for Jerelen Bartone
Piano Derivations (1992)
to Michele Favero

1. Magnificat
from "The Glory of His Majesty"





 
 
    
 
 

sfz
Maestoso {q = 144}
  
fff
* r.h. 3
    

  
  

* r.h. plays upper note
throughout in this figure.

Sost.





      
  
 
 

6
sfz
 


(Sost.

)











 
 
 


fff




3


  
  



fff

      
  
 
3
  
 



    
 
       
 
 
fff
   fff


sfz
3
3
  
 

  

 
  

 





sfz
Jackson Berkey









   
 

         
  
  
  
  

 
p e accelerando



Allegro e molto ritmico {q = c. 160}



                       


 
                
    

 
ff e secco


     


   

 

   
 
 

  


 
slow pedal release



Sost. 
11
© 1993 SDG Press
www.berkey.com
Distributed by Masters Music, A Division of Edwin F. Kalmus P.O. Box 810157, Boca Raton, FL 33481
International Copyright Secured All Rights Reserved Made in U.S.A.
      
    
  
 

 
 
 
 
8
to Jennifer Northam
2. Crucifixus
 
 
 






fff




 
 


sf




(Sost.)




 
  


  



































 


Piano Derivations 1 • SDG 93-201
 





 

 
 
sf
   
 












sf

 
 

 
   
  
     

     

sempre ff


1_5


sf


sf





sf
       
          



 

poco sf


     





 
    
  
   


   
    


  
  









   
 




   

   

 

     
 
  


 



fff

 
 
Sost. 
   
16

       


  
 
p
Strettamente



ff
 
  



 
 
Jackson Berkey (1992)
Molto calmo {q = c. 66 - 72}






9
from "O, Look to Calvary • A Messenger Named John"
10
to John Wieting
from "Come, Follow Me!"
Jackson Berkey (1992)

    


pp


     
  




poco
m.s.
 
  
 







23 4 2

1
   

 



8


 

  
 


più f con forza
la melodia






    

    

       























 
Piano Derivations 1 • SDG 93-201



pp










       
     

   
  





(p)





  


      
     

 

20





 
 

   

 























 







 



  

subito f
e intensamente
  
 


mp
  




   

   
 

( )



con tormento schiaccante
14

3
2
 




cresc.








f






Molto pensiero {h = c. 50}


3. Gethsemane




3
    
 

ff più intensamente
3
    

 


Sost.  (hold through M.48)
f

 


4. Love One Another
from "A Messenger Named John"
Espressivo {q = c. 60 - 72}
 
 


    





f ma vellutato
  
Jackson Berkey (1992)
mf
  5   5 4 
     
mf
4
  5  5  
   

mf
diminuendo al niente al fine
1
1
1
1
1

    
   


     

  1  35 


2 
2
l.h. 5    3
f 5















  


13
to Jonathan Swoboda
2
2


mf
 
 

  
Sost. 













Boxes indicate use of SOSTENUTO pedal. Hold until next indication for
sustaining pedal occurs. Use damper pedal normally throughout, but be
certain it is not engaged when making changes with the sostenuto pedal.


6





  



 
5 5 3 5 5 
mp  

 

5
5
 5   4 

   
1
2
1
1
1

1
1


   




















 25     

2 
  13  35 
5
mf finger simile
mp
mp
mf


























mp
 
 

  
Sost. 

Piano Derivations 1 • SDG 93-201


to Carisa Leise
16
5. Rock Destruction

from "If Ye Shall Destroy • A Messenger Named John"
Jackson Berkey (1992)
Quasi locomotiva { h = c. 72}



 
 





accelerando










   






     


 



     



   

  







 
     
  

    
 
   


12



Alla breve {h = c. 108}



  
 
p
7
18
al


 
























 







 




 







 



 





    

   


        
 1 2     
5

 




    



f

 
    









 (to half pedal)












  
  
 



 




    

 








   (to half pedal)
  

          
    



 


 

 
















   
 


 


Piano Derivations 1 • SDG 93-201







  

     


   

 








 






19
to Rebecca Bolam
6. Sam Squirrel

from "American Visions • Olympic"
Molto espressivo e tranquillo{ q = c. 48-56 }

 
p
  


5
 






(make all pedal changes slowly)


simile






 

  
3

   
  
 
 
    


     







  
crescendo

sostentuo
(se disposibile)
1
 




 3   42 53  



  
      
  
  
ritardando
A tempo
  
  
   

          4 5    


3


10

   

  

   



con due pedale in tutto
 


   

  
 


Jackson Berkey (1992)
sost.
5
4
2
5
3
cresc.
2


3
1
5
3
f
5
4
2
3
3
1


4
2


sost.
4
2
pp e crescendo

sost.
la melodia diminuendo al fine
3
ritard. al fine
 

 












  
    
 




dim.
pp








15
sost.
sost.
5
3
(hold to end)
Piano Derivations 1 • SDG 93-201




sost.
sost.






    
   
   
p






ppp

Scarica

5 - Berkey