Northern Lights (Keeling) - for alto flute
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This piece is intended for alto flute with delay effect. The delay effect is kept on for the entire piece. At the end of each phrase (indicated by breath marks), allow space for the delay effect to reverberate, but not fade out completely. The tempo markings and rhythms are only guides, and do not need to be strictly followed. NORTHERN LIGHTS should have a sense of spaciousness and freedom.
The delay settings are:
Delay time: 3 seconds
Feedback: 12 seconds (for sound to fade out completely)
Level: equal to input volume
Clair de Lune (Debussy/arr. Keeling) - for flute or electric flute
SHEET MUSIC - DIGITAL DOWNLOAD
This arrangement of Clair de Lune is preferably performed with the electric flute. If you are not performing with an electric flute, a reverberant performance space is recommended in order to imitate the delay effect. Either way, this piece is meant to be performed with rubato, spaciousness, and freedom.
If performing with electric flute, two effects pedals are required: delay and auto- harmonizer.
- DELAY: the delay effect is left on throughout, with the exception of mm. 63-65.
- Delay time (time between echoes): c. 3 sec.
- Echo level: 65%
- Feedback (echoes repeat for): c. 6 sec.
- AUTO-HARMONIZER: should be set to produce the lower third, in the key of D-flat major.
The use of these two pedals create the illusion of a pianist playing the piece, instead of a solo monophonic instrument. The delay effects allows the harmonies to sustain, while the auto-harmonizer imitates Debussy’s signature compositional style of parallel thirds.
This arrangement is dedicated to my mom, Dana Gensler, and my grandmother, Grand Jenny Leigh.
My mom is a pianist and my first music teacher. As a child, I remember waking up to her piano playing on the weekends; my dad recorded her playing Beethoven sonatas before I was born (I still have the cassette tape!). She taught me so much about expressiveness in music, and I am so grateful for her everlasting support of me as a musician.
My grandmother (my mom's mother) was also a pianist. Claude Debussy’s Clair de Lune was her signature piece, and she would often play it at family gatherings. This is a very special piece in my family.
To both of these incredible women musicians – thank you for passing on the gift of Music.
Kings of the Sky (Keeling) - for flute and effects pedals
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Kings of the Sky is built on a four-measure loop sequence (page 1). Over top the loop, the performer plays a two improvised solos based on the Primary Motif (page 2). The first solo is on alto flute, and the second solo is on C flute. To end the piece, turn on the delay pedal to create a “wash” of sound (the delay pedal must be placed AFTER the loop station in the signal chain), then turn off the loops while the delay is still fading. Conclude with the final two staves provided, or improvise your own ending.
1. Loop station
Pange Lingua Gloriosi (arr. Keeling) - for flute and delay, with back track
INCLUDES SHEET MUSIC PDF AND BACK TRACK
This piece was inspired by a hymn of the same name by John Wade. The original chant and text were composed by St. Thomas Aquinas (1225-1274), one of the most influential Catholic theologians of the Middle Ages. The tune was later reset by John Francis Wade (1711-1786).
This hymn is traditionally sung in the Catholic Church on Holy Thursday of the Easter Triduum, during the procession from the church to the place where the Blessed Sacrament is kept until Good Friday. The hymn expresses the doctrine of transubstantiation, in which, according to the Roman Catholic faith, the bread and wine are changed into the Body and Blood of Christ.
Pange, lingua, gloriosi Corporis mysterium, Sanguinisque pretiosi, quem in mundi pretium fructus ventris generosi Rex effudit Gentium.
Sing, my tongue, the Savior's glory, of His flesh the mystery sing; of the Blood, all price exceeding, shed by our immortal King, destined, for the world's redemption, from a noble womb to spring.
This setting for flute alone is intended to be supremely prayerful, meditative, and soaring. A very reverberant space is best; optionally, the performer can perform this with a microphone with a heavy digital delay. Take ample time for the echoes to die away before continuing to the next phrase. During the embellished section, be sure that the original hymn melody carries; allow the other notes to become the harmonic accompaniment.
Optionally, perform with the back track.
2001: Also Sprach Zarathustra (arr. Keeling) - for flute with effects pedals
For flute and back track.
Download includes sheet music and MP3 back track.
“2001: Also Sprach Zarathustra” was inspired by Strauss’s great tone poem, as well as Phish’s interpretation of the melody. Here, only the opening fanfare (“Sunrise”) is quoted.
The performer will need an array of stompboxes in order to perform this piece:
- Loop Station: this creates the rhythmic engine (the opening beatbox section), and should remain on throughout the performance.
- Distortion: the distortion pedal should stay on throughout; set it to a moderate (not overwhelming) level of distortion.
- Delay: places where the stompbox should be engaged are marked in the music with a bracket. Have the delay set to about one second, with a strong feedback level. There should be a noticeable echo after playing a passage.
- Harmonization: the interval to be used is left to the performer. Using a third, fifth, or sixth below yields positive results.
The piece is in three sections, after the opening beatbox introduction. There are three flute solos of approximately 1:30 each; they are notated here, but they may alternatively be improvised by the performer. Each solo should build in intensity from the previous solo. In between each solo is the theme from “2001.”
Diagonal slash marks in the music indicate for the performer to rest, and to let the echoes created by the delay effect pedal to be the melody for those beats.
This piece is more about creating an “effect” than playing exactly what is notated; use this printed music only as a guide to your own interpretation!