More of the Music of Douglas Hill has been added to Online Music Sales:
These pieces for horn quartet are loosely based upon the odd numbers of each of the titles (i.e., the first movement is titled "Ones"; second movement "Fives"; third movement "Threes"; fourth movement "Nines"; fifth movement “Sevens/Elevens”). They are all "for the fun of it", pure and simple (though not necessarily easy). A jazz-like feel, in its many guises, is always prominent throughout each of these songs and dances.
Throughout these five compact, fun-loving, cartoon-like duets for horns both players share equally the numerous twists and turns as well as harmonic, melodic, metric, and rhythmic stops and starts. The two outside duets invite the players to deal with differing dance styles. Keep On Keepin’ On begins as a lightly swung melody in 5/4 which coasts smoothly into and out of a gentle jazz waltz. In Doodah we finally arrive at our destination, a square dance tune at the hoe down. Along the way, in Round About, we travel through a maze of chromaticism which feels like driving in circles. In Stop and Go we are jostled back and forth amidst whole-tone scales, between machine-like progress, and periodic sudden ‘stopping’ (wordplay intended). Changing Lanes returns to a maze of melodic chromaticisms, this time shifting meters as we move on down the road. ENJOY!
Jazz Sonata for Horn and Piano began as three separate original melodies which morphed into a set of solos for horn titled “Three (Jazz) Fantasies for Horn Alone”. From there the sonata evolved and expanded, adding the piano’s range, percussive powers, and tonal capabilities, which greatly enhanced the melodic materials. Each melodic character is presented, after a brief intro, and is then freely and fully developed. Included in the horn writing are some of the more common extended techniques typical in jazz, including those most effective on the horn, such as vibrato, trills, smears, half-stopped, full-stopped, glissandi, bends, flutter-tongue, and doinks.
Movement I is both playful and soulful, with some “cool” walking bass lines coming in and out of a loping and flowing swing feel notated in 12/8. Movement II revolves freely around a simple song, but then finds itself halting, questioning, shifting somewhat awkwardly between muted and open timbres. Movement III is a light-hearted and sometimes rambunctious jazz waltz in 9/8, dancing through angular melodies, dialoguing between stopped and open horn.
Three (Jazz) Fantasies for Horn Alone is a set of unaccompanied solos for the horn based upon three original melodies. The tunes are presented after brief introductions and then freely developed, including some of the most common extended techniques typical in jazz and so very effective on the horn. Each “Fantasie” lasts approximately three minutes. ENJOY!
Blueberry Soup is both playful and soulful, with some “cool” walking bass lines coming in and out of a loping and flowing swing feel notated in 12/8. Not So Sure revolves freely around a simple song, but then finds itself halting, questioning, shifting somewhat awkwardly between muted and open timbres. Jelly Jam is a light-hearted and sometimes rambunctious jazz waltz in 9/8, dancing through angular melodies, dialoguing between stopped and open horn.