I’ve added a movement to The Golden Thread, Wendeyaho.
Although the arrangement and orchestration is my own, the melodic source for this movement is a traditional Native American tune called “Wendeyaho” that is often described as a “Cherokee Morning Song.” However discussion of it on the Internet indicates that the word, “Wendeyaho,” is not Cherokee. For a full, and fascinating discussion of this, please see Why You Can’t Find “Wendeyaho” in a Cherokee Dictionary
I finally (!) got the edited score for soundcloud.com/hilton-kean-jones/sets/meditations-reflections-for-solo-piano done.
It’s at hiltonkeanjones.com/scores/Meditations_and_Reflections.pdf.
It’s an entire set, and if played as a set, then it should be played in score order; however, it’s not at all necessary to play them as a set. They really all stand alone as individual pieces that can be performed separately as single pieces or in a grouping of one’s own choosing.
I added a new piece to The Geography of Dreams. The new piece is Dream of the City by the Sea and the Dark Castle Beyond Its Walls. There’ll be one more movement I think. Here’s the blurb: “A work in progress…These, and future movements to come, are all real dreams that have stuck with me over the years and that take place in a world that reoccurs very often in my dreams, ever since I was a kid. This dream world has a complete geography that is quite consistent and which I’ve explored over the decades. It’s a peculiar feeling to know that this other world exists. It seems to exist outside of this time stream…but it is very real.”
I’ve added another movement to my orchestral piece, The Geography of Dreams. It’s In the Hills Outside the City, the Old Man Sits by His Fire Conversing with the Forest Animals.
These, and future movements to come, are all real dreams that have stuck with me over the years and that take place in a world that reoccurs very often in my dreams, ever since I was a kid. This dream world has a complete geography that is quite consistent and which I’ve explored over the decades. It’s a peculiar feeling to know that this other world exists. It seems to exist outside of this time stream…but it is very real.
For me, the best part of having a church gig, is having an excuse to write original music and arrangements that serve a purpose in the real world and which must realistically fit the performance conditions/capabilities.
This is one such piece, fresh today. It’s an old plainsong melody, which I arranged for chorus, but I’ve re-arranged here for brass.
This piece has a very wide dynamic range, starting pianissimo and ending forte.
In the previous post, https://hiltonkeanjones.com/2014/08/23/new-anthem/, I had a link to the first of a series of choral pieces based on Transcendentalist poets. The two transcendentalists everyone knows are, of course, Emerson and Thoreau, but there are many more than just those two, and a surprising number of them are women. More than half of the poems I’ve selected are by these women transcendentalists.
The text of the first choral piece in the series, the one featured last week, is by a famous male poet, Longfellow. A friend asked if I was going to post a demo of the choral piece. I didn’t really want to do that–I think choral piece demos sound particularly cheesy (not that other things don’t). What I have done, however–and I intend to do this for every one of the choral pieces–is I reworked them, texturally, into orchestral pieces.
The group of pieces will be called Transcendentalists, and for the orchestral versions, instead of the poem’s titles, I’m using the authors’ names as titles. So, if you want to follow along with some notes, look at last week’s post. Eventually, I’ll post the orchestral score and edit this post to give a link for it.
Here’s the SoundCloud link for Longfellow.
I’m working on a new set of anthems, all extremely easy, all on American Transcendentalist poems. These texts work very well for liberal congregations of any denomination, whether Protestant, Roman Catholic, Judaism, etc., in that they are theistic but not necessarily in an Abrahamic tradition, which also makes them appropriate for denominations such as Unitarian-Universalist or Unity. This is the first of this set of anthems.
|I Look to Thee in Ev’ry Need
music by Hilton Kean Jones
words by Samuel Longfellow
2-part mixed w/divisi women
(Click to open PDF.)
I added a new track to The Geography of Dreams: Amidst the city’s desolation, the Anima appears as a woman clothed in radiant white.
There’s two kinds of programmatic music: what are often called “character pieces,” short pieces with a descriptive title, the music generally depicting the emotions and character of that description; the other being the “tone poem,” longer pieces depicting blow-by-blow actions of a story line. Late Baroque composers and were fond of the character piece and early 20th century composers of the tone poem (a generalization, of course…character pieces have been popular ever since they were invented, even into the present). This movement is closer to the tone poem approach.
The Geography of Dreams with two movements…more to follow.
I was fortunate to have the late Robert Helps perform one of my pieces twice: once at the San Francisco Conservatory of Music in 1999 and once on Hawaii Public Radio in 2000. These are the recordings made of those two performances. He was such an amazing pianist…and wonderful friend of many. Both of Bob’s performances of this piece now posted on Soundcloud: http://soundcloud.com/hilton-kean-jones/sets/salve-regina-from-roma-2.