Michigan Prairie Music

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This collection contains six beautiful, yet varied songs based on poems written by Paul Laurence Dunbar (1872-1906), one of the first influential black poets in American literature.

Songs of Life, Op. 34

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"Pop Songs Without Words, Op. 10" is the second volume of five, culminating in "Seven Etudes in Pop, Op.20."   Using the template by Felix Mendelssohn, these pieces are written in the late 20th century instrumental pop style.

Pop Songs Without Words

Piano Solo

Trained as a classical pianist, Jim Kelsey grew up on the preludes of Bach, Chopin, Debussy and Rachmaninoff. �When he composed this first set, he patterned them after Debussy and Chopin. �Like Chopin, most of the preludes are short and geared towards a wide range of ability, from early intermediate to advanced. �Like Debussy, Kelsey's preludes are programmatic, based on stories or characters from the Old Testament. �Kelsey goes one step further, however, and in over half of the preludes, scriptural references are listed as the story unfolds. �The preludes are beautifully written and are certain to appeal to the church pianist looking for something new to perform. �The listening sample includes, in order, a short except from each of the preludes: �The Writing on the Wall (from the book of Daniel), Saul and the Witch of Endor, Esther, The Tower of Babel, Baby Moses, Jeremiah, Jonah and the Storm, Noah and the Doves, Abraham and Isaac, Joshua and the Long Day, Elijah on Mount Carmel, and Ezekiel and the Wheel.

Preludes: Book 1, Op. 40

Piano Sheet Music

"Four Intermezzos, Op. 21"  was written over a two-year period, between January, 1991 - January, 1993.  All of the intermezzos extensively use quartal harmony, a style the composer used while studying composition with Dr. Wendal Jones of Eastern Washington University.  Each intermezzo is written to evoke mental pictures, similar to that of the Impressionists.  The intermezzos are intentionally left without titles so as to not influence the listener's thoughts.

Four Intermezzos, Op. 21

Four Nocturnes, Op. 26, were written over a seven month period, between July, 1994-January, 1995, titled in order Contemplation, Candlelight, Tidal Breezes and Fantasy at Dusk: Crickets and other Fauna . The set is written for the medium-advanced pianist and dedicated to the composer's second piano teacher. Of particular interest are the second and fourth nocturnes. The second nocturne was composed while the composer was sitting at the piano one December evening in 1994 when the power was out and candles were the only source of light. The final nocturne, is based on the composer's childhood memories growing up on his parent's dryland wheat farm in eastern Washington. As the sun would go down, the crickets would begin chirping, frogs would counter with ribbets and owls could be seen, but not heard. Once it was completely dark, the family would sit and watch the stars. The piece concludes celebrating the glory that God has created for us in the heavens.

Nocturnes for Solo Piano Op. 26

Piano Collection

Simply Op. 13 is a melancholy, smooth jazz piece written for solo piano.  Written in a rondo form, this piece is certain to appeal to both adolescent and adult pianists.  The skill level is for the intermediate pianist.

Simply Op. 13

Seven Etudes in Pop, Op. 20 is a collection of pieces that I composed during the years while attending Eastern Washington University. My goal back then was to represent as many instrumental parts as possible: the role of the electric bass and the drum set went to the left hand; the right hand had the job of representing the singer and any keyboard fills. Two of the etudes were originally given titles. Time has erased the reason behind After All, but it must have been something in the chorus or verse that caused me to give it a name. Eric's Song was dedicated to my brother who was a Bruce Hornsby fan in 1990/91. I tried to incorporate the types of quartal harmonies that Hornsby would use in his songs while adding my own flare to the piece. These pieces are no where near the difficulty nor sophistication of the etudes written by Chopin, Rachmaninoff or the other great masters. They are what they are; late 20th century instrumental pop. It is my desire that both the performer and listener find them enjoyable. Mendelssohn had his Song Without Words...why not Seven Etudes in Pop?

Seven Etudes in Pop, Op. 20

In this collection are contemporary settings of five Psalms from the book of Psalms in the Bible.  These challenging pieces are written for the tenor male voice and would be fitting as a special during a church service or gathering.

Five Psalms, Op. 15

Tenor Solo

Based on the Baroque keyboard suites of Handel and Bach, this work is a great teaching tool for the budding bassoonist in Baroque ornamentation, binary and rondo form, and the common dances of the era.  It is geared for the advanced middle school/early high school level.

Baroque Suite for Bassoon and Piano, Op. 42

Bassoon Solo

This piece is a wonderful tool for teaching high school age students about 20th century, 12-tone structure, while at the same time teaching one of the Baroque forms, the passacaglia.   The piece begins with a continual bass pattern and fugal entrances in the viola and violins.  Each instrument uses the same tone row in its entirety, but doesn't rely on the other instruments (with a few exceptions) to finish the row.  The piece develops much like a fugue with a recapitulation at the end.

Passacaglia for Strings, Op. 32

String Orchestra Score & Parts

"Sonata for Piano, Five Meditations, Op. 22" was written over a six month period, between February - July, 1993.  Each movement is designed to represent the emotional process of when tragedy hits our lives:  Mourning, Anger and Frustration, Prayer, Peace, and Joy.

Sonata for Piano, Op. 22

"Deux Nocturnes for Trombone and Piano, Op. 16" by Jim Kelsey was composed between 1987 - 1990.  Beautifully written in a late-Romantic style, both nocturnes are technically challenging and exploit the full range of the tenor trombone.

Deux Nocturnes for Trombone and Piano, Op. 16

Trombone Solo

Rhapsody for Solo Cello, Op. 32

Cello Solo

A Christmas Celebration, Op. 37 is the first of a set of two volumes of Christmas carols arranged for solo piano by Jim Kelsey. Kelsey has taken ten well-loved carols and added a new twist to them by interweaving other Christmas themes amongst the main theme. Two of the carols, Away In A Manger and The First Noel, have used familiar classics by Brahms and Debussy as templates to set melodies to. These pieces are intended for the gifted pianist who is looking for challenging works to perform during the Yuletide season.

A Christmas Celebration, Vol. 1, Op. 37

The Columbia Plateau Suite, Op. 11 was written between the years of 1985-1987, when the composer was a teenager. The four pieces in this set are titled The Hawk, Palouse Falls, Evening Sky, and Devil's Canyon. Each piece depicts scenes or places from the geographic area in eastern Washington where the composer spent his childhood. The skill level is for the intermediate pianist.

Columbia Suite Plateau Op. 11

The Arrow Lumber Rags, Op. 35 were written for a friend of the composer's, Robert "Barney" Wagner. Mr. Wagner is the founder of the Arrow Lumber Company of Washington State, a very successful family-oriented lumber yard in the Puget Sound. Each of the rags is dedicated towards an interest of his and cover the various styles of ragtime: the waltz, the march and the rag. The pieces are written with the intermediate pianist in mind.

Arrow Lumber Rags Op. 35

Adagio in G Minor, Op.14 is a gorgeous piano solo composed in the late-Romantic style and aimed at the late-intermediate pianist. Set in 9/8 time, the L.H. contains a broken chord accompaniment against a duple-figured right hand. The melody is quite haunting with many beautifully written runs. The piece culminates with a quasi-cadenza that fades out as mysteriously as it began. It is certain to appeal to both teenagers and adults alike.

Adagio in G Minor, Op. 14

A solid work for advanced high school, this quartet is comprised of three movements It exploits the use of mixed meter, double and triple stops and other string techniques. �All three movements are full of counterpoint and repetition, making this work a great teaching tool for developing musicians. �The second movement has a romantic flair, while the energetic third movement will certainly capture the listener's attention. This quartet is certain to be a favorite amongst the audience and performers alike.

String Quartet, Op. 39

String Quartet

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