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!
In this timpani and piano duet the timpani player is required to play quickly and quietly, change the tuning of the timpani while playing, and listen carefully through the sound of the timpani to hear the piano’s pulse. This piece can be quite difficult to play at the prescribed tempo, but it still sounds great when it is played slower than marked. Doing this can make it easier on both the timpani player and even some audiences. A danger to watch for is that the piano can be easily overpowered by the timpani in dark or very wet halls. Be sure to take the necessary precautions to make sure the piano is always heard clearly. This can be achieved by performing in a bright or less resonate hall, using a brighter piano such as a Yamaha, or by slightly muffling the timpani as a last resort. Artificial amplification might work, but the placement of the sound source for the piano has to be in a location that enables it to mix with the sound of the timpani on the stage.
My friend, Amy, premiered this timpani and piano duet with the man she eventually married at the University of Illinois during her undergrad senior recital. She is an extremely talented performer and a passionate music educator. She asked me to write this piece specifically for her recital, and I accepted with eventual enthusiasm. I took the assignment as an opportunity to test my abilities after writing Transition and The Dark Process as well as to get my foot in the door for graduate school at the university; not to mention doing a favor for an old friend. After it was premiered I spoke with the department chair of percussion, and he said that he would put a good word in for me in the composition department. I have since been rejected for graduate studies at the University of Illinois and have finished a master’s at Michigan State University.
Below is an actual performance of the timpani and piano duet. Not the best recording, but it is a fantastic performance and will give you an idea of what it would be like to actually play it.
