Waltz No. 2 in A is a waltz composed for Viola and Piano which expands upon a chord progression from tunes such as Be Our Guest from Disney's Beauty and the Beast and King George's solos from Lin Manuel Miranda's Popular Musical Hamilton. This progression also has many appearances in British Musical Groups such as The Beatles. The progression features a Downward chromatic line the waltz begins in A Major and in the Middle Sections in explores the progression in a minor before returning to the Major key with a new line added into the Pianos right hand to compliment the movement of the solo instrument.

Waltz No. 2 In A

A Sax Quartet based on the King James Bible's telling of the four Horsemen of the Apocalypse. Each movement highlights a member of the ensemble. It is SATB quartet except for the 3rd movement when the Tenor player switches to a 2nd bari part. Many quotes are made in this work, and even themes that appear new in nature have elements of previous themes of other works. Part of the enjoyment of this piece is trying to find all the material used to craft each movement. 
Conquest, is an alto saxophone feature as the sweeping lines call out like the rampant boot prints hitting the wet dirt of the battlefield. The music continues to get faster and more out of control alike to the conquest for power. By the final phrase of the movement the alto saxophonist is rushing through the line with tremendous swiftness that takes great skill and precision to perform accurately.
War, features the tenor saxophone by using commonly associated themes of war such as the theme from Mars: Bringer of War, Taps, and Shostakovich's 5th Symphony. The piece builds up in intensity as the themes enter and layer on top of each other. Towards the end of the piece the Tenor Saxophone starts to play Taps and the rest of the ensemble slowly lose notes from their respective melodies leaving the tenor saxophone alone with the taps melody to close out the track. 
Famine, is a soprano saxophone feature with minimalistic qualities. With the tenor saxophone picking up a second baritone saxophone the sound is one of even greater harmonic distance between the melody line in the soprano saxophone. The alto plays a minimal role where the two baritone lines functions as one line that is dovetailed from one to the other to keep fluidity. The true melody remains solely in the soprano saxophone and the texture is left vulnerable and high. The movement focuses on fragility and weakness. The high tones against the low tones leaves the listener feeling emptiness from the space in the chord tones. We crave thick textures and such thin vulnerable sounds make people uneasy.
Death, is the final movement and features the baritone saxophone with a slightly altered death march that plays with the struggle created by changing something so familiar in ears enough to make it sting in someone's ears. While the Baritone Saxophone plays the main theme throughout the movement, the rest of the ensemble starts the “6-6-6” theme which takes the 6th tone (in the twelve tone row) in 6-tuplets repeated 6 times.

1. Conquest

I was asked by my professor at Stetson University, Daniel Ferri, to arrange some of Hamilton by Lin Manuel for his Saxophone Quartet. He knew of its growing popularity due to multiple requests to perform the music. I decided to write a version of My Shot for them to perform. The hardest part of the arrangement was deciding how to approach the rapping of the song. I decided to focus on the music around it, and only approach it when I felt it needed to be in the form of rhythmic saxophone techniques. These techniques do not appear in this rendering but would in a live performance.

Hamilton Arrangement ("My Shot")

This piece is a means of a comeback from a long time of being inactive from writing new music. It was an exercise in getting my creative juices flowing again. After a short search I realized there was no mainstream theme and variation on this iconic baseball anthem. Seeing as Baseball season is fast approaching it made sense to use this as my theme. I didn't want to start off too obvious though. My theme is the full song but done with a bit more of a barbershop type approach to it. This opening is one thing I am unsure how I feel about and may be substituted for a true theme in a later edit. Then I go into a minor waltz of the theme. Moving from C major to C Mixolydian made for a very interesting sound that I preferred to simply moving to C minor. That extra flat in the key took of the edge for me. Next the tune moves into a mambo variation back in the original key. I didn't spend much time in this variation because as much as I enjoyed the concept it just seemed a bit too bright for me and I knew the piece would carry on if the melody was variated to its full extend in each form. So from here I decided to move on to a dirge to break up all the brightness that came from the Mambo. This section is meant to drag on and feel as though it is possibly the end. However, at the end of the section we are greeted by a ragtime variation of the song. Now this variation has grown to be my favorite and I wish I could've just written a full arrangement in this style, however, I was going for composition over arrangement. In fear of my growing love for this style I also cut this variation short of the full theme, and move to the final statement where the theme is played with an accelerating staccato feel building up to an ending that forms out of nowhere. At this point I hit the 4 minute mark of the piece. I have decided to cut it off here, at least for this version. No Saxophone Quartet wants to play a half hour piece of variations on Take Me Out to the Ballgame. However, I have more ideas for variations, and edits that could be made to extend this concept. If this piece is met with great success and people want more, I will be glad to make an extended version at a later date. Possibly for the end of the current baseball season as a marking of the All-Star game or world series.

America's Greatest Pastime

About a year ago I released this piece for an electronic performance I did at the Collection Church in Deland, FL. The version performed there was over 4 channels of audio, and was done with synthesized sounds. This however, is the original composition written for string quartet for which that performance got it's start from. I have yet to release this version online for reasons unknown to me. So I post it now so the true nature of this by the books fugue can be heard. I studied the fugue form very endlessly to come up with this piece, and it is one of my proudest compositions in the end.

Fugue Over Four

As the second piece in my Book of Arthur Concert Series I went for something drastically different from the opening solo for Merlin. This piece is a full orchestra epic centered around the events of Arthur pulling the sword from the stone. The instrumentation is as follows:
Piccolo
Flute 1
Flute 2
Oboe
English Horn
Eb Clarinet
Bb Clarinet 1
Bb Clarinet 2
Bass Clarinet
Bassoon 1
Bassoon 2
Contrabassoon
Horn in F 1
Horn in F 2
Trumpet in C 1
Trumpet in C 2
Trombone 1
Trombone 2
Tuba (2 Max)
Timpani
Crash Cymbal
Chimes
Snare Drum
Low and Mid Toms
Bass Drum
Harpsichord
Soprano Voice 1 (6 Max)
Soprano Voice 2 (6 Max)
Alto Voice 1 (6 Max)
Alto Voice 2 (6 Max)
Tenor Voice 1 (6 Max)
Tenor Voice 2 (6 Max)
Baritone Voice (6 Max)
Bass Voice (6 Max)
Solo Cello
Violin 1 (5 Max)
Violin 2 (5 Max)
Viola (6 Max)
Cello (6 Max)
Double Bass (4 max)

The piece starts off with Merlin's theme in the harpsichord, and then the Soprano 1's enter with the prophecy melody based off of Merlin's theme. The lyrics for this are "Unus qui hanc eandem incudem ensem rex Anglie primogenitus" or loosely translated "Whoso pulleth out this sword from anvil that same is King-born of England". However as more of the choir comes in they start to sing different rhythms to the main theme which are talking about money, power, and fame. This is to be how the world started to understand the prophecy and how so many King's at the time believed they were the one's destined for the king of kings. Then we get a small glimpse of the King Arthur theme in the solo cello just before the other instruments start to come into the piece. Each section is treated as a different king attempting to lift the sword from the anvil and his people believing them to be the true ruler. It starts off in the Woodwinds as I decided to have King Pellinore be represented by the Bassoon instrument. (He will be have a big part to play later in the story). But once the bassoon fails to lift the sword it is passed to the brass for Arthur's first brother-in-law King Lot who is represented by the Trombone. Once he fails the next section features not only the brass but the strings. This represents King Arthur's second brother-in-law King Urien, who is represented by the trumpet. His attempt is a bit longer but still to no avail. Then we have a quieting section as King Arthur arrives and attempts to remove the sword, and he is successful with little effort. The last section is the rest of the ensemble slowly joining in to sing praise to Arthur as their one true king. No long will the talk of Money, Power, and Fame exist in the text but instead along with the Prophecy will be the word's Long Live King Arthur. This piece ends off with the cello holding the final chord on his own to lead into King Arthur's Solo piece as the next piece in the series. This piece will be for Solo Cello with Harpsichord Accompaniment.

Book of King Arthur: II. Sword And The Stone

Ragnorak is the Norse belief on how the world ended. It all started with the death of Balder through the trickery of Loki, and with this signaled the end times. All of Asgard's enemies came to battle, and one by one the gods fell. At the end of the conflict Sultur used his flaming sword and burned down everything in his path. From the ashes of the dead world, came the beacons of hope, a couple of humans (Lif and Lifthrasir), Thor's sons(Modi and Magni), Sol, Hoenir, Balder and his brother Hodur, survived the conflict and are able to give the world rebirth leading way to a new era. This orchestral work goes from the mourning of Balder's death, through the conflicts of Ragnorak, and shows the rebirth of the world from the ashes. The instrumentation is:
1 Flute (in the audience)
1 Flute
1 Oboe (in the audience)
1 Oboe
1 English Horn
1 Bb Clarinet (in the audience)
1 Bb Clarinet
1 Bass Clarinet
1 Tenor Saxophone
1 Bassoon
1 Contra Bassoon
4 French Horns
4 Trumpets
3 Trombones
1 Bass Trombone
1 Euphonium
2 Tubas
Timpani
Gong
Cymbals
Snare Drum
Bass Drum
Piano
Organ
Solo Violin
Solo Viola
Solo Cello
Solo Double Bass
Violin 1 Section
Violin 2 Section
Viola Section
Cello Section
Double Bass Section

Ragnorak: Twilight of the Gods

First piece of the Slasher Series, "Dream Demon" focuses on the concept of Freddy Kruger and his ability to enter people's dreams. I wanted to do a series of Saxophone Solos with only percussion accompaniment. So this first piece is Soprano Saxophone and Drum Set. The Drum Set takes advantage of a heart beat in the kick drum, while playing a rhythm to signify the nursery rhyme that follows Freddy in the Movies "1, 2 Freddy's Coming for you." Then a China Cymbal is used to give off the eerie sound of the boiler room, and the Low Tom is used as a crescendo tool. As for the Saxophone it is playing notes from the motive of the main theme of Nightmare on Elm Street. but constantly cycling and finding new ways to use them, including a frantic climax which is the chase sequence of the piece.

Dream Demon

The final movement of the Grimm Sins Suite is a Passepied that retells the story of Hansel and Gretel. It starts off with just the father melody alone. Then the children Hansel and Gretel enter. And everything is in a major light, but with the introduction of the step-mother's line the music grows minor, and after a pass of the melody, the father theme is devolved into the step-mother's and the minor feel becomes stronger. Then the mother and father themes disappear entirely and the children are left alone, in a minor key and in a slower rhythmic tempo. then the witch begins to entire the scene, slowly. Until she fully comes in as a variation of the step mother's theme and grows even more sinister as it turns to the half-diminished scale.  Gretel is left alone as her brother Hansel is removed from the scene, until she outwits the witch in her gluttony and pushes her into the oven, which is signified by a terrible screaming figure. Then Gretel finds Hansel and they continue to find their way home, finally reuniting with the father bring it back to the original melody figure from the beginning of the piece.

Grimm Sins Suite IX. Passepied (Hansel and Gretel)

This short piece is part of the Penny Dreadful Music Series. It chronicles the internal struggle of Dr. Jekyll and Mr. Hyde through a Viola Duet, in which two different registers and techniques set the two personalities apart, and as the piece continues the line between the two begins to blend and mix just is the existence of Dr. Jekyll and Mr. Hyde in many adaptions of Robert Louis Stevenson's work The Strange Case of Dr. Jekyll and Mr. Hyde. 

The art belongs to the Edinburg Dungeon but felt captured the nature of the piece so well.

Penny Dreadfuls II. The Strange Case Of Dr. Jekyll And Mr. Hyde

Spring-Heeled Jack is the 3rd work in the Penny Dreadful Collection. Although Jack was a very real serial killer, the stories behind him take a turn for the mystic and surreal.  Believed to spit fire and have a demonic form, people feared Jack not just due to his murders but the concept of him. This piece is written for 4 percussionists.
Percussion 1 Timpani
Percussion 2 Cymbals and Snare
Percussion 3 Bells and Chimes
Percussion 4 Toms and Triangle

Penny Dreadfuls: Spring-Heeled Jack

The final movement of the Joker Origins Work. This movement is a rondo between a royal fanfare and the twisted themes from the past movements, all cumulating into an actual Joker Laugh. The movement is the biggest ensemble so far in the work, utilizing Flute, Oboe, Clarinet in Bb, Bass Clarinet, Bassoon, French Horn (2),  Trumpet in C (2), Trombone, Bass Trombone, Tuba (x2), Drum Set, Chimes, Piano, and Full Strings.

Jokers Origins: IV.  Emperor Joker

"Jack the Ripper from the street. You will pray you never meet. He slashes mortals with his knife. Pray now, dear fool, it's Judgement Day."
A Penny Dreadful piece centered around the mass serial killer Jack the Ripper. For full choir.

Penny Dreadfuls: Jack The Ripper

My Earliest composition back when I was in High School. This was at most an experimentation of composing at the time but was pretty ambitious. For Oboe, 2 Clarinet in Bb, Bass Clarinet, Bassoon, French Horn, 2 Trumpet in Bb, Tuba, and Timpani.

March To The End

An Allemande for Clarinets and Piano. This movement highlights the underlying need for love that the Fox Sin of Greed is constantly searching for, and how much the world changes for them when the love is present.

Seven Deadly Sins Suite Mvt 3 Fox Sin Of Greed

A Gigue written for Flute, guitar, and piano. It was written to highlight The Snake Sin of Envy's dancing and how they are light-hearted and yet strong.

Seven Deadly Sins Suite Mvt 2 Snake Sin Of Envy

A Fantasia for Brass and Alto Saxophone, to highlight the massive shifts in the Dragon Sin of Wraths Rage and peace.

Seven Deadly Sins Suite Mvt 1 Dragon Sin Of Wrath

A short Rag for piano that utilizes The Pachabel Canon Chords as well as various tempo manipulations. Nothing super fancy with this piece, it is made up of quick flourishing lines and a steady bass line with a familiar chord structure so the listener doesn't need to spend time figuring out what chords they are hearing and can just enjoy being in the moment with this fun trip of a piece.

2021 Rag In D

This is a rework of my previous composition Jazz One More Waltz which was an orchestral work for Orchestra and Jazz Combo. I wanted to remove the jazz elements and make a straight waltz. Although it started at just removing the jazz elements I ended up deciding to go down to a String Quintet instead. It took some cutting but this piece is now a waltz for String Quintet only clocking in a little over 3 minutes instead of the over 6-minute original work.

One More Waltz

Anthony M Virgilio Music is an experience in story telling through the musical language. Always in different voices, always varying tales, but always written to convey a story. Message me on here or on my site to inquire about commissioned work. I enjoy working with artists and other composers. I would also love your feedback on the work I post on here. Most of the recordings on here are midi renderings and could use live recordings in order to truly bring them to life. If there is a piece you fancy to perform send me a message and maybe we could work something out.

Anthony M Virgilio (ASCAP)

Popular tracks