I’m finishing up posting a digital album on BandCamp of piano solo arrangements of some of my favorite Appalachian/British/Irish folk hymns. I’m able to able to post videos of my playing the tunes on BandCamp that are also available there as well as mp3 files/albums for download and streaming.
This video is from 2021, we were in the latter stages of the pandemic. I was 55 pounds heavier than I am now, but I love this particular performance so much, it’s the one I wanted to use for this new digital album (The River Strong). More about that album soon.
In 1969, I became the first composition teacher at USF (also teaching theory courses and comp related courses such as orchestration). I created USF’s electronic music studio. Before, at Eastman, I had been the 1st graduate assistant assigned to build Eastman’s electronic music studio under my major professor and director of the studio, Wayne Barlow. Back in those olden days, my parent’s day (Leon Theremin, Tod Dockstader, Karlheinz Stockhausen, Pierre Schaeffer, Edgard Varèse) and then, in my day (Morton Subotnick, Wendy Carlos and others post the advent of synthesizers), it was all called “electronic music.”
Quite aside from the fact that all my current recordings use only sampled sounds, I would not consider it electronic music in the aforementioned sense. Mainly because I only use electronic sounds in lieu of acoustic instruments. I’m really writing for acoustic instruments that I can’t afford to record, so I use samples which I can.
I haven’t written any real electronic music since way back in the last century, about 1993. I’m trying to organize all the stuff I’ve written over the past years, and I keep uncovering things I’ve forgotten.
This post shares a digital album of “electronica” (see further discussion of terminology further down the post) I’d forgotten I’d done: Tales of the Laughing Wizards. That link will take you to BandCamp where you can listen to the tracks a few times free of charge. Also, I’ve given the links to the separate tracks below.
Above, I referred to Tales of the Laughing Wizards as “electronica.” These days of precise music marketing terms (which is such a bother), the term “electronic music” has come to mean club music: music you can dance to. Another term, “electronica” has come to mean music produced by electronic means that is not intended as dance music. It’s music to be listened to (ambient, theatrical, contemplative, melodic, music for listening to, etc.). So, Tales of the Laughing Wizards is electronica.
You may have noticed an acoustic piano in the background of my recordings. A couple years ago I bought what’s called a “studio upright” from the Clearwater Steinway Gallery. It’s a Boston, which is made in Asia but designed by Steinway, and a model with no plastic parts. The entire action is wood. I’m very happy with it.
I mention this because people may wonder why I don’t use that for my videos. Aside from not being a good enough pianist to record flawless videos head to tail without needing to splice together different video takes (keyboard recording permits occasional error correction…more on that in a moment), recording an acoustic piano is to my ear one of the hardest things to do well, especially for a classical sound.
The best of that I’ve ever experience was the audio engineer, John Stephan, when I recorded some of my pieces at his studio, Springs Theatre Arts & Recording, before he retired. I’ve worked in a lot of studios across the US, none compared to his technique, microphone placement, and audio environment. There’s no way I could duplicate that sound at home. I’ve got a few things I’m snobish about: authentic key lime pie, New York style cheesecake, fried fish, banana pudding, grits, and recorded piano sound.
As I mentioned above, recording tracks from a keyboard allows for a certain amount of editing without having to edit the video itself. If you look at about 00:42 from the beginning of the track, you’ll see my right hand momentarily “panic!” I had a momentary lapse of concentration. I mention this because non-musicians (unfortunately some musicians LOL) don’t know what’s going on in a performer’s head when performing.
When a musician (singers especially, but also brass instruments, pianists, conductor, everyone actually) plays/sings a note s/he must literally, mentally hear–in advance of actually playing the note–the note they’re going to play a moment later.
And if it’s a polyphonic instrumentalist like a pianist or organist or conductor all the notes being player together at that moment must be “pre-heard.” This is true even for solo instrumentalists in an orchestra. My favorite trumpet player, Don Own, talked to me once about playing in an orchestra, how an orchestra player hears their part as if they were in the audience, not from just their chair.
As you might imagine. That’s all quite a task. More than anything as I’ve aged, it’s the momentary lapses of concentration that get to me as a performer. I do silent meditation a lot. The focus required for performing music is like that. It’s why being a musician is so addictive. Few things match the rush.
We lived in an old, rambling two-storied* parsonage (my father was a Methodist minister) and we lived in the house owned by the church. I was in the first year or two of elementary school. Our house was big enough that there were front stairs descending into the hallway just inside the mudroom and stairs in the back emptying directly from my bedroom (!), down into the kitchen and continuing directly on down into the the basement (but that’s another story ).
Underneath of the angle of the front stairs was a triangular shaped little room with its own little triangular door.
I don’t remember if I ever actually ever even entered that room, or if I simply wanted to and fantasized about doing so. Memory is a very malleable thing. My emotional association with that room was not at all like the frightening little room under the stairs that Harry Potter was confined to. For me, the association with our little room under the stairs is warmth, comfort, books, a place to be away from the world and close the door behind me, a place all my own…emotional privacy.
I suspect that’s a false memory, built entirely of wishful fantasy.
Here’s a picture of me on the front porch of that old house, at that exact age, 8. You can probably intuit all there is to know about me just from that photo!
Hal Leonard, the world’s largest sheet music publisher, runs a site called ArrangeMe which gives composers & arrangers a vehicle to self publish their arrangements of pop tunes–Hal Leonard owns the rights to a vast number of pops songs all of which are available to arrange through ArrangeMe–and of tunes in the public domain. As well, it provides a self-publishing platform for composers of their original works. When there’s a sale, the composer or arranger make a percentage and Hal Leonard gets a percentage.
If you go to the Compositions page of my website, you’ll links to those two sites for almost all of my compositions that are for instrumental solos, piano solos, organ solos, and choral/vocal music. (I don’t bother trying to sell scores of my symphonic music and concerti since those are not really something people are shopping for.)
Pianists seem to buy my folk song and hymn tune arrangements and organists my original music although that’s not always the case. It’s not gonna pay my mortgage, but I do make steady sales. My videos on YouTube (https://www.youtube.com/@hiltonkeanjones) are my main channel for promoting my music. There’s probably other ways that would increase sales, but I’m not business savvy. Suggestions always welcome!
I love this tune: Sweet Rivers. The composer of the tune is anonymous and the tune is found in William Walker’s 1835 Souther Harmony, and Musical Coompanion. I could play it over and over again. It makes me happy and makes me smile. Check out the words and various instances of the tune in different hymnals at https://hymnary.org/text/sweet_rivers_of_redeeming_love. This is real old-timey music at its best.
My dear friend, William Lindsay, who died November of ’24 after a long, progressive battle with dementia and Parkinson’s, used to tell me whenever I was in the clutches of melancholy, “look up.” He mean it literally as well as figuratively. It worked every time, and still does. Somehow just the physical act of looking up at whatever there is to see, the mind is diverted from the unwanted thoughts. Clouds, tops of trees, birds flying, tall buildings, stars, the sun, sunrise colors, sunsets, the cerulean sky…doesn’t matter, even a telephone pole will do.
That’s what this album of piano pieces is all about, and it’s dedicated to Bill.
The problem for most working pipe organists is that most interesting organ repertoire is too hard to work up new pieces on a weekly basis and usually too long for a service. In short, the interesting literature is suitable for recital but not church service use. Add to that is the fact that (notice I kept saying “interesting” in the forgoing paragraph) most stuff that’s the right length and difficulty for weekly use is beige arrangements of boring hymn tunes. Nothing wrong with hymn tune arrangements–I’ve written my share–just don’t make them beige and boring.
Anyway, two friends are getting married and they asked me to play organ at their coming wedding. I haven’t gone near an organ in quite a while. In fact, at 81 (this month) I’ve managed to live long enough to have two pairs of pipe organ shoes literally rot and fall apart. So, I ordered a fancy new pair of organ shoes (fancy: suede soles and built up heels) and to motivate myself to practice, I’m in the process of writing a bunch of new organ music that’s (hopefully) interesting and the right length and difficulty for weekly service use.
Each geography has its own sky. Florida’s skies are unique and amazing. There are many roadside artist paintings for tourists with purple skies. There’s a reason for that. The purple you often see at dusk is real. People want to take a little of that home with them. Sometimes, at dawn, there’s a border of lavender against the soft rose sky. It’s fleeting. Like the colors of the ocean or the Gulf, the color of the sky is constantly changing. At my age, I don’t see dusk all that often, but I see many a dawn. A lavender sky is one of my favorites.
Newest piece. Not a perfect performance, but the best of 6+ takes. As a video, that’s as good as I’m going to get it. But, I like this piece and I wanted it as a video. People don’t seem to like recorded music as much as they do videos. I don’t quite understand, I accept that that seems to be true. I’m SO HAPPY with my new music stand light! I have to increase my music to 150% enlargementany more and I need LOTS of light on the score. Much better conditions now. 🙂
My old faithful music notation software will no longer work on new OS so having to convert, literally, hundreds of pieces to the new software. I don’t dare listen to any of them or I’ll never get done (there’s hours and hours of my music). But, I made the mistake of listening to this one. Couldn’t resist throwing this video together. I dressed up like this a number of years back to play the organ for a Halloween concert at the Palladium (I don’t even know if that organ there still exists). #halloween #pipeorgan #music
