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!
I would consider my bassoon concerto to be one of my best pieces. It began as a piece for piano and bassoon, but from the beginning I had plans to orchestrate it. It now works very well in both the piano and orchestral versions, has been reviewed by several bassoonists, and is a favorite among those who listen to my work. Any bassoonist looking for a new challenge to enjoy should most certainly download the free solo part and read through it. You, your accompanist(s), and your audience will love this piece.
Performance notes: I highly recommend that the bassoon be amplified artificially.
This bassoon concerto was heavily influenced by two primary sources. Very few people know it, but John Williams writes fantastic music outside of the film industry. His bassoon concerto (Five Sacred Trees) is pretty much all that I listened to while I was working on this. The other source is actually from literature. Blaise Pascal, a 17th century French philosopher and mathematician, wrote a passionate argument against apathy for eternal matters; a philosophical discourse entitled “Against Indifference.” Below is the title of each movement and a summary of the argument Pascal was making (the last one is my paraphrase):
Movement I, To the Apathetic
“But as for those who spend their lives without a thought for this final end of life and who, solely because they do not find within themselves the light of conviction, neglect to look elsewhere, and to examine thoroughly whether this opinion is one of those which people accept out of credulous simplicity or one of those which, though obscure in themselves, none the less have a most solid and unshakable foundation: as for them, I view them very differently.”
-Pascal
Movement II, A Lament for Doubt
“I can feel nothing but compassion for those who sincerely lament their doubt, who regard it as the ultimate misfortune, and who, sparing no effort to escape from it, make their search their principal and most serious business.”
-Pascal
Movement III, Search and Fruition
To live a life within the context of eternal existence gives us joy beyond our understanding. Seek this truth, and it will reveal itself to you.
This is an extremely challenging classical piano solo that requires the pianist to have complete right and left hand independence in order to perform it with the passion and freedom that it calls for. The rapid independent lines coupled with the sustain pedal being employed throughout entire sections of the piece creates an enormous sound wall that peaks in volume at the climax of the solo and dies away naturally without dampening the strings. This of course has the danger of any wrong notes being very obvious for several seconds during these sections. Taking all of these things into account, this classical piano solo is clearly written for a very accomplish pianist.
As I was writing this piece I could never quite decide which emotion I was attempting to capture. Whatever I had in mind, it was an emotion that would bring a person to tears. My goal has ended up being for me to convince the listener to empathize with another person’s suffering and unspeakable joy simultaneously. Some may view this concept as silly and far from practical, but this is the emotion that I think of when I see something incredible to come in the midst of a difficult situation. The adversity must take place in order for joy to result, but terrific end or not it still hurts in the meantime. The journey is beautiful because of its result.
Special thanks to Cornerstone University for allowing me to use their 6 foot yamaha grand player piano.
There comes a time in a our lives when we absolutely have to accept the fact that the universe is bigger than we are. We have to realize that we are suspended between the two infinities of complexity and immensity. This movement represents our struggle when we are beginning to see this but are reluctant to accept its implications; that we are very small. We as individuals are selfish beings that want to be declared significant in one way or another. When this attitude is taken to an extreme, we have difficulty accepting the fact that there is a world outside of ourselves. An incredible amount of stress results because we now have to overcome our context in order for the world around us to reflect our belief. If we as individuals are successful in ruling our immediate context, our surroundings simply become larger. We are never satisfied because we naturally seek to become more significant than we currently are. Eventually frustration results when we realize that our happiness cannot come from our own significance since no matter how much we accomplish for ourselves, we remain dissatisfied and unhappy. Therefore, our pursuit of contentment lies outside of ourselves, but so long as we are unwilling to admit that we are not bigger than the universe we will not be content.
Movement II, Rejection – 7:55
We as individuals often refuse to let ourselves believe that we are not the most important thing in the universe. Since we must be wrong (only one person can be the most important) anger and frustration surface while we attempt to make ourselves more important so that reality conforms to our belief. Since we are finite human beings that are attempting to overcome an infinite obstacle we eventually wear ourselves out due to the fact that our power has limits. This movement depicts the our constant attempts to be declared significant in our context. As we fight our way towards contentment and happiness, the world around us continues to become bigger. Finally we are completely spent and have lost the ability to go any further. We must seek a new direction or continue to suffer until we die.
Movement III, Submission – 12:45
In this movement, constant attempts to be declared significant has forced our perception of the universe to be so vast that we feel as though we have been swallowed up by its immensity. We have realized that the only way to survive is to stop trying to overcome our context, but this leaves us in complete despair. We slowly realize that the only way to find contentment is not to overcome our surroundings, but to become an irreplaceable component of them. We finally find contentment when we put ourselves in context with the universe. This gives us both infinite significance and infinite insignificance simultaneously.
Movement IV, Perseverance – 12:35
A compromise has been reached making it possible for us to be content. However it is very easy to fall back into the human tendency of selfishness. In fact, it is so easy that it seems as though we are not capable of maintaining or even truly developing a mentality of selflessness without outside help from a Being greater than ourselves. In order to truly find our place in the universe we must become dependent upon a being that is capable of complete humility. We soon realize that this being is throughout the entire universe, in every human component of the universe that is submissive, and that He is a relational being who wants us to know Him. Understanding this even at the most basic level gives us unspeakable joy and forces us to fall down in worship of this eternal and infinitely significant Being. We have found our context in our Creator and have become a part of His existence, and once we submit and become part of this context which envelopes us, we have infinite and eternal happiness that will never be compromised.
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Context truly is a symphony by definition due to the fact that it follows the classic form of the symphony quite closely. The term symphony is often used flippantly, but in this case I intend it to mean what it has always meant: a large work for a large ensemble that shows what the composer was capable of at that point in his life. Since this project fits into this category and was designed to do so, the listener must know a few things about how to listen to a work of such magnitude.
Usually when we listen to music we don’t expect one musical idea to last more than five to ten minutes. In popular culture three to four minutes is all a person’s attention span can take. This work on the other hand takes forty-five minutes to listen to and must be understood as a whole in order to get the most out of the listening experience. Throughout this work, there are two motives that are used excessively, which is why you may notice that even when the music seems chaotic you can still understand it. This tends to happen at the subconscious level, but when studied and analyzed you will find that it makes perfect sense for your mind to keep being drawn into music. Using this motivic material and developing it further makes it possible to unify even hours of music into one coherent idea without losing the interest of the listener. The listener should therefore not only listen to the sounds themselves as they come in and out of perception, but as they get to know the piece better should concentrate on perceiving the entire work on the massive level in which it exists. Only when the medium of time is eliminated completely can this piece or any piece for that matter be enjoyed up to its potential.
The sounds that I have developed is a topic that I hope musical critiques will deeply address someday. I have taken the new technology from Logic Pro 8’s Sculpture and have used it exclusively for this project. Outside of the percussion every sound has been engineered from scratch using Sculpture and done without previous outside training in sound engineering. This is to the credit of Logic’s developers at Apple. The software is so intuitive and straight forward that composers of electronic music no longer have to know anything about programing in order to successfully achieve good sounds. I hope that my use of this technology will inspire more musicians to create with this technology and to keep music moving forward into a new and unexplored frontier.
Thank you to my friends, family, and teachers for your continued love and support. Without all of you my work would not be possible.
