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Worship Planning ››  Titus.3 (29)

Titus.3


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A Bunch of Pieces in Treble Clef A Bunch of Pieces in Treble Clef
WELLMAN, SAMUEL - SAMUEL WELLMAN

Czerny and other romantic composers of numerous easier teaching pieces for piano often set both hands in treble clef using easy keys, especially C. I decided to follow suit, but my collection is a bit... view details
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Beets in the Oven, Op. 157 Beets in the Oven, Op. 157
Beethoven, Ludwig van /arr. SAMUEL WELLMAN - SAMUEL WELLMAN

The curious title is a corruption of the name 'Beethoven.' For my model I chose the first movement of Beethoven's Sonata in G, Op. 49 No.2, a popular work which is not overly difficult. I took the original and... view details
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Dance Caprice, Op. 168 Dance Caprice, Op. 168
Grieg, Edvard /arr. SAMUEL WELLMAN - SAMUEL WELLMAN

Did you ever wish to play a classical standard with some added difficulties? Now's your chance! I chose Grieg's Dance Caprice and messed it up a little with extra chromaticism and various juicy chords (some... view details
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Elixir of Tonic Elixir of Tonic
WELLMAN, SAMUEL - SAMUEL WELLMAN

From my fanciful collection 'Melodies of Ficklepenny.' 'Ficklepenny' is a fabricated word, and the individual titles are purposely nonsensical. In 'Elixir' I begin with a right-hand ostinato of minor ninths,... view details
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Furry Lizards, Op. 64 Furry Lizards, Op. 64
Beethoven, Ludwig van /arr. SAMUEL WELLMAN - SAMUEL WELLMAN

Did you ever get tired of hearing 'Fur Elise'? Here's an antidote: my severely messed-up version, complete with 'wrong' notes added, thickened textures, and nonsensical performance instructions in the manner... view details
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Gorilla Dance with Tulips Gorilla Dance with Tulips
WELLMAN, SAMUEL - SAMUEL WELLMAN

From my fanciful collection 'Melodies of Ficklepenny.' 'Ficklepenny' is a made-up word, and my titles are intended to make no sense. You may, perhaps, detect a bit of waltz in 'Gorilla,' a good example of... view details
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Ice for Sale Ice for Sale
WELLMAN, SAMUEL - SAMUEL WELLMAN

From my humorous collection 'Folksongs of Antarctica.' Antarctica has a surplus of ice so you can buy it very cheaply. The energetic nature of my piece is periodically punctuated by a speech rhythm mimicking... view details
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In Springtime In Springtime
WELLMAN, SAMUEL - SAMUEL WELLMAN

From my humorous collection 'Folksongs of Antarctica.' The opening notes of the melody are a speech rhythm mimicking the title, 'In Springtime.' Note that at the ends of the second and fourth phrases I add an... view details
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Laundry of Mystery Laundry of Mystery
WELLMAN, SAMUEL - SAMUEL WELLMAN

From my fanciful collection 'Melodies of Ficklepenny.' 'Ficklepenny' is a fabricated word, and the individual titles are intended to be nonsense. Note the common use of double-dotted quarters, as well as the... view details
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Lozenge Caper Lozenge Caper
WELLMAN, SAMUEL - SAMUEL WELLMAN

From my fanciful collection 'Melodies of Ficklepenny.' 'Ficklepenny' is an imaginary word, and my individual titles are intended to be nonsense. Note the three-bar phrases in this atonal exercise in four-part... view details
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Menthol, Op. 211 Menthol, Op. 211
WELLMAN, SAMUEL - SAMUEL WELLMAN

There is an intimate relationship between sound and the other senses; in this case, smell. The aroma of menthol, I wagered, might be hinted at by unresolved sevenths and triads with suspensions (for example,... view details
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Much Ado Concerning Little Much Ado Concerning Little
WELLMAN, SAMUEL - SAMUEL WELLMAN

From my collection 'Six Little Nothings' using simple, limited materials. Here, I focus on minor seconds and thirds. The title refers to the Shakespeare play 'Much Ado About Nothing' but otherwise has no... view details
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Neighbor's Leaves Neighbor's Leaves
WELLMAN, SAMUEL - SAMUEL WELLMAN

From my humorous collection 'Folksongs of Antarctica.' The introductory descending passage represents a single leaf, lazily (and chromatically) fluttering down, and the first four notes are a recurring motive... view details
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Not Much Ado Not Much Ado
WELLMAN, SAMUEL - SAMUEL WELLMAN

From my collection 'Six Little Nothings' which use simple, limited materials. This piece uses only minor sevenths, solid and broken. The title refers to the Shakespeare play 'Much Ado About Nothing,' but has... view details
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Nothing Much Nothing Much
WELLMAN, SAMUEL - SAMUEL WELLMAN

From mt collection 'Six Little Nothings' which use limited materials. This particular piece uses only a single note, a dominant seventh, and a polychord, in different voicings. The title 'Nothing Much' refers... view details
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Obstruction at Beaver Dam, Op. 225 Obstruction at Beaver Dam, Op. 225
WELLMAN, SAMUEL - SAMUEL WELLMAN

A fun piece for four guitars in ABA form. The A sections are fast and dance-like; the B section is slower and lyric; the ostinato in triplets features repeated notes so common to Spanish guitar music. 7/4 and... view details
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Prelude in D Flat Prelude in D Flat
Bach/Gounod /arr. SAMUEL WELLMAN - SAMUEL WELLMAN

I took the famous 'Ave Maria' setting which Gounod imposed on Bach's well-known Prelude in C and made my own special arrangement, with the tune unchanged on top, and the harmonies realized (and slightly... view details
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Rainbow Puree Rainbow Puree
WELLMAN, SAMUEL - SAMUEL WELLMAN

From my fanciful collection 'Melodies of Ficklepenny.' 'Ficklepenny' is an imaginary word, and my individual titles are intended to be nonsensical. 'Rainbow' is strongly bitonal, as each hand suggests its own... view details
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Romance in D flat, Op. 207 Romance in D flat, Op. 207
WELLMAN, SAMUEL - SAMUEL WELLMAN

The title and key owe a bit to Sibelius's piece of the same name, a very fine work. My piece is expressive and richly textured. I use 7/4 meter throughout, and begin with 3-bar phrases, but these odd details... view details
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Romance in D, Op. 304 Romance in D, Op. 304
WELLMAN, SAMUEL - SAMUEL WELLMAN

I have written several pieces with the generic title 'Romance' and my goal for each of them is a strong lyric element and a firm portrayal of romantic style with little dissonance, yet a large dose of advanced... view details
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Snotty Tina, Op. 96 Snotty Tina, Op. 96
Clementi, Muzio /arr. SAMUEL WELLMAN - SAMUEL WELLMAN

Everyone knows Clementi's famous Sonatina in C. But not this version! 'Sonatina' becomes 'Snotty Tina' in my deranged arrangement. To the first movement I add various dissonances and other atonal... view details
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Ten Obscure Pieces, Op. 217 Ten Obscure Pieces, Op. 217
WELLMAN, SAMUEL - SAMUEL WELLMAN

Ten untitled rather short pieces with a wide variety of keys, meters and tempos. Some are in binary form. All are examples of extended tonality: in a key, more or less, but very free in use of chromaticism.... view details
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The First Unafraid Book, Op. 195 The First Unafraid Book, Op. 195
WELLMAN, SAMUEL - SAMUEL WELLMAN

A bizarre collection of 42 short pieces containing a catalog of 20th-century elements: jazz (#37), tone clusters (#7), quartal and quintal harmonies (#14 and #18), polychords (#24), bitonality (#29),... view details
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Three Ways of Moving Three Ways of Moving
WELLMAN, SAMUEL - SAMUEL WELLMAN

Hooray! A twelve-tone piece! This manner of composing seems not to be very common these days, but anytime one writes this way you get interesting results. There is much greater possible variety than one might... view details
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