James Siddons

Audio Available

Component

Delivery

Ensemble

Eprint Folders

Grade

Instrument

Instrument Family

Instrument Type

Item Sequence

Large Print Edition

Marketed Status

Minimum Sell Quantity

MINTS Data Available

Product Line

Prop65

Score Available

Video Available

Immerse yourself in the spirit of the season with "Two Violoncello Pieces for Advent and Epiphany." Crafted by composer James Siddons, these evocative pieces blend solemnity and celebration, perfectly capturing the essence of Christmas. Ideal for cellists seeking to enhance their holiday repertoire with depth and reverence. - Note: This music is composed by humans. No human-written product description is available, limiting search visibility. The AI-assisted description is for reference only.

Two Violoncello Pieces for Advent and Epiphany

Cello Solo with Piano

This fanfare for Bb trumpet and organ is ideal for Easter. The tune of "Low in the Grave He Lay" is the basis of this arrangement, which also features arpeggios and cadenzas that create the exciting feeling of a herald trumpet signaling a great proclamation.

This arrangement in C Major places the solo in the trumpet's high range. This arrangement is also available in F Major, with the solo part in the trumpet's low range. There is also a setting in C Major for two trumpets and organ. The purchase price for any one of these arrangements includes a full score showing organ and trumpet, as well as a separate, transposed part for the trumpet(s).

Fanfare on "Low in the Grave He Lay" for Trumpet (High Range) and Organ

Trumpet/Horn Solo

This fanfare for Bb trumpet and organ is ideal for Easter. The tune of "Low in the Grave He Lay" is the basis of this arrangement, which also features arpeggios and cadenzas that create the exciting feeling of a herald trumpet signaling a great proclamation.

This arrangement in F Major places the solo in the trumpet's low range. This arrangement is also available in C Major, with the solo part in the trumpet's high range. There is also a setting in C Major for two trumpets and organ. The purchase price for any one of these arrangements includes a full score showing organ and trumpet, as well as a separate, transposed part for the trumpet(s).

Fanfare on "Low in the Grave He Lay" for Trumpet (Low Range) and Organ

Trumpet Solo

A tranquil setting of William Doane's beloved melody for viola and piano. The warmth of the viola is balanced by the undulating 3 +3 + 2 rhythm in the piano, reminiscent of the Siciliana of old Italy. This two-minute piece can serve in worship services in many ways, as well as in funerals, memorial services, and prayer services. Also available in arrangements for handbell solo or 2-4 players and piano, and handchime solo or 2-4 players and piano, and for flute, violin, and piano (see video on YouTube).

More Love to Thee, O Christ for Viola Solo and Piano

Viola Solo with Piano

A rare viola solo for worship settings, including Easter and weddings. The piano accompaniment supplies softly undulating Sicilian arpeggios in 3 + 3  + 2 rhythm. Also available as a handbell or handchime solo (or 3-4 ringers), and for flute, violin and piano (see video on YouTube).

Handbell Solo, or for three to four players, with piano accompaniment. The rhythm is modified to be in Sicilian style.

More Love to Three, O Christ

2 Octave Solo with Piano

Sonata Hymnica No. 6, for piano ensemble, is part of the Sonata Hymnica Series by composer-pianist James Siddons.

Sonata Hymnica No. 6 is the first in the series to be for piano ensemble, and the second (after No. 3) to be based on the worship music of the 19th-century African American church. This sixth sonata explores the singing world of the black congregation and choir as well as the church piano.

In his classic book The Souls of Black Folk (Chicago, 1903), W. E. B. Du Bois confesses to not being a musician but nonetheless enthralled by the worship of Southern 19th-century African Americans. He refers to their singing as "the Frenzy or Shouting,' when the Spirit of the Lord passed by, and seizing the devotee, made him mad with supernatural joy . . . stamping, shrieking, and shouting, the rushing to and fro and waving of arms, the weeping and laughing, the vision and the trance" (p. 116). Elsewhere, Du Bois speaks of ". . . the songs of my fathers . . . [and] fresh young voices . . . swelling with song, instinct for life, tremendous treble and darkening bass" (p. 163).

Performance Note
Sonata Hymnica No. 6 is scored for two pianos and three performers. One performer (or, player) sits at Piano I and may also serve as the conductor. At Piano II, Performer 1 plays from the treble staff and Performer 2 plays from the bass staff. There are possible variations in this, such as having four pianos (two pianos doubling the other two), or having two performers at Piano I, with Performer 2 playing only the bass-staff rhythmic pattern that begins in measure 37. A standing
conductor (not playing piano) may be desired.

Sonata Hymnica No. 6

Piano Quartet-2 Pianos, 8 Hands

Handchime Solo, or for three to four players, with piano accompaniment. The rhythm is modified to be in Sicilian style. Also available for handbells and piano, viola solo and piano, and for flute, violin, and piano (see video on YouTube).

More Love to Thee, O Christ for Handchime Solo and Piano

A piano sonata intended for recital performance. The two movements are interpretations of "In the Sweet By and By" and "Sweet Hour of Prayer," respectively. 

Program Note
Composer James Siddons draws on the ethos of American rural hymns and spirituals to create evocations of the deeper, larger meaning of familiar church melodies. These sonatas for piano solo explore these deeper meanings in a variety of contemporary musical styles, while keeping in mind the acoustics of small rural churches of the late nineteenth century, with wooden floors and walls, high ceilings, and dimensions determined by local builders who knew how to shape a room for excellent acoustics in an age of no electricity and no microphones. These sonatas are but partly about the specific melodies and words, and mostly about their meaning in spiritual contemplation . . . and the piano, resonating, reverberent, sometimes whispering---as a sacred harp.

	The first three sonatas in the Sonata Hymnica series may be thought of as the Prayer Sonata, the second as the Travel Sonata, as in a spiritual journey, and the third sonata is about our greatest fear, that of being alone and without God. The later sonatas in the series have similar themes, expressed in a wider variety of musical styles.

Sonata Hymnica No. 1

Piano Solo

“Leviathan Plays in the Great Wide Sea,” for tenor saxophone and piano, is based on Psalm 104:25a and 26:
. . . this great wide sea . . . , the ships, and Leviathan whom thou hast made to play therein.

Biblical scholars have not determined what Leviathan, or “a leviathan” is, but the consensus suggests a whale or other large animal. Psalm 104 clearly says "plays" in the ocean; thus, post-Biblical legends about a sea monster are unfounded. In this short piece, composer James Siddons evokes the playful antics of Leviathan as he frolics in the ocean waters.

“Leviathan Plays in the Great Wide Sea” is appropriate for high school, college, or recital performance, as well as performance in a church or synagogue service.
The animated nature of the music makes this piece appropriate for music for a liturgical or praise dance, or children’s dance.
Duration:  2 mins 30 secs
The PDF for sale via download contains the saxophone part as well as the saxophone and piano score.

Leviathan Plays in the Great Wide Sea

Tenor Sax Solo with Piano

Format

Voice

Voice Category

Two Views of Scott Joplin

Program Notes by James Siddons
	"Two Views of Scott Joplin" is an exploration of a personal and artistic crisis that Scott Joplin, the "King of Ragtime," went through between 1904 and 1906. This crisis was precipitated by the untimely death of Freddie Alexander in September 1904, to whom Joplin had been married only ten weeks. 
        "Two Views of Scott Joplin" consists mostly of words and music written by Scott Joplin, and piano music composed by two close associates, the composer-pianists Louis Chauvin and Scott Hayden. These words come from "Treemonisha," from Joplin's little-remembered vaudeville and parlor songs, and also from text in his sheet-music---copyright notices, publishers' addresses, titles and subtitles of rags, performance directions. In most cases, selected lyrics are extracted from songs and paired with piano-solo themes. These ingredients are combined in creative ways to express the biographical narrative. Instrumental themes are re-cast as necessary to express their newly-attached lyrics. But in no place can any of the music in "Two Views of Scott Joplin" be considered an arrangement of a given, intact composition, nor a medley of tunes, nor a theatrical revue. The character development and dialogue found in "Scott Joplin's Struggle with Destiny" (Part II, No. 3) is my own biographical interpretation of Joplin, based on known evidence, and on his music.
       For school and college choirs rehearsing this work, the director can make a written assignment by having the students, individually or in study groups, listen to recordings of Scott Joplin music or study the printed scores, then writing a report of what work, in each section of "Two Views of Scott Joplin," is quoted or modified.
      The audio recording (mp3) has the melodic lines only of the voice parts, as there is as yet no recording of a live performance available.

Two Views of Scott Joplin

SATB Full Score

Journey to the Epiphany
This music draws its inspiration from the desert scene evoked in the story of the three kings of the East (Gospel of Matthew, Chapter 2). The ostinato in the cello solo (Cello I) represents the long journey of the Magi and is adapted from Chopin's Waltz in A Minor, Op. 34, No. 2. Reverberating tremolos in the cello, re-enforced by the optional Cello II, express the brilliance of the Christmas Star. The winds that blow across the deserts of the Middle East and the steppes of central Asia are evoked by the open strings of the cello, played to suggest the sound of the Aeolian harp, the only instrument whose sound is produced by the wind passing through it, without human manipulation. Thus, the Aeolian harp, a simple frame with several strings stretched across it lengthwise, in contrast to the bowed strings of the cello and the hammered strings of the piano, is the oldest "piano" of all. The thematic melody is drawn from John Henry Hopkins' THREE KINGS OF ORIENT tune (1857). The Cello I part is a solo, but Cello II may be one, or better, two or more cellos, creating a thunderous effect.

"Journey to the Epiphany" received its first performance in December 2021, with noted cellist David Feldman performing the solo part (Cello I).

Journey to the Epiphany for Violoncello(s) and Piano

"Christmas Beside an Old Piano" has five pieces. They may be played individually. The entire album takes about 20 minutes to perform. One selection is for violoncello solo and piano.

"Joy to the World" has an ebullient and euphoric expression.

"Silent Night" is in smooth jazz harmony.

"Away in a Manger" is an easy-listening reflection on this gentle melody that features some unusual reverberation and arpeggio effects.

"It Came Upon the Midnight Clear" --- Imagine if a symphony composer in Vienna named Ludwig and a Country-and-Western piano player in Nashville named Floyd met at an old piano to collaborate on a cover of "It Came Upon the Midnight Clear." They might have come up with this. And maybe not.

Rhapsody on "In the Bleak Midwinter" is heard in two arrangements. One if for piano solo. The other is for violoncello solo and piano. The cello part for the latter is on page 37 of the printed score.

Silent Night (Beale Street, Memphis; 1914)
	The four blocks of Beale Street in Memphis, Tennessee, were a bustling district of river traffic and popular entertainment in the early 20th century. The avenue fell into decline as the decades went by. This interpretation reflects on what it might have been like if the Holy Family had gone to Beale Street instead of Bethlehem. Would there have been "no room for them at the inn"?

Jingle Bells. Or, A Sleighride Around the Keys.
	When James Pierpont wrote the original form of "Jingle Bells" in the late 1850s, he had in mind the horse-drawn sleighs at a winter festival in Massachusetts. His lyrics imply that the words "Jingle Bells" were a command, as in "Start jingling, you bells!" Pierpont was also apparently expressing the percussive rhythm of the prancing horses and the flow of the sleighs gliding over the snow, often wobbling, fishtailing, and even overturning. Listen for all these sound-images, and in the closing passage, a distant church bell playing the "Westminster Chime," in this happy-go-lucky interpretation that cannot quite decide what key it wants to be in.

Christmas Beside an Old Piano

Immerse yourself in tranquility with this serene composition that beautifully melds "We Gather Together" and "Dona Nobis Pacem." Crafted by James Siddons, this sacred piece evokes a peaceful ambiance, perfect for reflective moments. Ideal for choirs seeking to inspire calm and unity in their performances. - Note: This music is composed by humans. No human-written product description is available, limiting search visibility. The AI-assisted description is for reference only.

Meditation on We Gather Together and Dona Nobis Pacem

Woodwind Quartet

Immerse yourself in the serene ambiance of fall with "Meditation on We Gather Together and Dona Nobis Pacem." Composed by James Siddons, this piece beautifully blends two timeless songs, offering a reflective and harmonious experience perfect for seasonal performances or personal meditation. Elevate your repertoire with this enchanting arrangement. - Note: This music is composed by humans. No human-written product description is available, limiting search visibility. The AI-assisted description is for reference only.

This piano solo requires a grand piano to achieve its full effect. A dramatic interpretation of "When I Survey the Wondrous Cross" (HAMBURG Tune) flows into a tranquil setting of the tune NEAR THE CROSS (the melody of "Jesus, Keep Me Near the Cross"), interpreting the stanza that describes "rest beyond the river." Suitable for recital or worship in Lent, especially the week before Easter. Duration: 3 mins, 30 secs. Difficulty: moderate, including ability to play octaves and rapid arpeggios.  A similar interpretation of HAMBURG Tune is found in James Siddons' Sonata Hymnica No. 5, "Scenes of Calvary."

When I Survey the Wondrous Cross

This setting of the familiar Christmas carol "Away In A Manger" is for flute and acoustic guitar. A smooth chord pattern on the guitar (in G Major) supports the singing melodic line of the flute. There is a six-measure solo for the guitar that provides a rest for the flute soloist. Ideal for evening candle-light services and recitals in December. Duration: 3 mins 30 secs; difficulty: moderate.

Away In A Manger

Guitar Duet

Niño Lindo    ("Lovely Baby Boy")
Christmas Folk Song of Venezuela  
Setting by James Siddons for Flute, Marimba, Celtic Harp, and Guitar (2025)

The PDF file sold here has the full score and all four parts.

"Niño Lindo" is a folk song of Venezuela that depicts the manger 
scene at Christmas.  It may be translated as:

Lovely baby boy, I kneel before you. You are my God.

You have heavenly beauty, and are immaculate as God.
I offer you my life and soul joyously as I kneel before you.
Adios, dear little child. Adios, sweet One. Adios.

Lovely baby boy, I kneel before you. You are my God.

PROGRAM NOTE
This setting of "Niño Lindo" interprets the words of the folk song and
the actions of the children as suggested by the words. The program  
follows this narrative:

It is Christmas in a quiet village. A guitar, marimba, and other instruments
are heard making music in the square. Inside the nearby church, a
manger scene is lit by candles. In the distance, children are heard singing, 
"Niño lindo, ante ti me rindo . . ." Soon all the village children are in the 
square, and then they enter the church to sing their praise and adoration to
the Christ child. Ending with a farewell of "Adios," they leave the church. As 
they come outside, suddenly, a brilliant star shines over their heads with a burst 
of melody. The star fades, and the village is again quiet at Christmas time.

PERFORMANCE NOTE
As chamber music, no conductor is required, but is optional. 
Of the four instruments, the marimba sets the tempo and marks the 
beats.

The glissandi in the marimba and harp parts should not be quick and 
zing-like but slow and mellow as possible. The sixteenth-notes in the 
concluding measures (86 to end) depict the stars on Christmas Eve.

The speed of the guitar tremolos may vary as the performer sees fit. 
The technique is to pick the lower note of the tremolo once with the 
thumb, then pick repeatedly the upper note with three fingers.

This composition is effective in candle-light services on Christmas 
Eve, or anytime in Advent and Epiphany, as well as recital performance.

An earlier version of this work (without marimba) was performed by 
Shonda Roberts (flute). Susan Carol (Celtic harp), and Dr. Michael 
Brennan (guitar) in 2025.

Nino Lindo for Flute, Marimba, Celtic (Lever) Harp, and Guitar

Mixed Quartet

This item includes the full score and all three parts.

Niño Lindo" is a folk song of Venezuela that depicts the manger scene at Christmas.  The words may be translated as:

Lovely baby boy, I kneel before you. You are my God.
You have heavenly beauty, and are immaculate as God.
I offer you my life and soul joyously as I kneel before you.
Adios, dear little child. Adios, sweet One. Adios.
Lovely baby boy, I kneel before you. You are my God.


PERFORMANCE NOTE

Of the three instruments, the flute and Welsh (lever) harp have moderately easy parts while the guitar requires an 
accomplished guitarist.

The percussion effect in guitar measures 42-70 ("Rap on guitar body") should be done with a knuckle of the right hand. The 
sound effect in the mp3 demo recording is only approximate.

The glissandi in the harp part should not be quick and zing-like but slow and mellow as possible. The sixteenth-notes in the 
concluding measures (86 to end) depict the stars on Christmas Eve.

This composition is effective in candle-light services on Christmas Eve, or anytime in Advent and Epiphany.

"Nino Lindo" for Flute, Welsh Harp, and Guitar

Mixed Trio

"Niño Lindo" is a folk song of Venezuela that depicts the manger 
scene at Christmas.  It may be translated as:

Lovely baby boy, I kneel before you. You are my God.

You have heavenly beauty, and are immaculate as God.
I offer you my life and soul joyously as I kneel before you.
Adios, dear little child. Adios, sweet One. Adios.

Lovely baby boy, I kneel before you. You are my God.


Performance Note

Of the three instruments, the flute and Welsh (lever) harp 
have moderately easy parts while the guitar requires an 
accomplished guitarist.

The percussion effect in guitar measures 42-70 ("Rap on guitar 
body") should be done with a knuckle of the right hand. The 
sound effect in the mp3 demo recording is only approximate.

The glissandi in the harp part should not be quick and zing-like
 but slow and mellow as possible. The sixteenth-notes in the 
concluding measures (86 to end) depict the stars on Christmas Eve.

This composition is effective in candle-light services on Christmas 
Eve, or anytime in Advent and Epiphany.

"Nino Lindo" for Flute, Guitar and Welsh Harp

Flute Trio

Global Sections - CORE [DO NOT TOUCH]*

Favicon

Need Help? Contact Us or call 1-800-345-6296    Live Chat

Header

Don't have a business account? Create one

Products