Come Thou Fount: Original Piano Solo Arrangement

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Come Thou Fount

Come Thou Fount

I love the old hymn, Come Thou Fount.  I think it captures the spirit of Christianity everywhere and reminds us that without Jesus Christ, we are nothing, but that with Him, we can become all that He is.  I’ve been intending to create an arrangement of it for a long time, and I finally took the time to do it.  You are welcome to download this arrangement for free. Also, you can purchase the sheet music at my website: http://chashathaway.com

Of all the words in the song, my favorites are these: “Here’s my heart, O take and seal it, Seal it for Thy courts above.”  It reminds me that I have given my heart entirely to the Lord, and he can do with it as He sees fit.  That heart often needs tuning, even regular tuning, and only He can do it, but I must bring it to Him – over and over and over.  Each time I do, he refines it, purifies it, and returns it to me, better, stronger, and more empowered than before.  I love Jesus Christ.  No matter how much I give, He always give back more.  I guess that’s why He said, “I am come that they might have life, and that they might have it more abundantly.”

He waits on us to give Him all that we are, and when we do, He gives us back a life that is far better than anything we could have imagined.

Below is a copy of the original lyrics by Robert Robinson as he wrote them in the Continue reading

A Musical Language: Speaking through Music

Here’s a crazy idea – though it’s not exactly a whim, since I’ve had the idea floating around in my head for about eight years now. I’ve always been fascinated with the capacity music has to communicate feelings and convey messages in a way that is often more powerful and effective than written or verbal communication. What if we were to come up with a language that was spoken through music? A system that actually uses notes to communicate detailed information. It would have to be detailed enough that someone could translate the Bible into the language, and yet simple enough that it wouldn’t take years of training to get it. Not a code, exactly, but something between a code and a language.

In a sense, what I’d like to see is someone pipe a tune, and someone else understand the detailed message.

Some ideas have been explored along these lines. Probably the biggest is Solresol, invented by François Sudre in the 1800s, which is simply a language that uses words spelled with different combinations of notes in the basic piano scale. It has its own dictionary and grammar, too.

But I would like to see a language that is more than a code that uses notes for letters. Ultimately, the ending product has to be both beautiful music and a clear message. It has to be as artistic and aesthetically pleasing as it it literary.

While we’re at it, let’s go ahead and make its written form as beautiful artistically as its sound is musically. So in other words, Continue reading

Lunch Bucket Canon: The Piece that Didn’t Make the Cut

Lunch Bucket Canon

In preparing The Ancestor CD, I had one piece that was intended to go on the album, but didn’t make the cut.  It needs some fixing up, and hopefully I’ll have it ready for publication later.  So it’s been sitting on my computer rotting for a couple months.  Then I realized that just because it’s not ready to sell doesn’t mean I can’t share it on my blog!  So here’s the piece that didn’t make the cut for my new CD.

Lunch Bucket is my daughter’s nickname, and I have a tradition of writing a lullaby for each of my kids.  After writing one for Lunch Bucket, I realized that the melody fits with the chord progression to Pachelbel’s Canon in D. So I made a little medley that is basically a variation on Canon in D, though it’s really Canon in C when I play it.

Oh, and I should tell you up front – this is NOT a solo.  It takes at least three people.  If I ever play this one in an up-close concert, I might even have everyone who can play Canon in C come up and jam along!

The Fifth Day

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The Fifth Day

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The Fifth Day is the fifth piece in the Creation Series, and the fifth piece on the CD, The Ancestor, by Chas Hathaway

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Play by Ear, Write by Heart: Conclusion

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Play by Ear, Write by Heart: Conclusion

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talltabMusic is a remarkable thing.  So is the mind and the heart.  Together, these three elements can create beautiful music for all who hear it.  I’ve noticed that generally it is the simpler music that touches people most deeply.  I encourage any who enjoy listening to music to give writing music a try.  The best indicator to tell if you have ability to write music is to notice how much you enjoy listening to it.  The more you enjoy listening to it, the more developed your mental ear is, and the greater capacity your mind has to bring new music to life.  This may be hard to believe, but in my experience, it is true.
talltabMany people, even musicians, may try to convince you that music writing is something you’ve either ‘got’ or you don’t.  Don’t believe them.  This is but a convenient way to make musicianship sound unreachable for the inexperienced.
talltabThe truth is, even the most gifted musicians have developed the capacities we have been discussing, but they rarely know how to explain it, because so much of what is happening in practice is internal.  So they only explain those things which are easily explained – the note values, the time signatures, and the drill techniques.  These are all good, but they are only the technical parts.  I hope in this series I’ve been able to convey some internal ideas that are used in playing and writing music.
That is not an easy task, but I hope my attempts prove helpful in your quest to play and write music, by ear and by heart.

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Play by Ear, Write by Heart: Part 20

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Play by Ear, Write by Heart: Part 20

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The Sound Method

talltabThe basic idea of the sound method also works with silence, but silence can be a little more difficult to find in the busy world that we live in.  If the opportunity presents itself, try creating music using only your mental ear while you are in complete silence.
talltab Also, have you ever noticed that when you sit or lay in complete silence – perhaps  shortly before you begin to fall asleep, you can occasionally imagine sounds so well that you can almost convince yourself that you actually hear them?  I don’t think this is anything strange.  As your mind approaches sleep, it will sometimes begin to drift into dreaming before you have completely fallen asleep.
talltab If you ever find yourself drifting off, and are aware that you are doing so, try playing with your mental ear.  You may, on occasion, find that you can make yourself hear music – not actually hear it, but almost hear it.  If it works, you may find that you can create beautiful music, much in the same way you would if you used the sound method.  The only caution with the sleepy method is that if you fall asleep completely, you’ll probably forget what your music sounded like.
talltab In speaking of these methods, I hope not to create the impression that writing music by heart requires some kind of deep meditation or something.  That is not the case at all.  Actually, these sound and silence methods work best if you have already created some of your own music using the basic methods we’ve already discussed.  Sound and silence methods are just a fun way to play with your developing mental ear.
talltab Music is a simple thing that promotes emotion and motivation, and is best created with that idea in mind.
talltab If this method does prove itself effective for you, you may find that it is not difficult to invent a tune while humming during a walk, or whistling while you work.  You will likely find that you can spontaneously begin humming a tune that you have never before heard, and perhaps you will never hear again – unless you have a piano handy.  Try some things out, and you may be surprised how easily you can write original music.

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Play by Ear, Write by Heart: Part 19

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Play by Ear, Write by Heart: Part 19

The Sound Method

talltabThis section of the Play by Ear, Write by Heart series may seem like the strangest, and may give you the impression that I have a bit of a mental disorder, but if you will take it seriously, and try it out, I’m sure you will find these tools as useful for you as they have been for me.  These methods are certainly not necessary, but they can be a bit of fun, and might even help you in creating original music.
talltabYour mental ear is quite powerful.  It is also very sensitive, and can be easily manipulated.  If you have ever been in a situation where you have been surrounded by a continuous and solid noise, such as a loud motor or fan, you may have noticed that any sound that you hear in the distance may be distorted and misunderstood.  If someone speaks to you while you are next to a loud motor, for example, you may hear something different than what they actually said.  This can be frustrating in terms of communication, but if you are trying to learn to write music by heart, a loud and constant sound can be a great tool.
talltab I should clarify that I am not speaking of loud music or loud rhythm.  Those will prevent the very thing you are trying to accomplish.  I am speaking of a constant sound, such as the hum of a vacuum cleaner or the crashing of falling water.
As you listen to the sound, listen carefully.  Listen intently and try to hear more in the hum than what is really there.  When you feel as though you might be able to hear echoes of other sounds emanating from the hum, let your mental ear play with it.  Imagine that you can hear music in the hum.  Imagine it with as detailed as you can.
As your mind begins developing a tune, repeat it over and over, until you feel confident that you won’t easily forget it.  Then, go to a piano and try to play it.   This may or may not work, but when it does work, it can be a fun way of inventing a piece of music.
talltab Don’t allow yourself to get discouraged when your attempt at playing your imagined music on the piano doesn’t sound nearly as good as you remember hearing it.
talltab Your mental ear has much more skill than your hands do.  Your mind can play entire orchestras with every little detail.  After all, consider a piece of music that you’ve heard dozens of times.  Can’t you hear the tune in your mind with all the little instrumental details?  That is your mental ear playing back a piece of music.  This same format can be used to write a whole new piece of music that has never been heard before by anyone.
If you can come up with a basic tune this way, allow yourself time to learn to play it.
talltab You’ll also find that a tune is MUCH easier to remember once you’ve played it on the piano (however inadequately), because sometimes when you come back to a piece you can remember the fingering better than the tune.  That’s all right, since as soon as your fingers do their work, your mind will recall the feelings and notes of your original music.

See more entries about learning to play the piano by ear and write original piano music

Play by Ear, Write by Heart: Part 18

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Play by Ear, Write by Heart: Part 18

Cautions concerning your mental ear
talltabYour mental ear has a remarkable capacity to remember and bring forth beautiful music from a seeming oblivion.  It collects information from every tune it hears, and binds emotion to any mix of chords.  Using this as a guide to writing music can make it possible to promote virtually any emotion that the human heart can experience.  The mental ear also builds up a catalog of chord usages to draw from for writing music.
talltabI would like to share a couple of cautions, however, concerning the mental ear.  It is so common, and so easy, for a person to write a piece of music by heart, only to find later that the piece already exists.  You may find, after writing a piece, that the melody or chord structure has already been written by someone else.  It is comforting to know that chord structures are not copyrighted, but it is important to also understand that melodies are.  If you find that your chords match some other song that already existed, but your melody is different, don’t worry, that is alright.  There’s nothing wrong with using the same chords that someone else is using.  But if you find that your melody is already in existence, recognize that it is not yours, and you must either give proper credit to the writer, or change your tune.
talltabMy second bit of caution is also the more important caution:  if this happens to you (you write a piece only to discover that someone else wrote it first) do not get discouraged by this.  It can be embarrassing if you have publicized (not published) your piece already, only to find that it wasn’t yours in the first place, but do not let this scare you from writing more!  Consider it a great compliment.  Does it not prove that your capacity to write music is great?  Does it not prove that your musical ear is incredibly powerful and effective?  If you can write a melody that is already popular without even knowing that someone else wrote it, does that not validate the talent that you have developed?
talltabSometime read “The Story of my Life” by Helen Keller.  She went through this on a heavy level.  But with her, it was with writing instead of music.  She was very gifted with words and wrote a beautiful story, only to find out later that it wasn’t hers.  She could only assume afterward that she had heard it years before and forgotten about it.  She was greatly complimented for her work, but when it was discovered that the story already existed, she was looked down upon by some of the people she most admired.  During her recovery period from this most challenging part of her life, she said:

Miss Canby [a teacher] herself wrote kindly, “Some day you will write a great story out of your own head, that will be a comfort and help to many.” But this kind prophecy has never been fulfilled. I have never played with words again for the mere pleasure of the game. Indeed, I have ever since been tortured by the fear that what I write is not my own.

Helen Keller, The Story of My Life, chapter 14

talltabThe shock of the whole event discouraged her from writing fiction for the rest of her life.  This is a tragedy.  Don’t let that happen to you!  When you find that a piece is not yours, simply step down and start working on your next piece.  You have infinite music in your heart that has yet to be written, and no matter how good your piece is, your best is not yet written.  Write it, and let no failure or fear of embarrassment hinder you.

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My First Music Video! Yay!

I’ve finally completed my first music video.  I guess it’s a little more like a music slideshow, but the piano piece is from the CD I’m planning on releasing at the end of July (If all goes well – and so far so good!) and it’s called, The Fourth Day, referring to the fourth day of creation.  That also means that this is the first time the piece has been published anywhere.  What do you think?

Copyright ©2009 Chas Hathaway, Willowrise LLC

And in case that version doesn’t work (some people’s computers don’t play it right), here’s a link to it on Youtube: http://www.youtube.com/user/chashathaway

If that doesn’t work, you can also watch it at Exposureroom.com

By the way, the giveaway where you help me come up with the name of my piano piece is still active!  Just comment with a name suggestion for the piece.  If one of the names you suggest is the one I decide on, then you get a free copy of my Dayspring CD.  It really is as simple as that, so just comment on that post with as many name suggestions as you want.  You can’t lose!