Compositions are scored mainly for professional, community and university level ensembles. Fostering a modern educational experience for both musicians and patrons, this music captures time honored traditions, while sometimes adding new styles and instruments to historic, and established ensembles.
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NEWEST PIANO SCORE:
The sleepy intro droops into a slightly
dissonant chord, which signals the beginning of the dreams. If you've ever
noticed someone twitching as they sleep, you'll understand what comes next.
Just as sleep has its cycles, dreams stretch and compress, morph and change.
A synthesizer adds a touch of surrealism that reminds us "it's only a
dream." As an integrated player in the orchestra, the synth adds color
and timbre, shining through on its own only occasionally. Various scenarios
play out, until the cycle ends with that familiar dry-sounding mechanical
Scored for: Synthesizer (with one-button patch/program change), Flutes, Oboes, English Horn, Clarinets, Bassoons, Horns in F I-II, Trumpets I-II, Trombones I-II, Tuba, Timpani, Glockenspiel, Violins I-II, Violas, Cellos, Double Bass.
Some things just rattle the nerves.
Whether it's an individual who just likes to stir things up, or a feeling
that something's not right, everyone at one time has felt agitated. Each
instrument section here has a chance to stir the pot. This moody piece
offers challenging parts for experienced orchestras. Lively tremelos and
staccatos generate agitation, contrasted by slow and sometimes ominous,
foreboding melodies. Agitate is an all acoustic work for full orchestra,
looking for it's world live premier.
Scored for: Piccolo, Flutes I-II, Oboes I-II, Clarinets I-II alt. Bass Cl., Bassoons, Horns in F I-II, Trumpets I-II, Trombones I-II, Tuba, Snare Drum, Cymbals, 3 Timpani, Violins I-II, Violas, Cellos, Contrabass
Element of Risk
begins and ends in "comfort zones," but the activity in-between can be
exciting, unsettling and exhilarating. Virtually everything we do contains
an Element of Risk. From the moment we groggily step out of bed,
we confront uncertainties in our physical environment, from the weather we
encounter, people on different emotional channels, traffic, employment
challenges, physical dangers, and any number of unexpected occurrences. You
don't have to be a thrill-seeker to be threatened by life-altering choices.
Everyone loves their comfort zone. But, even after settling in at home, it’s
usually necessary to leave again for parts unknown. It can be challenging,
frightening, unsettling and confusing. But, returning safely is always the
Scored for: Flutes I-II, Oboes I-II, Clarinets I-II, Bassoons I-II, Horns in F I-II-III,
Trumpets I-II, Trombones I-II, Tuba, Timpani, Violins I-II, Violas, Cellos,
As many of our daily activities are taken over
by the computer, a host of issues arise, and inevitably lead to trouble.
Everything starts off hunky-dory. Then, in an abruptly new key, things
take a turn for the worse. A series of error messages add stress and
confusion, making progress difficult. Constantly hitting brick walls,
frustration builds. Just as suddenly, and without explanation, things
seem to right themselves with a tidy 3-part fugue, as if all components are
working together again in harmony. This builds to a reprise of the
"all-is-well" theme, until a brief reminder of trouble ends this episode.
Scored for: Piccolo, Flutes I-II, Oboes I-II, Clarinets I-II, Bassoons I-II, Horns in F I-II, Trumpets I-II, Trombones I-II, Tuba, Cymbal, Bass Drum, Violins I-II, Violas, Cellos, Double Bass
Duet for Any Two Keyboards
This duet is scored for either one player
with two keyboards (likely stacked atop one another), or two players, with
different instruments. All that's needed, are two hands. The
version heard here is for piano and synthesizer, but any two keyboards
Experimentation is encouraged, especially if electronic sounds are used.
The piece makes for a challenging educational exercise for a talented
student or aspiring pop keyboardist, in playing stacked instruments.
Four at a Time, Please!
Four-part harmony is the basis
for much ensemble music. This piece has four lively parts and can be
scored for just about any four instruments you like. It would make a
great educational tool in applied music settings. Currently, scores
are available for string quartet, saxes, brass, and basic S.A.T.B. which can
be used as a template for orchestration classes. The full orchestral
score alternates instrumentation throughout, so that only four parts are
playing at a time, until the very end, when everyone chimes in.
A ride on any public transit (train, bus or
trolley) can be entertaining and interesting. While most people sit in
their own private worlds, alot of body language can be read. The
driving pace (sorry about the pun) is steady, while the semi-ethnic moods
and melodies change. It's a fairly quick ride, in a vehicle that waits
for no one.
Scored for: Two Synthesizers, Flutes,
Oboes, Clarinets, Alto Sax I-II, Bassoons, Horns in F I-II, Trumpets I-II,
Trombones I-II, Cymbal, Bass Drum, Violins I-II, Violas, Cellos, Double
Watching the Clock
If you're familiar with the phrase "hurry up and
wait," you'll understand the many moods of Watching the Clock. Though
time remains constant, our perceptions of it change in speed. A brief
and calming intro is quickly contrasted by a hurried, relentlessly "ticking"
rhythm, and a slowly
moving theme superimposed over it. Interrupted by brief moments of
building frustration, as if the hands of the clock are moving too slowly,
the paced rhythms continue. A slow interlude could be a sign of
surrender to nature's time superiority, or it could simply be the lunch
break in a busy work day when "it's okay" if time seems to pass more slowly.
The relentless pace resumes and builds, until a final ritardando ends this
Scored for: Synthesizer (with one-button
patch/program change), Flutes I-II, Oboes I-II, Clarinets I-II, Bass
Clarinet, Bassoons I-II, Horns in F I-II, Trumpets I-II, Trombones I-II,
Tuba, Timpani, Violins I-II, Violas, Cellos, Double Bass
|Full orchestral scores and parts are available for these new, original, long-form compositions:|
The 2nd Concerto
re-establishes the synth's parity with the orchestra, by adding new sounds
at every turn. As a versatile chameleon soloist, the synthesizer re-invents
itself continuously. This Concerto is a spirited showcase of a synth's best
talents: quick, sharp, sometimes quirky sounds, and often repeated notes and
patterns. With many rubato, slowing and accelerating tempo changes, and full
dynamic range, the synth is given a wide open opportunity to shed it's reputation of being
mechanical and unfeeling. The piece is perfect for a university or community
orchestra, with a talented young keyboardist, and an eye to the future.
Entire Concerto Score and Parts (PDF
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Copyright 2017, Joe Wiedemann