Author Spotlight

About William Rippey

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Hi! I'm William Rippey. After careers as a social worker, security manager, history professor, and editorial consultant, I'm now retired and have some time to pursue my interest in composition. And with the development of MIDI sequencing and digital formats, I'm also able to share my music without spending a fortune.

My compositional focus is the creation of evocative instrumental works. Much of my music is difficult to classify. However, one listener did refer to some of it as "baroque elevator music." While I like the emotional effect of exotic elements, I tend to favor melodies with a classical feeling and prefer a polyphonic approach to composition with all the attendant incidental harmonic and melodic effects created in contrapuntal development. In any case, I try to reach the listener both intellectually and emotionally.

I welcome any feedback provided, whether on artistic or technical matters. A brief e-mail to wrippo@comcast.net would be greatly appreciated.

 

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The Evocative Music of William Rippey
Fantasia No. 1 (Suite): V. Finale: Rhapsody for Portuguese Guitar Quartet
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This is the score and parts for the Rhapsody for Portuguese Guitar Quartet, the final movement of the Fantasia Suite. As its... More > third arrangement, it represents the culmination of a study in instrumentation and composition based on the first movement Toccata. In the course of experimenting with different instrumentations, accompaniments, and derivative works, the original piece grew in length by about 13%, and compound meter evolved into frequent cross rhythms of 3 against 2 or against 4 followed by rhythmic agreement resulting in a sort of horizontal hemiola. As noted above, this piece was at first designed for purposes of testing various keyboard instruments; now it has been recomposed to see what possibilities existed in different instrumentations. To listen to an excerpt or purchase the mp3 audio file, click on the second link at the left of the Spotlight page. A brief e-mail to the composer at wrippo@comcast.net stating what you like or dislike about this piece or its preview would be greatly appreciated. < Less
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Fantasia No. 1 (Suite): IV. Bossa Nova Caprice for Jazz Ensemble: Hummingbird (Beija-flor) (Score)
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This is the score for Hummingbird (Beija-flor), the fourth movement of the Fantasia No. 1 Suite. Although adapted from the... More > Tango Reverie for Piano, this work explores new territory through the use of bossa nova rhythms and a jazz type development of principal themes to create a contrapuntal mélange of melodies and countermelodies. Rigidity in the vibes part is used to capture the sense of hovering and sudden movement, while rapidly repetitive percussion suggests the high speed fluttering of the wings. An easygoing bass and graceful and whimsical countermelodies in the guitar part invoke the overall shimmering character. The saxophone part is intended to convey the emotional response to viewing this interesting spectacle. The Portuguese name is included in the title because of its descriptive meaning: Flower Kisser. To listen to an excerpt or purchase the mp3 audio file, click on the second link at the left of the Spotlight page. As usual, any feedback, artistic or technical, would be greatly appreciated. < Less
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Fantasia No. 1 (Suite): III. Impromptu for Piano (Sheet Music)
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This is the sheet music for Impromptu for Piano, the third movement of the Fantasia No. 1 Suite. The Impromptu for Piano is... More > essentially the piano version of the Toccata and constitutes its second arrangement. It has been transposed downward a half tone to F-sharp minor and the misterioso section at measure 85 (1:42) has been revised and expanded. The expressive capabilities of the piano, especially the pedal and variation of dynamics, give this piece a quality decidedly more related to the Romantic period. Naturally, the rhapsodic and expansive character of the piece has been retained, but it now feels more like an improvisation that tests the possibilities of the musical material rather than a device that tests the capabilities of instruments. To listen to an excerpt or purchase the mp3 audio file, click on the second link at the left of the Spotlight page. A brief e-mail to the composer at wrippo@comcast.net stating what you like or dislike about this piece or its preview would be greatly appreciated. < Less
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Fantasia No. 1 (Suite): II. Tango Reverie for Piano (Sheet Music)
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This is the sheet music for Tango Reverie for Piano, the second movement of the Fantasia No. 1 Suite. Using elements of... More > habanera, tango andaluz, tango de salon, French impressionism, and late Romanticism, it alternately contrasts and blends formality, emotional romanticism, and suggestion. The readily recognizable introduction is the Toccata introduction in the major mode. For the principal motif of the main theme I have created a variant of the opening motif of the Albeniz Tango in D. This theme follows the broad melodic direction of the Toccata and alternates with a lush secondary theme that is simultaneously expressive and atmospheric. Inventive modulations and the expressive abilities of the piano successively transform each of these themes to create a unique evocation of the Belle Epoque. To listen to an excerpt or purchase the mp3 audio file, click on the second link at the left of the Author Spotlight page. As usual, any feedback, whether artistic or technical, would be greatly appreciated. < Less
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Fantasia No. 1 (Suite): I. Toccata for Harpsichord (Sheet Music)
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This is the sheet music for the Harpsichord Toccata from Fantasia No. 1, a suite of five pieces based on or related to the... More > Toccata. Possessing the mood but forgoing the structural components of the keyboard sonatas by the eighteenth century Portuguese, Spanish, and Italian masters, the Toccata has a free form, rhapsodic quality with rapidly developing sections. In its original form this piece, like many of the earlier toccatas, was designed for the purpose of testing the capabilities of various keyboard instruments. Now, it has been revised and recomposed as a study in instrumentation. The Harpsichord Toccata is the first of its three arrangements. To listen to an excerpt or purchase the mp3 audio file, click on the second link at the left of my Author Spotlight page. A brief e-mail to the composer at wrippo@comcast.net stating what you like or dislike about this piece or its preview would be greatly appreciated. < Less
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Romanza: The Score
 More Detail 		Romanza: The Score By William Rippey
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This is the score for Romanza. While reminiscent of the tango-romanzas of the Rio de la Plata, Romanza combines unusually... More > accented variants of traditional milonga and sincopa rhythms with elements of French musette styles and Franco-Russian and 19th century classical romances to create a uniquely evocative musical work. Various moods are created as the thematic matter leisurely wends its way through subtle modulations between the tonic minor key, its relative major, and the corresponding Aeolian and Dorian modes. Romanza is scored for violin(s), bandoneons (or accordions), guitar(s), and bass(es). To listen to an excerpt or purchase the mp3 audio file, click on the second link at the left of my Author Spotlight page. A brief e-mail to the composer at wrippo@comcast.net stating what you like or dislike about this piece or its preview would be greatly appreciated. < Less
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Euphoriana: The Score
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This is the score for Euphoriana, a highly polyphonic instrumental work that explores a number of jazz-based themes and... More > rhythms through classical methods in just under ten minutes. Scored for Flute, Guitar 1, Guitar 2, Guitar 3, Piano, String Bass, Drumset, Triangles and Woodblocks, Claves, Shakers, Timbales and Bells, and Congas, Euphoriana presents a broad variety of tonal, percussive, and rhythmic textures beginning with an underlying milonga ostinato with percussive jazz accents. To listen to an excerpt or purchase the mp3 audio file, click on the second link at the left of my Author Spotlight page. A brief e-mail to the composer at wrippo@comcast.net stating what you like or dislike about this piece or its preview would be greatly appreciated. < Less
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