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Years ago, my dear mom found a copy of The Usborne Book of Piano Classics (that’s an Amazon Affiliate link; I receive a portion of any purchases made through that link, at no additional cost to you) at a book sale and picked it up for me. I have used that book countless times over the years for gigs, piano lessons, practice, arranging, etc. My High School and Middle School Music Ensembles have performed arrangements based on those in the book many times at the annual South Carolina Independent School Association Music Festival.
While it consists of piano arrangements of famous pieces from the Baroque, Classical, and Romantic periods, I often play the pieces on saxophone. I found myself pulling the book out in preparation for a gig this past Sunday (a wedding proposal—the client’s girlfriend said yes!), and came upon a melancholy piece from the Baroque composer Henry Purcell, “When I am laid in earth,” perhaps better known as “Dido’s Lament.” It’s from Purcell’s opera Dido and Aeneas.
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Want to play the sax? Read my ultimate guide to getting started for under $350.
With even more apologies to Ponty—don’t worry, mate, I’ll have more shorts of me playing piano and hamming it up for the camera next week (I think)—I’m sharing an old original composition this week, “Funky Sax II” from Electrock III: Euroclydon (50% off with promo code “storm”). Like last week’s piece, I think this one dates back to Fall 2004, when I was in a saxophone sextet at the University of South Carolina.
I don’t have access to score for this piece anymore, but it’s either a saxophone quintet or sextet.
Pickup my newest releases, Säx and Electrock III: Euroclydon! Get 50% off with promo code storm. That’s 50% off ANYTHING and EVERYTHING on my Bandcamp page, including the album, full discography purchases, merch, etc.!
Want to play the sax? Read my ultimate guide to getting started for under $350.
With apologies to Ponty—don’t worry, mate, I’ll have more shorts of me playing piano and hamming it up for the camera soon—I’m sharing an old original composition this week, “Funky Sax I” from Electrock III: Euroclydon (50% off with promo code “storm”). I think this piece dates back to Fall 2004, when I was in a saxophone sextet at the University of South Carolina.
I don’t have access to score for this piece anymore, just the MIDI file, and I can’t remember if I wrote this for six saxes (soprano, two altos, two tenors, and baritone) or fewer, so I’m not exactly sure, but it has the hallmark of my college era material for saxes: funk, blues scales, countermelodies, etc. As far as I know, my college saxophone sextet never played this piece, but it would be fun for a sax ensemble to try.
Regardless, I slapped together a video for the piece late Sunday night (I actually uploaded it to YouTube while drifting off to sleep) and here is the glorious result:
Pick up my newest releases, Electrock III: Euroclydon and Säx, for 50% with promo code storm (promo code is good for any release and works through 1 October 2025).
Another glorious Labor Day has dawned here in the United States. I hate the Communists, but God Bless those red diaper babies for getting us a random day off in September.
This Labor Day is particularly auspicious: I’m releasing two albums today, Electrock III: Euroclydon and Säx. I was hoping to release a third, Ringtone Circus, but my distributor, CD Baby, took issue with the use of the word “Ringtone” in the title. Apparently, that set off some kind of filter against what they call “pre-cut ringtones,” which they do not and will not distribute.
I pointed out that I was using the name euphemistically, and that the pieces are not ringtones, but, alas, I had to change the title of the album and its related track. So now I’ll be releasing the album as Triple Deluxe on Monday, 15 September 2025.
I’m also working on Spooky Season IV, which still has a long way to go before it’s ready for distribution and release. It will likely be my last full-length release for the year, with Leftovers V landing the Friday after Thanksgiving.
Otherwise, I’m not sure what today has in store for yours portly. I do know that the first couple of weeks of school have already kicked my butt (but they’ve been awesome), so I’m hoping to catch up on some rest today. Dr. Fiancée has to work, sadly, but such is residency.
Apparently, I failed to make videos for all of the pieces on Leftovers IV. Indeed, I neglected to upload a lot of the goodies that I usually include with digital purchases of albums; that has now been rectified.
So I am back to looking at some tracks from that short EP. This week’s has the most ridiculous title of any piece I’ve ever composed: “Skiddle-Diddle-Diddle-Dee (Dit-Dit-Dit)”:
Apparently, I failed to make videos for all of the pieces on Leftovers IV. Indeed, I neglected to upload a lot of the goodies that I usually include with digital purchases of albums; that has now been rectified.
So I am back to looking at some tracks from that short EP. This week’s is one of my favorites: “The Magic Forest.”
I’m continuing to dig up ancient MIDI compositions (now converted to glorious, lossless WAV files) from twenty years ago (give or take). This weekend I’m sharing some digital saxophone compositions with readers.
I probably intended these pieces to be played by an actual saxophone quartet/quintet/sextet at some point. I played in a saxophone quintet in high school (two altos, two tenors, one bari) and a saxophone sextet in college (I can’t recall the exact instrumentation, but I think it had soprano, two altos, two tenors, and one bari), so I did quite a bit of arranging and composing for those groups. I also arranged a ton for Brass to the Future, the brass quintet (with saxophone) that my brother and I played in for a number of years in the early 2010s.
Now they exist as ghostly digital instruments, honking and squawking through the musical musings of a plump young Portly with a head full of dreams and a belly full of Cheez-Its.
“Saxophonic Organ”
I’m not sure what the original title for this piece was meant to be, but I do remember wanting to emulate the sound and rhythms of a 1970s classic rock organ in the context of a saxophone ensemble. “Saxophonic Organ” is the result of that experimentation, and I rather like it.
Last week I submitted subscribers to Säx, a collection of saxophone quartet pieces I wrote and recorded way back in 2004 in a buddy’s attic studio. In digging around in the vast depths of my backup hard drive, I found quite a few compositions I believed were lost to time (and/or to a 32-bit operating system; my ancient version of Cakewalk 3.0 won’t run on modern, 64-bit operating systems).
Eventually, I’m going to re-release Säx and release these MIDI-based compositions on Bandcamp and on streaming platforms. I managed to convert the MIDI files to lossless WAVs, and I am doctoring some of them up using Audacity. Säx will be released in its original form—what paid subscribers could hear in full last week.
For now, I wanted to share some of the tracks from what will be the MIDI release, as well as a recording of one of the pieces I did on a tiny Yamaha keyboard my family has had since I was a small child (and I still have it—I think it works, too). Paid subs will have access to some other pieces over on SubscribeStar.
The first piece here is “Euroclydon,” named after the Mediterranean storm from the Book of Acts. I remember learning the name from a sermon at my parents’ church years ago, and I am guessing I composed the bulk of “Euroclydon” around 2012:
“Euroclydon”
The next piece is “Aachen Cathedral Chorale.” I used this chord progression and melody in a number of pieces, including my organ solo “Organic Evolution.” I’m sure it’s from some famous Baroque composer, but back in the day, it was one of my favorite themes to incorporate into music.
This version consists of three MIDI files I converted to WAVs and then aligned in Audacity. I also added some additional reverb and chorus effects. Essentially, I had the same theme composed for organ, strings, and saxophones, and then mashed them together into this glorious wall of sound:
“Aachen Cathedral Chorale”
This version of “Aachen” was played using the Yamaha keyboard and splicing/aligning all of the parts together. As I recall, I plugged the keyboard into my older brother’s ancient Crate amplifier, then dangled a primitive computer microphone in front of it and recorded either to Adobe Audition 1.5 or Windows Recorder (the latter would have been a nightmare to line up properly, so I’m thinking it’s the former). I am playing all of the parts on this one:
“Live at the Aachen Cathedral”
It’s wild to think that I wrote some of these pieces as early 2004 or so. I found stuff that I likely composed in high school, which would place the absolute earliest possible compositions at 1999. I was using Cakewalk 3.0 in the eighth grade, so I have some material that would date back to 1998—whoa!
One day I’ll finally figure out how to setup a Windows 95 virtual machine on my desktop so I can run Cakewalk 3.0 natively, but I’ve never had much success doing that.
Regardless, let’s see what else a young Portly cooked up back in the day.
Want to play the sax? Read my ultimate guide to getting started for under $350.
Yours portly is playing saxophone for a client and his wife this evening; the happy couple is celebrating their first anniversary, and the client has booked me to play a song or two as a surprise for his wife.
Naturally, he asked for videos of me playing two pieces so he could get an idea for what he will be getting, and just as naturally, I turned those into YouTube videos for my subscribers.
Now you, my dear readers, will get to hear some sensual, soulful saxophone solos:
The Portly Politico 