Wind Band – Shekinah

November 9th, 2011

Even while being mostly half and whole notes, this composition for wind band can be extremely challenging. The wide spacing of perfect intervals at exposed moments between instruments of different families demands that the wind band have an acute sense of intonation in order to have a pleasing performance. Also, in order for this wind band composition to be effective, it must be noted that the climax of the music is intended to be at mm. 21 and not at the very end. It cannot be stressed enough how massive the sound of the bass drums needs to be at that moment. If a cannon were practical I would have notated for that to be used as well (if you’re able to use one, feel free). By climax, I mean to say what will be perceived as the loudest and most exciting moment for the average listener. After this happens, the rest of the work is to sound so other-worldly that the strangeness causes discomfort and awe. The end can be taken as a climax of emotion and the other a climax of power.

Download Score and Parts (pdf) – $39.99
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The download includes 8.5×11 and 11×17 versions of the score.

Sample score and parts

This wind band composition is a programatic work based on the text of Exodus 33:18-21 in which Moses said to God “Now show me your glory.” God proceeded to hide Moses in the cleft of a rock, put his hand over Moses as he passed, and then allowed Moses see His back. The sound in the beginning depicts a distant radiance as the Almighty approached. When the sound becomes as big and radiant as possible, the massive bass drum hit is the hand of God coming down to hide Moses in the rock. This is followed by the full radiance of God seeping through the cracks between God’s hand and the rock as He passes by. At last, the end of the piece depicts God lifting his hand from the rock and letting Moses see His back. It would be an other-worldly and terrifying experience to perceive the holiness of God in this way.


Bass Clarinet and Marimba – Underneath the Spreading Tree

November 8th, 2011

This bass clarinet and marimba duet, while being very difficult, is full of wonderfully rich sounds and textures that you can not produce with any other combination of instruments. I partly regret my choice of instrumentation and may rewrite it for something more practical someday, but my reason for the choice is because of a phrase in Isaiah 55:12, “…all the trees of the field will clap their hands.” This personification stirred my creative curiosity on the brink of obsession, and I could not get the combination of bass clarinet and marimba out of my head. They are the perfect two instruments to depict the sound of living trees rejoicing over redeemed Israel and I couldn’t rest until I’d used them together for the purpose. However, a story is pointless if you only share the ending without saying how it came about. Using the perspective of the trees in the land I’ve written this work to tell the story of Israel’s fall into paganism, God’s judgement on them, and then finally their redemption. To listen to this work correctly, you must understand that you’re listening to a tree tell a story.

This video is only a sample of the work.

Download score and parts (PDF) ($14.49)
 Foreign Currency? Click Here.

Sample score

Additional information

Duration: 11:00

Throughout the major prophets in the Old Testament, the term “spreading tree” is used repeatedly in reference to the location in which the nation of Israel conducted their sinful pagan rituals. If one applies the personification of the trees in Isaiah 55 to these texts, it’s not hard to imagine what sorts of sounds God’s trees would make in response to detestable practices being performed underneath them. These practices included various ceremonies to honor false gods, ritualistic sexuality (mass orgies), and child sacrifice; clearly detestable practices in the eyes of God. The beginning of this tree’s story portrays these pagan ceremonies through primitive sounding harmonies and intricate rhythmic dancelike textures. At first these sounds seem innocent, but as the work progresses the harmonies are twisted to depict the darker components of pagan Israel’s worship.

The following are the texts I had in mind while writing this beginning section:

Jeremiah 2:20 (NIV), “Long ago you broke off your yoke and tore off your bonds; you said, ‘I will not serve you!’ Indeed, on every high hill and under every spreading tree you lay down as a prostitute.”

Isaiah 57:5, “You burn with lust among the oaks and under every spreading tree; you sacrifice your children in the ravines and under the overhanging crags.”

The second section is the tree’s telling of God’s response to Israel’s disobedience. This is depicted by energetic and ominous sounds followed by sounds of intense sorrow. It is the tree’s version of these texts:

Jeremiah 4:13-15, “Our enemy rushes down on us like storm clouds! His chariots are like whirlwinds. His horses are swifter than eagles. How terrible it will be, for we are doomed! O Jerusalem, cleanse your heart that you may be saved. How long will you harbor your evil thoughts? Your destruction has been announced from Dan and the hill country of Ephraim.”

Jeremiah 13:24-27, “‘I will scatter you like chaff that is blown away by the desert winds. This is your allotment, the portion I have assigned to you,’ says the Lord, ‘for you have forgotten me, putting your trust in false gods. I myself will strip you and expose you to shame. I have seen your adultery and lust, and your disgusting idol worship out in the fields and on the hills. What sorrow awaits you, Jerusalem! How long before you are pure?'”

The final section depicts the tree’s swelling joy at the thought of the future return of God’s people to the land, the original reason I set out to write this work:

Isaiah 55:12,
“You will go out in joy and be led forth in peace; the mountains and hills will burst into song before you, and all the trees of the field will clap their hands.”


Transition

November 4th, 2011

This sample is taken from my album, Prelude. Click here  for more information.

Download score, parts, and solo part (PDF) ($129.99). (Includes 8.5×11 and 11×17 versions of the score as well as a complimentary piano reduction.)
Foreign Currency? Click Here.

Purchase piano reduction, solo part, and accompaniment mp3 ($16.49)

Sample accompaniment mp3

Sample scores

Sample piano reduction

Duration: 21:00

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.

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