Categories
Albums Organ Music Recordings YouTube Videos

New Album Release

Starting March 1, 2021 my latest album will be available on streaming sites everywhere.

Album cover art

A demo of the album is available on YouTube:

Please leave comments and questions here in the comment section.

I also have 13 other albums available on all digital music streaming sites (Scroll to the bottom for links to all the sites)

Categories
Albums Organ Music Recordings YouTube Videos

New Album – Classical Organ Music

Cover art of the album
Album art work

Classical Music for solo Organ

I’m happy to announce that my 13th album is now available. You can listen to it on YouTube at: https://youtube.com/playlist?list=OLAK5uy_mv5_JJPl9WFBnKCAV-yTDfqFEuzdGECaM You can also purchase it at https://music.apple.com/us/album/classical-music-for-solo-organ/1544011235 or listen on Spotify at: https://open.spotify.com/album/6Qz1uT9cZSc3ZQmdp6I2t5

This album is an all Organ music album. It features the following short works.

Sortie-Franck (2:45)
Allein Gott in der Hoh sei Ehr-Telemann (2:15)
Aus Tiefer Not-JC Bach (1:36)
Schmucke dich, o liebe Seele-Telemann (2:31)
Adagio – Mendelssohn (3:11)
Christ lag in Todesbanden-Telemann 1/2 (3:28)
Christ lag in Todesbanden-Telemann 2/2 (1:21)
Ach, wir armen Sunder-Telemann (3:06)
Grave_Adagio_Mendelssohn (4:41)
O Lamm Gottes, unschuldig-Telemann (4:07)
Blessed Jesus At Thy Word-Elert (2:45)
Cantabile-Franck (4:32)
Grave_Bach (2:11)
Vater unser im Himmelreich-Telemann 1/2 (2:08)
Vater unser im Himmelreich-Telemann 2/2 (1:12)
Blessed Jesus At Thy Word-Able (2:48)
Komm, heiliger Geist, Herre Gott-Telemann (3:46)
Christus, der uns selig macht-Telemann (3:13)
Andantino Moderato Dubois(4:49)
Herr Jesu Christ, dich zu uns wend-Telemann (2:35)
Benedictus-Elert (2:57)
Herzlich tut mich verlangen-Telemann (3:13)
Gregorian March (4:50)-Alexandre Guilmant

Categories
General Reaper Recordings

Mixing in Mono – my recent experiences

Update: Be very careful where you put your metering plugins when mixing. It turns out I had Insight one step before the final mix. As a result, my mono mixes are now about -2 to -2.5db softer than the stereo sounds, not the same as the article below says. This is acceptable, though not ideal. The sections about compression and maximizing are still good things to do in your tracks, particularly if, as in my case, the instruments are overall not loud but do have extremely high peaks from time to time. Any advice on how to get mono and stereo mixes to exactly the same level would be appreciated. Above all, this post is to emphasize the need to make sure your mono mix sounds as good as your stereo mix, even if it isn’t always as loud.

Whether you are new to audio mixing or a veteran you’ve hopefully heard people say that you should always check your mix in mono. How come we need to do this? I discovered that a Zoom meeting I was providing music for was only setup for mono audio and even if the meeting is in stereo, all recordings of Zoom meetings are in mono. There are also many venues that only play music in mono including restaurants and clubs. Expect also that some of your listeners will be hearing their music on phones or tablets that only have one speaker or poor at best stereo playback.

Listening to your mix in mono can also point out weaknesses in your overall mix. In some cases a mono mix will result in instruments getting lost or buried in the mix, sometimes due to phase cancellation. Variations in phase, like when you take two sine waves and shift one 180 degrees so you don’t hear anything, as you go from 0 to 180 you will still hear a tone, but it will get softer and softer. Examination of your master track with various metering plugins (there are many free ones) can show if you are suffering from phase cancellation. Some areas to look for are phase variances between snare mixes above and below the snare; overdubbing of the same part with different settings or effects; stereo wideners and synthesizer type instruments that have a lot of processing applied.

My problem was that the mono version (as I found out from the recording) was 3db to 4db softer than the stereo version and softer than voices on the recording. As some people will point out, it is not unusual at all for the mono to be a bit softer than the stereo, but 3db is noticeable and more importantly the mono mix wasn’t as good as the stereo. The recording I was working on was a one instrument stereo track, a virtual software instrument piano, with various processing on it in the instrument software.

The solution I came up with was to get rid of any processing I didn’t really need in the instrument (like a stereo widener), put a compressor (Native Instrument’s LA-2A emulation) on the track aiming for about 4db in reduction, then a maximizer (I used Ozone 9) to aim for -15LUFS which seems to work best for me in Zoom. Each recording, whether with one instrument or many, will require adjustment to the compressor and maximizer settings as no one setting works for all situations. Right away this made a positive difference.

I frequently “freeze” my midi based tracks to audio so I can work only in audio and also so I’m not tempted to spend forever tweaking the midi parts. Next I found that cutting off some of the really low frequencies (below 60Hz) with a gradual (around 12 db/octave) slope as the first thing in the audio processing helps. Exact frequencies for the HPF and the “Q” will depend on the instrument. Excluding these lower frequencies helps the compressor to focus on musical elements rather than low frequency rumble. Don’t use a HPF at 60HZ on an organ, kick or electric bass, instead aim for below 40 or 50Hz, if at all. As to the compressor I used for one of my recordings, since the NI LA-2A emulation has no attack/release or ratio settings and its own HPF, I used the Peak Reduction to set the compression and didn’t use an EQ HPF prior to the compressor. While I like the LA-2A emulation, I also used the built-in ReaComp compressor in Reaper (my DAW of choice) with a 4:1 ratio and 300ms release with everything else being pretty close to the default. I found that it worked pretty good too, but I do have to say the LA-2A emulation requires less thinking and tweaking.

(See opening paragraph for corrections to this paragraph). For the final check before rendering to the stereo file that will be used for the Zoom meeting I listened to everything in mono and stereo along with an LUFS metering plugin (I think the free Insight plugin from iZotope). Exact LUFS levels happened between stereo and mono in some recordings and those mono mixes that didn’t were only about 0.2db softer than the stereo. I hope this helps or is at least interesting. I would double check everything I said before taking it as gospel. If you have any corrections, suggestions or other methods for making sure mixes are good in both mono and stereo, please comment below.

Categories
Albums Church Music Recordings Website News YouTube Videos

New Album Released

Hymns – Plugged In

I’ve been at it again. A new album is now available. It is title Hymns – Plugged In.

A collection of traditional hymns set in contemporary styles using all electronic instruments.

Available at: https://www.amazon.com/gp/product/B083TPXRBP as well as on Spotify, Apple Music, Amazon and all digital music sources.

Here is a demo of the whole album:

Categories
Arranging Reaper Recordings YouTube Videos

Choir Labs contest

Choir labs contest

From time to time I enter various arranging or mixing contests. Recently Spitfire Audio – a British company that makes very good sound libraries – sponsored a contest. They make available various free libraries, one of which is based on the Eric Whitacre choir. The contest was to compose and record music to fit one of 5 NASA provided videos. They ranged in length from 30 seconds to 1 minute. Here is my effort.

Thanks for reading my blog. Please feel free to comment. You can also subscribe to be kept updated on new posts.

Categories
Albums Arranging Reaper Recordings

No Time To Relax (Album Notes)

No Time To Relax

Track 9 from my album Sampler. It can be found wherever digital music is available

A melancholy piece featuring pads, light drums and vocalise melody to start with. Then the track adds in some synth leads and synth bass part. The end echos the feel of the start.

The Gravity sound library is used for the bulk of the vocalise. For the drums I used Drum Lab from Native Instruments. Also used for some rhythm elements was Grid II.

The bulk of the sound in this track comes from the instruments. There is no EQ used on any of the instrument tracks. I did use the REAPER ping-pong delay and Native Instruments RC48 reverb unit with some EQ on the reverb. Only the two vocal tracks have any reverb added to it. Although I have the delay unit on a bus, I just realized nothing is being bussed there. So, just reverb is added to this track.

For mastering purposes, I did not do anything beyond a peak limiter (just to make sure nothing peaked).

To my ears at least, this piece just “worked” with the combination instruments I chose and without having to do anything besides balance levels. That’s something to think about as you compose and record music. Get it as good as you can prior to recording to audio and the mixing and mastering process will be easy.

Please, please, if you like the album or these track notes, drop a note in the comments. Even if you don’t like it, drop me a comment. Now that I think about it, I’ve not had any comments since I moved the blog here. Maybe the comments only work for me? Anyone care to test it out?

Categories
Albums Arranging Reaper Recordings

Is Something Bad Coming (album notes)

Continuing with my series of liner notes for my album Sampler, we get to track number 8. This is a darker sounding track. It consists of 6 instruments and various effects.

You can find all of my albums anywhere digital music is available.

First up is the Bass, the Padaboom patch from the Substance library by Output.

Next is the Arp Harp Loop patch from Output’s Signal Pulse library. I believe the patch may be part of an add-on library.

Next is the After Waves patch from Output’s Exhale program. The patch is probably part of an add-on library.

It looks like most of this piece uses Output’s various libraries. The next track is Tears in Rain patch from Analog strings by Output.

The next patch is a PolyBrass 2 from Kontakt’s RetroMachines Mk2. I believe this is an emulation of a Korg PolySix patch. The PolySix was the first synthesizer I ever owned.

Finally we have Battery 4 using the Sad Flamingo Kit.

For all the instruments, I only used automation on the Battery kit and that was for some volume changes.

I must have been happy with the sounds of the instruments because I used practically no effects on anything. Only the drums (Battery 4) were processed. I sent them (-13db) to a rever bus. The reverb was the Native Instruments/Softube emulation of the RC48 using a Medium Hall preset.

I sent the reverb (0db) to a Gate buss.

On the master bus I cut out frequencies below 30hz and used the Lurseen Mastering Console from IK-Multimedia. I used the Classical (More Glue) preset. If I made any changes, it would have been to the De-esser or compressor in the chain view options (icon at top). This plugin makes a huge difference in the final sound. It isn’t just louder, but better sounding.

Any questions or comments, please let me know.

Categories
Albums Arranging Reaper Recordings

Exciting times (track notes)

Continuing my liner notes for my July 2018 album “Sampler”

Track 7, Exciting Times, was my first experiment on doing something entirely from loops. Not audio loops, but MIDI loops. The entire track was produced from MIDI loops.

I use to subscribe to a magazine that included a download link or a DVD that had various samples and loops on it. My notes don’t show which issue or magazine name, but it was from a magazine. I took loops that came from what I think was a Trance selection. The majority of the magazine content was audio loops or samples, but from time to time they include midi loops.

Here are the instruments/patches I used for this track. My notes don’t show what changes I made to presets and it would take too long to figure out. Whatever they were, they were not dramatic changes.

Battery 4 (Argon Kit) with ReaEQ highpass at 40HZ and Supercharger GT compressor with a modified drum buss preset. Automation on ReaEQ highpass frequency.

Massive with Thelonius preset (modified). ReaComp sidechained from drum track; ReaEQ with a slight boos around 300hz and a low pass cut at 1.1K. Another ReaComp with sidechain. Supercharger GT with modified Synth Bass preset. NI VC 2A compressor, modified Electric Guitar preset. ReaDelay (modified Dehuminator slower preset). Automation on the Wavetable position and cutoff in Massive as well as the Bypass on the ReaDelay.

Reaktor Razor, Centauri preset (modified); ReaComp sidechained from Drum Buss, 0ms attack; 47ms release, 4:1 ratio, 0 to 481Hz input filter; ReaEQ highpass around 60Hz. Another ReaComp sidechained with 30-225Hz input filter. 3ms attack, 100ms release, 4.1 compression. (The two compressor settings basically end up being sidechained by only the bass drum from the drum sidechain input). Automation on two Macros in Razor. Automation on high pass filter in ReaEQ.

Absynth 5, Arcadia patch (probably modified). ReaComp sidechained similar to above examples.
ReaEQ. Automation on Pan and EQ Low pass frequency

Reaktor Monark, Sakwenzer patch (probably modified). ReaComp with sidechain from Drum track 0-745HZ input filter. 0ms attach, 100 release, 4:1 ratio. ReaEQ, low pass at 8.5Khz and high pass at 100Hz. Automation on lowpass eq filter.

Reaktor Kontour, Twin top patch (modified). ReaComp sidechained similar to above examples. ReaEQ, high pass, automated. Another ReaComp sidechained similar to above. Automation on pan.

Kontakt, string ensemble symphony series, string ensemble patch. ReaComp, sidechained similar to above. ReaEQ High pass around 60Hz, automated.

Kontakt, Rise & Hit, Heavy Fuzz patch. Automation on Volume and Rev-Heavyfuzz.

Kontakt, Exhale by Output, Backwards patch.

Four tracks were sent to a ReaDelay buss that had a 4-tap ping pong delay

Four tracks were sent to a Reverb buss with NI Passive EQ in mid/side mode. Some low mid boost in middle and some low boost on the side.

I printed all the midi to audio and produced the final mix from there.  I used an IK Multimedia Quad Compressor and Quad Image to widen out the sound a bit. I used a few sidechained compressors on some of the audio channels.

Please leave a comment or question below. You can also subscribe to this blog to be notified whenever a new article is posted.

Categories
Albums Recordings

Escape Is This Way (Album Track Notes)

Escape Is This Way

This is both the 5th and 11th tracks.

Please leave a comment if you like these liner notes. That way I’ll know that you want me to continue posts for all the tracks on the album.

Track 5 is an “acoustic” version and the 11th is an “electronic” version. The piece is based on a piece from my sheet music catalog “12-tone piece for 4 instruments.”

I used instruments from the Symphony Series String Ensemble from Native Instruments. Basically the 4 parts are comparable to a string quartet. I used minimal EQ. I added some risers, orchestral percussion and Cuban style percussion. The risers from the Rise & Hit library from native instruments. The percussion from the Kontakt factory library all percussion preset. The Cuban style percussion from the Discovery Series: Cuba by native instruments.

The two percussion channels I sent to the stock delay in Reaper with a modified ping-pong, 5-tap delay preset. The riser channel I sent to the RC-48 reverb using the snare roll preset (with modifications).

For the instrument and effect channels I cut out some of the low frequencies (below 50Hz) that can creep into software based instruments. On the master channel I cut low frequencies below 100Hz. I also used the T-RackS Bus compressor from IK Multimedia with a slightly modified Glue preset. The final link in the effects was the Lurssen mastering console with a modified Classical (Warmer) preset.

On the electronic track I kept the same percussion parts but with the Supercharger compressor with a modified Drumbus on the Cuba percussion. I didn’t use any EQ or other compression in the mix. I did use the same compressor on the master track, but did not use the Lurssen console.

I did some panning automation on the Percussion channels. All the sounds were kontakt instruments. In order: 1) Gravity Natural forces pack, Hope eternal patch and Analogue strings from the Retro series Kontakt library; 2) Gravity Natural forces, Mystic Fifths – Amb01 and ChoirInt from Kontakt Retro series; 3) Retro Strings 1 and Gravity Natural forces Stacked Ahh, Eee, Ooo and 4) Matrix Pad 2 from Retro series and Gravity natural forces, Scorched Earth – Amb01

Let me know what you thought of these two tracks.

Categories
Albums Recordings

It Is Different (Album track notes)

It Is Different

The fourth track on our album Sampler

The album and audio samples available wherever digital music can be found.

Please leave a comment if you like these liner notes. If nobody comments, then I will probably not include all the liner notes for all the tracks.

This track is one of the most experimental tracks on the album. I used an old DOS, early Windows piece of software to generate notes based on fractal math. You can probably hear in the somewhat abrupt changes where the different formulas changed.

I used various electronic sounds for the 4 tracks. For the pluck sound I sent to the RC48 lexicon reverb utilizing a modified medium random hall & echoes. On three of the other tracks I sent them to the Reaper default delay, modified 5-tap ping pong. The percussion track also got sent to delay and reverb.

All tracks were fed into a parent folder. On that I had a 3-band splitter. This allowed me to send the lower end to one processing chain, the middle to one and the high to another.
I used Supercharger on the two lower bands and solid bus comp on the higher band.

On the master buss I used the Lurssen mastering console modified a bit from the EDM preset.

I did say that It Is Different.

Categories
Albums Recordings

Looking Ahead track notes

Looking Ahead

The third track in our album Sampler

The album and audio samples available wherever digital music can be found

This track is one of 3 tracks where I was experimenting with brass instruments. Please leave a comment if you like this liner notes or I may not include liner notes for all of the tracks.

For this track I used Native Instrument’s Session Horns utilizing various of the brass articulations available. I used key switching in the midi files to switch between articulations.

The rhythmic comes from the Heavyocity Kontakt instrument Damage. My notes don’t tell which instrument(s)/patch(es) were used. On that track, in addition to cutting off some low end with an EQ I also used the Native Instruments Supercharger compressor with a modified drumbuss preset. I also used some sort of riser in a few spots.

I used some EQ on all the tracks, except the master buss. It was mainly to remove unneeded low end and in a few cases a high-shelf. I used reverb on the risers. I used a Computer Music magazine version of the Acon Digital Reverb. I used the Large gothic cathedral preset, with of course, modified to fit the sound.

On the master bus, for mastering purposes, I used the Lurssen mastering console. I started with the default classical preset and made changes to fit the sound I wanted.

Categories
Albums Reaper Recordings

Beginning The Adventure (Album track review)

Sampler

Beginning The Adventure

(This is the first of a series of articles about the tracks in my new album Sampler)

The album is available on Spotify, iTunes, Amazon MP3

The first track is called Beginning The Adventure. As a side note, I have to say that coming up with titles for my music is probably one of the most difficult aspects of composing I have. I always start with the music first and since there are no lyrics in my music, it makes sense. The last thing I do is come up with titles. Since I needed something a bit upbeat to set the mood, this track seemed appropriate, although I did give consideration to the “trance” like track “Exciting times,” but I thought “Beginning The Adventure” was a better choice.

I probably should have included Heavyocity in the name of this song. As best as I can tell, I only used Heavyocity products on this recording.

As I do most of my recordings “in the box,” that is, in my computer the sounds come from various software sound libraries, software based instruments and in rare situations, something from a loop. Some of the sounds I used were from synthesizers or modeling software that creates the sound as you go. Some were from samples of real recordings of acoustic instruments

This piece started out as my experimenting with the Heavyocity Gravity expansion pack “Vocalise.” There are 3 tracks that utilize some of the phrase menus. They are “A Phrase MV sus” (twice) and the C minor phrase menu. As I experimented I realized it would make a good piece, even for listening (as so much music I run across these days sounds like background music to a video or game and only useful for that, not listening). I also utilized Heavyocity’s NOVO strings at the very beginning for the low filtered sound that gradually comes in and helps set the mood. I don’t keep very good notes so I don’t know which patch it is. The low bass lick that comes in just before the voices start is from Heavyocity’s Aeon Rhythmic using the Synthocity preset. Underneath the vocals is the Heavyocity Aeon Rhythmic patch Falling Filters. The rhythmic pulse throughout comes from Heavyocity’s Aeon Rhythmic

I’m not big on using hundreds or even dozens of tracks to make a piece of music. The Heavyocity material frequently has 3 channels of sounds in one preset and offers a wide choice of effects all within the software avoiding the need to do a great deal of processing in my DAW. So, I only ended up with 7 tracks. I use “Reaper” as my DAW of choice. All of the original 7 tracks were MIDI tracks. I “freezed” the tracks once I had the sound I wanted. “Freezed” (or should it be “froze”?) is the term Reaper uses, in this case, to turn a MIDI track into an audio track. It renders the midi instrument into an audio file. It’s like in the old days of recording, committing to tape the take you best liked of live performers. The nice things is that in Reaper it is very easy to “un-freeze” (no they don’t call it “thaw”) the track if you don’t like it. (You do loose the edits you’ve made to the audio file, if any, but that’s kinda the point in “un-freezing” it).

Since there were so many processing and sound sculpting options in the software instruments – and I did process the default patches – I did very little processing in Reaper. In fact I only used two effects prior to the stereo bus. One was the Native Instrument/Soft Tube emulation of the Lexicon RC48 reverb. I modified the Grainy Echoes preset using a Random Hall and setting it on effect rather than reverb. Since this was on its own bus it was 100% wet. I used the send amounts to balance how much reverb each of the 7 tracks got. You may hear other reverb sounds but those come from the individual instruments themselves. I then routed the reverb to both the stereo bus (0 db) and to a delay bus (at -23db). I used the built-in ReaDelay that comes with reaper. I modified the basic ‘5-tap ping pong’ delay. Each tap was 1/4 of an eighth note after the other, panning left/right and getting softer. That went straight to the stereo bus.

In Reaper there is always a “master mix” channel. (See photo above). Other than a hard limiter (to prevent accidental or hidden clipping) I don’t put anything on it. Instead I setup a folder, the parent folder being the final stereo mix. The 7 music channels and 2 effect bus channels feed into it. Since I was having to master my own material, I put an EQ on this channel with a high-pass filter removing unneeded low end. I then added the IK-Multimedia mastering plugin “Lurssen Mastering Console.” I started with the EDM preset and modified to get the sound I was after. For this album I opted to mix everything using the TR5 Metering plugin from IK Multimedia for an average mix of -16 LUFS (which is the level at which many online streaming services prefer tracks to be and is a broadcast industry standard).

And that’s the details on that piece.

Categories
Albums Arranging General Organ Music Piano Lessons Reaper Recordings Sibelius Website News YouTube Videos

May 2018 update

Current news

I’m always looking for subjects to write about here or tutorial to do on YouTube. Please use the comments section to give me some ideas.

I’ve not shown a map of where people are buying and performing my sheet music for some time, so here’s the latest (as of Mar 31, 2018)

I’m making some changes to the music catalog. Rather than offer individual keyboard arrangements, I’m only selling collections. I have 8 piano solo collections available. As time permits I will remove organ solos from the catalog and only offer collections. It is easier to manage collections.

I have no plans for anything on YouTube at the present time. This is for two reasons: 1) Nobody who watches my videos on YouTube has bothered to let me know what they want to see and 2) YouTube no longer allows me to monetize my channel and nobody who watches my videos has donated anything to keep it going.

As always, check the sheet music catalog for new titles. At least once a month, sometimes more often there are new titles.

After 15 custom arrangements for a single client I must be doing something right. If you have a beginner/intermediate instrumental group or a church orchestra in need of arrangements, let me know so I can write it for you.

I’m always “playing around” with my various sound libraries and live instruments in my home studio. Look for at least one new album out this summer, if not two.

I continue to teach piano lessons locally and over the internet. So, no matter where you are in the world I can teach you. I can also tutor on composing, arranging, music theory and more. Drop me a note if you are interested.

Categories
Arranging General Recordings

Results of my contest entry

Did they even listen to my entry?

So, a few posts ago I mentioned that Spitfire Audio was having  a contest that I had entered. The one and half minute video was provided by them. Contestants had to write music to fit the video. It didn’t matter what sound libraries we used, it was “the composition that mattered.” Given the winning entry, which isn’t a bad musical competition, I wonder if my entry made it to them?

Nobody has ever called me a bad looser, but in this case, I just don’t get it. Were they more interested in the mixing/mastering than the music matching the video or what? The whole contest was a bit odd. The entry method was emailing the final audio (a large sized file) which could have easily ended up in their spam folder or deleted. It’s never safe to email something so big. We also had to send a link to our music synced to their video. I did that. They never confirmed whether they got my entry nor did I ever see it (or any other entries) posted on their SoundCloud site as the rules said they would. They also did not announce the winner on their website, but instead at the following Facebook page. Not everyone uses facebook. Here’s the winner:

https://www.facebook.com/SpitfireAudio/videos/10155715880575412/

The problems I have are:

The composition is little more than a 1:15 tension builder. It doesn’t resolve the tension. When I’m looking to buy a sound library, this music doesn’t do it for me.

The music doesn’t fit the video. It in no way enhances or supports the visuals we see. (Some comments on their facebook page agree with me here).

It is so repetitive to the point of almost being boring.

When it switches from graphics to the control room, why no change to draw the viewer, who may have turned away while watching on their phone, tablet or PC, to the change?

When we see a large horn section, I have trouble hearing any horns. The only thing in the video are horns yet there are no obvious horns in the music.

The same thing when we see flutes, trumpets and a timpani player feverlishly bangs on the timpani, we don’t hear flutes, trumpets or timpani. Why not? It would be an excellent way to showcase the product and its multiple capabilities instead of hearing essentially the same thing we’ve heard from the beginning.

When the woman is showed at her computer using Albion, why not give us something electronic? Movie soundtracks aren’t all symphonic orchestra are they?

The biggest thing that bothers me is when she plays a C on her keyboard (after seeing that she has a string sound loaded up) we don’t hear a C, not even a note in the C chord, nor are strings featured. What happened to matching the music to enhance the visuals?

Any how, here is my entry. I know it isn’t perfect. The mixing and mastering need some work and it probably would have helped to layer in some more sounds to what is there. I would really like some comments as to why my attempt was not as good as the winner.

Categories
Arranging Church Music Kindle Organ Music Other Piano Lessons Recordings Website News YouTube Videos

Year 2017 in Review

Goodbye to 2017

To start the blog being moved to this location, I thought I’d start with an article reviewing the past year, 2017, and my musical efforts.

Personally, two things impacted me more than anything else.

First, Hurricane Irma impacted where I live more than other hurricanes in the past have. (I went through Andrew in Miami in 1992 and 3 storms in 2004 here in North Florida). Took probably a month to two to get back to normal. Even now, at least one major highway is impacted due to flooding.

Secondly, I had a USB hub short-circuit or something. It ended up frying the USB ports in my desktop. I had to replace the computer and go through the tedious process of reinstalling software and customizing things to my liking. Of course, the unexpected expense was not welcome.

Most exciting for me (or terrifying I suppose) was one day when I was practicing before my piano students arrived at the church in Micanopy. I saw police go by outside. The short story is that there was a credible bomb threat against two churches in town and a device was found by the propane tanks at the opposite end of the church from where I was. I left the building. A few of my students got to review theory down the street at the library. The crude device would never have gone off let alone caused any serious damage.

Throughout the entire year I released 51 new arrangements or compositions. I performed as a solo pianist three times. Once for a public concert featuring TV & Film music. The other two were for private parties. I played the organ for several funerals this year – more than usual and for at least 3 of them I knew the deceased.

I continue to play for church services at an Episcopal church in Micanopy, FL. It is a good, steady gig at a church that actually sings, sometimes in 4-part harmony, and appreciates music from Gregorian Chant to praise/worship music. (Although they lean more toward the older music than newer).

I continued to coordinate the Concert Series for the above mentioned church. The 2017/2018 series will have 8 concerts, all high-quality performers.

My piano lessons locally and via the internet continued to go well, although I am always wanting more students.

My parent’s cat, featured some years ago in a YouTube video with original music died. He was around 15 years old.

A review of all my music compositions and arrangements follows:

January through March

I released 2 new arrangements and adapted 2 original compositions.
I did one arrangement for a Toronto, Canada church/school for a Reformation celebration.

I’ve also been working with a church in Houston arranging material for their all-volunteer band/orchestra that consists of mostly 12-18 year olds.

Abide With Me — A 12/8 flowing arrangement for solo piano of this familiar piece with large ending. http://www.sheetmusicplus.com/title/20407440?aff_id=104230

Was Lebet, Was Schwebet (O Worship The Lord in the Beauty of Holiness) — This was originally a custom arrangement for a Canadian school as they planned to celebrate the anniversary of The Reformation. A hymn accompaniment for Brass Quintet and organ. Suitable for any accompanying of congregational singing. http://www.sheetmusicplus.com/title/20407433?aff_id=104230

Missles of October — An original piece, originally for instrumental ensemble. Here adapted for solo piano. http://www.sheetmusicplus.com/title/20407445?aff_id=104230

Christ is Made The Sure Foundation — An original piece, originally for choir. Adapted for solo piano. http://www.sheetmusicplus.com/title/20441509?aff_id=104230

April through June

During this period I released 19 arrangements or compositions.

All People That On Earth Do Dwell — An unaccompanied setting of All People That On Earth Do Dwell for Soprano, Alto and Tenor or 3-part choir. http://www.sheetmusicplus.com/title/20456550?aff_id=104230 Popular Title

BROMLEY (O Trinity Of Blessed Light) — An instrumental hymn accompaniment of this hymn tune. It is intended to be played by any combination of instruments (with keyboard). It consists of two verses of the hymn, each in a different key with a modulation between the two. Parts provided for C, Bb, Eb, F, Alto Clef and Keyboard instruments http://www.sheetmusicplus.com/title/20456546?aff_id=104230

Jesus Keep Me Near The Cross — A contemporary blues, jazz style arrangement of this gospel hymn, Jesus Keep Me Near The Cross. http://www.sheetmusicplus.com/title/20456548?aff_id=104230

Amazing Grace, How Sweet The Sound — The popular tune NEW BRITAIN, best known as Amazing Grace here arranged for solo piano. This is a fun, upbeat piece with hints of contemporary and classical music. http://www.sheetmusicplus.com/title/20441507?aff_id=104230 Popular Title

Celtic Postlude — When this piece was written, it was popular to have church services that focused on or used Celtic music. This piece is a modern interpretation of an Irish style of music. http://www.sheetmusicplus.com/title/20441506?aff_id=104230 Popular Title

Piece in F minor — A piece for concert band in F Minor. An upbeat, almost dance-like piece. http://www.sheetmusicplus.com/title/20441502?aff_id=104230

Praise The Lord, Ye Heavens Adore Him    — The hymn tune HYFRYDOL has been set to many different lyrics. Besides this one “Praise The Lord, Ye Heavens Adore Him,” the title “Come, Thou Long Expected Jesus” is well known. This is a fun, upbeat piece to play. http://www.sheetmusicplus.com/title/20441508?aff_id=104230

Amazing Grace    — A setting of the hymn tune NEW BRITAIN, best known as Amazing Grace. For Orchestra. http://www.sheetmusicplus.com/title/20441503?aff_id=104230 Popular Title

Nearer My God To Thee    — A setting of the hymn tune BETHANY, best known as Nearer My God To Thee. This is the song the band on the ship Titantic played as the ship slowly sank after hitting an iceberg in 1912. For orchestra. http://www.sheetmusicplus.com/title/20441504?aff_id=104230 Popular Title

The Star-Spangled Banner — An arrangement of the US national anthem, also known as The Star-Spangled Banner. For Orchestra. http://www.sheetmusicplus.com/title/20441505?aff_id=104230

Awesome God — For Woodwind Quintet. A full arrangement of this popular praise and worship piece.  http://www.sheetmusicplus.com/title/20440218?aff_id=104230

Brass    Bridge Over Troubled Water — For Brass Quintet. An arrangement of this popular Simon and Garfunkel tune. http://www.sheetmusicplus.com/title/20436729?aff_id=104230 Popular Title

Crazy — For String Quartet. A country, bluesy setting of this piece made popular by Patsy Cline. http://www.sheetmusicplus.com/title/20436742?aff_id=104230

Day By Day — For String Quartet. A classical piece in the style of Mozart. Based on the hymn tune BLOTT EN DAG (Day by Day). http://www.sheetmusicplus.com/title/20436745?aff_id=104230 Popular Title

Fairest Lord Jesus — An arrangement for Brass Quintet of this classic hymn. Also known under the title Beautiful Savior. Hymn tune: ST ELIZABETH     http://www.sheetmusicplus.com/title/20436743?aff_id=104230

Halleljuah Chorus (from The Messiah) — A setting of the chorus from The Messiah, for woodwind quintet. A popular, highly requested title, great for any group. http://www.sheetmusicplus.com/title/20436751?aff_id=104230 Popular Title

Jesu Joy Of Man’s Desiring (Bach) — For Brass Quintet. This popular piece, often heard at Weddings or Christmas time is from BWV 147. http://www.sheetmusicplus.com/title/20436744?aff_id=104230

Prelude in E minor (Chopin) For String Quartet. An arrangement of this popular Chopin piece. http://www.sheetmusicplus.com/title/20436747?aff_id=104230

The Sound Of Silence — For Woodwind Quintet. A setting of this popular Paul Simon piece. http://www.sheetmusicplus.com/title/20440215?aff_id=104230

July through September

The God Of Abraham Praise — An arrangement of the hymn The God of Abraham Praise for SATB choir with piano accompaniment. Hymn tune name: LEONI. http://www.sheetmusicplus.com/title/20520291?aff_id=104230

Waiting and Watching — An original composition for orchestra. A minor, reflective piece. For Orchestra. Many parts are doubled so it can be played with a smaller than average group. Piano reduction provided. http://www.sheetmusicplus.com/title/20520293?aff_id=104230

LAUDATE DOMINUM (O Praise Ye The Lord) — An instrumental hymn accompaniment of this hymn tune. This is designed to be played by any combination of instruments with piano. http://www.sheetmusicplus.com/title/20520292?aff_id=104230

ST GEORGE’S WINDSOR (Come Ye Thankful People Come) — An instrumental hymn accompaniment of this hymn tune. This is designed to be played by any combination of instruments with piano. http://www.sheetmusicplus.com/title/20472175?aff_id=104230

There Is Power In The Blood — A new setting of this favorite gospel hymn. For solo piano. http://www.sheetmusicplus.com/title/20472177?aff_id=104230
Popular Title

There Is Power In The Blood — A fun to play arrangement of this audience favorite. For Orchestra. There are many doubled parts in this arrangement which means it can be played and sound just as good without all the listed instruments. http://www.sheetmusicplus.com/title/20470069?aff_id=104230
Popular title

A Mighty Fortress — A rhythmic piece inspired by the hymn tune EIN’ FESTE BURG. For orchestra. http://www.sheetmusicplus.com/title/20467078?aff_id=104230

Amazing Grace — For Piano Duet. An upbeat, rhythmic setting of this all time favorite hymn. Hymn tune: NEW BRITAIN. http://www.sheetmusicplus.com/title/20467079?aff_id=104230
Popular Title

Near The Cross — A blues, jazz setting of this lesser known hymn tune. A fun and very different setting for SATB choir with piano accompaniment. Small choirs can sing the piece in unison or two-parts. http://www.sheetmusicplus.com/title/20465376?aff_id=104230

October through December

Once In Royal David’s City — For Solo Organ. A favorite Christmas hymn arranged in a meditative style. Hymn tune: IRBY.

There’s A Voice In The Wilderness — For solo piano. For Advent and Christmas. This arrangement is a majestic and festive setting great for a Postlude or Prelude during Advent. Hymn tune: ASCENSION

Now Thank We All Our God — For Solo Organ. A contemporary, upbeat setting of this hymn. Hymn tune: NUN DANKET

SAGINA (And Can It Be) — For organ accompaniment of congregational singing. Hymn tune: SAGINA. Most common lyrics are to the title “And Can It Be.” Alternate harmonization and descant.

Thou, Who At Thy First Eucharist — For Solo Organ. The melody by Orlando Gibbons in the style of a modern chorale prelude. Hymn tune: SONG 1.

At Calvary — For Woodwind Quintet. This popular hymn arranged for woodwind quintet.  http://www.sheetmusicplus.com/title/20666098?aff_id=104230

I Come With Joy — For solo piano. An arrangement of this popular tune. From the Southern Harmony collection, the hymn tune LAND OF REST is often set to the lyrics of I Come With Joy,  a piece often used for communion. http://www.sheetmusicplus.com/title/20666093?aff_id=104230

I Remember You — For Solo Piano. An original composition, arranged and adapted here from the original choral piece. This piece could be appropriate for any spot in a church service, school program or recital. http://www.sheetmusicplus.com/title/20666095?aff_id=104230

Irma’s March — An original composition for orchestra. A march like feel, a sense of forward motion throughout. http://www.sheetmusicplus.com/title/20666091?aff_id=104230

Kyrie from Missa De Beate Virgine — For Solo Organ. An arrangement of this piece by Josquin Desprez. From one of the earliest Renaissance settings of the Mass. http://www.sheetmusicplus.com/title/20666092?aff_id=104230

Rejoice, Ye Pure In Heart — For String Quartet. An arrangement of the popular hymn. Tune name: Marion. A fun, syncopated arrangement. http://www.sheetmusicplus.com/title/20666097?aff_id=104230

Amazing Grace — An arrangement of the hymn tune NEW BRITAIN – Amazing Grace – for SATB choir with piano accompaniment.    http://www.sheetmusicplus.com/title/20657604?aff_id=104230

Amazing Grace — For String Quartet. A lively, fun to play setting. Hymn tune: NEW BRITAIN. http://www.sheetmusicplus.com/title/20657616?aff_id=104230

Amazing Grace — For Woodwind Quintet. An arrangement of the popular hymn. Hymn tune: NEW BRITAIN. http://www.sheetmusicplus.com/title/20657617?aff_id=104230

EVENTIDE (Abide With Me) — An instrumental hymn accompaniment designed to be played by any combination of instruments along with piano (or organ). http://www.sheetmusicplus.com/title/20657609?aff_id=104230

NEW BRITAIN (Amazing Grace) — An instrumental hymn accompaniment designed to be played by any combination of instruments along with piano (or organ). http://www.sheetmusicplus.com/title/20657611?aff_id=104230

NUN KOMM, DER HEIDEN HEILAND (Savior of the Nations, Come) — An instrumental hymn accompaniment designed to be played by any combinatoin of instruments along with piano (or organ). http://www.sheetmusicplus.com/title/20657613?aff_id=104230

SLANE (Be Thou My Vision) — An instrumental hymn accompaniment designed to be played by any combination of instruments along with piano (or organ). http://www.sheetmusicplus.com/title/20657615?aff_id=104230

This Is My Father’s World — For SATB, unaccompanied choir. In addition to rich harmonies, the piece ends with a flowing descant. Hymn tune: TERRA BEATA. http://www.sheetmusicplus.com/title/20657606?aff_id=104230

Please check back often. I plan to be more active with the blog than I was last year.

Categories
Albums General Recordings Website News

New Album available

So I have nothing better to do than teach piano, compose music & record albums. Oh, and perform from time to time. And of course, I have no idea how to publicize it (and all my efforts at learning how haven’t worked). Here’s my my 10th album. Variegated Plate.

Categories
Albums Arranging General Other Reaper Recordings Sibelius Website News

Variegated Plate

Wonder what this might be?

Coming soon...
Coming soon…

var·i·e·gat·ed
ˈver(ē)əˌɡādəd/
adjective
1) exhibiting different colors, especially as irregular patches or streaks.
Botany: (of a plant or foliage) having or consisting of leaves that are edged or patterned in a second color, especially white as well as green.
2) marked by variety.

Think definition number 2. Coming soon…….

Categories
Albums Arranging Church Music General Recordings Website News

Website update

Website update

I’ve made some major changes to the website in the past two months. Visit JamesGilbertMusic.com to see all the changes.

More free music

In the process of getting rid of collections (see below), I decided to move several titles to the free category (listed at the bottom of the music catalog pages). As an example, all of the instrumental hymn improvisations are now available for free.

Singles – no collections

Most print publishers sell music in collections. Multiple titles contained within one book. Overall it is cheaper per piece for the customer. But, in my experience, the collection contains to many titles I didn’t want to buy but were forced to. When I first started the website, I only sold music as single titles. A little over a year ago (I think) I switched to collections for most everything. Thanks to your feedback, I’ve learned that online customers just want to purchase a single title.

Almost everything on the site is now available as a single title. What collections there are will disappear soon to be replaced by singles.

Albums, singles, EP and audio recordings in general

I’ve been an active contributor to SoundCloud and have announced my uploads via Twitter, this blog, facebook and the like. However, on the website, all I had was a link to my SoundCloud page. Those are mentioned on the website’s main page, but nowhere else. I’ve updated the sheet music catalog to include those in the listings with links to the two sites. For most of 2014 my recordings have only been available via online sources other than my website. For various reasons that is best for me and will continue to be that way. Those include Amazon, Spotify and Apple Music as well as various online streaming sites.

New titles

I’ve added several new titles to the sheet music catalog. Click on the New Titles icon to see all of them.