#3 (piano miniature)

This third piano miniature is–not surprisingly–in 3/4 time. It reminds me a bit of Erik Satie’s whimsical compositions. While the meter is the “straight man,” remaining in an elegant waltz tempo, the harmonies never seem to land quite where you expect and the melody leaps as if over-stepping its goal. I expect I’ll return to this sketch in the future to expand on these themes.

Want to play it for yourself? Here you go: PDF

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#2 (piano miniatures)

I was telling my son tonight that I feel like I’m working out my harmonic demons. Perhaps “demons” is too strong, but I do feel that I’ve been exploring a particular harmonic palette in depth lately. It’s not clear to me yet whether this is something I’m refining for use over the long haul or if it’s just something I need to get out of my system. In either case, a series of diminutive piano compositions is the perfect vehicle to develop some of these ideas.

I guess my recent harmonic language could be considered pandiatonicism, that is, the free use of the diatonic scale (as opposed to chromatic) stacked into harmonies without implying tonality. (Non-music-theorists: from this point, on feel free to let your eyes glaze over while nodding your head knowingly.) I’m trying to create a satisfying “musical gravity” without using any of the traditional trappings of I, IV, V chords, etc. I avoid tritones and dominant sevenths–intervals that would imply tonal movement. And I find myself using pentatonic scales for my melodic material.

Blah, blah, blah. You can also just listen to the piece and enjoy it (or not) without understanding the music theory behind it. Sometimes it’s better not to know how the sausage is made…

But if you do want to see the sausage, here’s the PDF.

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#1 (piano miniatures)

I often take part in FAWM–February Album Writing Month–as a way of keeping the creative juices flowing. The FAWM challenge is to write 14 songs in 28 days. This year I plan to compose 14 “piano miniatures.” (I’ll think of a better title later: sketches? bite-size compositions? Think Erik Satie’s “Gymnopédie” and you’ve got the right idea.) Just short pieces that allow me to work out some ideas in small form.

Tentatively, each piece will be numbered, 1 through 14, with a time signature corresponding to that number. The first is #1 and is in a 1/1 meter. This is not only a cute idea, stuffing a piece into the unusual 1/1 meter for show. Instead, I composed a piece that truly has a one-beat pulse and that doesn’t group into larger 3s or 4s. If you want to try this out at your piano, download the PDF score.

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“Joy Inside My Tears” at Calvin College’s Chapel

Paul Ryan periodically asks me to speak/sing at Calvin’s chapel. On January 14, 2019 my theme was “Joy Inside My Tears,” in which I explored the paradoxes of the Christian’s emotional life in scripture and song. Just in case you don’t want to listen raptly to all 20+ minutes, here is the outline:

  • Prelude: “Joy Inside My Tears” from Stevie Wonder’s Songs in the Key of Life
  • 2:00 Blah, blah, blah
  • 3:15 We Worship You (Scheer)
  • 7:00 More blah, blah, blah
  • 10:20 Psalm 30: I Worship You, O Lord (text: Seddon/Seerveld, tune: Norman L. Warren) A new jazz arrangement written especially for this chapel.
  • 15:00 Expanded blah, blah, blah
  • 23:50 Psalm 126: All Those Who Are Weeping (a beautiful song by Bifrost Arts)
  • Postlude: “People’s Parties” from Joni Mitchell’s Court and Spark

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Prayer of Jonah at Western Seminary

The first performance of “Prayer of Jonah” took place in December at Western Seminary. The song begins at 27:54 in this video, but the whole enactment of the book of Jonah is well worth watching. The next performance will be at the Calvin Worship Symposium during the Thursday and Friday Vesper services, 4:15pm in Gezon Auditorium.

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2018 Year in Review

It’s that time of the year again, my friends! You faithful followers of this Musical Diary have already heard all these songs, but I thought you might enjoy hearing it in a narrated podcast format. It’s also a format that is easy to share with newbies. (Yes, that was a hint!)

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A New Year’s Carol

A New Year’s Carol

As the year draws to a close, one has to take stock and observe, “That sucked.” Yes, 2018 was about the worst year since 7th grade. Worst. Year. Ever.

The good news? It can only go up from here. To commemorate the enormous sinkhole that was 2018 and the great hopes for a brighter future, I’ve written “A New Year’s Carol.” On the surface it may sound a little bleak to sing “it’s been a terrible year,” but there is hope embedded in the music of this carol. You see, the key rises a whole step with each repeat of the carol. Crazy, huh? You want to really geek out? I double all the tracks at the octave so that I could create Shepard Tones–the effect that the song continuously rises without actually going out of range. (Although I’m singing nearly four octaves all told.)

By all accounts it’s been a terrible year.
As the days dragged into months,
there was little to cheer.
Sing “Oo la loo ley!”
when there’s nothing to say.
Sing “Oo la ley loo!”
for what else can you do?
But next year cannot be worse,
so it’s all up from here!

You want to sing along? Here’s the music: PDF.
You want to hear the Shepard Tones more clearly? Here’s an instrumental MP3.

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Love

The members of the St. Sinner Orchestra often point out that our repertoire leans toward dark themes, with song titles such as “Die Alone,” “Idiot,” and “Sinking Like a Stone.” But this new one, “Love,” is all sunshine. My change in tone surely has something to do with a new love and the accompanying hopes, fears, and butterflies. No, I’m not plowing new ground in writing a love song–or even in writing a song about not needing another (silly) love song–so sue me.

The idea for the song started when I texted my friend Steve “I’ll be in Ukraine in the middle of May. And also, I might be in love,” and he immediately responded, “You are not in love.” After some good-natured banter, we agreed to disagree with me stating, “I’m totally not taking your advice. I’m really into her,” and him admitting that “Long distance relationship advice is even worse than long distance relationships.” (Steve, in case you’re wondering, no, you don’t get a co-writing credit.)

This is just a demo–a musical shakedown cruise, as it were. I’m working up a full string arrangement that will likely be premiered at the St. Sinner Orchestra’s gig on January 24, 2019 at Schmohz. Be there.

1. Steve says that I’m not in love:
“It’s too soon—blah, blah, blah…”
But I didn’t listen to a word he said.
Maybe I will never learn
the thousand ways that love can hurt you,
but I’d rather die learning than live just avoiding pain.
So I’m jumping back in it.

Love—could anyone hope for more than
love?—Isn’t it all we want?
Love—who wouldn’t give it all for love?

2. Lovers have come and lovers have gone;
they’ve spilled their ink and they’ve sung their songs.
God only knows I’m not the first one to feel this way.
Love, from a distance, is cool and remote
like the moon seen through a telescope.
But now I’m in your orbit, under your sway.
And I can’t get away from

Love—could anyone hope for more than
love?—Isn’t it all we want?
Love—who wouldn’t give it all for love?

3. Does the world need another love song
with the hopeful lift of ii, V, I chords
and a “love, love, love” that comes back again and again?
We might get tired of the same refrain,
the pop cliches, deceptive cadences,
but we all hope we’ll find love that never ends.
And so we keep singing:

Love—could anyone hope for more than
love?—Isn’t it all we want?
Love—who wouldn’t give it all for love?

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Is It I, Lord?

Christopher L. Webber,
collaborator extraordinaire and completely unaware

My third collaboration with Christopher Webber is a new tune for his social justice hymn, “Is It I, Lord?” The meter of the text is 8.5.5.5 D, which is very unusual. (Unusual, as in “I don’t think it exists anywhere else in the world. Ever.”) It was quite challenging to compose a tune that matched this unusual meter and fit each verse of the tune. But every musical challenge has a solution!

Christopher and I work together remarkably well. Our collaboration is so seamless that we barely need words. I’m joking, of course. I’ve never met the man. Maybe someday I will and he’ll either hug me or punch me.

I have a piano score for this song and would be glad to email it to you if you ask nicely. I will let you know when all these songs are released by World Library Publications.

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Blessed Be!

It’s hard to believe that this piece is 23 years old! This setting of the song of Zechariah (Luke 1:67-79) was written when I lived in Pittsburgh and is performed here by the Duquesne University Choir under the direction of Brady Allred.

You can email me for music. It comes in a variety of flavors: a cappella, SATB/Piano, or with brass and rhythm section; the rap is optional (and yes, I’m serious: there is a rap). You can also email me if you want to commission the rest of the movements that would complete this set. It’s going to be amazing and I know you want in!

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