New Music Monday, #25: ‘These Four Walls’

Every Monday throughout 2023 I will be highlighting a different piece of music that I have either written or been closely involved with. And this week, prepare to count up your load-bearing support structures because it’s…


What’s it called?
These Four Walls.

What’s it from?
My 2019 ragtime musical ‘It’s Not Really the Apocalypse’, which tells the story of four old friends who wake up one morning to discover they are the only people remaining on planet Earth.

What’s it all about?
Once our protagonists have discovered the apparent disappearance of all other human life, their natural inclination is to go and check on their families in case by some miraculous coincidence they too have been spared. Of course they are disappointed, and this song follows Helen as she looks around her empty home, reminiscing about times gone by and trying to come to terms with the loss of everything she held dear.

Listen out for…
Ooh, where to start! Here are a few things you might want to consider:

  • This is the only song in the musical that is accompanied by just one piano instead of two. As such it gave me an opportunity to do my most authentic ragtime pastiche, with syncopated figures in the right hand superimposed over an ‘oom-cha-cha’ bassline in the left. This really comes to the fore in the instrumental, even though the chord progression is decidedly more contemporary (3:01-3:50).
  • In the first verse there’s mention of an out-of-key piano (0:23-0:37), which I follow up with a little musical joke in the form of the following phrase (with an Ab major key signature):
     

    Note that the left hand is correct and fits with the chord progression. The right hand, however, is two semitones too low, representing a piano that has sunk in pitch over the years!
  • Writing lyrics is a funny business because you find yourself setting puzzles which you’re not even sure are solvable. One of those occasions occurred in the first verse of this song – I wondered if I could think of two consecutive numbers that could conceivably be a child’s age, which also rhymed with two coastal English counties. I can’t tell you how proud I was when I came up with this solution:
     

    “And here is the pottery jug that I made
    on my birthday back when I was ten… or eleven…
    And the painting we bought at a coastal resort
    On a holiday one year in Kent… or Devon…”

Find out more at…
www.michaelgrantmusician.com/inrta

New Music Monday, #24: ‘Compost Frog’

Every Monday throughout 2023 I will be highlighting a different piece of music that I have either written or been closely involved with. And this week, prepare to jump around frantically because it’s…


What’s it called?
Compost Frog.

What’s it from?
‘Miniatures’, my 2023 album of classical piano compositions.

What’s it all about?
This is a piece for which I had a really clear concept. Namely, I wanted to write something for piano where only one note is played at a time – not a texture you often come across! I also thought it would be fun if the piece was made up entirely of ‘quavers’ (in other words, it has a completely regular rhythm like a ticking clock, with all the notes the same length). So you could say that it is a piece without any (explicit) harmony, and also without any rhythm to speak of.

When it came to thinking of a title, my thoughts quickly turned to frogs on account of the way the music jumps up and down all over the keyboard. Then one day, when working in the garden, I was delighted to find a frog hiding in my compost bin – so delighted, in fact, that I thought he deserved to have a piece named after him. And that is how ‘Compost Frog’ was born (if, indeed, a frog can ever be said to have been ‘born’).

Listen out for…
All of it’s quite similar, to be honest! And you might as well listen to the whole thing because it’s not even 2 minutes long. But if I must pick a section, I’ll go for the concluding bars (from 1:38) where the pianist jumps between F sharps in 5 different octaves despite only having 2 hands, before bringing the piece to a ferocious close.

Find out more at…
www.michaelgrantmusician.com/miniatures

‘Night Flight – A New Musical’: The Orchestrations Begin!

Logo for 'Night Flight - A New Musical'
Today I’m thrilled – and ever so slightly trepidatious – to be commencing work on a substantial new project: a set of full-scale orchestrations for a brand new musical!

The show is called ‘Night Flight’, and is a tale of danger and daring set in Latin America in the early years of flight, which asks the question: what are we willing to sacrifice for the sake of progress? (N.B. Yes I did pinch that summary from somewhere else.) I had the pleasure of helping out with this musical back in 2021, when I put together a few of the piano-vocal arrangements for the original workshop production. So I was delighted when the inimitable songwriting duo of Luke Simnett and David Staines (the collective brains behind the show) asked if I’d be interested in expanding the music into a full set of orchestral scores, in readiness for a potential album recording.

I’m also excited to report that we’re taking a real no-holds-barred approach in terms of scale. I’m really going to stretch out over the broad canvas of a large-scale symphony orchestra, and that will then be brought to life through the magic of virtual instruments (with one or two real woodwinds thrown in by myself)! For those who are into this stuff, here’s the instrumental line-up as it stands:
 

Woodwind
Piccolo
Flute x2
Oboe x2
English Horn
Clarinet x2
Bass clarinet
Bassoon x2
Contrabassoon

Brass
French Horn x4
Trumpet x3
Trombone x2
Bass Trombone
Tuba

Percussion
As required, but definitely a motley selection of timpani, cymbals, drum kit and maybe a silly noise or two.

Harp

Strings
Violin I
Violin II
Viola
Cello
Double Bass

 
So you see it’s going to be rather epic. But it’s also rather intimidating to be faced with a screen that looks like this (especially given the title of this first song):
 
Empty score, ready to be filled with the orchestration for 'Are You Mad' from 'Night Flight - A New Musical'
I have a feeling, however, that I can’t really procrastinate much longer – I’ve already baked a cake, sifted some gravel in the garden, vacuumed the carpet, and written an extensive blog post. Yeah, maybe it is time I made a start. Wish me luck.

I’ll just make one more cup of tea first though…

New Music Monday, #23: ‘Affettuoso’

Every Monday throughout 2023 I will be highlighting a different piece of music that I have either written or been closely involved with. And this week, prepare to learn a new Italian word because it’s…


What’s it called?
Affettuoso.

What’s it from?
‘Miniatures’, my 2023 album of classical piano compositions.

What’s it all about?
In a literal sense, nothing in particular – as with the other pieces on this album, it is abstract classical music which isn’t meant to represent anything concrete. Stylistically though, it’s a flowing romantic waltz, quite delicate overall but occasionally becoming more bombastic. The title, by the way, is one of my favourite Italian words that is commonly used as a musical performance direction, and translates literally as ‘tenderly’ or ‘affectionate’.

Listen out for…
The middle section (2:12-2:49), where I go a bit off-piste and indulge in some really quirky chromatic harmonies and rhythmic tricks to provide a jarring contrast in an otherwise fairly simple piece.

Find out more at…
www.michaelgrantmusician.com/miniatures

Recent Exploits with The Jelly Roll Jazz Band

The Jelly Roll Jazz Band performing for a wedding in Kelham Island Museum, Sheffield, April 2023
I don’t often post on here about The Jelly Roll Jazz Band, largely because I put things fairly regularly on the band’s Facebook page and YouTube channel so I somehow feel as though everyone already knows about it! Further thought, however, leads me to believe that this may not in fact be the case, and therefore I thought it proper to today share a few of the band’s recent audio-visual creations for those who up to now have been missing out.

To start off, here’s us doing a 9:30 am slot on the bandstand at Harrogate Flower Show back in April. And what better tune to pick than Sidney Bechet’s fragrant French melodie about a little flower:
 

Next up, a touch of irony. On the coronation weekend at the start of May, we travelled to the distant land of Oxfordshire to perform at a Henley Regatta themed garden party. It was quite a long way, despite what Duke Ellington would have you believe:
 

13th May saw an historic event when the Eurovision grand final was held in Liverpool. This seemed an opportunity not to be missed, so we hot-footed it down into the city for a bit of themed busking. Here we are having a go at ‘Euphoria’, which won the contest back in 2012:
 

And to finish off, here we are a couple of weeks ago at the beautiful Grays Court Hotel in York, delighting the crowds at a wedding reception with our rendition of a Sinatra classic:
 

That’s all for now I think. If you like what you’ve heard here, don’t forget you can learn more about Jelly Roll and keep up to date with our wild adventures at the following locations:
 

New Music Monday, #22: ‘Every Hero Needs A Villain’

Every Monday throughout 2023 I will be highlighting a different piece of music that I have either written or been closely involved with. And this week, prepare to celebrate the key roles that bad guys play in society because it’s…


What’s it called?
Every Hero Needs A Villain.

What’s it from?
‘Mongolian Death Worm: A Puppet Show Musical’, the show what I wrote, starred in, directed, produced, edited etc. with my regular collaborator Mister James Ure during the first national lockdown in 2020. It’s a full 68 minutes of silliness, centring around the search for a mysterious creature that has been pilfering steaks from a village community somewhere near the Gobi Desert.

What’s it all about?
This is the baddie’s big song, where she gets to sing whole-heartedly about how delightfully evil she is, and how antagonists are just as crucial as their heroic counterparts. Along the way she cites a whole range of mythical examples, from Zeus/Hades and Van Helsing/Dracula all the way to Jedi/Sith and Holmes/Moriarty.

Listen out for…
I think the instrumental section (from 3:50 to 4:27) is particularly fun, starting out as it does with a reference to the classic Punch & Judy “That’s the way to do it!” line, before continuing with a frying pan solo followed by a piano solo from the surprisingly multi-talented Witch Doctor. I promise, it all makes sense in the context of the film…

Find out more at…
www.michaelgrantmusician.com/mdw

New Music Monday, #21: ‘It’s Not Really the Apocalypse’

Every Monday throughout 2023 I will be highlighting a different piece of music that I have either written or been closely involved with. And this week, prepare to find the silver lining in the direst of circumstances because it’s…


What’s it called?
It’s Not Really the Apocalypse.

What’s it from?
My 2019 ragtime musical ‘It’s Not Really the Apocalypse’, which tells the story of four old friends who wake up one morning to discover they are the only people remaining on planet Earth.

What’s it all about?
The title song of this show comes right at the very end, and as such forms a grand finale not only to the concept album but also to the musical as a whole. By this time our four protagonists have finally worked out their differences and come to agree that, even though things maybe haven’t turned out as they would have wished, they still have plenty to celebrate.

Listen out for…
Lyrically, I think the lines
 

So what if we forgot just what we four have got?
For sure we four have got a lot to be thankful for.

 
represent a charming little tongue-twister at 1:18. Also, pay attention to the 12-bar build-up into the instrumental (from 2:21 to 2:45), which was directly inspired by the 12-bar build-up into the instrumental in Nelson Riddle’s famous arrangement of ‘I’ve Got You Under My Skin’: https://youtu.be/C1AHec7sfZ8&t=1m54s .

Find out more at…
www.michaelgrantmusician.com/inrta

‘Finally The Wars Are Over: Fantasy for Orchestra’

Guess who’s been composing again, music fans? That’s right: me! And today I’d like to share with you my latest creation, a vibrant orchestral fantasy that will take you to dizzying new heights of excitement, all within the space of 2 minutes and 54 seconds.

The piece is called ‘Finally The Wars Are Over’, and in it I’ve tried to capture the ecstatic uplifting thrills that you find in such pieces as Shostakovich’s ‘Festive Overture’, Glinka’s ‘Russlan and Ludmilla Overture’ and John Williams’ ‘The Mission’. I always find happy music more difficult to write than sad music without it sounding shallow, so this was a bit of a challenge but I am very pleased with the result and I hope you will be too.

You may also be wondering about the origins of the title, and whether it has any particular meaning. Funny story actually… I wrote this music for a competition called ‘First Time With An Orchestra’, and thought it would be frightfully droll to give it a title with the same initials! I spent a good hour or so wandering around my local park trying to think of something, and needless to say, the titles that sprung to mind most readily were completely obscene and unrepeatable (if also rather hilarious). Filth, utter filth…

Eventually, though, the phrase ‘Finally The Windows Are Open’ came into my head. Perhaps this piece could be about the joy you feel when getting a cooling breath of fresh air on a stifling day? I quickly realised, though, that a more profound idea was that of wars being over, and hence the title I finally settled on which I think nicely encapsulates the celebratory atmosphere while also referencing the slightly militaristic style of some sections of the piece.

Anyway, enough talk! Time to listen. You can find the track, as ever, on The Bandcamp:
 
 
And what’s more, you can also give it a listen on The YouTube. The recording is the same, but I’ve also done a screen capture of my audio software so you can watch some pretty coloured boxes drift past while getting an idea of what all the instruments are doing:
 

New Music Monday, #20: ‘If I’d Known’

Every Monday throughout 2023 I will be highlighting a different piece of music that I have either written or been closely involved with. And this week, prepare to consider the things you could have done differently because it’s…


What’s it called?
If I’d Known.

What’s it from?
My 2019 ragtime musical ‘It’s Not Really the Apocalypse’, which tells the story of four old friends who wake up one morning to discover they are the only people remaining on planet Earth.

What’s it all about?
Things have taken a bit of a turn for the worse on the farm, with conflicts flaring up and our protagonists becoming increasingly divided, while the pressures of day-to-day existence continue to take their toll. But as the dust begins to settle, Helen and Lizzie find some time to reflect upon all the things they might have done differently had they been aware of the impending end of civilisation.

Listen out for…
My personal favourite moment is the bridge section from 2:45, where I more or less abandon the rhyme scheme (apart from a couple of half-rhymes) to go for something quite flowing and free-form. This section also contains a key change I’m particularly proud of at 2:53 (from Db major into D major using Ab7 as a pivot chord, if anyone’s interested).

Find out more at…
www.michaelgrantmusician.com/inrta

New Music Monday, #19: ‘The Prayer’

Every Monday throughout 2023 I will be highlighting a different piece of music that I have either written or been closely involved with. And this week, prepare to get down on yo’ knees because it’s…


What’s it called?
The Prayer.

What’s it from?
‘Miniatures’, my 2023 album of classical piano compositions.

What’s it all about?
It doesn’t have any concrete literal meaning, however as you can surmise from the title it has a meditative, contemplative feel with a religious aspect deriving from the simple block chords, which almost bring to mind some sort of Medieval plainchant. In fact, simplicity was one of the things I was really aiming for in this piece, and because it’s entirely made up of basic chords you could even say that it consists solely of harmony, without any real rhythm or melody to speak of.

You may also be interested to learn that this piece was quite heavily inspired by Erik Satie’s ‘Première Ogive’ – well worth a listen if you have a moment.

Listen out for…
It’s hard to pick out a specific moment because it’s quite short and homogeneous, so I’d suggest you might as well just listen to the whole thing!

Find out more at…
www.michaelgrantmusician.com/miniatures