistic merit to hold its own with other art music while still holding wide audience appeal.
Although the familiar melody is ever-present in this setting of “O, Sacred Head Now Wounded” it will sound very foreign to most ears. In acknowledgment of the atonal origins of the pierrot ensemble, this arrangement embraces dissonance and chromaticism and avoids clear statements of conventional harmony without, however, being altogether atonal. Thus, it is a most unusual setting of the tune, but one that poignantly paints the deep anguish expressed in the hymn text, which is the anguish of the crucifixion’s witnesses. The music is simultaneously shocking and familiar, which seems a fitting way to present this familiar story in all its appalling horror.
The music may be successfully performed with advanced high school or later musicians. It is not excessively demanding technically but will require artistic taste and expressiveness and good counting skills. It is well suited for recital or chamber ensemble concert in either secular or sacred venue.
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.
Foundation is part of my Americana Miniature series of early American hymns and folk songs. These are short and fairly simple settings of well-known American music intended for church or community venues and are playable by intermediate level musicians. Foundation is set for trombone or low brass quartet with rich harmonies, varied meters, and melodic interest in all parts.
In 1861, the sight of Northern troops assembling in Washington, D.C. inspired Julia Ward Howe to pen the words to The Battle Hymn of the Republic, which begins, “Mine eyes have seen the glory of the coming of the Lord.” Although originally intended to stimulate patriotic fervor, the text’s potent depiction of biblical themes – God’s certain and final defeat of evil, the looming eternal judgment of all souls, Christ’s atonement on our behalf, and a clear call to sacrificial evangelism – the work became prominent in many American hymnals. As summer approaches with the major American holidays of Memorial and Independence Days you may be seeking appropriate music to use in recognition of God’s providence and sovereignty. Here is one option for you, my arrangement of Ward’s hymn titled Mine Eyes Have Seen the Glory, set for trombone/low brass quartet. It’s a short piece, suitable for prelude, offertory, postlude, or other moments in your service, or would make a marvelous addition to a patriotic service or a summer bandstand concert. It is accessible and enjoyable for intermediate and higher level musicians. With rich harmonies and shifting colors, a twist on the traditional meter, and variations in tempo, it is a delight to the ears that underscores the implications of the unvoiced lyrics.
The music of You Were Once Darkness follows a redemptive arc, a journey from dark to light, from chaos to repose. It’s not meant to be auto-biographical but to be meaningful to anyone who has known the sweetness of overcoming personal brokenness, whether it might be addiction, self-destruction, religious deliverance, or other crisis. It approaches the topic from the perspective of overcoming self. The harmonies, rhythms, and timbres of the piece strive to portray this transition.
Some would say Oh, Shenandoah is the quintessential American folk song. But almost everything about the song is clouded in confusion and obscurity. When was is written? No one knows. It was first published in 1882 but is almost certainly much older than that. What is it about? Many people associate it with the Shenandoah Valley in Virginia but its lyrics repeatedly refer to the Missouri River which is hundreds of miles from Virginia. Many think that Shenandoah was an Indian chieftain and the song is about a love-sick frontiersman pining for the chieftain’s unnamed daughter. Whatever the case, it’s a song Americans love to hear and to sing. So, when looking for a traditional American tune to arrange for trombone quartet, Oh, Shenandoah was a very natural choice. Listen to this colorful and emotive arrangement for trombone/low brass quartet and see if images of the American countryside don’t spring to mind!
Meditation on CLEANSING FOUNTAIN is a setting of an archetypal Early American camp meeting tune interpreted through the lens of compositional techniques developed by 20th Century composers, such as the quintessential American composer Aaron Copland. The result is thus a new and uniquely American take on an American classic. It is meant to be simultaneously fresh and familiar, and at home in contemporary artistic or sacred settings while still being easy on the ears. The music is set for traditional saxophone quartet (Bb Soprano, Eb Alto, Bb Tenor, Eb Baritone) and is suitable for intermediate to advanced players. Purchase price include full score and set of parts.
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.
