Jeffrey Taylor

August 3, 2023: Added "Mighty Oak"from Arboreum
June 16, 2022: Added Elegy
June 16, 2022: Added Balance of Power
June 16, 2022: Added From the Ashes
November 23, 2021: Added Finale (4th movement) of Symphony No. 2
May 10, 2021: Added Serenata Perpetua (To Sleep, Perchance to Dream) for Orchestra
January 21, 2021: Added Shifting Sands for English Horn & Orch
January 21, 2021: Added 'Cornucopia' Trumpet Concerto
January 21, 2021: Added 2nd and 3rd movements of Symphony No. 2
September 7, 2019: Added Elements for Brass Band
August 24, 2018: Added Ambrosia Fantasy for Piano and Orchestra
February 3, 2018: Added Conjunction: Return to the Planets, for orchestra
February 3, 2018: Uploaded I Come in Peace, orchestra version
June 22, 2017: Revised electronic renditon of Tuba Concerto
March 20, 2017: Added I Come in Peace for Brass Band
December 23, 2016: Added Adrift in the Clouds for Piano
November 26, 2016: Added Scherzo for Piano
March 20, 2016: Added Vignettes for chamber orchestra
August 16, 2015: Uploaded Notion transcriptions of Piano Preludes 2 and 3. Much more realistic.
July 29, 2015: Completed and updated Sonata for Tuba and Piano
July 29, 2015: Added Concerto for Piccolo and Orchestra
November 21, 2014: Added second (final) movement of Second String Quartet, completing it.
November 3, 2014: Updated First String Quartet sound files
February 1, 2014: Added The Age of Man for brass sextet
November 14, 2013: Added Tensions for Orchestra and Percussion Ensemble
October, 2013: Added YouTube video, performance of Woodwind Quintet by Emerald Wind Quintet
August 4, 2013: Added last movement of Tuba Concerto
July 6, 2013: Added first two movements of Tuba Concerto
February 20, 2013: Added Of Kings and Queens for brass septet
February 18, 2013: Added Romance for Piano, revived with Finale and Notion
January 5, 2013: Completed final movements of Woodwind Quintet
December 4, 2012: Added live recording links to Redmond Overture
November 4, 2012: Added a somewhat revised (and updated to MP3) Woodwind Trio
August 30, 2012: Added Redmond Overture
August 30, 2012: Added first movement of Symphony (Moderato)
May 15, 2012: Added premiere concert recording of Prairie Winds Fanfare by the Highline Band
March 31, 2012: Added In Memoriam 911, live concert performance by Eastside Symphony
March 6, 2012: Added Suite Holidays, live brass band concert performance
February 20, 2012: Added Vivace 3rd Movement to String Symphony. Symphony is complete.
January 9, 2012: 2nd String Quartet, replaced sound file with more realistic Notion 3 version
November 17, 2011: Added Prairie Winds Fanfare for brass and percussion
May 31, 2011: Uploaded completed orchestration for In Memoriam 911
April 20, 2011: Added Allegretto to String Symphony, updated existing, rearranged movements
March 3, 2011: Updated sound file for Blues Town
February 12, 2011: Updated description and title for Jumpin' Jesu to Jesu Impressions
January 27, 2011: Added Jesu Jumpin' Joy for Brass Quintet
December 7, 2010: Added Suite Holidays, both orchestra and brass quintet versions
November 7, 2010: Added 'Cities of the Sound' to Washington Statements, completing suite


I've played music virtually all of my life, beginning piano at age 5 and trumpet at 7. At 11, tuba took over for trumpet. At 16 (1967) I began small-scale composing, studying it briefly in college at Iowa with Richard Hervig after three long and frustrating semesters in engineering, but then ultimately quitting school. In the mid-70s I resumed piano studies followed by a return to composition in the early 80s with a collection of pop-style songs, ultimately transitioning back to "classical"-style piano music in the late-80s. Composition was slow for a number of years with a new, major thrust eventually occurring in 1996, and a great leap in quality after completing Hummie Mann's Pacific Northwest Film Scoring Program in 2008. I later had the privelege to do a little studying with Samuel Jones as well. Both of these great mentors have kept me on the path of "harmonically acceptable" music, dear to my heart, near to my style, and clear to an audience, not the avant garde or atonal music one finds frequently these days, though I've tried my hand at avant garde with some limited success. While I've deviated from time to time my preference has long been to write for the concert hall. more...

So why am I posting all of my music here? Unless a composer wants to write in a vacuum and only for himself, the basic purpose of music is to provide enjoyment for a listener. It is an unfortunate truth that a composer without financial support will need to "work for a living" and will probably not have as much time or opportunity to write as those with means, but that doesn't change the objective. I don't believe any composer chooses to write in order to get rich (though there are many film and pop composers who have succesfully accomplished that.) I believe most composers write for the love of it, not the money. And in order for others to enjoy the music they must be introduced to it and become familiar with it. In the course of familiarizing the public with a composer there may come a time when providing "freebies", that is, full-length pieces, has to give way to limited samples instead in order to entice people to purchase recordings or sheet music and provide some semblance of income. Until then it only seems to make sense to allow as many people as possible to hear as much music as possible as a means of nurturing that familiarity, which is the point at which I still am, and will no doubt be for some time.

What will you find here? Most of the classical and much of the pop music I've written is on this page. All music, both pop and classical, has been either live recorded or produced using sampled sounds in various notation softwares, particularly Notion, and presented in MP3 format. Many of the pieces that have live recordings associated with them are less than ideal, but live music still has a certain magic to it, something the Las Vegas show people don't quite get. (There's an editorial comment for you!) There may be a few hidden items (Easter eggs) from time to time as well.

The music is listed here in order of composition based on the completion date. If a piece is intended to have additional movements that have not yet been composed, what is complete is still likely to be here and will be updated and rearranged on the list as the remaining parts are finished. A number of pieces are currently published and while anyone browsing this site can and is welcome to listen to anything and everything found here, the published sheet music is only available for purchase through the publisher, though ultimately this site may end up becoming a publishing outlet. That remains to be seen. Look for symbols at the end of each description for a publisher's link if you wish to purchase anything. Currently Solid Brass Music is the sole publisher of my work (look for the Purchase at Solid Brass music symbol), but I expect there will be others coming along. If something is not listed as published but you would like to buy the music you may contact me directly and we can make appropriate arrangements. By the way, commissions are also quite welcome. Thanks for listening! ...less

Pop music   Top of page
Arboreum, I. Mighty Oak (Chorus/Orchestra)(2023-)
Elegy (Orchestra)(2022)
Balance of Power (Concert Band) (2012-2021)
From the Ashes (Orchestra)(2022)
Symphony No. 2 (2012-2021)
To Sleep, Perchance to Dream (Orchestra) (2021)
Shifting Sands (English Horn & Orchestra, 2020)
Concerto for Trumpet & Brass Band 'Cornucopia' (2020)
Elements for Brass Band (2019)
Ambrosia Fantasy for Piano and Orchestra (2018)
Conjunction: Return to the Planets (2018)
I Come in Peace (Brass Band) (2017)
Adrift in the Clouds (Piano) (2016)
Scherzo for Piano (1985, 2016)
Vignettes for Chamber Orchestra (2001, 2016)
Sonata for Tuba and Piano (1998, 2015)
Concerto for Piccolo and Orchestra (2015)
String Quartet No. 2 (1997, 2014)
The Age of Man for Brass Sextet (2014)
Tensions for Orchestra and Percussion (2013)
Concerto for Tuba and Orchestra (2013)
Woodwind Quintet (2005-2013)
Of Kings and Queens for Brass Septet (2012)
Redmond Overture (2012)
Prairie Winds Fanfare (2011)
Symphony No. 1 for Strings (2012)
Jesu Impressions (Brass Quintet - 2011)
Washington Statements (Brass Band - 2010)
Suite Holidays (2010)
Wedding Music for Brass Quintet (2009)
Incantations for Tuba and Brass Band (2009)
March Maligned (Brass Band - 2008)
Music for the film, "A Fistful of Mud" (2008)
Interval Study for Tuba (2007)
Blues Town for Brass Quintet (2006)
Horny Happy Birthday (2006-for Dave Baptist)
Tribute (to William Taylor - 2006)
Blue Moon Variations (Brass Quintet - 2006)
Expressions for Trombone and Piano (2006)
Concertino for Tuba and Symphonic Band (2005)
In Memoriam 911 (2001)
Piano Etude (1996)
String Quartet No. 1 (1987, 1996-7)
Piano Preludes (1983-4, 2000)
Romance fpr Piano (1983)
Woodwind Trio (1971)
Quintet for Brass (1969)

Arboreum (for Soloists, Chorus and Orchestra)[IN PROGRESS]

Elegy, Op. 42

Balance of Power (An overture for Concert Band), Op. 41

From the Ashes (Fanfare for Orchestra), Op.40

Symphony No. 2, Op. 39 (2012-2021)

      Sometime in 2005 (before I had started my studies with Hummie Mann and the Pacific NW Film Scoring Program) I had sketched the opening of this symphony then set it aside. At the close of the performance season in 2012 and having recently completed the String Symphony, I finally gathered my wits about me and set out on that grand adventure. The first movement was completed between mid-June and mid-July of that year. The symphony's progress was frequently interrupted by other music, but by the end of 2019, the Scherzo was finished and in May of 2020, the Adagio followed. Shortly after, the final Allegro movement was started and with concentrated effort throughout the summer of 2021, was finally declared complete just before Thanksgiving of that year.

      The first movement is a Moderato that roughly alternates between a motivic-type melody and a longer, more luxurious line. Both melodies are picked apart and used in different ways throughout until the two work their way together again during the closing section.

      The Scherzo was intended as a tribute to a composer who was among the greatest influences of my own development, William Walton. While there are no quotes and no attempt to produce likenesses of his music, there are tools and patterns he frequently used that find their way into the piece. (In fact, overall, this symphony tends to model the structure of Walton's Bb.)

      The Adagio third movement is a serene and peaceful mosaic, but still manages its elements of surprise and climax.

      While the Finale has its own specific themes, the intent was to bring together the previous three movements by incorporating the main theme from each of them, though not necessarily stated as they were in their original presentation. They are in reverse order with the opening of the Adagio stated first (2:55 then again at 12:08), followed by the main theme of the Scherzo (5:27), then by that lyrical line from the Moderato (8:37). The Finale's own theme brings the music to a close.

      This work spanned the course of about 9 1/2 years, though time spent on it was anything but continuous. While I would hope to be able to hear it live someday, its size and my lack of name recognition are likely to prevent that from ever happening in my lifetime. This electronic realization may be the only version anyone will probably be able to hear, but Notion is pretty good for creating that. It is my hope that it can at least be enjoyed in this format.

      For those interested in viewing the scores click the following links:

      These are Notion scores. They have not yet been formatted in Finale and so do not have a professional quality appearance, page sizes between movements vary, but they are readable and complete as of this post.

"To Sleep Perchance to Dream" (Serenata Perpetua), Op.38

      The Serenata Perpetua was an unplanned and unexpected piece which, in similar fashion to the piano music "Adrift In the Clouds" was intended as a sleep aid for my wife (and perhaps for me also.) While this prediction could be totally off-base, I do not expect it will ever be performed by a live orchestra for a couple of reasons. First, it is for a large orchestra that includes wordless choir, a couple more instruments than usual, (contrabassoon, alto flute, piano, and celeste) along with the standard orchestra. Second, as a piece intended to help one sleep it does not get very loud. In fact there really is only one significant spot where the dynamic rises above mezzo-piano, making it perhaps a little less listenable for an audience. Third, it is over 25 minutes in length so it is unlikely the audience will still be awake when it ends.

      The main title, "To Sleep, Perchance to Dream", while taken from Hamlet, is not intended to have the same connotation as Hamlet himself did when he spoke those famous words. It is for sleeping and nothing more. There are numerous sections that break it up, depicting various stages of sleep, but after the opening relaxation period when the transition begins from waking to sleeping, the remaining stages alternate in no particular order, between light sleep, deep sleep, and REM or dream periods. The end admittedly bears a resemblance to the transfiguration section of Richard Strauss' Tod und Verklärung, not intentionally, but the stretch is supposed to help leave one drifting off on their own in sleep. I don't know if it will work for you, but it actually works for me.

      Finished in early May, 2021, this took a little over two months to write, which is surprising as it kept putting me to sleep!

Shifting Sands, Op.37 (English Horn solo)

Concerto for Trumpet and Brass Band, Op.36 'Cornucopia'

Elements for Brass Band, Op.35

Ambrosia Fantasy for Piano and Orchestra, Op.34

Conjunction: Return to the Planets, Op. 33 (for orchestra)

I Come in Peace, Op. 32 for Brass Band (2017)

Adrift in the Clouds, Op. 31 for Piano (2016)

Scherzo for Piano, Op. 30 (1985, 2016)

      Several other piano pieces were begun around the same time as the Preludes and Romance. Among them was this Scherzo. None of these remaining pieces had much progress on them at the time, but as with much other music started in years past, I had always wanted and intended to finish them. This is the first to be completed.

      While I will likely never attest to the overall quality of my music, I will say, particularly after evaluating the Scherzo in the same light as so many other pieces of mine, that even considering the 30+ years that have passed since its inception, the style remains pretty consistent. What I did with music back then was done almost exlusively with my ear, by listening and experimenting with melodies, harmonies, rhythms, and all other elements of a composition. Today, I still hear things and experiment in much the same way, though now I'm a little better at knowing the theory of what it is I'm doing. I still don't always like it and I still may want to push in directions with which I remain a bit too unfamiliar, but I like to think it remains recognizable as my own.

      The piece is almost continuously in 6/8 with the rare slip into 9/8 virtually imperceptible, and as a scherzo, whether standing alone or part of a larger work, does not vary much, if any, in tempo throughout. The audio file was produced using the Notion 4 performance software.

      Video with sheet music

Vignettes for Chamber Orchestra, Op. 29 (2001, 2016)

Sonata for Tuba and Piano, Op. 28 (1998, 2015)

Concerto for Piccolo and Orchestra, Op. 27 (2015)

String Quartet No. 2, Op. 26 (1997, 2014)

The Age of Man, Op. 25 (2014-Brass Sextet)

Tensions for Orchestra and Percussion Ensemble, Op. 24 (2013)

Concerto for Tuba and Orchestra, Op. 23 (2013)

Woodwind Quintet, Op. 22 (2005-2013)

Of Kings and Queens, Op. 21 (2012-Brass Septet)
(2 trumpets, 2 horns, 2 trombones, tuba)

      At the suggestion of Dick Wuopio, owner at that time of Solid Brass Music, I kept my eyes open for information on the next Humboldt Composition Contest for Brass Chamber Music. Of Kings and Queens was written in December of 2012 for the 2013 competition.

      I. Henry VIII (1491-1547), though something of a brutal bloke who was never happy with his wives and dealt with them accordingly, was nevertheless one of the more artistic monarchs. A number of tunes are attributed to him, including Pastime with Good Company, which finds its way into this movement.

      II. Louis XIV (1638-1715), at war through 50% of his reign, fancied himself quite the dancer. His oppulent style as demonstrated by the palace at Versailles, was unequaled. This movement combines the dance, the wars, and the grand style that was Louis'.

      III. Napoleon I (1769-1821), self-declared emperor of France, was known for his remarkable battle skills, many of which are still taught to this day, but his results in war were not always what he intended. Napoleon met his military end when the disgruntled European powers defeated him at Waterloo, demonstrated in this movement by a great dissonant chord. Though his final exile was actually on the island of Saint Helena the exile portrayed in this music is on E-L(E)-B-A.

      IV. Queen Victoria (1819-1901) was known to be quite playful in youth, but was required to take the throne at an early age, resulting in the subjugation of some of that verve. Nevertheless, her marriage to Prince Albert was a most joyous one until Albert's tragic death, which sent Victoria into depression and seclusion for many years. With the help of her friends she fought back to become one of the most significant leaders to ever sit on Britain's throne.

      (Sorry to report this did not get any awards.)

I. Henry VIII
(2:08, 1.95MB)

II. Louis XIV
(2:02, 1.87MB)

III. Napoleon I
(2:38, 2.41MB)

IV. Victoria
(2:52, 2.63MB)

Redmond Overture, Op. 20 (2012)

Prairie Winds Fanfare, Op. 19 (2011-Brass/Percussion Ensemble)

Symphony No. 1 for String Orchestra, Op. 18 (1997 [2006], 2011-2012)

Jesu Impressions, Op. 17 (2011-Brass Quintet)
(Based on Jesu Joy of Mans' Desiring)

      Time to do something a little different, including a bit of a struggle. The CD mentioned in the Suite Holidays section still required additional new music, but not necessarily totally original music. I'd thought about what arrangements might work for the brass quintet and among the things that came to mind was a sort of swing arrangement of Jesu Joy of Mans' Desiring by J. S. Bach. But I say swing somewhat loosely. The original title, Jesu Jumpin' Joy, gave the impression that this would be a rousing jivey sort of tune that you could dance to with the stars, but the swing sections are not that fast, and there is a somewhat somber ballad section in the middle that turns into a slow dance. Consequently my struggle... what to call the piece. Considering its diversity as well as its origin, meaning Bach, of course, I finally settled on Jesu Impressions. Despite the fact that it's not all swing and not all Bach, I still hope it ends up being a little bit of fun. (2/12/11)

Washington Statements, A Northwest Suite for Brass Band, Op. 16 (2010)

      Washington Statements is a sort of musical travelogue through the state of Washington. It is in five movements with each depicting a different part or feature of the state. If I had never gotten into program music before, this piece certainly took me there. Each movement is extremely graphic musically, though still subject to visualization and interpretation on the part of the listener. The complete suite had its premiere on June 10, 2012, by Brass Band Northwest with Judson Scott conducting. At that performance a slideshow assembled by the composer was also displayed alongside the music for even more visual effect. (6/20/12)

      1. Palouse
        [5:59, MP3-5.48MB]
      Soaring like a bird over the Palouse, the hills are depicted by ostinato figures rising and falling on chord structures that also rise and fall by various intervals. The landscape stretches on in a sea of grains, changing colors as they wave in the breeze. Now and again over the regular scenery can be heard the sounds of human presence, a distant train whistle, the rumble of combines at work, and hoe-down style dancing, before taking flight again and disappearing into the hills.
      2. Columbia
        [4:17, MP3-3.92MB]
      There's a perception of austerity surrounding the traveler floating down this great river, not only of humanity but of history. A certain sparseness to the landscape reflected in and echoed by the interjected quintuplet figures. The river is large, wide, even slow. Soon it approaches the Gorge. The music begins to rise as the mountain walls rise on either side, in scale segments piled on top of each other, displaying a similar mix of color found in the rocks and foliage that ascend all around until reaching their majestic heights. Finally the river slowly exits the gorge, once again becoming it's mighty but peaceful self, until it quietly empties into the sea, nothing but the sound of a steady northwest rain left to be heard.
      3. Hoh Rainforest
        [3:43, MP3-3.41MB]
      There are only a small number of places in the world where temperate rainforests exist. The coast of the Pacific Northwest is one of them. The rainforest rarely freezes, but also rarely gets overly warm. It is a cool, wet place, filled with the cycle of life, the noises of activity, the silence of nature, and the legacy of millenia of existence. This presentation is twofold... The Primordial Forest: the use of the xylophone in the opening and closing of the music is not just a description of the coolness of the forest, but of its prehistoric foundation. The Forest Full of Life: in the middle section the songs of birds predominate the soft, lush landscape. Here the cool shade displays its warm side, the color of wings and sounds everywhere the eye turns. This is a place of ages, a vision of that which has existed for thousands of years, to be preserved for thousands more... a record of natural history always in the making.
      4. Cities of the Sound
        [9:16, MP3-8.47MB]
      The cities that surround Puget Sound consist of a remarkable mixing of cultures. People from the eastern and southern states have migrated west bringing European influences, while the cultures of Asia have flowed across the Pacific to produce a stir-fry of flavors from all over. This movement is a theme and variations. After the full statement of the theme in traditional style there are five distict variations before the concluding epilogue section which restates the theme, with some brass band traditionality. The first variation is All That Jazz, representing the clubs scattered throughout the region. Variation two is East Meets West, an Asian style section making use of the pentatonic scale found in East Asian music. Variation three is The Grunge, or at least the best attempt that can be made using a brass band. (True grunge is heavily distorted guitars and depricating lyrics, neither of which can be easily replicated in the band, but if not fully grunge at least the rock elements of Puget Sound cities can be found here.) After the intensity of the rock section and in stark contrast, follows Master Classical... very calm and serene, in a modified Bachian style. The musical culture of the Northwest would not be fully represented without the final variation, Native Waves, where the drum and chant-style, non-verbal song melds with the original theme as do the cultures of the area. The Epilogue, which could be considered yet one more variation, but which diverges from the true "Cities" relationships, was intended as a restatement of the original theme in the context of competitive music that might be found in fundamental brass band music, hence something of a geographical departure from the local scene. Overall this piece is full of the varieties and colors of musical and cultural life found all along the shores of Puget Sound.
      5. Rainier
        [5:58, MP3-5.46MB]
      Mount Rainier is the central pinnacle of Western Washington. On a clear day it stands above not just the populated land, but the whole of the Cascade range. Other mountains have their own personalities... Mt. Shuksan, St. Helens, Adams, but their influence is not nearly so far-reaching. This final movement traverses one path that leads to the summit. At the beginning we stand before the mountain, demonstrated by the five note motif which recurs throughout the movement, both beautiful and daunting. As the climb begins we pass through a flowered field, across a frozen glacier, then hurry through a gathering storm to break out into the final assault on the peak. At the top, the magnificence of the mountain gathers with all its force of grandeur to bring the movement and the piece to its final climax.

Suite Holidays, Op. 15 (2010)
(Original Music for the Season)

Wedding Music for Brass Quintet (2009)

Incantations for Tuba and Brass Band, Op. 14 (2009)

March Maligned for Brass Band, Op. 13 (2008)

Music for the film, "A Fistful of Mud" (2008)

Interval Study for Tuba, Op. 12 (2007)

Blues Town for Brass Quintet, Op. 11 (2006)

      We've had the distinct privilege of being guinea pigs for a composer friend (David Baptist) of the horn player in our quintet. The first piece he wrote for us, "Brass Noire", includes a rather jazzy section which is a nice contrast to the more traditional writing on either side of it. I found it personally inspiring and started throwing my own ideas into a mix of notes in a somewhat similar fashion.

      I did not set out to write "program" music in this case and will not publicly acknowledge any sort of story line to the music. I am willing to admit, however, that the blues section is relevant to the title. I'll leave the rest up to your own imaginations.

Horny Happy Birthday (2006-for DB)

Tribute, Op. 10 (2006)

Blue Moon Variations for Brass Quintet, Op. 9 (2006)

      I'd recently had the pleasure of sitting in with the Rainier Symphony for their Spring Pops Concerts. Unlike most pops productions, which usually consist of all manner of popular music performed exclusively by the orchestra with perhaps an occasional soloist or two, this one was entirely orchestral accompaniment to a husband-wife team known as the Bottom Line Duo, a name reflecting the fact that both their normal parts are found at the bottom of a score, string bass and 'cello. The two were outstanding and I thoroughly enjoyed playing with them. But, of course, tubas invariably don't have parts to play in all music, so I sat back and enjoyed those tunes for which I had tacits. One piece in particular grabbed my attention. It was the old Rogers and Hart song "Blue Moon". This wonderful duo took the tune and turned it around, hamming it up along the way, kind of the traditional variations when playing pop music. By the end of the second concert I began to consider the fun I might have writing some variations of my own for brass quintet.

      As I got started that evening I began to realize just how many other tunes shared the same or similar harmonies and I perhaps got a little crazy with laying things on top of each other. In fact I had so many ideas I wanted to include that I had to begin whittling them down when I realized I was already at about six minutes to that point. So within a matter of just a couple days the piece was at least playable by the quintet and has now been (I expect) finally revised. I'm sure you will recognize many of the tunes other than Blue Moon, but lest I be remiss in my acknowledgements I'd like to pay my respects to the composers of the following music: Mr. Sandman, Gilligan's Island Theme, The Hornpipe, Heart and Soul, Scheherezade, Music of the Night from "Phantom of the Opera", An American in Paris, and On the Trail from the "Grand Canyon Suite". Have fun! I certainly did.

Expressions for Trombone and Piano, Op. 8 (2006)

Concertino for Tuba and Symphonic Band, Op. 7 (2005)

In Memoriam 911, Op. 6 (2001, Orchestrated- 2011)

Piano Etude, Op. 5 (1996)

String Quartet No. 1, Op. 4 (1987, 1996-7)

Piano Preludes, Op. 3 (1983-4, 2000)

Romance for Piano, Op. 2 (1983)

Woodwind Trio, Op. 1 (1971)

Quintet for Brass (1969)

Song for Japan-Audition recording for Seattle Wind Sym Powerpoint for Washington Statements Tea for Tuba (Chinese Dance from Nutcracker Suite Dreams), Performed with BBNW Tuba Tiger Rag with Highline Band, Feb 28, 2012 Rodney Newton-Capriccio, in rehearsal with BBNW, Jan. 20, 2009 (without cadenzas) Of Kings and Queens Woodwind Quintet - Parts A&S-Links Conjunction (in progress) Little March from Jones' A Christmas Memory, Jeff Taylor, tuba Deep River-Jeff Taylor, tuba solo Tuba Concerto-1st Mov't Brass Music Links Tensions rev
Classical music   Top of page

Here is some pop music for you. The first three tunes, all 'love' songs, were written in the mid-1980s. (Forgive the somewhat shoddy vocals... I'm a tuba player, not a singer.) The last one, Butterfly, is an instrumental number written in 1989, and was one of the last of the pop songs I'd written. Some lyrics are included. Enjoy.

DON'T LET IT SLIP AWAY  [4:29, MP3-2.06MB]
NIGHT MUSIC  [4:59, MP3-2.28MB]
In the daylight we are running
    Through the mellow winds of time
As the migrant pleasures dance with us
    It's sweet to hum the line.
Wild abandon in our playpen
    Only bounded by the earth--
Such a natural way to freedom
    There is no need to rehearse.

And the day goes by
Sunshine heaves a sigh
Soon a tune I hear
Melting in my ear.
With you at my side
I think it's time we tried
Making music in the dark.

If you'll pardon our perceptions
    We are passing through the prime
Of the parts that make the living
    So much better than the climb.
In the days we'll tease the shadows
    Spending nights with warming charms,
First we'll stop to smell the flowers
    Then we'll play among the stars.

And the day goes by
Sunshine heaves a sigh
Soon a tune I hear
Melting in my ear.
You are with me now
The tones like echoes flow
Making music in the dark.

I CAN'T BELIEVE  [3:55, MP3-1.79MB]
The morning's awake
Sun through the window
Lights up your face
Like the end of a rainbow.
There's heaven on earth
And it's here in this room
And I can't believe it's you.

So long have I wondered,
Worried and wearied,
Dreaming of nights
When the magic won't end,
And now on my pillow
I find that a dream
Finally followed me out of my head.

Winsome and wistful
You glide through the door.
So light is your footstep,
Like an angel you soar.
A turn and a glance
Such a simple romance,
I could never ask for more.

So bright the night,
So long the day,
But does it matter anyway?
We're here together.
We're here to stay.
This love's the prize,
So love we'll play.

The morning's awake
Sun through the window
Lights up your face
Like the end of a rainbow.
There's heaven on earth
And it's here in this room
And I can't believe it's you.
No I can't believe it's you.

BUTTERFLY (Instrumental)  [4:25, MP3-2.02MB]
LULLABY FOR YOU  [3:02, MP3-2.78MB]
YOU ARE THE ONE  [5:19, MP3-4.87MB]
MAGIC EYES  [5:49, MP3-5.33MB]

All music on this page ©2010-23 Jeffrey Taylor,