“Easter Variations” for Wind Ensemble (2010)

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(Based on the Anglican hymn, “As The Green Blade Riseth”, sung to the tune of the traditional French carol, “Noel nouvelët”. May also be called, “Variations on a French Carol” for winter performances.)

Duration: 6’30″
Grade: 5
Instrumentation:
1 Picc., 2 Fl., 2 Ob., 2 Bsn., 4 Cl., 1 B.Cl.,
2 A.Sax., 1 T.Sax., 1 Bari.Sax.,
4 Tpt., 4 Hn., 3 Tbn., 1 B.Tbn., 1 Euph., 2 Tba.,
Timp., 4 Perc., 1 Cb.

MIDI Demo:
(Using Sibelius playback with built-in sound library)

Notes:

Now the green blade riseth from the buried grain,
Wheat that in the dark earth many days has lain;
Love lives again, that with the dead has been:
Love is come again, like wheat that springeth green.

These were the words I sung every Easter as a member of the St. James Episcopal Church Choir in Springfield, Missouri. The melody was both somber and beautiful, and its Dorian mode gave it a unique character.

For years, this tune would play over and over in my mind for days on end. I would sing it in the shower, in the car, as I was working—it just wouldn’t go away. Eventually, I knew I had to write a set of variations based on this melody.

But it was almost two years after I had moved away from St. James before I finally sat down to write the piece. I may not have been hearing the melody at Easter anymore, but it was still stuck in my head and needed exorcising.

After I began working on the piece, I discovered the melody is a traditional French New Year’s carol called Noël Nouvelet. It’s also known as “Sing We Now Of Christmas.” For this reason, the piece could be appropriately programmed for a winter or spring concert. For a winter concert, the piece may be called, “Variations on a French Carol”.

I originally wrote this for a traditional British brass band because at the time, I was a member of the Salvation Army and performed regularly with their bands. But even then, as I was constantly pushing against the limitations of a traditional brass band, I knew its true setting could only be for Wind Ensemble. So in 2009 when I finally got around to revising and adapting the piece, it suddenly took on the life it was always meant to have.

The piece is in four main sections: an introductory section, which includes the first two variations… the second “modern” section, which includes variations three and four… a slow “traditional” section, which includes variations five and six… then a final rhythmic section, which includes variations seven through ten plus the coda.

Each section is wildly different from each other. I strove to create new textures, new rhythms, new harmonizations, and new styles with each section of the piece. The one thing uniting them is the melodic framework of the original melody.

Alas… despite my work on this piece, the tune has not been completely exorcised. It still plays on in my head. I hear it calling to me—tantalizing me with new possibilities and new variations. Somehow, I feel my work with this melody isn’t quite done.

Premier Rights: Fee Negotiable / Rental (After Premier): $195 / 11X17 Score: $55
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*Also available for British Brass Band.