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LAMPLIGHT MUSIC
SITE MIDI AND MP3 FILE COMMENTARY
TABLE OF CONTENTS
2-PART INVENTION (piano)
57 MARCH (band)
ALFIE (piano)
ALL CREATURES OF OUR GOD AND KING (all versions)
ALLELUIA (keyboard)
ALL NIGHT LONG (piano and percussion)
AUTUMN DANCE (orchestra)
BATTLE ROYAL (jazz band)
BE STILL AND KNOW (voice and piano)
ARPEGGIO FOR WOODWINDS
BLUES1 (organ and bass)
BRASS OCTET
CHACONNE (jazz band)
CHRISTMAS VARIATIONS for Orchestra or Organ
CHANUKAH, OY CHANUKAH (string quartet)
THE CHRISTMAS SONG (piano/guitar or orchestra)
DON JUAN (orchestra)
DUO FOR TROMBONE AND PIANO
"ECHOES RETURN" - SYMPHONY NO.1 (orchestra)
HOMAGE (piano)
HONKY BLUES (jazz band)
I'LL FOLLOW THE SUN (orchestra)
The INTERLUDES from A TRAMP SHINING (string orchestra)
ISLE (band)
KIDDUSH (PASSOVER SANCTIFICATION MUSIC)
MABUS (orchestra)
MAC ARTHUR PARK (orchestral transcription)
MEGLIO STASERA (jazz ensemble transcription)
MINE EYES HAVE SEEN THE GLORY (organ or piano)
MIRAGE (ambient mp3)
MONTAGE (strings)
MOODS (electronic keyboard)
MURDER BY DECREE (orchestra)
MY FAVORITE THINGS (electric piano)
MY JESUS, I LOVE THEE (piano)
NOW I KNOW WHY (jazz ensemble)
ODE for Strings
ON THE BRINK (musique concrete mp3)
PRAYER - OP.48,NO.1 (2 piano or 4 hands)
PSALM 43 (SATB a capella)
THE REVELATION OF JESUS CHRIST (SATB, soloist, organ, piano)
SEEK YE FIRST (piano)
SILVER BELLS (small instrumental ensemble)
THEME AND VARIATIONS FOR GUITAR
VISION (brass choir)
WHAT THE WORLD NEEDS NOW IS LOVE (piano)
WHIRLYBIRD (electric blues mp3)
YANGTZE JOURNEY (band)
TERA INFIRMA (live midi-recorded, expanded piano improvisation)
WHO?
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TWO-PART INVENTION (in the style of J.S. Bach)
Composition, mp3 file and mp3 and midi sequence- Copyright © 1979, 1997 by Waterfall Music
Not much to say about this one other than to listen.
This piece was written in college as an exercise in counterpoint.
The attempt was to write like Bach without writing exactly like Bach . . . perhaps, I succeeded.
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FOUR INTERLUDES FROM A TRAMP SHINING
music by Jimmy Webb
Copyright © by Polygram International
mp3 file and mp3 and midi sequence © by Waterfall Music
The INTERLUDES from A Tramp Shining are four short musical masterpieces weaving together the songs of a classic pop album of the late sixties.
Featuring the string section only, these brief passages enrich the storytelling heard on this masterful recording. Mr. Webb has always been recognized for his lyrical abilities, but I contend he is even better where music is concerned.
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57 MARCH
Composition or arrangement, mp3 file and mp3 and midi sequence- Copyright © 2003 by Waterfall Music
A simple, quick-step march exploring some folk music melodies and harmonies from various cultures.
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ALL CREATURES OF OUR GOD AND KING
orchestral, organ, piano and woodwind Versions
music from Geistliche Kirchengesang, 1623
words by St. Francis of Assisi, 1182-1226
translation by William H. Draper, 1855-1933
arrangement, mp3 and midi sequence - Copyright © 1979, 1998 by Waterfall Music
All creatures of our God and King, Lift up your voice and with us sing, Alleluia! Alleluia!
Thou burning sun with golden beam, Thou silver moon with softer gleam!
O praise Him, O praise Him! Alleluia! Alleluia! Alleluia!
Thou rushing wind that art so strong, Ye clouds that sail in heaven along,
O Praise Him! Alleluia!
Thou rising morn, in praise rejoice, Ye light of evening, find a voice!
O praise Him, O praise Him! Alleluia! Alleluia! Alleluia!
Dear mother earth, who day by day, Unfoldest blessing on our way,
O Praise Him! Alleluia!
The flowers and fruits that in thee grow, Let them His glory also show!
O praise Him, O praise Him! Alleluia! Alleluia! Alleluia!
Let all things the Creator bless, And worship Him in humbleness,
O praise Him! Alleluia!
Praise, praise the Father, praise the Son, And praise the Spirit, Three in One!
O praise Him, O praise Him! Alleluia! Alleluia! Alleluia!
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ALFIE and WHAT THE WORLD NEEDS NOW IS LOVE, SWEET LOVE
words by Hal David, music by Burt Bacharach
Copyright © by Famous Music Corporation
Arrangement, mp3 and midi sequence - Copyright © 1998 by Waterfall Music
ALFIE and WHAT THE WORLD NEEDS NOW IS LOVE are timeless classics written by Burt Bacharach and Hal David. These two popular hits were recorded, respectively, by Dionne Warwick and Jackie deShannon in the 1960's. Many other wonderful songs were penned by these masters of the song writing craft and recorded by such artists as Herb Alpert, The Carpenters and Sergio Mendez.
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ALLELUIA
music and lyrics by Jerry Sinclair
Copyright © 1976 by Manna Music, Inc.
Arrangement, mp3 and midi sequence - Copyright © 1998 by Waterfall Music
ALLELUIA is a beautiful song that has been featured in vocal and instrumental versions in numerous songbooks and recordings. This song creates a mood of peaceful contemplation and is ideal for a time of worship. Listen to it when you need a rest from the stress of the world.
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THEME FROM "ALL NIGHT LONG"
music by Dave Grusin
Copyright © by MCA Music Publishing, Inc.
arrangement, mp3 and midi sequence - Copyright © 1998 by Waterfall Music
The THEME FROM "ALL NIGHT LONG" has that bouncy magic. It's a very catchy tune from the Universal Studios picture starring Gene Hackman and Barbra Streisand. The music credits for the theme go to Dave Grusin and to Richard Hazard and Ira Newborn for the rest of the score. The film shows up on the tube now and again or you can probably rent it at your local video store. It's worth it for the music and Barbra is almost irresistible.
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ARPEGGIO for Woodwinds
original music, mp3 and midi sequence
Copyright © 1998 by Waterfall Music
ARPEGGIO is an original composition with numerous musical influences ranging from the Pat Metheny Group to Aaron Copland. In the last section, a shifting between major and minor tonality creates a sense of mystery, anticipation or longing. Clarinets and English Horns evoke a fanfare reminiscent of medieval times. The woodwind group of instruments are capable of great range and flexibility.
Their upper register is powerful and the lower, mellow and warm. This short piece emerged from a 1970's sketch of arpeggios played at the piano. A number of sketches from that period remain which, if this work may be entered into evidence, may develop into interesting pieces.
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AUTUMN DANCE
original music, mp3 and midi sequence - Copyright © 1998 by Waterfall Music
Autumn Dance is a weaving of musical styles from ancient to post modern. The solo harp, accordion, viola, cello and the small ensemble sound create the mood of the wandering minstrels of long ago. The brass enter to evoke a Moorish theme, transformed by way of Spain and baroque Germany. The addition of a full string section follows the dance across the desert and the full ensemble moves to a section where the harmonies are from the twentieth century.
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BATTLE ROYAL
music by Duke Ellington
Copyright © by Tempo Music, Inc. and United Artists Music Co. Inc.
Arrangement, transcription and mp3 and midi sequence - Copyright © 1998 by Waterfall Music
BATTLE ROYAL is a classic up-tempo number from the 1950's, late in the swing era. This composition by "the Duke" was recorded in an historic session by the combined bands of Ellington and Count Basie on July 6, 1961.
The conversational interplay between the keyboards of the two band leaders and the astounding solo playing of the musicians becomes even more stupendous when you read the liner notes on the recording ("First Time - The Count Meets the Duke" Duke Ellington Orchestra - Count Basie Orchestra, Columbia Stereo CS 8515). According to Stanley Dance, the eight performances on the record (including "Take the "A" Train" and "Jumpin' at the Woodside") were "cut without rehearsal in one long, charged session."
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BE STILL AND KNOW
words, music, mp3 and midi sequence
Copyright © 1997 by Waterfall Music
BE STILL AND KNOW is one of my rare attempts at songwriting. The title comes from Psam 46:10 - "Be still and know that I am God. I will be exalted among the nations; I will be exalted among the earth". In this scripture passage, God inspires David to write of His power and majesty with the assurance that He is in control and that He will take care of His people. The lyrics I wrote for this song are much less majestic, yet, the message of becoming still, quiet and restful in spirit, mind and body, in order to know Who and what is really important, is evident, nonetheless.
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BLUES 1
music
Copyright © 1997 by Waterfall Music
BLUES 1 begins in a relatively simple manner. As the work progresses, the melody, rhythm and harmony become increasingly complex.
Originally composed using Deluxe Music Construction Set, this piece placed among the top three works in an Amiga computer club contest some years ago.
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BRASS OCTET (3 Fantasies on 3 Hymns)
arrangement, mp3 and midi sequence - Copyright © 1978, 1998 by Waterfall Music
BRASS OCTET was written while at college. When I arrangement these 3 great hymns of the Christian faith, I was exploring various techniques including polychords, quartal and quintal harmony, 12 tone harmony, clusters, irregular rhythms and musical pointillism.
The opening fanfare was arrangement from Henry Smart's "Lo, He Comes with Clouds Descending," musically influenced by the polychordal techniques of Vincent Persichetti. This great hymn speaks of the sudden and glorious return of Jesus Christ. For Christians, this is an eminent and greatly anticipated event as Jesus comes to save His people from a world bent on self-destruction. According to the Bible, Jesus will bring to an end to the Satanic dominion of hatred and greed, replacing it with the love and freedom that God intended for His children in this world. He will set His Kingdom on this earth to rule and reign in righteousness for a thousand years.
A struggle between good and evil is evoked as musical "demons" try to wreck Martin Luther's grand hymn, "A Mighty Fortress Is Our God." In this middle section of the piece, a contrapuntal style contrasts with a chorale, hampered by dashes of sprechstimme, in which the harmonies are clustered. This further obscures the passage until the harmonies emerge resonantly victorious in the last few bars before the break. The music of Charles Ives and Anton Webern were on my mind when working out this passage.
The arrangement of the final hymn, "When I Can Read My Title Clear," was influenced by composer William Schuman's work based on the civil war hymn, Chester. This section features harmonies built on fourths and fifths in the accompaniment.
Other overall influences in the piece include Walter Piston, Igor Stravinsky, Aaron Copland and the ever present father Bach.
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CHACONNE
music, mp3 and midi sequence - Copyright © 2003 by Waterfall Music
CHACONNE is a work in progress, beginning with the traditional form of a repeating bass (or melody) with changing harmonies above (or around) it with each repetition. The instrumentation starts as a traditional band with full percussion, adding wind instruments common to the jazz band or jazz ensemble.
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CHRISTMAS VARIATIONS for Orchestra (and Organ)
arrangement, mp3 and midi sequence - Copyright © 1997 by Waterfall Music
Simply stated; Three familiar Christmas carols arrangement in a new and fresh way. The carols: I Wonder as I Wander - Carol of the Bells - What Child Is This?
The influence of Russian composers is heard throughout this work. Some of the Slavic musical influences, in Nikolai Andreyevitch Rimsky-Korsakov's Russian Easter Overture and in the music of Alexander Porfirievitch Borodin, are visited here.
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CHANUKAH, OY CHANUKAH
a traditional hanukkah song
arrangement, mp3 and midi sequence - Copyright © 2002 by Waterfall Music
Happy Hannukah to all my Jewish friends!
May the Festival of Lights celebration always be a blessed remembrance to you and your family. For those who do not know, Hannukah is a remembrance of a time when the Jewish nation regained and re-established their temple of worship from their enemies.
According to tradition, a miraculous event occurred, as God allowed one days supply of oil for the Menorah to last for eight days.
The current day observance, sees the lighting of the Menorah, one candle at at a time for eight days. The Menorah has a center candle (or flame) with 4 candles (flames) on each side. The children of the family receive gifts on each night of the celebration.
Pray for the peace of Jerusalem!
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THE CHRISTMAS SONG
words and music by Mel Torme and Robert Wells
Copyright © by Edwin H. Morris and Company, Inc.
arrangement
mp3 and midi sequences - Copyright © 1997 by Waterfall Music
On a hot summer day in California, composer Robert Wells was noodling around at the piano. In an attempt to cool off, his imagination envisioned a winter's day and he composed the first four lines of a Christmas song. Later, with the collaboration of Mel Torme, one of this century's definitive Christmas songs was born. No doubt, it is frequently arrangement, re-arrangement and performed internationally as one of the Christmas classics.
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DON JUAN
Original composition, mp3 and midi sequence and mp3
Copyright © 2002 by Waterfall Music
The Adventures of Don Juan (silent) is an exciting film from Hollywood's pre-talkie days. The final scene includes swordplay, horseplay and the rescue of a damsel in distress . . . all the classic elements of a big finish. This short cue supports the action.
DUO for Trombone and Piano
music, mp3 and midi sequence - Copyright © 1979, 2003 by Waterfall Music
The grace of God is indeed marvelous, wondrous and always more than we deserve. This musical work was completed prior to spring break of 1979, scheduled for premiere upon return from the holiday. Invited to stay in a Texas city during the break with friends, I opted to return home. On April 10th of 1979, the largest and most damaging tornado in the history of that city caused severe damage and loss of life. I praise and thank God for saving and sparing me so many times throughout my life.
Please pray with me for those, and the families and friends of those, wounded or lost to storms, natural disasters and man-made calamities which occur throughout our world and pray that God will spare us so that we may seek and find His guidance for our lives.
As to the musical techniques in the Duo - a free use of the twelve tones with a core group applied as tonal centers. The second performance of this work was at a meeting of the International Trombone Association in New Mexico, at which the work was added to the group's New Literature Listing.
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"ECHOES RETURN" - SYMPHONY NO.1 in 3 Movements
music, mp3 and midi sequences - Copyright © 1998-2003 by Waterfall Music
The idea of calling any work a symphony is a thoughtful decision. My work doesn't match up with the great symphonies of the masters; it comes from a different time and place. If I were to have taken a great symphony from the past and simply varied the melody, harmony or rhythm, I should rightly call it "variations on whatever." Instead, I wrote something that is obviously influenced by all the music I've ever heard, studied and performed . . . but it has the signature of my personality on it. Since this work represents longer movements thematically developed in linear form in my own personal style, requiring at least a chamber orchestra to perform them, I decided to call it a symphony.
The great masters worked in a time before most musical possibilities had been explored. They were the pioneers who worked in slower, more peaceful times and the length and depth of their work revealed that fact. This work represents musical styles throughout the ages, weaved together in a coherent whole. Some of the themes developed were recalled as echoes returning from music heard long ago . . . the sounds of childern's songs or old folk melodies. Like all of my work, it was written without conscious reference to the work of others, but all composers owe much to those who wrote or arrangement all the music we have ever heard and studied.
The first movement opens with a broad statement of themes that will be developed throughout the work. The woodwinds shortly take some of this musical material in a more lively development. The brass and strings are added to this section in modern harmonic style. Woodwinds again bring a lighter, more tonal section which is developed along with the strings and brass leading to a closing string chorale.
The second movement might be called neo-romantic in style and is probably closest to the sonata form of all the movements. The opening themes in woodwinds and strings are to be developed throughout the movement. Following the introduction of themes, the woodwinds and strings take a turn which leads sections in which all the orchestral groups appear alone, in contrast and in tutti. This movement is marked by the appearance of harp, piano, tympani, snare drum and bells.
The third movement is developed from the opening themes and features the brass in the mid-section and the woodwinds with strings in a closing jig.
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HOMAGE for solo piano
music, mp3 and midi sequence - Copyright © 1997 by Waterfall Music
HOMAGE was written down quickly after viewing the film, "Frantic." The film score was composed by Ennio Morricone. His composition is often quite simple and sometimes sparse, but always excellently supportive of the screen scene.
As the closing credits scroll, a hauntingly familiar Parisian theme is heard as the lead characters taxi hurriedly toward the airport. This theme inspired aural remembrances of the music of Claude Debussy, Maurice Ravel, Eric Satie and Sergei Rachmaninoff. But I couldn't keep Johannes Brahms or Johann Sebastian Bach from influencing me, if only briefly.
HOMAGE is very familiar music, but with my personal signature engraved on it. I uploaded it to the site a few hours before the passing of Princess Diana in Paris. I renamed the piece, originally titled WALTZ, in honor of the composers and of the lady who passed from this world just as she seemed to be finding her place in it. Shortly after, with the passing of Mother Teresa, I found one even more deserving of our homage and respectfully dedicated this work to her unselfish pursuit of sacrifice for others.
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HONKY BLUES
music, mp3 and midi sequence - Copyright © 2003 by Waterfall Music
HONKY BLUES is a work in progress, a jazz/blues that begins traditionally around a 7th chord, moving through extensions, altered chords and substitutions.
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I'LL FOLLOW THE SUN
words and music by Paul McCartney
Copyright © by Sony Songs/ATV Music Corp.- Maclen Music, Inc.
Arrangement
mp3 and midi sequence - Copyright © 1997 by Waterfall Music
Although Lennon/McCartney appeared on the vinyl and on the album credits for most Beatle recordings, this one is Paul's. In an article originally appearing in the Hit Parader (Charlton Publications), John was asked to identify who wrote what. When asked about I'll Follow the Sun, he replied "Paul. A nice one -- one of his early compositions." It is a very nice one. A short, simple song but one that lends itself to melodic development and harmonic exploration. The harmony is quite beautiful.
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ISLE for Concert Band
music, mp3 and midi sequence - Copyright © 1998 by Waterfall Music
This work for concert band reveals my love for music that has made its way from one or another of the British Isles and from other nations in commerce or conflict with them. Some familiar themes are developed in the different choirs of the band and the percussion section. A chorale, initially stated in the brass, is restated by varying instrumental combinations. A stretto of the initial theme is developed prior to the closing sections. In the coda, the woodwinds play a descending passage, reminiscent of Mahler, leading to the final stacked chord.
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KIDDUSH
Traditional Passover Sanctification Music
arrangement from the Union Haggadah
A Worshipful, Contemplative and Joyous Passover to those Jews and Christians observing it!
Passover (Pesach in Hebrew) is a seven day Holiday which begins on the 15th of Nissan on the Jewish calender. Passover is celebrated in commemoration of the redemption of the Jews from slavery in Egypt and in memory of the exodus from Egypt in the thirteenth century BC. The mitzvah of celebrating Passover originated from Devarim-Deuteronomy chapter 16, this is the chapter that orders the three holidays (??Shalosha Regalim? in Hebrew) that Jews had to go to Jerusalem and give a ---sacrifice--- the other two holidays are Succot and Shavuot. The name Passover is given to this feast because God caused the death angel to "pass over" the homes of those who had taken the hyssop and painted the blood from the sacrificial lamb over and on the sides of the door. All homes not covered by the blood were visited by the death angel and the last plague, the death of the first born, came on Egypt on the evening before the Jews were delivered from slavery. From the Jewish perspective, the importance of this holiday is in its key role of the remembrance of the might of God and in the story of the Exodus and the birth of the Jewish nation in Israel; this is why the Hagadah (The Passover story) is read which means in Hebrew ??to tell? the story from generation to generation.
In the Passover Seder there is a ??Passover plate? with seven different items that symbolizes different things. Jews are not permitted to eat Hamez or leavened bread during the time of the Passover holiday. On the day before Passover, Jews must cleanse their home of Hamez as well as all the kitchen wear must be either baked or boiled in order to eliminate all traces of leavened bread.
Christians believe that Jesus or Yeshua is their Passover Lamb, who sacrificed His life and His blood on the Cross to save us from our sins. The blood of the lamb was painted above and on the middle sides of the door posts so that the death angel would pass over their homes. A vertical line from the middle top to the bottom of the door and a horizontal line between the middle side of the posts forms a cross.
From the New Testament gospels we read about The Last Supper.
Luke 22:14 - And when the hour was come, he sat down, and the apostles with him. 15 And he said unto them, With desire I have desired to eat this passover with you before I suffer: 16 for I say unto you, I shall not eat it, until it be fulfilled in the kingdom of God. 17 And he received a cup, and when he had given thanks, he said, Take this, and divide it among yourselves: 18 for I say unto you, I shall not drink from henceforth of the fruit of the vine, until the kingdom of God shall come. 19 And he took bread, and when he had given thanks, he brake it, and gave to them, saying, This is my body which is given for you: this do in remembrance of me. 20 And the cup in like manner after supper, saying, This cup is the new covenant in my blood, [even] that which is poured out for you.
Matthew 26:26 - And as they were eating, Jesus took bread, and blessed, and brake it; and he gave to the disciples, and said, Take, eat; this is my body . 27 And he took a cup, and gave thanks, and gave to them, saying, Drink ye all of it; 28 for this is my blood of the covenant, which is poured out for many unto remission of sins. 29 But I say unto you, I shall not drink henceforth of this fruit of the vine, until that day when I drink it new with you in my Father's kingdom. 30 And when they had sung a hymn, they went out unto the mount of Olives.
Mark 14:22 - And as they were eating, he took bread, and when he had blessed, he brake it, and gave to them, and said, Take ye: this is my body . 23 And he took a cup, and when he had given thanks, he gave to them: and they all drank of it. 24 And he said unto them, This is my blood of the covenant, which is poured out for many. 25 Verily I say unto you, I shall no more drink of the fruit of the vine, until that day when I drink it new in the kingdom of God.
Four cups are taken in the Passover meal - the cups of bringing out of bondage, deliverance from servitude, redemption from all dependence in Egypt and selection as the people of the Lord. Jesus brought us out of the bondage of sin and Satan (Pharoah in Egypt was a symbol of Satan,) He delivered us from the servitude of sin and the devil, He redeemed us from bondage to sin and Satan and brought us to Himself and He selected us to be His people, the church.
There are three matzos (matzahs) on the table for the Seder. There are three persons in the Trinity of God, the Father; Yeshua, the son and the Holy Spirit. The matzo (matzah) or unleavened bread of affliction is representative of sin. Yeshua was afflicted for us. He became sin for us on the cross. He was persecuted, scourged and nailed to a cross because we esteemed Him not and did not realize that He had come to save us and be our Messiah. The roasted egg of Passover is a free-will offering as is Yeshua. He gave Himself as a free-will offering to God so that we might be saved from our sin and gain eternal life through faith in Him.
For more information about this feast and its meaning, please visit these links.
http://www.ankerberg.com/ankerberg-articles/prophecy-evidence.html
http://www.messiahforisrael.com/
http://www.geocities.com/lampmuz/write.html
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MABUS
music, mp3 and midi sequence - Copyright © 1998 by Waterfall Music
This musical tour de force is minimalist in concept as a limited number of elements are repeated and rearrangement. According to some Biblical prophecy scholars, the final antichrist, the "man of sin" will emerge from Europe in the not too distant future. Others suggest his origins may in the Middle East. Mabus is the name the ancient seer, Nostradamas, used to identify a 3rd antichrist, the first two being Napoleon and Hitler. In the quatrains dealing with WW II, his 2nd antichrist was called "Hister". Nostradamus employed various scrambling techniques to disguise his revelations. Write "mabus" (in small letters) on a piece of paper and hold it in front of a mirror to see what you will see.
Revelation 13:3 And I saw one of his heads as it were wounded to death; and his deadly wound was healed: and all the world wondered after the beast.
This prophecy seems to say that one of the political leaders or nations or group of nations will appears to be mortally wounded but will be healed in a way that appears to be a false miracle - as Satan has always sought to counterfeit the things of God, some suggest that this might be a blasphemous counterfeit of the Resurrection of Jesus Christ.
Many have speculated on the meaning of the Mark of the Beast. Some believe that it is an actual mark or implanted computer chip that Christian believers will choose not to take, causing them increasing difficulty in life and business as persecution increases.
Others have suggested that the mark is more spiritual in nature; 6 being the number of the devil and 666 representing the unholy trinity of Satan, anti-Christ and false prophet mentioned in the Revelation of St. John.
One speculation concerning the form of a physical "Mark of the Beast" is comprised of 3 ancient Greek letters. The Byzantine text, from which the Greek Textus Receptus was derived, places the Greek letters Chi, Xi and Stigma where the "666" is found in the King James translation of the Book of Revelation. From DBY (Darby Version) Chapter 13, Verse 18: "Here is Wisdom. He that has understanding let him count the number of the beast: for it is a man's number (the number of mankind); and his number is six hundred sixty six" (or 666).
Many have tried to fathom the mystery of this prophecy in, interestingly, the 18th verse (6+6+6) of the 13th (a number associated with evil and bad luck) chapter of the book. The numeric values of the ancient Greek letters (Chi, Xi and Stigma) equal 666 (Chi=600, Xi=60, Stigma=6) and that it was ancient practice to mark undesirables and criminals on the forehead or hand with an X (or cross).
The word for the number Stigma (now known as Sigma) has found its way into modern English, for example, "after being caught stealing, the stigma of his crime hampers his ability to find employment".
Whatever its exact nature, the "mark of the beast" is the mark of slavery and submission to the antichrist and shame to the one who bears it, for it signifies blasphemy and a forsaking of eternal life for the fleeting moments of mortal life gained by bowing to a false prophet and evil dictator.
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MAC ARTHUR PARK
words and music by Jimmy Webb
Copyright © by Polygram International
transcription
mp3 and midi sequence - Copyright © 1998 by Waterfall Music
MAC ARTHUR PARK was a ground-breaking pop song of the late 1960's. The song's 7 minute + length led the way for longer songs to be heard on pop radio. The music and vocal styles, influenced by baroque, romantic and classical period works, are reinforced by a pop/rock rhythm section (keyboards, guitars and drums).
Richard Harris' dramatic vocals fit perfectly with the styles. It has been written that Mr. Webb originally wrote this song for the '60's pop group, the Association. Although the song would have fit their style, they declined. When Harris was approached about recording an album to follow up his tremendous acting triumphs on stage and screen as King Arthur in Camelot, he suggested that Jim Webb write original songs, the two having met previously.
It's hard to conceive that there could have been a better and more appropriate collaboration between any other composer/arranger and performer on this music. The results are heard with great joy and pleasure on Mac Arthur Park and The Yard Went on Forever. Both these recordings have been re-released on the Half Moon label CD, Mac Arthur Park.
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MEGLIO STASERA
music by Henry Mancini
Copyright © by Northridge Music Inc.
& United Artists Music Co. Inc.,ASCAP
transcription
mp3 and midi sequence and mp3 - Copyright © 1998 by Waterfall Music
This is the "other" song from The Pink Panther. This Euro-Mediterranean samba/bossa in b minor can certainly be called world music, as it weaves a variety of sounds and styles from many nations. It seemed exotic to American ears when first heard and it remains entertaining and well-crafted which, of course, can be said of all Mr. Mancini's work.
The song is sung by Fran Jeffries as the film's characters are enjoying a festive evening at a local pub in an alpine ski resort.
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MONTAGE from How Sweet It Is
words and music by Jimmy Webb
Copyright © by Montage Music Publishing, Inc.,ASCAP
transcription
mp3 and midi sequence - Copyright © 1998 by Waterfall Music
MONTAGE from the 1968 film "How Sweet It Is" is another gem from Jimmy Webb. His unique talents for shaping music and lyrics are often moving and always interesting.
Richard Harris was sometimes referred to as "that funny old gray-haired guy who kept showing up on "The Late Show with David Letterman." Actually, he was one of the 20th century's finest stage and screen actors when it came to playing the common and, sometimes, not so common man, as in the film "Cromwell." Mr. Harris recorded two albums of Webb songs after his rise to fame via the noble Warner Brothers musical film, Camelot. A Tramp Shining and The Yard Went on Forever feature many memorably beautiful melodies and harmonies.
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MOODS
improvised music, mp3 and midi sequence - Copyright © 1998 by Waterfall Music
These improvisations were recorded in real time from the midi keyboard by a sequencer. The pieces were not altered in any way and were played at various times of the day.
Generally, I warm up before playing. Occasionally, choosing to stumble through a discovery of new sound material after being away from the keyboard for a time is spiritually, physically and musically beneficial. New material for arrangements and compositions is often found in these brief excursions.
Future improvisations of sufficient quality may be added from time to time.
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MINE EYES HAVE SEEN THE GLORY for Piano and Organ
composed by William Steffe, c. 1852
words by Julia Ward Howe 1819-1910
arrangement, mp3 and midi sequence - Copyright © 1984, 1997 by Waterfall Music
Contrary to popular belief, this grand hymn has more to do with the eminent return of our Lord Jesus Christ than the Civil War. It is true that the Union Army and its supporters adopted this work as the "Battle Hymn" of the Republic. The words, set to grand music, speak of God's wrath and judgment on a sinful world. Urging vigilance, the text insists that we must be willing to sacrifice our lives to preserve the greatest rights of all, the right to worship freely and the right of individual freedom. Written over a century ago, these words are ripe with meaning for today. Since God is the grantor and guarantor of freedom and rights, not man nor government, their continuance is dependent upon our allegiance to Him, as is the hedge of protection with which God surrounds the nation that reads His word and seeks to do His will.
Mine eyes have seen the glory of the coming of the Lord!
He is trampling out the vintage where the grapes of wrath are stored;
He hath loosed the fateful lightning of His terrible swift sword!
His truth is marching on.
CHORUS
Glory, glory, Hallelujah! Glory, glory, Hallelujah!
Glory, glory, Hallelujah! Our God is marching on.
I have seen Him in the watch fires of a hundred circling camps.
They have builded Him an altar in the evening dews and damps.
I can read His righteous sentence by the dim and flaring lamps.
His day is marching on!
REPEAT CHORUS
He has sounded forth the trumpet that shall never sound retreat!
He is sifting out the hearts of men before His judgment seat.
O be swift, my soul, to answer Him! Be jubilant my feet!
Our God is marching on!
REPEAT CHORUS
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MIRAGE
Mirage is an analog synthesizer work. It was intentionally recorded as a monoural recording with two different musical events, one in the left channel and the other in the right. The left channel is a sample and hold pattern that forms a continuous rhythmic backdrop that randomly shifts between a limited number of notes. The right channel is a slow and often sustained melodic line that provides a contrast with the rhythmic sounds. After listening for a time, the separation between the channels disappears and the total sound fabric is heard as one complete whole.
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MURDER BY DECREE
music by Carl Zittrer and Paul Zaza
Copyright © by Picturesque Music Publishing
Transcription and mp3 and midi sequence - Copyright © 1997 by Waterfall Music
The 1979 UK/Canada co-production of MURDER BY DECREE is directed by Bob Clark and features an all-star cast including Christopher Plummer, James Mason, Sir John Gielgud, Frank Finlay, Anthony Quayle, David Hemmings, Donald Sutherland and Susan Clark. This excellent film has been released on DVD featuring a commentary track by director Clark.
The screenplay, by John Hopkins, was based on the most recent writings of the time, by "Ripper scholars", as to the real identity of Jack the Ripper, an unanswered question that has baffled many. What makes this film unique is the employment of Sir Arthur Conan Doyle's characters, Sherlock Holmes and Dr. Watson, to solve the mystery against the backdrop of political and social change in late 19th century England. The chase leads to people and places, high and low, accompanied by an excellent musical score.
Composers Paul Zaza and Carl Zittrer team with director Clark (as they did in 1983's A Christmas Story, based on the humor of Jean Shepherd) for an excellent entertainment. The film's eerie moments are intensified by the accompanying music. The end title music grows from a violin solo played by the character of Sherlock Holmes at story's end.
This music, derived from the folk music of the British Isles, is diatonic and triad-based, always reflecting the sounds of the sea. Great Britain, its people and land, are never far from the sea, and nowhere is that more clearly represented than in the music associated with it. Whether written by native orchestral and band composers or by others seeking to evoke a sound and feeling made familiar by associations over time, the sea is always there.
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MY FAVORITE THINGS
music by Richard Rodgers
words by Oscar Hammerstein II
Copyright © by Williamson Music, Inc.
arrangement, mp3 and midi sequence - Copyright © 1989, 1998 by Waterfall Music
This song is one of many great ones from the musical, The Sound of Music.
If most of our world appreciated music like this and stories like this one, we would be in a lot less trouble and we'd be much happier. Perhaps we must each face our own crisis, as those in this story did, before we recognize what is really important in this life.
This song has become a Christmas standard. Why not seek to spread Christmas cheer a little early this and every year? As a matter of fact, if we lived each day with a bit of Christmas spirit, this would indeed be a wonderful world.
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MY JESUS, I LOVE THEE
music by Adoniram J. Gordon
arrangement, mp3 and midi sequence - Copyright © 2002 by Waterfall Music
This beautiful devotional hymn of the faith was written in the 1800's by A. J. Gordon with carefully and prayerfully chosen words by William R. Featherstone. My piano arrangement shows the influence of many composers including Bach, Brahms, Chopin, Mozart, Piston and Rachmaninov.
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NOW I KNOW WHY (THEY CALL IT FALLING)
music and lyrics by Michael Franks
Copyright © 1985 Warner-Tamerlane Publishing, Corp.
transcription and mp3 and midi sequence - Copyright © 1998 by Waterfall Music
Michael Franks has a great talent for writing mellow songs that touch the heart. His music and lyrics reveal an educated approach (Mr. Franks wrote and performed his way through college to a PhD).
This particular song, aside from its masterful use of synthesizers, guitars and percussion, speaks of being free from the emotional torture of human love . . . only to find oneself taken by surprise again, realizing why it's called "falling in love".
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ODE for Strings
music, mp3 and midi sequence - Copyright © 1998 by Waterfall Music
ODE for Strings was originally written for a college senior composition recital. The contrapuntal middle section was added later and the entire piece revised. Frankly, it could use another revision. But, time marches on and other projects take precedence.
In A B A form, the opening section is restated, with some variation, at the end. Certainly, the influence of Aaron Copland and Dmitri Shostakovich can be heard, in the string writing and harmonic style, throughout the work.
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ON THE BRINK
musique concrete (edited tape recording)
music, mp3 - Copyright © 1979, 1998 by Waterfall Music
This is an electronically-altered acoustic recording; a tape recording is spliced; sections are sped up, slowed down, played in retrograde and recombined to form a new work.
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Prayer - Op.48,No.1 by Ludwig van Beethoven
Copyright © Carl Fischer, Inc.
Variations on Beethoven's Prayer
arrangement, mp3 and midi sequence - Copyright © 2008 by Waterfall Music
After doing these variations on a theme, I can see why Brahms considered the music of the classical era so pure and happy compared to the music that he and future generations would compose. It has been the inevitable human nature of egotistical man to believe, think and feel that they must move society forward - it's called progress. But, much that is good, even better, has been left behind. Beethoven's music was already wandering from the purity and clarity of Mozart - even in a song called "Prayer," the dark passage that has become known as Beethoven's "sturm und drang" is evident. It may be true that Beethoven was abused as a child - it seems that great artistic talent is found in many that were subjected to difficult childhoods.
This piano version of the original song, Bitten (Plea or Prayer) - Op.48,No.1, in the key of D major, was found in a collection of single sheet music that I downloaded some years ago from a free sheet music website. Since the original song (1802-1803) was composed in E major (see additional material * below,) I assumed this to be a simplified piano version arrangement by Beethoven or a publishing house arranger. Since, I've discovered that this small gem is from "Masterpieces of Piano Music" selected and edited by Albert E. Wier from 1918 and still published by Carl Fischer.
The original is a very beautiful piece and has that quality of inevitability that only a few of the great works by the great composers have. Each note, harmony and rhythm seems to be the perfect choice. The 2nd movement of Mozart's 1st Piano Sonata has that quality - a sublime beauty and peacefulness that is the essence of serenity. It's interesting that the words were written by a protestant, the music by a catholic and this particular song has become a part of many Jewish prayer services.
As for my variations on the theme, the first two are very baroque and classical with some influence of later periods but the last variation is the slowest and most introspective - with reflections of Ravel, Stravinsky, Copland and colors from music of various national origins.
Prayer or, in the German, * from the ~ All Music Guide ~ Bitten (Plea) is the first of six songs that together make up Ludwig van Beethoven's Op. 48. Published in 1803 (but thought to have been completed at least a year earlier), the songs in the collection are all on sacred texts by Christian Furchtegott Gellert (1715-1769). The Op. 48 collection is one of only two in Beethoven's oeuvre that can be considered a proper song "cycle," and while the other, An die ferne Geliebte, Op. 98 (1816), is built upon an overall unifying harmonic scheme, this group is principally held together by the religious and devotional nature of the poetry. Nonetheless, the text and music of Bitten do convey an invocational mood that sets the tone for the remainder of the song cycle. The text unfolds at an even, measured pace above a moving bass line and spare accompaniment. There may be pictorial intent in the melodic leaps associated with the sense of distance suggested by the opening two lines, "Gott, deine Gute reicht so weit/So weit die Wolken gehen" (God, how far thy goodness extends, as far as the hovering clouds), but the overall attitude of the vocal line is one of restraint and piety. This reflects Beethoven's general tendency to avoid facile tone/text indulgences, preferring instead to convey or present the spirit of a text rather than depict it. Gellert's poem, with its spare, aphoristic quality, thus suits Beethoven's song style -- he is, after all, much less known for lyrical, memorable melodic lines than for poignant moods and sturdy thematic structures, which tend to lend a certain austerity to much of his vocal music. (Indeed, although he wrote numerous songs, which in large part paved the way for the famously prolific Schubert, they linger in the shadow of his monumental instrumental works.) In fact, it is the harmonic structure of this song, more than the vocal line, that lends it its expressive shape. Beginning in the tonic of E major, the song takes an overall chromatic path away from the home key, increasing tension -- some might say "distance," to use the spiritual metaphor described in the text -- until, with a final re-utterance of the final line, "Denn ich will vor dir beten" (I shall pray before thee), the singer pulls the harmony back into the familiar realm of the home key. ~ All Music Guide
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PSALM 43
Holy Scripture text inspired by the Lord God & attributed to King David of Israel
adapted and set
music, mp3 and midi sequence - Copyright © 1997 by Waterfall Music
PSALM 43 is an original musical composition for SATB choir. The music was inspired by the text of the Psalm and by a brief chord progression from a pop hit that shall remain nameless. This piece took on a life of its own, as the grand and glorious lyrics gave, and continue to give, inspiration to the music.
Send Thy Light Send Thy Truth!
O God, my God! Send Thy Light, Thy Truth, Send Thy Light!
Send forth Thy Light!
Why art thou cast down, o my soul? My soul, Hope!
Hope is in God!
Thou art my strength! Hope is in God!
For Thou art the God of my strength!
For Thou art the God of strength!
Send the light, O God, my God!
Send Thy Light! O, God of strength, I will praise Thee!
Praise Thee!
I will praise Thee, O God!
Art thou cast down my soul? O, my soul!
God, my God, send thy light!
Send Thy truth, for Thou art the God of strength!
For Thou art the God of faith, God of Hope, God of Love!
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THE REVELATION OF JESUS CHRIST
for SATB choir, soloists, organist and instrumentalists
text from the King James version and other versions of The Holy Bible
Text setting, music, mp3 and midi sequences and mp3s - Copyright © 2002 by Waterfall Music
The initial work in the group is an SATB with organ work that sets the text of Chapters 1-3 of The Revelation of Jesus Christ.
The second work is a setting of Chapter 4 for male chorus or bass-baritone solo, piano and tambourine.
There is a work-in-progress that sets the text of Chapter 5 for SATB choir, a capella.
The full score, vocal score, instrumental parts and a performance recording is available from JLFmusic - see contact information on the Guide page.
Permission is granted, without licensing or royalty fees, by the copyright holder for public performances of this work where no admission fee or subscription fee is charged and where no commercial gain is sought.
In return, notification by e-mail is requested to inform the copyright holder of performances and if the performance is to be recorded in any form.
Performance notes
Although the present organ and piano parts go beyond mere doubling of the chorus, additional organ interludes may be added in the future (to link and provide breaks between choral sections.)
Optional instrumental interludes - to allow chorus to rest and to vary from the a capella sound. At rehearsal mark F, Organ Interlude and Choral Coda I is inserted as an extension of the choral and musical ideas just prior to that cadence point.
Dynamics - those marked, along with the pitch, determine loudness and color. The Word determines the shape of the phrase and the musical choices. Even with the organ part, which is elaborative, supportive and background at the same time, the concept here is a capella. The simplicity and clarity of voices only is most effective in communicating the word (as in the peacefulness of Gregorian Chant.) The message of the Word is much more effectively communicated in the relaxed and receptive spiritual, mental and physical state that a capella voices enable. Many of us have become accustomed to a full, loud sound that gives us a "thrill." If the voices are cluttered with too much instrumental sound added just for excitement or to "beef up" the sound, the message is lost in the overstimulation of the volume and excess of instruments. A profound clarity of message is the idea.
Musical materials - my first step was to read, in the Harvard Dictionary of Music, various passages relating to Church music, revisiting the forms and styles. I took a look at the tetrachord of the ancient Greeks as well. Since the Letters to the Seven Churches in Revelation were addressed to the then present-day churches, but speak to all churches throughout the ages, I thought about music that was sung and played in churches from all ages.
All choral sections - Please sing the "ah" vowel and let the other vowels emerge from it. This AH shape leads to the open voice. Especially on long notes and words like A(h)-men and Kingd(ah)m, the "ah" opens up the voice and is much more resonant than "uh". All parts have passages of long notes. The only solution to these are seamless, staggered breathing and/or support from the organ. Certain passages are marked (solo). These may, at the discretion of the choral director, be taken by soloists or by a division of the section, allowing for others to rest, etc. The soprano and alto parts are, at times, asked to sing in the lower part of the range for a more masculine sound, as the speaker is masculine and in other places for effect. Occasionally, the soprano, tenor or bass part drops a note or two below the normal lower range. These notes are usually doubled in other parts, at the octave higher or the organ can be used to supply them. Please don't force the low notes, sing them lightly, as that is the intended effect. (As a reminder of the obvious, never force the low notes so as not to tire the voice and make it harder to sing the upper register.) Organ accompaniment, doubling the choral parts, may be used in performance if needed to support long tones and weak or missing parts. The piano is too percussive and will not sustain long enough to work in performance, but may be used in rehearsal.
Notation is mostly traditional and selected for maximum clarity. I tried to use the most logical time and key signatures, note values, etc. Various scales and modes are found in the work. To avoid employing a lot of accidentals (naturals) within a key signature, the work is mostly in C with accidentals (sharps and flats). As a performance aid, the scale or mode can be jotted in the score, if necessary, as an aid in following the changes. Largely, the eighth note is the beat throughout, except where the tempo quickens or elongates temporarily. Dotted bar lines are employed in much of the score to communicate that phrase shape and the Word itself is more important than any strong or weak beat pattern determined by time signature. Where the dotted bars are used, time singature changes are marked with normal bars. Key signatures and section changes are marked with double bars. Notes are grouped according to phrases or left as single notes to indicate a separation or emphasis on those specific notes.
To the organist/keyboardist - Treble 8va and bass 8vb clefs are found in the full score organ part to condense the score. Organ stop notation is used in the organ overture and interludes. For the benefit of those playing other keyboards and not familiar with organ stop notation, octavas are used to indicate pitch location along with stop notation. Briefly, 8' (8 foot) signifies to play at written pitch. 4' is an octave higher, 2' is two octaves higher. 16' is an octave lower and 32' is two octaves lower.
This work is written for pipe organ, but, of course, it can be performed on an electronic organ, electronic keyboard or piano. There is one passage where a "Rhodes electric piano" sound is specifically called for.
Although a skilled organist can perform this work, if necessary, to get all the notes played, two performers or even two instruments may be employed.
If the work is being performed with an organ/piano duo, consider the piano for melodic passages that are doubled in the organ or the bass part (using tremolo to sustain the long notes.)
If your instrument(s) cannot play the lowest or highest octave of notes, it will be better to leave them off rather than raising or lowering them into the choral range and "muddying the waters."
Obviously, higher bass passages can be moved from the pedals to the manual if they are easier to play that way. The idea is to get the notes played in the octaves where they are intended to sound.
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SEEK YE FIRST
words from The Holy Bible and music by Karen Lafferty
Music Copyright © by Maranatha! Music
arrangement, mp3 and midi sequence - Copyright © 1997 by Waterfall Music
. . . from Matthew 6:33
Seek ye first the kingdom of God,
And His righteousness...
And all these things shall be added unto you.
Allelu, Alleluia.
. . . from Matthew 7:7
Ask and it shall be given unto you...
Seek and ye shall find...
Knock and the door shall be opened unto you.
Allelu, alleluia.
. . . from Deuteronomy 8:3
Man does not live by bread alone,
But by every Word
That proceeds from the mouth of the Lord.
Allelu, Alleluia, Amen.
Karen Lafferty wrote a number of musical gems recorded on the Maranatha! label in the 1970's and 1980's. This is one of her classics.
The music is simple and the words are taken directly from...
THE WORD of GOD...an unbeatable combination.
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SILVER BELLS
music and words by Jay Livingston and Ray Evans
Copyright © by Paramount Music Corp.
mp3 and midi sequence - Copyright © 1997 by Waterfall Music
This song is a Christmas classic, first heard in the Paramount Pictures release The Lemon Drop Kid. This Christmas comedy, starring Bob Hope, is a black and white gem. Bob plays a small time crook with a soft heart who finds the Christmas spirit in time to save himself and others in need. Walking down the street in a Santa Claus suit with his lady love, while the snow falls, the bells ring and everyone they pass becomes laden with Christmas cheer as Bob and his lady sing this beautiful song.
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TERA INFIRMA
live, improvised performance and real-time expanded sequence
Copyright © 2008 by Waterfall Music
Tera Infirma is a play on words - Terra firma, from the latin, meaning "solid earth." The "Terra" was shortened to "Tera" for the computer age of terabytes and in memory of the legendary and possibly fictitious "teradactyls." The "in" was added to "firma" to emphasize the infirm nature of information, privacy, currency, security and so much more in an electronic, mechanized, technical world of blazing speed.
The reference is also to our earth, with an infirm future due to pollution, abuse and a general lack of care from mankind. Our land masses are also infirm in many places, as we have seen in the seismic and volcanic activity of recent years.
As for the music or sound experiment - simply a live real-time, midi-recorded improvisation using fast finger runs, cluster-fist chords, finger pop chords, glissandos and rarely, a single note. This pattern was first recorded with an inexpensive digital piano until the memory was full. I decided to play it back several times while the computer was recording it and I shifted the start time of each repetition and the key center was varied by a sliding pot to vary the pitches over the entire range of well-tempered tuning. When I imported the file into a notation software product, I used the cut and paste to move the major sections around and slow down the tempo in a few places. There are a few melodic fragments, but the rhythm drives this mostly, as the harmony, with a few chromatic passages as exceptions, shifts between pandiatonic and pentatonic clusters. I deleted a few gaps and there are more to be adjusted. It's a work-in progress.
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THEME & VARIATIONS for acoustic guitar
Original music, mp3 and midi sequence - Copyright © 1979, 1998 by Waterfall Music
This work is one of my favorites on the site. When I mp3 and midi sequence the score, I played the notes into the midi keyboard in real-time, so that I could get the most expressive touch possible on the notes. Later, I quantized and reshaped where necessary.
The Theme and Variations for classical guitar is an introspective work. It's designed for either a solo guitarist or an ensemble of skilled players. The theme is stated and followed by seven brief variations. Number 1 is noted by its rapidly-repeating notes, glissandi, harmonics and tambura effects. Number 2 is brighter, begins with the flavor of a waltz and I was thinking of some piano music by Eric Satie when I wrote the opening bars. Number 3 moves in strummed chords and is the most recent of the variations in terms of harmony. Number 4 has a Spanish feel from the opening roll and throughout the mysterious, wandering melody. Number 5 has an elaborate neo-baroque feel, ending with a Greek flourish. Number 6 may remind you of a laid-back can-can, although the coda is the most harmonically elaborate section of the entire work.
Overall, this work has a distant, somewhat oriental feel to it. This may be in keeping with music historians who say the guitar was invented a very long time ago somewhere in the Orient, although I had no preconceived design when composing the piece.
The acoustic guitar is a remarkably expressive instrument in the hands of a skilled player. Such a person commissioned this composition, originally performed on a senior composition recital. Speaking briefly with an exceptional guitarist and major recording artist, following a concert performance, the piece might have been recorded had I taken a copy of the score with me or attempted to send her one later. But, such is the nature of a lost opportunity.
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VISION
(dirge for those who embrace the world and reject the Savior)
music, mp3 and midi sequence - Copyright © 1980, 1997 by Waterfall Music
This piece is a sketch from the late 1970's that may yet evolve into a full-scale work.
Let us be mindful, lest we become like the machines that dominate this world.
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WHIRLYBIRD
music, mp3 - Copyright © 1987 by Waterfall Music
A long, analog synthesizer blues improvisation that features a rhythm track that sounds like an electric guitar being strummed in constantly varying patterns within the chord progression. The melodic improvisation sound is similar to a Hammond organ. Complete with a surprise ending.
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YANGTZE JOURNEY
a work for chamber band
music, mp3 and midi sequence - Copyright © 1997 by Waterfall Music
Imagine, if you will, the longest river in China . . . a river of 3,340 miles draining 750,000 square miles.
Imagine the beauty of that central waterway flowing south from central Tibet to Yunnan, then north and east through the Red Basin and gorges in West Szechwan across the central plain to a delta on the Pacific.
Through mountain valleys and gorges as deep as 13,000 feet, see the beauty of the mountain peaks and high woods surrounding the river . . . a river navigable by steamer to Wuhan and by small vessels for half its length.
Imagine a government which is building a dam across part of this mighty river . . . a process which will flood thousands of square miles of beautiful land from view, cover archeological sites and drive people from their ancestral homes.
Imagine yourself on a Yangtze River Journey.
For more information visit http://www.irn.org/programs/threeg
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WHO?
Who I am is less important than what I have to say on this site through words and music. Truthfully, I could say that I've had the honor and the pleasure to have studied, performed and met with many talented musicians. Also, I've been blessed with the opportunity to have visited and seen a few of the places that have a great and lengthy association with the history of music. Many others have had similar or greater experiences and opportunities. Besides, my musical experience has been one more of music therapy than of adding any great new work to the literature. Music performance, composition and arranging can be a healthy outlet for energies and emotions that could otherwise be expressive in negative ways.
Regrets, yes, a few. But I'm not one to waste time looking back and wondering what might have been. A wise (and to some, offensive) man once said that there is no more ignorant person than a Ph.D outside of their specialized field of knowledge. The concept of the "Renaissance man" is an appealing one; someone with a broad range of working knowledge in a number of areas.
I'm far from perfect. But, I'm fortunate enough to know a God that will guide me every step of the way if I'm wise enough to seek His will for my life. The Bible is the guidebook and God answers prayers. I'm still striving to make my life pleasing to God, although the salvation, grace and mercy that comes from God is a gift that cannot be earned. I've learned that if I pay attention to that still, small voice from within (you know . . . the one that comes from God), my chances of making the right choice and doing the right thing are greatly improved.
In his poem "If," Rudyard Kipling wrote that "if you can keep your head when all about you are losing theirs . . . you'll be a man, my son." The choices that make and keep us wise and free are usually preferable to the alternatives.
I could say more about myself, but this site is about what the words and music have to say. Listen and read . . . think and comment.
Thanks for visiting the web site!
All web site content - Copyright © 1977-2009 by God's Peace Ministries & Waterfall Music
