Category Archives: 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.

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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.

It Is Different (Album track notes)

It Is Different

The fourth track on our album Sampler

The album and audio samples available at: http://store.cdbaby.com/cd/jamesgilbert11

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.

Looking Ahead track notes

Looking Ahead

The third track in our album Sampler

The album and audio samples available at: http://store.cdbaby.com/cd/jamesgilbert11

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.

 

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, Google Music, Amazon MP3 and at CD-Baby: http://store.cdbaby.com/cd/jamesgilbert11

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.

May 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 via Skype. 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.

 

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.

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 Skype 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.

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…….