This is a fairly simple arrangement of the tune put to “All Hail the Power of Jesus’ Name.” It is intended to for unaccompanied saxophone, but that should not stop other instrumentalists from giving it a try. If you want to see a transcription for your instrument, just send me an email and I’ll see what I can do.
The opening melody I have here was directly inspired by the original melody. The delicate line contrasts nicely with the powerful tune and accompanies some of the more abstract pictures of Christ’s power. Specifically, “Crown Him, ye morning stars of light, who fixed this floating ball.” Keep in mind that the entire arrangement is to function as a single unit and let all the music and poetry mix together in your head. The bottom line is that Christ is powerful, holy, and Lord.
Below is the part of the text which inspired the arrangement:
All hail the power of Jesus’ Name! Let angels prostrate fall;
Bring forth the royal diadem, and crown Him Lord of all.
Bring forth the royal diadem, and crown Him Lord of all.
Crown Him, ye morning stars of light, who fixed this floating ball;
Now hail the strength of Israel’s might, and crown Him Lord of all.
Now hail the strength of Israel’s might, and crown Him Lord of all.
Ye seed of Israel’s chosen race, ye ransomed from the fall,
Hail Him Who saves you by His grace, and crown Him Lord of all.
Hail Him Who saves you by His grace, and crown Him Lord of all.
O that, with yonder sacred throng, we at His feet may fall,
Join in the everlasting song, and crown Him Lord of all,
Join in the everlasting song, and crown Him Lord of all!
This is a fairly simple arrangement of the tune put to “All Hail the Power of Jesus’ Name.” It is intended to for unaccompanied saxophone, but that should not stop other instrumentalists from giving it a try. If you want to see a transcription for your instrument, just send me an email and I’ll see what I can do.
The opening melody I have here was directly inspired by the original melody. The delicate line contrasts nicely with the powerful tune and accompanies some of the more abstract pictures of Christ’s power. Specifically, “Crown Him, ye morning stars of light, who fixed this floating ball.” Keep in mind that the entire arrangement is to function as a single unit and let all the music and poetry mix together in your head. The bottom line is that Christ is powerful, holy, and Lord.
Below is the part of the text which inspired the arrangement:
All hail the power of Jesus’ Name! Let angels prostrate fall;
Bring forth the royal diadem, and crown Him Lord of all.
Bring forth the royal diadem, and crown Him Lord of all.
Crown Him, ye morning stars of light, who fixed this floating ball;
Now hail the strength of Israel’s might, and crown Him Lord of all.
Now hail the strength of Israel’s might, and crown Him Lord of all.
Ye seed of Israel’s chosen race, ye ransomed from the fall,
Hail Him Who saves you by His grace, and crown Him Lord of all.
Hail Him Who saves you by His grace, and crown Him Lord of all.
O that, with yonder sacred throng, we at His feet may fall,
Join in the everlasting song, and crown Him Lord of all,
Join in the everlasting song, and crown Him Lord of all!
Performance notes: This Concerto features an extremely difficult saxophone part utilizing the saxophone’s countless timbres, agility, and altissimo register. The performer must have a particularly acute sense of rhythmic precision and strong upper range; like any other concerto in history the soloist must be an extremely accomplished musician. There are also special effects that are particular to the woodwind family including multi-phonics, growling, pitch bends, portamenti, and quarter tone trills.
If the performer generally has a dark sound, the soloist will be overpowered, particularly in the second movement. This can compensated for by the performer using a brighter timbre during these densely scored sections, performing in a brighter hall, telling the band to switch to one on a part, or by artificial amplification. Be sure to consult a sound engineer on how to amplify the soloist if you choose this solution.
Musical interpretation: The title of this work has two meanings. In one sense it is the representation of life in general going through change. In order to settle upon a contented state, one must not fight the changes they go through in life but rather change their attitude towards their new surroundings. It is not our circumstances that make us happy, but our attitude towards our surroundings that governs how we feel. After all, a person can have everything in the world going their way and still be unhappy. I have attempted to capture this concept with this work. My suggestion to see this in the music is to think of the saxophone as a person seeking contentment and the band as the person’s environment (I hope you now see why I have chosen to not thin the orchestration).
On the other hand, this work is a perfect representation of how I have viewed life throughout the year of June 2007 through June 2008. I listen to this work and remember days and times that I assign to certain sections of the piece, some of which are documented in my journal. I will obviously not go into depth about this, but I will leave this by saying that I learned a lot that year.
In a sense you can say that this piece is about growing up; the attitudes of a person before they start to mature, the pain that is required to mature, and then finally looking at the world through eyes that are seeking deeper understanding. In any case, the work represents a person painfully transitioning into a new and better outlook on life.
I had a very difficult time finishing soprano saxophone and piano duet. It began as a simple exercise in exploring orchestrational possibilities in jazz chords while applying percussion techniques on the keyboard. Adding a line for the saxophone simply seemed like the thing to do at the time, and it made it possible for me to have a live instrument for the presentation of my final project in the class I wrote it for. So I wrote the first two minutes of this piece with no intent outside of making pretty sounds. But I liked the sounds so much that I felt the need to turn them into a coherent musical exposition. After being stuck on the piece for about six months, I finally decided that the only way I was going to finish it was to make up an ending that worked and polish it until it was good.
This sample is taken from my album, Purpose. Click here for more information.
I don’t have a sense of closure when a piece doesn’t seem to have any meaning outside of itself. So even when I had all but finished the piece I still couldn’t leave it alone because I didn’t understand what it meant. And yet I had already named the piece “Hide and Seek” simply because of the way it sounded. It seemed to be trying to go somewhere profound, but became sad when it couldn’t get there. Then it returned to searching for that profound place, this time without being concerned about the result.
The sound reminded me of my childhood games of hide and seek when I would be entertained by looking for my friends that had hidden from me. It was enjoyable not because I found them, but because I found them through a process of searching for them. But sometimes they would hide so well that I would grow weary of looking for them. But it would then be all the more exciting when I found them. But the purpose of the game wasn’t to find but to seek. So becoming irritated because I couldn’t find my friend was silly since all that should have resulted was enjoying the game longer.
While applying this concept to life itself, and thinking about the music in the context of the Purpose project, I finally realized that this piece is about searching for the purpose of life. Many people (myself included) become frustrated when attempting to work out the reason God put them on the earth. While there is the obvious Sunday school answer of “serving, worshipping, knowing, and glorifying God”, very few people are satisfied with that answer and justifiably so. Knowing and glorifying God is an infinitely broad description of our purpose since God is an infinite being. Saying that really means to do what we were doing all along but for a different reason and maybe throwing in a few religious practices to remind you of that reason. But as dissatisfying as the answer may be, it’s still the correct one. However, I’ve taken it a step further with this piece.
The beauty coupled with tension throughout the first fast section recounts the beauty of life in the midst of seeking the reason for our existence and being disillusioned by the answer we find. This results in a discontentment because without knowing the details of why we were put on this earth we have no idea of what to expect from life. So as we move into the slow section we wonder in vain why we exist and therefore what we should be doing with our lives. But in the midst of this anxiety, we find that beauty remains inherent all around us, even throughout our pain. This brings us to the second fast section in which the sounds that were harsh in the beginning have been reinterpreted and are beautiful. Nothing has changed but our reason for perceiving. We’ve realized that we exist for the sake of seeking the answer to the question of our existence. God put us here to ask questions and seek answers. Since God is throughout all aspects of creation, this ends up meaning that God put us here in order to seek Him. We still haven’t moved beyond the broad Sunday school answer, but this realization has satisfied me and justified my life and work.
Purpose hides and so we seek it. But along the way we find beauty and realize that the purpose of life is the process of searching for it.
