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Humorous short piece for five-part string orchestra.
This original short humorous piece could be used in a pops concert setting, or perhaps to break up an otherwise "heavy" concert program.
At the end of the first section, a cellist "forgets" to play pizzicato and give us a big arco "Ole'!" that immediately draws the scorn of the rest of the orchestra. Oddly enough, the same thing happens at the end of the second section, only this time the guilty party is a violist. Finally, in the middle of the third section, a second violinist lets go a hearty shouted "Hey!" at the end of a phrase.
It will probably come as a shock to the audience that there is no final gag or gimmick to close the piece out.
PIZZITANGO, by Tom Kirkland, comes in a pdf file of 216K, with a seven-page score, five one-page parts and a license page, thirteen pages in all. Performance time should be approximately 2:10.
DIVERSION by Tom Kirkland for violin, viola, and cello, comes in a pdf file of 287K, with a eight-page score, three three-page parts, and a license page, eighteen pages in all. Performance time should be approximately 4:45.
Isaac Watts penned beautiful lyrics for a passion hymn focused on man's relationship to the cross of Christ. Lowell Mason adapted a plainsong chant and a classic Christian hymn entered the mainstream.
This new arrangement is very smooth and focuses on harmonies and putting an understanding of the hymn lyric first. The anthem encompasses all four stanzas commonly sung.
The piece begins with the second violins, violas, and cellos in a trio, with the second violins carrying the melody in a rather low key. The bass and first violins soon join and set the tone for the piece. The second stanza is introduced a minor third higher by the violins and violas. The cello and then bass later join to once again add depth.
The third stanza carries the piece back to its plainsong roots with unison violas and cellos, then the bass enters and we break into three parts to complete the stanza. The full ensemble then enters a half step higher with more volume for a broad, rich rendering of the fourth stanza. A simple coda finishes the work.
The arrangement was specifically intended for Good Friday or a communion service, and the intent is smooth sonorous harmonies and great reverence for the sacrifice on the cross, and for this great hymn.
This selection is also available for SATBB choir in the same key, which would allow for a choral performance with string accompaniment. If an introduction is needed before the choir enters, the first sixteen bars (the section prior to the first double bar) can be played for this purpose.
WHEN I SURVEY THE WONDROUS CROSS, by Isaac Watts, arranged for string orchestra by Tom Kirkland, comes in a pdf file of 200K, with a four-page score, five one-page parts and a license page, ten pages in all. Performance time should be approximately 3:30.
Wonderful David Hepburn piece for violin, viola, and cello.
David Hepburn is a retired minister-of-music, choir director, band director, missionary, teacher, and school president, and a fine tenor and trumpeter. His many compositions are a testament to the works of Jesus he has seen in the lives of others and in his own life.
In 1993, shortly after completing this piece as a piano solo, David was disabled by a stroke and has not written music since.
LAST by David Hepburn, arranged by Tom Kirkland for violin, viola, and cello, comes in a pdf file of 215K, with a three-page score, three one-page parts, and a license page, seven pages in all. Performance time should be approximately three minutes.
David Hepburn is a retired minister-of-music, choir director, band director, missionary, teacher, and school president, and a fine tenor and trumpeter. His many compositions are a testament to the works of Jesus he has seen in the lives of others and in his own life.
In 1993, shortly after completing this piece as a piano solo, David was disabled by a stroke and has not written music since.
LAST by David Hepburn, arranged by Tom Kirkland for string orchestra, comes in a pdf file of 193K, with a four-page score, five one-page parts and a license page, ten pages in all. Performance time should be approximately three minutes.
David Hepburn is a retired minister-of-music, choir director, band director, missionary, teacher, and school president, and a fine tenor and trumpeter. His many compositions are a testament to the works of Jesus he has seen in the lives of others and in his own life.
THREE KINGS arranged by David Hepburn for flute trio comes in a pdf file of 163K, with a one-page score, three one-page parts, and a license page, five pages in all. Performance time should be about one minute.
Bred Dina Vida Vingar is a hymn lyric penned by "the Swedish Fanny Crosby," Lina Sandell. The translation printed below is by Ernest Ryden. The tune is an old Swedish folk melody.
In this arrangement, the flute plays the melody for the first stanza while the cello plays an arpeggiated accompaniment the echoes one of Bach's pieces for unaccompanied cello. The cello then takes the melody for a stanza while the flute plays some figures over the top. The original stanza reprises to complete the piece.
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Thy holy wings, dear Savior, spread gently over me,
And through the long night watches I'll rest secure in Thee.
Whatever may betide me, be Thou my hiding place,
And let me live and labor each day Lord, by Thy grace.
Thy pardon, Savior, grant me, and cleanse me in Thy blood;
Give me a willing spirit, a heart both clean and good.
O take into thy keeping Thy children great and small,
And while we sweetly slumber, enfold us, one and all.
THY HOLY WINGS, Swedish hymn tune arranged by Tom Kirkland for flute and cello duet, comes in a pdf file of 235K, with a four-page score, two one-page parts and a license page, nine pages in all. Performance time is approximately three minutes.
This piece is based on material from Bach's motet Jesu Meine Freude, BWV 227 Number VIII, So aber Christus in euch ist.
The text of this movement is Romans 8:10-- "If now Christ Jesus lives in you, although the body is dead because of sin, the Spirit is life because of righteousness."
In the motet, this piece appears in C major, voiced for alto, tenor, and bass. It ends with an E major chord to set up the chorale fantasy that follows. This means that it would be almost useless to present this as a straight transcription as the ending would be quite unsettling to the listener. The "fix" was to remove the final phrase and splice a modification of the opening phrases in its place returning the piece to its starting key. This version is written in D major.
IF NOW CHRIST JESUS LIVES IN YOU, by J. S. Bach, arranged by Tom Kirkland for string trio consisting of violin, viola, and cello, comes in a pdf file of 229K, a four-page score, three two-page parts, and a license page, eleven pages in all. Performance time should be about 2:15.
A quick little number for string trio from Bach's second English Suite.
J. S. Bach wrote a great many pieces during his lifetime, most of them for use in the church. From time to time he did write some solo keyboard works for clavier or harpsichord. Among them are the two English Suites, written in an attempt to assume the style of the English baroque composers, of whom Handel is the best known. Most musicologists would probably say that what Bach achieved is more in the French style of the time, but that does not make the pieces any less interesting.
There are two bourrees in the second English Suite, and we have chosen to present the livelier second bourree ("boo-RAY").
A request came to us to come up with something for a trio of violin, viola, and cello, and we immediately thought of this piece, and quickly transposed it from our version for two flutes and cello. Also available for flute quartet, brass quintet, and saxophone quintet.
BOURREE by J. S. Bach, arranged by Tom Kirkland for two flutes and cello, comes in a pdf file of 187K, with a two-page score, three one-page parts, and a license page, six pages in all. Performance time should be about 1:45.
The origins of this tune are lost, but it one of the few popular modal hymns in modern use. It is set in the dorian mode, perhaps the most often heard of the old modes. The casual listener might think it is in a minor key, but many of the tones that would complete the minor scale are absent. Even a casual listener can identify that the melody is not in a major key.
Set in the dorian mode with D as its home pitch, the signature has no sharps or flats. The opening phrases, however, are more or less in g minor. The most commonly used chords are d, e, a, C, F, G, b(dim), sometimes g, and a few other surprises, including the ending chord of Gmaj7. Much of the time, the tune begins and ends on unisons, octaves, or open fifths. It could possibly be said that harmonically at least this arrangement has no key at all, and that's a big part of what makes it sound mysterious.
The love that sent Jesus to the cross is in fact one of the great mysteries of all existence.
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What wondrous love?
What wondrous love?
What wondrous love?
What wondrous love?
What wondrous love is this, O my soul, O my soul!
What wondrous love is this, O my soul!
What wondrous love is this
That caused the Lord of bliss
To bear the dreadful curse for my soul, for my soul,
To bear the dreadful curse for my soul!
When I was sinking down, sinking down, sinking down,
When I was sinking down, sinking down,
When I was sinking down
Beneath God’s righteous frown,
Christ laid aside His crown for my soul for my soul,
Christ laid aside His crown for my soul.
Christ laid aside His crown for my soul.
To God and to the Lamb I will sing, I will sing;
To God and to the Lamb I will sing;
To God and to the Lamb,
Who is the great I AM,
While millions join the theme, I will sing, I will sing,
While millions join the theme, I will sing.
While millions join the theme, I will sing.
WHAT WONDROUS LOVE IS THIS?, arranged by Tom Kirkland for unaccompanied SATBB choir, comes in a pdf file of 274K, with an eight-page score and a license page, nine pages in all. Performance time should be about 3:30.
The old Welsh tune, Llwyn Onn, known in the English-speaking world as Ash Grove, is over 200 years old, and has been used with the hymn lyrics "The Master Has Come" and "Let All Things Now Living." Regardless what title you know it by, it is a wonderful and beautiful tune.
This piece was originally written for piano, then expanded for organ, and has now been rewritten in a different key for string orchestra.
The first violin plays sixteenth-note arpeggios nearly throughout, spelled in a couple of spots by the second violins, who have a rhythmic accompaniment most of the way through. The viola has the rhythmic accompaniment most of the time as well, but joins the cellos for a pieces of the melody in a couple of places. The cello has the melody all the way through, usually in unison with the bass.
FANTASIA ON ASH GROVE, for string orchestra by Tom Kirkland, comes in a pdf file of 338K, with a ten-page score, five two-page parts, and a license page, twenty-one pages in all. Performance time should be approximately 3:40.
A simple piece for strings that evokes a summer afternoon lying in the grass.
The picture painted by this piece is of laying on the grass under a tree on a lazy summer afternoon, looking up through the branches and seeing patches of blue sky break through the leafy canopy.
Ir's a simple piece for string orchestra, with AABA form, helpful to young players in developing intonation and phrasing, and a concert piece that will be relatively easy to prepare.
UNDER THE YELLOW MAPLE TREE by Tom Kirkland, for string orchestra consisting of first and second violins, volas, cellos, and basses, comes in a pdf file of 213K, with a five-page score, five one-page parts, and a license page, ten pages in all. Performance time should be about three minutes.
Beautiful melody for solo violin with piano accompaniment. Also works for oboe or flute.
In this piece, Louis Lewandowski has given us one of the most gorgeous melodies ever composed. The line simply flows like so few melodies seem to do. The rise and fall of the melody is almost achingly beautiful.
Composed originally for the synagogue as a setting for the Hebrew text of Psalm 92:13-16, it suits the human voice well, as well as all manner of instruments.
For this version, we have kept the piano accompaniment very simple. There is an optional repeat to make the piece a bit longer.
This piece could also be used with oboe or flute.
MP3 sound sample: entire piece without repeat (synthesizer/midi).
TZADIK KATAMAR by Louis Lewandowski, arranged by Tom Kirkland for solo violin with simple piano accompaniment, comes in a pdf file of 162K, with a two-page piano score with solo line, a one -page solo part, and a license page, five pages in all. Performance time should be about 1:20 without the optional repeat.
Bach's beautiful piece presented for five trombones (four tenors and a bass). Also would work with five bassoons or five cellos, or even better, four euphoniums and a tuba.
It's hard to imagine what could be left to write about J. S. Bach's ARIOSO, one of the most beautiful pieces of music ever written.
We present it here for five trombones (four tenors and a bass). The first trombone plays the melody line, and the bass has a somewhat interesting line to play. The remaining three parts consist entirely of quarter notes, and are therefore not very interesting to play. The point, however, is to frame the melody line, and the quarter notes serve well to keep the rhythm going while remaining in the background.
This piece could work for bassoons, or cellos, or what might be the best alternative ensemble, four euphoniums and a tuba.
ARIOSO by J. S. Bach, arranged by Tom Kirkland for trombone quintet, comes in a pdf file of 216K, with a five-page score, one two-page part, four one-page parts, and a license page, twelve pages in all. Performance time should be about three minutes.
J. S. Bach wrote a great many pieces during his lifetime, most of them for use in the church. From time to time he did write some solo keyboard works for clavier or harpsichord. Among them are the two English Suites, written in an attempt to assume the style of the English baroque composers, of whom Handel is the best known. Most musicologists would probably say that what Bach acheived is more in the French style of the time, but that does not make the pieces any less interesting.
There are two bourrees in the second English Suite, and we have chosen to present the livelier second bourree ("boo-RAY").
BOURREE by J. S. Bach, arranged by Tom Kirkland for two flutes and cello, comes in a pdf file of 188K, with a two-page score, three one-page parts, and a license page, six pages in all. Performance time should be about 1:45.
The famous J. S. Bach Arioso set for solo trombone with relatively simple piano accompaniment. Could also work with euphonium, bassoon, or cello.
It's hard to imagine what could be left to write about J. S. Bach's ARIOSO, one of the most beautiful pieces of music ever written.
We present it here for solo trombone, pitched just a little bit high for mid-range players, but ideal for someone who loves to play those high notes. The piano accompaniment is quite simple and intended to frame the solo line, not overshadow it.
For Kevin Brown, a promising young trombonist for whom I have great respect.
This piece could work for euphonium, bassoon, or cello as well.
ARIOSO by J. S. Bach, arranged by Tom Kirkland for solo trombone and piano, comes in a pdf file of 250K, with a two-page solo part, three-page piano part with solo line, and a license page, six pages in all. Performance time should be about three minutes.
A great hmyn of the faith set for two tenor trombones and one bass trombone. Could also be performed by three bassoons or three cellos.
This piece was written for a trombone trio playing during a communion service. While it may have many other uses, this hymn is such a great fit in that situation that it is hard to imagine a better one.
Each of the three players takes the melody for a stanza in turn, and then after a key change, the first trombone plays the fourth stanza.
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In the cross of Christ I glory,
Towering o'er the wrecks of time;
All the light of sacred story
Gathers 'round its head sublime.
When the woes of life o'ertake me,
Hopes deceive and fears annoy,
Never shall the cross forsake me;
Lo, it glows with peace and joy.
When the sun of bliss is beaming
Light and love upon my way,
From the cross the radiance streaming
Adds more luster to the day.
Bane and blessing, pain and pleasure,
By the cross are sanctified;
Peace is there that knows no measure,
Joys that through all time abide.
IN THE CROSS OF CHRIST I GLORY by Ithamar Conkey, arranged Tom Kirkland for two tenor trombones and one bass trombone, comes in a pdf file of 201K, with a three-page score, three two-page parts, and a license page, ten pages in all. Performance time should be about three minutes.
This is an enlargement of a piano solo written in the first months of Megan Kirkland's life.
The main theme comes around three times, first in just the first violins, then in the first and second violins in octaves, and finally in the cellos. The piece is elegant in its simplicity.
The orchestra called for is first and second violins, violas, cellos, and basses.
MEGAN'S THEME by Tom Kirkland for string orchestra consisting of first and second violins, violas, cellos, and basses, comes in a pdf file of 325K, with a five-page score, five one-page parts, and a license page, eleven pages in all. Performance time should be about 4:15.
A fun little novelty duet that uses partner songs for "When the Saints Go Marching In" as its hook. For two trombones, or two other bass clef instruments, with piano.
This is a simple little novelty piece written for two trombones (or two euphoniums, two cellos, two bassoons, etc.) with piano accompaniment. The occasion for writing this piece was a fundraiser dinner, with a euphonium, a trombone, and a piano available.
Each trombone takes a turn playing "When the Saints Go Marching In." The piano then gives a little key change, and the second trombone plays "She'll be Coming 'Round the Mountain," with harmony by the first trombone.
This is followed by a duel of partner songs:
Saints with Coming 'Round the Mountain
Saints with Amazing Grace
Saints with The Star-Spangled Banner
The piano then plays "Merrily We Roll Along" in a high register, which is followed by "Good Night Ladies" partnered with Saints. This goes on for a couple of choruses, and everything wraps up with a big finish.
This would be a fun number to end a trombone recital where the student plays with the teacher, or anyplace a couple of trombone players are hanging around with a pianist. All three parts are relatively easy (and easy to memorize), which makes this even more fun to play.
SAINTS, ETC. by Tom Kirkland for two trombones and piano, comes in a pdf file of 232K, with a ten-page piano score, two two-page parts, and a license page, fifteen pages in all. Performance time should be about three minutes.
A trombone trio with piano based on William H. Doane's setting of the Fanny Crosby hymn. Also would work well with three bassoons, three euphoniums, or three cellos.
William H. Doane's tune NEAR THE CROSS was written specifically for the Fanny Crosby hymn lyrics. Appearing in most English-language hymnals across denominational lines, it is a hymn of devotion that is very popular during communion and Good Friday services.
This arrangement begins with a very sparse piano accompaniment and the three trombones playing the first stanza in unison. The second stanza has the same simple accompaniment but the first trombone plays harmony over the top of the two other parts.
The chorus first appears in three-part harmony over a simple accompaniment, which is followed by a transition to a new key by the piano.
The third stanza is in three-part harmony over a more hymn-like accompaniment. And abrupt key change brings in the fourth stanza, also in three part harmony, but with an accompaniment that is quite simple in the right hand but has a rolling eighth-note bass line.
The chorus then appears again in three part harmony with a simple accompaniment for the opening phrases which is quickly followed by an accompaniment featuring a rolling eighth-note bass line.
The final phrases are repeated with great simplicity and largely in unison for a quiet and contemplative ending.
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Jesus, keep me near the cross,
There a precious fountain,
Free to all, a healing stream,
Flows from Calvary’s mountain.
Near the cross, a trembling soul,
Love and mercy found me;
There the bright and morning star
Sheds its beams around me.
In the cross, in the cross,
Be my glory ever;
Till my raptured soul shall find
Rest beyond the river.
Near the cross! O Lamb of God,
Bring its scenes before me;
Help me walk from day to day,
With its shadows o’er me.
Near the cross I’ll watch and wait,
Hoping, trusting ever,
Till I reach the golden strand
Just beyond the river.
In the cross, in the cross,
Be my glory ever;
Till my raptured soul shall find
Rest beyond the river.
Till my raptured soul shall find
Rest beyond the river.
JESUS, KEEP ME NEAR THE CROSS, by W H. Doane, arranged by Tom Kirkland for three trombones and piano, comes in a pdf file of 253K, with a five-page piano score, six-page conductor's score, three two-page parts, and a license page, eighteen pages in all. Performance time should be about 3:45.
A short piece based on a trio from Bach's motet BWV 227. For two tenors and a bass trombone (or two euphoniums and a tuba, three bassoons, or three cellos).
This piece is based on material from Bach's motet Jesu Meine Freude, BWV 227 Number VIII, So aber Christus in euch ist.
The text of this movement is Romans 8:10-- "If now Christ Jesus lives in you, although the body is dead because of sin, the Spirit is life because of righteousness."
In the motet, this piece appears in C major, voiced for alto, tenor, and bass. It ends with an E major chord to set up the chorale fantasy that follows. This means that it would be almost useless to present this as a straight transcription as the ending would be quite unsettling to the listener. The "fix" was to remove the final phrase and splice a modification of the opening phrases in its place returning the piece to its starting key. This version is written in F major to stay within the working ranges of the three instruments.
There is no workaround for the bass trombone, though this piece could possibly be performed with two euphoiums and a tuba. Other possibilities would be three bassoons or three cellos, ("bass" cello will use the open C string).
IF NOW CHRIST JESUS LIVES IN YOU, by J. S. Bach, arranged by Tom Kirkland for trombone trio consisting of two tenors and a bass, comes in a pdf file of 524K, a four-page score, three two-page parts, and a license page, eleven pages in all. Performance time should be about 2:15.
This is a relatively simple piece for string orchestra. Long, flowing lines, delicate voicing, and a couple of sections featuring viola come together to produce a nice concert number, also suitable for use in a worship service.
TRANQUILITY by Tom Kirkland for string orchestra, comes in a pdf file of 954K, with a five-page score, five two-page parts, and a license page, sixteen pages in all. Performance time should be about three minutes.
J. S. Bach did some truly amazing things in his lifetime, not the least of which was writing a significant number of motets for use throughout the church year. These motets were typically for four-part choir, sometimes four-part-plus-four-part double choir, and sometimes five-part choir. These were generally accompanied by a small string orchestra or by organ, but since all the accompaniment typically did was double the vocal parts, these pieces are equally effective, some would say more effective, when sung unaccompanied.
What has happened here is to take a couple of small sections of Bach's best-known five-part motet, Jesu Meine Freude, BWV 227, and arrange them for string orchestra. This piece can also be used as accompaniment for the SSATB version.
Bach's work was for a choir with two soprano sections, alto, tenor and bass, which translates well to three violin parts, viola, and cello. The bass part generally doubles the cello.
The minimum voicing for this piece is three violins, a viola, and a cello. If there is no cello, the bass would play the cello part rather than the bass part. There is also an alternate bass clef version of the viola part to make it easier to double it with cello.
This piece is not for the faint of heart, and if your browser is equipped to play the midi sample, you will hear why. The fugue has numerous passages in all parts of six-to-eight-count sixteenth-note runs at about 75 beats per minute. As you might expect, Bach has these runs reversing direction and breaking into interval jumps all over the place. They are playable by strong players on all of the instruments named, but considerable rehearsal and practice time will be required to clean up the piece and develop the ensemble needed to stay together.
The chorales are much easier to play, but they would probably not work especially well as a standalone concert piece without the fugue.
FUGUE AND TWO CHORALES OF J. S. BACH, arranged for string orchestra by Tom Kirkland, comes in a pdf file of 1389K, with a ten-page score, six two-page parts, a two-page alternate part, and a license page, twenty-five pages in all. Performance time should be about 4:20.
Jeremy Glaser's deep and striking arrangement of a favorite Good Friday hymn tune for piano, two cellos, and double bass.
The very name of the hymn tune, PASSION CHORALE, speaks the purpose and meaning of this piece. For many, this is the ultimate passion hymn, articulating graphically the suffering of a dying Savior and the appropriate heart response of the saved.
This is perhaps Jeremy Glaser's best piece to date, and was written as a prelude to a Maundy Thursday service. It is also unusual in many ways.
The choice of ensemble-- piano, two cellos, and double bass-- was partly about availability and partly about creating a deep sound to provoke deep thinking about the meaning of the sufferings of the Son of God, a Person of the Trinity, made incarnate and willing to suffer the most horrible of deaths for the sins of mankind.
The piece's modern-art structure and harmony, with all its dissonances and unusual, almost eerie beauty, is always fully supportive of the deep meaning of the text of the three stanzas of the hymn expounded. It pushes the limits of some as to acceptability in a worship service, yet it is able to move the heart in ways that perhaps a more traditional rendering would scarcely be able to do.
This piece is not a novelty number. Ensembles that perform it will likely evoke in their own hearts and the hearts of their listeners deep questions about the meaning and purpose of the passion of Jesus Christ, and in so doing will fulfill the purpose of this work.
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O sacred Head, now wounded, with grief and shame weighed down,
Now scornfully surrounded with thorns, Thine only crown;
How pale Thou art with anguish, with sore abuse and scorn!
How does that visage languish, which once was bright as morn!
What Thou, my Lord, hast suffered, was all for sinners’ gain;
Mine, mine was the transgression, but Thine the deadly pain.
Lo, here I fall, my Savior! ’Tis I deserve Thy place;
Look on me with Thy favor, vouchsafe to me Thy grace.
What language shall I borrow to thank Thee, dearest friend,
For this Thy dying sorrow, Thy pity without end?
O make me Thine forever, and should I fainting be,
Lord, let me never, never outlive my love to Thee.
O SACRED HEAD NOW WOUNDED, by Hans Leo Hassler, arranged for piano, two cellos, and double bass by Jeremy Glaser, comes in a pdf file of 790K, with a nineteen-page score, eleven-page piano part, three two-page string parts, and a license page, thirty-seven pages in all. Performance time should be about six minutes.
A flashy violin solo with a Spanish flavor, and piano accompaniment.
Kara is a friend and an accomplished violinist, who was spending a couple of months in Spain.
I had been toying with writing a solo piece for some instrument or other, but hadn't come up with a solid idea, until the thought of a young American violinist visiting Spain for the first time started the wheels turning.
What flowed out was page upon page of dramatic music that presents both the bold posturing of a matador or flamenco dancer and a quiet and contemplative theme.
The piece is musically challenging, but not so difficult that a good player will not find it fun to play. An excellent piece for a recital for a somewhat advanced player, or a showy encore piece.
Or, maybe, just for fun.
One quick performance note for those who might take a cue from the midi-- for some reason unknown to me, the composer program turns some of the ornaments into full turns. All of the ornaments were meant to be simple single tones.
KARA IN SPAIN by Tom Kirkland for solo violin with piano accompaniment, comes in a pdf file of 1427K, with a sixteen-page score, a seven-page solo part, and a license page, twenty-four pages in all. Performance time should be about five minutes.
One day I sat down and wrote out a little eight-bar melody in E minor, and then wrote a counterpoint to it.
I then wrote a counterpoint to that, and yet another counterpoint to that.
The four eight-bar melodies then ended up passed from part to part, moved into different octaves, eventually being played by both violins in turn, the viola, and the cello.
The original melody was given to the cello and the first violin in turn with a simple accompaniments. The complete set of four melodies was then reprised.
The final problem to be solved was how to end the piece, as it always came to rest on the subdominant. A rewrite of the final measure delivers a cadence that tells the listener the little piece is done.
FOURSOME by Tom Kirkland for string quartet, comes in a pdf file of 492K, with a five-page score, four two-page parts, and a license page, fourteen pages in all. Performance time should be about 2:30.
Swedish hymn tune set for flute and cello duet. The common lyric is "O let your soul now be filled with gladness..."
This is a setting of an old Swedish hymn tune for flute and cello. Could also be used with violin and cello, oboe and bassoon, or other soprano and bass instrument combinations. It might even work as a two-part invention for piano.
The hymn tune itself is a bit of a mystery. There do not even seem to be many theories as to who wrote it or when, simply that it seems to have come from Sweden.
The lyric most closely associated with this tune in English is by Peter Achan and translated to English by Karl Olsson.
O let your soul now be filled with gladness,
Your heart redeemed, rejoice indeed!
O may the thought banish all your sadness,
That in His blood you have been freed,
That God's unfailing love is yours,
That you the only Son were given,
That by His death He has opened heaven,
That you are ransomed as you are.
If you seem empty of any feeling,
Rejoice, you are His ransomed bride!
If those you cherish seem not to love you,
And dark assails from every side;
Still yours the promise, come what may,
In loss and triumph, in laughter, crying;
In want and riches, in living dying,
That you are purchased as you are.
It is a good, every good transcending,
That Christ has died for you and me!
It is a gladness that has no ending
There in God's wondrous love to see!
Praise be to Him the spotless Lamb,
Who through the desert my soul is leading
To that fair city of joy exceeding,
For which He bought me as I am!
You are certainly welcome to use the first line, O Let Your Soul Now Be Filled With Gladness, as an alternate title for this piece.
SWEDISH FOLK MELODY arranged by Tom Kirkland for Flute and Cello, comes in a pdf file of 509K, with a four-page score, two two-page parts, and a license page, nine pages in all. Performance time should be approximately 3:00.
Faure's peaceful and deceptively simple Pavane set for Violin Cello duet by Keith Templeman.
According to Debussy: "The play of the graceful, fleeting lines described by Faure's music may be compared to the gesture of a beautiful woman without either suffering comparison." The word "ethereal" is the one most often applied to the melodies of this student of Saint-Seans and teacher of Ravel who once played second organist to Charles-Marie Widor.
The Pavane is well-known, though perhaps not as well known as the choral works of Faure, and has been set for any number of combinations of instruments, including saxophones and tuba (tuba?). But in Keith Templeman's arrangement, we find the original orchestral score reduced to just two essential voices, violin and cello. It is fitting that an orchestral work by a master of chamber music be converted to an intimate chamber music setting.
As a cellist himself, Keith Templeman has taken full advantage of the instrument, working a broad range of both tones and expressions for the instrument. The melodic line played by the violin almost becomes accompaniment for the cello part (it's about time, say the cellists of the world).
This piece could possibly be played by other combinations of bass-soprano instruments, but be forewarned. The violin part is probably lower than most flutists or oboists will want to go, and the cello part, with its immense range, will be quite difficult to manage well on any wind instrument save the bassoon, though a very good tubist with an exceptional high range might do well, perhaps paired with a trombone, french horn, euphonium, or trumpet playing the soprano part, though transposing is is left to you if you want to venture it.
PAVANE (OPUS 50) by Gariel Faure, arranged for Violin/Cello duet by Keith Templeman, comes in a downloadable PDF file of 800K that contains a three page score, one page violin part, one page cello part, plus a license page, six pages in all. Performance time should be around 3:45, depending upon interpretation.
Keith Templeman's exciting flute/cello styling mixes "Be Thou My Vision" with "Lord of the Dance" (or "Gift to be Simple") and comes up with something old and something new.
Keith Templeman, a cellist from Buckingham, England, has put together this sparkling piece that shows just what can be accomplished with a flute and a cello. This duet piece is both quite listenable and quite playable, but to bring out all of the subtelties that are available in it will challenge even accomplished players.
Oboe/bassoon, violin/cello, and possibly trumpet/trombone (transposition is up to you) combinations will also be able to make good use of this piece.
What seems to begin as a simple setting of "Be Thou My Vision" becomes a gallop through the second tune, "Lord of the Dance" (or "Gift to be Simple" depending on your perspective) and then the two tunes become intertwined in a contrapuntal fantasy of phrases and melody snippets in various keys and with various timings. A fun and useful piece for many occasions.
FANTASIA ON TWO HYMN TUNES for flute/cello duet by Keith Templeman comes as a downloadable PDF file of 1424K, containing a four-page score, two-page flute part, two-page cello part, and license page, nine pages in all. Performance time is approximately 2:45.
This old Irish song, often sung to the words "Danny Boy," is set here for a flute and cello duet. It could also be used with other treble/bass combinations, or as a keyboard piece.
Sooner or later, just about everybody hears this old Irish song. That it is sometimes badly butchered by would-be Irish tenors trying to milk the audience for the sentiment they may have for the tune is a tragedy that often mars an otherwise wonderful piece.
This tune is most often set to the words "Danny Boy," and was used as theme music for Danny Thomas' television show in the 1950s. The Danny Boy lyric tells the story of a fond separation that the singing party fears may be permanent, so other than the title it is not obvious what connection the song would have with the show. The tender and melancholy lyric is perhaps one of the reasons it has been so often performed, yet the tune itself has much to recommend it.
The melody has a moderately large range for a vocalist, but instrumentalists find it easy to negotiate. The rising and falling of the tune evokes a picture of the green hills of western Ireland, one of the most beautiful places on the earth.
This treatment is intended to frame the natural beauty of the melody in a relatively uncluttered and unaltered form, so that the tune remains completely recognizable, though ornamented in the reprise chorus, while still allowing the artistry and technique of the two players to come through.
This piece can easily be performed by other soprano/bass instrument combinations such as oboe/bassoon or violin/cello. Good high school players should have little difficulty with this piece.
LONDONDERRY AIR for flute and cello, by Tom Kirkland, comes in a PDF file of 769K that contains three pages of musical score, a two-page flute part, a two-page cello part, and a license page, eight pages in all. Performance time should be around 3:10.
Classic German hymn tune set as a trombone solo accompanied by string quartet.
This simple little arrangement for trombone and strings makes a very nice prelude or special for a Christmas eve, Christmas day, or advent service. The piece sounds much better than the midi rendering would indicate, since it is near impossible to work expression into midi.
Rather than creating separate parts sheets for each player, the score was kept to four pages so all players can play from the score. This seemed important since this piece meanders freely from 3/2 to 2/2 time and back again. I have always found it easier to play such pieces when one can see all of the parts at the same time. The string quartet parts are rendered visually on a grand staff so this piece can easily be performed with a trombone (or baritone horn, cello, bassoon) and a string synthesizer (or pipe organ) if desired.
LO, HOW A ROSE E'ER BLOOMING arranged by Tom Kirkland for Solo Trombone with String Quartet, comes in a pdf file of 239K, with a four-page score and a license page, five pages in all. Performance time should be approximately 3:30.
This classically styled rendering of Louis Bourgeois' tune for the 42nd Psalm shows off the range and beauty of sound produced by two cellos. Could also be done by two bassoons.
Back in 1551, when Louis Bourgeois penned a set of hymn tunes that were to be published in the Genevan Psalter, he may have recognized the modern cello, but he would not have had the faintest inkling of using computers and the internet to transmit downloadable musical scores.
Despite technological change, at least two or three of Louis Bourgeois' hymn tunes have been passed down to church hymnals that will continue in use well into the 21st century. I guess if your music can stay in use for almost six hundred years, you've done pretty well as a composer.
The most popular of Bourgeois' tunes is OLD HUNDREDTH, which is used commonly as the tune for the Doxology (Praise God from Whom all blessings flow...). Perhaps his tune for the 42nd Psalm is less well known, but it is still used in many church traditions. The tune is known in various hymnals as GENEVAN 42 or BOURGEOIS, and has been used with a variety of texts. One set of words penned by T. Kingo in 1689 begins, "Praise to Thee and Adoration, Blessed Jesus, Son of God..." It is the source of the title of this piece. An alternate title (fine with me if you want to call it this) would be "Comfort, Comfort Ye My People."
A careful listener may notice that the piece alternates between major and minor keys with the same tonic, the hymn tune always appearing in major (or a related key) with the "framing phrases" appearing in minor. This was just a stylistic choice and nothing special should be read into it. I have been listening to a lot of J. S. Bach's music lately, so I will admit to a strong influence in the feel of this setting, and to possibly unintentionally borrowing a musical idea or two from him. On this account I believe I am in some pretty good company. The flow of the two parts is such that it is more natural to have the players cross voices rather than always keeping the lead with one of the two players. This results in both parts containing the same material, just in a different order, therefore, this piece, while not sounding that way, can be considered as a very long and well-concealed round. This is mentioned only to point out that the players will need to be well matched as to skill and tone quality. There is no lead/accompaniment structure to this duet.
Other bass clef instruments will be able to make good use of this piece, most notably two bassoons, two euphoniums, or two trombones. Mixing instruments might be interesting, but would give the piece a much different flavor because of the lead-switching mentioned above.
The occasion for writing this piece was a request by an enthusiastic customer of www.tributek.com. Her exact words were: "...since you asked about my "dream" piece, I'd like GENEVAN 42 (87 87 77 88) set for two cellos (good luck!)." What do you think of it, Sharon?
MP3 sound sample: Entire piece(synthesizer/midi).
PRAISE TO THEE AND ADORATION for two cellos, by Tom Kirkland, comes in a PDF file of 1008K that contains three pages of musical score and a license page, four pages in all. Performance time should be around 3:15.
A short melodic piece for string quartet. Terrific parts for the cello and viola.
This melody, which is rather unimaginatively entitled "Air in C," was originally written for solo piano. It is a rather haunting tune, and I found myself humming it from time to time as I went about doing whatever.
Eventually, as sometimes happens, I found myself humming fragments of a countermelody. This countermelody was a sort of running eighth note part, rising and falling as the harmonies progressed on by. Eventually, I heard a string quartet in my head, with the viola carrying the rolling eighth note part, the cello playing a continuo-like quarter note sequence, and the second violin playing a series of melodic phrases that fill out the harmony and support the first violin on melody. Surprisingly, it went down on paper about as I had heard it. That is, until the first occurrence of the "B" section.
The "A" section establishes a theme that comes back twice more in the piece. It forms the noodle part of our pasta dish. The sauce comes in the "B" section, a soaring exploration of related keys. Since I think nothing soars quite like a cello, I gave the melody to the cello in the "B" section and gave the three chin-mounted instruments a simple rhythmic pattern on which to play the supporting harmony. Besides which, how often do you hear a soaring cello? You hear soaring violins every day, but a soaring cello-- that's a rare treat.
This piece has the same A-B-A-B-A structure of the piano solo of the same name, and borrows its melody. The harmonies were altered somewhat, and the melody was dropped an octave in the "B" section to accommodate the range of the cello. Rhythmically, only the melody bears any resemblance to the piano piece. If nothing else, it is interesting to compare the two pieces and listen for the differences.
As a low brass player, I have played a great many wonderful pieces that had excessively boring supporting parts. I believe (and I think I am in agreement with one J. S. Bach on this point) that all of the players should have interesting parts to play, so far as it is musically possible. So in this piece, the cellist has the continuo and the solo line to play, the violist gets the juicy rollercoaster eighth note countermelody, and the two violinists get sweet melodic phrases. The three higher voices do have the rhythmic accompaniment during the "B" sections, but at least there is bowing technique to work on. I guess the cellist and violist will love it, and the violinists will be able to take it or leave it. Life is like that some times.
If this piece were merely musicologically interesting there would be no point. I wrote it because I wanted to hear it; possibly other folks would want to hear it as well.
This can be well performed by a competent high school string quartet with the traditional voicing (two violins, a viola, and a cello). It is suitable for a reception, or perhaps could find use as a wedding processional. It will probably work in a worship service, or it could be a concert piece, though perhaps not a very flashy one. There is that soaring cello thing, though.
AIR IN C for string quartet, by Tom Kirkland, comes in a PDF file of 1528K that contains a five page score, four parts of two pages each, and a license page, fourteen pages in all. Performance time should be around 3:35.
A unique duet piece for flute and cello, that can also be done with oboe and bassoon or violin and cello.
Perhaps there are not many flute/cello duet combinations out there to perform this piece. Perhaps there are not many violin/cello duets or oboe/bassoon duets, either. But at least one flute/cello duet pair exists and they recently e-mailed and asked if we couldn't come up with an arrangement of this old Irish hymn tune for them.
Well, since we already had two arrangements of this hymn for different combinations out there, it seemed to make sense that we try to follow on with something for just the two voices.
In contemplating how to write for just bass and treble voices, it occured that Bach had written a number of two-part inventions, in which the lower voice part was every bit as much involved in carrying the load as the upper voice. In trying to come up with a way to make that work given that the hymn tune was already extant, this concept evolved into a sort of continuo-style lower voice part supporting at first a simple upper voice part that then becomes an elaborate solo. The end effect would seem to be pleasing to the ear, and the piece can be performed with high school musicians of slightly-above-average skills.
So, we present to you the only arrangement we know of of the Irish tune "Be Thou My Vision" for flute and cello duet, arranged at the request of a couple of young ladies from the Buffalo, New York area. If you are an oboe/bassoon duet or a violin/cello duet, some other pair of treble/bass instruments, or a keyboard player, you should also be able to perform this piece. Enjoy.
BE THOU MY VISION, arranged by Tom Kirkland for flute and cello comes in a pdf file of 659K, with a three-page score, two one-page parts, and a license page, eight pages in all. Performance time for the piece will be about three minutes.
David Hepburn's plaintive Mendelssohn-like piece for oboe and piano. Can also be done with other instruments (three transpositions of the solo part are included).
This piece sounds quite simple, but actually requires quite a bit of musicianship to do well. The interplay of the accompaniment and the solo part does not come through too well in the MIDI sound sample, but in actual performance the accompanist and the soloist can work together to provide a performance lush with emotion.
The piece is written in B major, which in itself can be a challenge. It has a broad range but can be easily managed on a oboe, violin, bassoon, or cello. It would be a much greater challenge on trombone (it is relatively high for a trombone piece) or trumpet or clarinet (in addition to being high, transposition for these instruments puts one in the key of C#).
The accompaniment sounds simple enough, but will also provide a challenge for a developing pianist, both because of the key and because of clef changes in the right hand.
The PDF file contains a score with piano and solo line, an oboe/flute/violin solo part, a clarinet/trumpet solo part, and a bass clef bassoon/cello/trombone solo part.
Interesting treatment of a Christmas standard , for three trombones (or bassoons or cellos).
A trio for low-brass instruments. Can be used with trombones, bass-clef baritones, bassoons, or cellos. Range requires third trombone to hit a low D (bass trombone).
Arpeggiation and unusual harmonies give this piece a uniqueness that will make it fresh during a time of year when the old standards can seem a little tired.
WE THREE KINGS arranged by Tom Kirkland for two tenor trombones and one bass trombone comes in a PDF file of 699K, containing a two-page score and three one-page parts, plus license page, six pages in all. Performance time should be about three minutes.
A request was made to score this old Irish tune for a rather unique ensemble. Click to read the story.
One day I got an e-mail from a young lady named Sarah, asking if I could help her find Be Thou My Vision, scored for her particular ensemble. Listening to the collection of instruments she had gathered to perform this work, I made a wild guess that the only way she was going to get what she was looking for was if I scored it for her group.
So, here is an interesting styling of this grand old Irish tune for a most unique collection of instruments: Flute, Oboe, Clarinet, Trumpet, Piano, and Vibraharp.
BE THOU MY VISION arranged by Tom Kirkland comes in a PDF file, 1576K, twelve pages in all, score, piano/vibraharp part, flute part, oboe part, clarinet part, trumpet part. Performance time is about three minutes.
