Heather Savage

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Three Short Pieces for Unaccompanied Saxophone uses intervallic and
  rhythmic motifs in a
    
    single-instrument contrapuntal style with rapid movement between the
  registers of the saxophone. The 1st movement is based on the semi-tone in all
  its inversions: minor 2nds, major 7ths, and minor 9ths. The 2nd movement is
  based on the whole tone. The fast third movement, while using a broader range
  of intervals, brings the first two movements together by prominently
  featuring the semi-tone and the tritone (consisting of three whole steps)
  while a galloping rhythm propels it forward.

Three Short Pieces for Unaccompanied Saxophone

Saxophone Solo

This piece, composed in April 2020 during the Covid-19 Pandemic, is a
  reflection on the hymn, The King of Love My Shepherd Is which is itself a
  setting of Psalm 23. In a time of turmoil and crisis, this piece provides
  soothing harmonies and predictable phrases. Fifths, octaves, and root
  position chords add a sense of stability. Even in the middle section which
  explores uncertainty through exploiting the dark qualities of the augmented
  2nd and raised 7th found in the harmonic minor, the pedaled B in the bass
  provides a constant foundation while the melody swirls about in rhythmic
  ambiguity. Repeated notes in the transitional sections express the
  persistence in hope and faith. The form of the piece returns it to where it
  began, in peace and contentment, capturing the essence of Psalm 23.

Meditation No. 3

Piano Solo

Format

Through both lyrical and highly angular sections of the piece, Arethusa explores a wide variety of emotion while musically telling the story of Arethusa. The different families of the orchestra begin in conflict, but the piece ends with a peaceful and lush full orchestra setting and triumphant ascending arpeggios. For more detailed program notes, visit www.heatherniemisavage.com/arethusa

Arethusa

Full Orchestra Score & Parts

<p>Showcase your orchestra's musicianship with this lyrical and lush work.  Inspired by the American folk tune <em>Shenandoah</em>, the arrival of the melody in the middle of the piece may be played as a trio or harp solo. Incorporating a wide span of emotions, this work takes the listener on a journey down a musical river filled with wonder and anticipation, conflict and turbulence, melancholy and longing, hope and serenity. Excellent choice for concert or contest.</p>

Daughter of the Stars

String Orchestra Score & Parts

Voice

This piece is suitable for regular church services throughout the year and events such as weddings, funerals, and those recognizing the service of others.

Medium Voice edition in D minor
An edition for High Voice is available in E minor.

The Prayer of St. Francis for Medium Voice (Dm)

Medium Solo

or string orchestra, with no divisi and an optional harp part. 
    
    
    
    Suitable for competitions. 
    
    
    
    The arrival of the Shenandoah melody in the middle of the piece could be
  played as a trio of the section leaders (viola, cello, and bass) or harp
  solo. 
    
    
    
    Inspired by the American folk tune, Shenandoah, (the word meaning
  "spruce stream, great plains, beautiful daughter of the stars"),
  "Daughter of the Stars" suggests the ambiguous origins of the folk
  tune: a sea shanty; a song sung by fur traders; a song originating with
  slaves (perhaps the lyrics "across the wide Missouri" were
  originally "across this world o' mis'ry.") Incorporating a wide
  span of emotion, "Daughter of the Stars" takes the listener on a
  journey down a musical river filled with wonder and anticipation, conflict
  and turbulence, melancholy and longing, hope and serenity.

Daughter of the Stars - No Divisi

Starting in the darkest mode of Locrian, but lightening to Dorian, this evocative piece for solo flute helps listeners process grief as the flute sighs and sobs while rising long runs and high notes express hope in the darkest of times. Hope Rising is suitable for both concerts centered around difficult themes and memorial services. It also serves an excellent competition piece and introduction to contemporary notation and extended flute techniques.

Hope Rising

Flute Solo

A setting of Christina Rossetti's poem, Love Came Down at Christmas, for
  soprano, piano, and cello. 
    
    
    
    "Love Came Down at Christmas" was written during November 2020,
  after a period of about two months when I hadn't composed at all due to being
  too emotionally exhausted and depressed to work at it. Out of the blue,
  during the first week of November, a friend of a friend contacted me to ask
  if I had any art songs suitable for the Advent and Christmas seasons; I didn't.
  However, as it is a good idea to have such a piece, and with the
  encouragement of this woman seeking out my music, I was eager to write one. I
  asked her if she had a text in mind, and she did. She also told me her
  husband is a cellist. Having the text and instrumentation provided lifted
  enough of the decision-making off me, and I began to write. It took a couple
  of weeks to get my composing muscles back in shape, but I finished in time.
  Coming from a family of musicians myself, I find it extremely special when
  family members play together, so I wrote this piece as a soprano-cello duet,
  with piano accompaniment. While I love the sentiment of Christina Rossetti's
  poem, "Love Came Down," I don't find it to be a particularly
  singable poem; for one thing, it is quite short. So, in my approach to this
  piece, I took liberty with the text, particularly the form, in order to
  express the emotions engrained within the text.

Love Came Down at Christmas

Soprano Vocal Score

Suitable for the classical pianist who is looking for a sophisticated
  piece to play during the Christmas season. 
    
    
    
    "Away in a Manger" is often considered a children's Christmas
  song, but the meaning is just as relevant to adults. In this reimagining of
  the classic carol, using three commonly known melodies, Be Near Me Lord Jesus
  is a moving musical meditation on the nearness of Christ to God's children,
  through all the 
    
    difficulties and joys of life. A brief quote of "Be Thou My
  Vision" expresses the believer's desire to see the fulfillment of the
  promise of eternal life, "May I reach Heaven's joys, O bright Heav'n's
  Sun!"

Meditation No.4

Voice Category

SATB Chorus (some divisi), with piano and obbligato Bb Trumpet.
    
    
    
    Commissioned by the Greater Tiverton Community Chorus, Tiverton, RI,
  directed by Beth Armstrong.
    
    
    
    The birth of Jesus Christ is a seeming contradiction in terms. God became
  man. The King of Heaven was born into poverty and laid in a manger. Ignored
  in the city, his birth was heralded by angels in the countryside. When asked
  to write a Christmas piece for the Greater Tiverton Community Chorus, I was
  drawn to Thomas C. Roneys poem, O Holy Night because it captures this
  dichotomy, both the intimacy of a private birth and the announcement by
  angels of a worldwide promise that, through this baby, peace and goodwill are
  given to all humankind. I aimed to capture the paradox of the meaning in
  Christs birth in this piece: it is new yet quotes old familiar carols; it is
  a lullaby, yet an anthem; it is tender, yet exultant. All glory be to God on
  high, and peace, goodwill to men.

O Holy Night, O Glorious Light

SATB Octavo

This piece is not a quiet meditation, but rather a gritty one. It is a
  musical contemplation of Psalm 104 and incorporates the hymn, Praise to the
  Lord the Almighty. The piece alternates between a more repetitive sustained
  section, yet with some off-kilter rhythm, that brings to mind the normal
  daily sustenance the Lord provides, and then bursts into loud sections of
  praise. However, I have given the melody of the hymn some twists which bring
  to mind the idea that we praise God even in the midst of difficult and stormy
  times. The piece calmly ends with a C-major quote of the standard melody of
  the hymn, yet still with the A minor motif from the beginning floating above
  it.

Meditation No.1

The Invisible, Now Revealed is a reflection upon the story of the
  angels appearing to the shepherds and announcing the birth of the Son of God,
  as recorded in the second chapter of the Gospel of Luke.  It starts out slow and quiet as an
  uneventful night on a country hillside might be. Then, suddenly, the music
  bursts with sforzandos and a flurry of movement like the unexpected
  appearance of angels with a message of praise and glory. The passage in Luke
  ends with Mary, the mother of Jesus, pondering all these things in her
  heart, and the music ends quietly again in pensive wonder. As in the first
  Meditation, this one incorporates a hymn tune, this time two ancient hymns
  often sung at Christmas: Of the Fathers Love Begotten and Let All Mortal
  Flesh Keep Silence.

Meditation No.2

Neapolitan and augmented chords couched in a minor key convey the angst
  and despair one feels when discovering that the dream one spent ones life
  pursuing is only a mirage.

Mirage

Soprano Solo

This piece is suitable for regular church services throughout the year and events such as weddings, funerals, and those recognizing the service of others.
High Voice edition in E minor
A Medium Voice edition is available in D minor

The Prayer of St. Francis for High Voice and Piano (Em)

High Solo

Commissioned by John A. Savage, Jr for a benefit concert supporting The Loving Hands Orphanage in Turbe, Haiti. The tune of the prayer of blessing the children sing before meals, and the Haitian meringue rhythm, provide the foundation of the piece.

Chant de benediction

Guitar Solo

Global Sections - CORE [DO NOT TOUCH]*

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