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Filtering by Tag: Christian piano music

"Christ Child Divine: Christmas Pastorale" for piano

Cory Hall

Many people with classical music educations are aware that the musical form known as the "pastorale" is traditionally associated with Christmas. With Christmas of 2013 fast approaching and only a week away upon composing this work, I felt a strong urge to compose a pastorale for piano that would be accessible to a wide range of pianists. It is not too difficult technically and is extremely gratifying to play and study. PIANISTS GET YOUR COPY OF THE SHEET MUSIC BY CLICKING ON THE LINK BELOW! SHEET MUSIC FOR "CHRIST CHILD DIVINE"!

Pastorales developed sometime in the Middle Ages and were usually played with bagpipes, hurdy gurdies, or other instruments that produce "drone basses." In addition to employing drone basses, pastorals are also always in some form of compound triple meter, the most common being 6/8 and 12/8. I have chosen a slower and more old-fashioned looking 6/4 time -- essentially the same as a 6/8 meter -- to symbolize its uniquely "medieval" character. As one can glean from the word "pastorale," pastorals were always associated with nature, the out of doors, and especially shepherds tending their flocks. It is this reason why pastorals are traditionally associated with Christmas -- that is, our Lord and Savior, Jesus Christ, is the shepherd and his chosen ones (i.e., the saved) are the sheep. Christmas pastorals are peaceful and meditative-style works that should evoke the feeling of shepherds in their fields as well as the wise men visiting the baby Jesus.

I love playing and listening to this pastorale and the story about its composition is really something of a miracle, which proves to me yet one more time of the saving grace of our Lord and the power of his Holy Spirit in my life. I am a "sporadic" type composer in that I will often go long periods without composing anything and then one day I might get a strong urge to improvise and compose a piano piece. Such is the case with Christ Child Divine, which I composed completely from scratch with absolutely no preparation in merely 30 minutes. On December 17, 2013 I was overwhelmed with an unstoppable urge to compose a pastorale after having composed nothing for at least nine months. Everything just flowed out of me from the very beginning. I simply improvised a bit at my Steinway and the two main themes flowed out of me like water. Then, I toyed around with the last section (the coda section) that evening and wrote everything out the next day, the 18th. I wrote this blog and recorded it on the morning of the 19th.

I am constantly amazed at our wonderful God, his Son who died for our sins, and his Holy Spirit which is sent to all those who have been saved. I would have never become a composer had I not been saved in 2011 at the relatively late age of 48, and I constantly thank God for all he has given me. My wish this Christmas is that if you have not been saved that you will be soon. The only path to God and to eternal life is through none other than belief that Jesus Christ was the son of God and that he was born, crucified, buried, and was resurrected through the supernatural power of God the Father. May this pastorale for piano remind you that Christ came to take away the sins of the world and whoever believes in him shall never perish but be granted with everlasting life!

Merry Christmas to all and happy listening to Christ Child Divine!


Vernon Taranto, Jr. -- Composer Extraordinaire

Cory Hall

BachScholar Publishing, LLC, is happy to announce the newest composer whose piano music has been accepted for publication: Vernon Taranto, Jr. Paramount to BachScholar's mission is to publish and promote the highest quality piano music being written by our finest composers today, and Dr. Taranto certainly fits this bill. To read more about Dr. Taranto, please CLICK HERE! Below is my performance of Taranto's work that will soon be published:


In just seven months in business as of this writing, BachScholar Publishing already has a roster of five featured composers whose piano works have been accepted for publication and are currently in production. These distinguished composers' works vary from classical to jazz and from sacred to secular. Five Vignettes by Vernon Taranto, Jr. offers pianists an exciting adventure into space, the stars, and our galaxy. Philip Kim has composed some awesome arrangements of traditional Christian hymns and patriotic songs that pianists are sure to love. Jeremiah Bornfield has penned some outstanding neo-Baroque and Bachian style works for piano. Tiago Videira has graced us with some highly original and inventive impressionist-style piano pieces. And last but not least, GRAMMY winner Norman Henry Mamey will put a smile on pianists' faces with his well-crafted and catchy jazz pieces for students and professionals of all levels. To read more about BachScholar's Featured Composers, CLICK HERE!


1. Vernon Taranto, Jr. (ASCAP) 2. Philip Kim (ASCAP) 3. Jeremiah Bornfield (BMI) 4. Tiago Videira (SPA-Portugal, ASCAP affiliate) 5. Norman Henry Mamey -- GRAMMY winner! (ASCAP)



Established in 2011 and making its debut on the internet in September 2012, BachScholar Publishing, LLC, produces quality digital sheet music for pianists. With an emphasis on clean and accurate "Urtext" editions, each BachScholar™ score is meticulously engraved with staves up to a full inch longer than conventional sheet music resulting in exceptionally clear and easy-to-read manuscripts. All scores -- formatted for "letter" and "A4" paper sizes -- are delivered via PDF files for instant downloading, printing, or saving for future reference. BachScholar™ is the first and only publisher in the world to publish and produce exclusively digital sheet music. (Please note that all of the most popular digital sheet music companies on the internet today are retailers rather than publishers.)

BachScholar Publishing holds publishing memberships in both ASCAP and BMI (the latter, doing business as "BachScholar Global Publishing"), permitting composers belonging to either performing rights organization to officially register and publish their works through BachScholar's ASCAP or BMI affiliations. Benefits of publishing with BachScholar™ include: one-on-one personal interaction with the editor and publisher, highest quality musical manuscripts, marketing on YouTube, music presented and sold on a high-quality e-commerce website, royalties for each copy sold. One of BachScholar's missions is to publish and promote the highest quality piano music being written by our finest composers today.

In addition to publishing and producing the highest quality digital piano sheet music on the internet today, BachScholar™ also offers Piano Lessons via Skype to students worldwide. Dr. Hall is a devoted piano teacher with over 30 years' teaching experience who welcomes students of all ages and levels. BachScholar's website also offers a large selection of musical instruments and CDs by popular, worldwide artists. BachScholar Publishing, LLC, is fully accredited by the Better Business Bureau of the United States and Canada.

New Concert Piano Music: "10 Biblical Portraits, Opus 1"

Cory Hall

10 Biblical Portraits, Opus 1, is a collection or cycle of ten liturgical concert works for piano composed in 2011 and published in 2012 by BachScholar Publishing. The complete publication consists of a total of 48 pages of music which takes a total of about 40 minutes for a complete performance. 10 Biblical Portraits need not be performed in entirety; however, all ten pieces performed in succession -- which portrays a chronological journey through the Old and New Testaments from Genesis to Revelation -- has a mesmerizing and profound effect on audiences as well as on the pianist performing them. In this respect, 10 Biblical Portraits is similar to other extended romantic cycles for piano, for example, such as Schumann's 30-minute Kreisleriana. ⇒ 10 BIBLICAL PORTRAITS, OPUS 1 ⇐

I believe that 10 Biblical Portraits, as a whole, represents some of the finest piano music composed so far in the 21st century. The cycle consists of beautiful, lyrical, exciting, virtuosic, and romantically-inspired piano music of the highest order that pianists and audiences will enjoy and cherish for years to come. Most of the pieces are ideal for church services that use classical style music, although their ideal use is in recitals or concerts for both liturgical and secular venues. They are also ideal for teachers and students in the studio. Although as a whole 10 Biblical Portraits are classified as technically "difficult," four or five of the ten are only of "moderate" difficulty and playable by advanced intermediate pianists (i.e., Genesis, Nocturne of Hope, Veni Sancte Spiritus, Enter the Gates). Contrasting with this, the ultra-dramatic The Great Flood of Noah could be considered as difficult and as musically taxing as most Liszt etudes.

One need not be a Christian to perform or enjoy pieces like The Great Flood of Noah or Heaven Awaits just as one need not be a Christian to perform or enjoy a work like Bach's Jesu, Joy of Man's Desiring. One thing I do not wish my 10 Biblical Portraits ever becomes is exclusively "Christian piano music." My goal is to have all pianists around the world discover these rich musical treasures, regardless of religious orientation. This being said, however, the cycle will undoubtedly acquire added significance if the performer and/or audience happen to be born-again Christians or at least have knowledge of the meaning of the titles and scripture upon which the pieces are based.

My activity as a composer and the process involved with composing 10 Biblical Portraits, Opus 1 are so unique and supernatural that I am still in awe today as to how I ever composed the ten pieces. I plan on soon devoting an entire lengthy blog article to this topic (i.e., my being "born again" through musical composition), but I will shorten it here. Having composed virtually nothing up until my 47th year, aside from a song cycle as a graduate student in 1994 and a few ragtime arrangements for YouTube in 2009-10, around the Spring of 2011 I was suddenly overtaken by incredibly powerful urges to compose at the piano (mostly through improvisation). Before this, I never considered myself a "composer" or "piano improviser" and I never majored in or earned any degrees in composition in any of the three universities from which I matriculated. I was first and foremost a classical pianist and piano teacher and, at the time, also a church organist.

Throughout 2011, beginning around March, some kind of powerful and mysterious force prompted me to churn out work after work (sacred and secular) with stunning regularity. I finally forced myself to stop around November, since all the works I composed were done in my head and I had not yet even owned any music software to write them down. In other words, I was composing much too frequently and at such a frenetic pace that I felt I had to put the brakes on. My standard mode of operation in 2011 was to compose a piece through improvisation and careful planning -- all in my head and memorized -- which I then quickly recorded on video before I forgot it all. Eventually in 2012 I purchased music composing software and began the arduous task of notating everything I had composed up to that point. (In fact, as of this writing I still have not written down my stunning three-movement Fantasy in G Minor, which was the last work I composed in 2011 before quitting.)

The turning point for me -- which turned my whole world upside down -- came in May-June 2011 when I was composing The Garden of Eden. The music flowed out of me like water, something I could not have possibly done on my own. I sat at the piano for a couple days and began improvising this gorgeous music with almost no effort. I didn't even have a title yet, since I always title my pieces after they have been composed. I remember for at least two days toiling around with possible titles for The Garden of Eden. After I finally decided on "The Garden of Eden," I began analyzing the music and the rich musical symbolism related Adam and Eve in the Garden and I could barely sleep for two days. I realized all the musical symbolism planted within the music had to have been none other than the supernatural work of the Holy Spirit. It was at this point that I was officially "saved, "justified," or "born again" into the Christian faith. I simply could not ignore God or the Holy Spirit any longer. I became a true believer after I had composed The Garden of Eden because I realize I could not have done it on my own.

I continued to have similar experiences throughout 2011 in composing the other nine pieces in 10 Biblical Portraits, which was finally assembled and titled in November-December 2011. I believe with all sincerity that "God" or the "Holy Spirit" rather than "Cory Hall" was the true composer of my 10 Biblical Portraits, Opus 1. This explains why I named the cycle "Opus 1" and why each of the ten pieces bears the dedication "Soli Deo Gloria." (Before publishing "Opus 1" each of the ten pieces were published separately with dedications to fellow musicians and humans. "Soli Deo Gloria" applies only to the complete, unified ten-piece publication.)

Now that you know the history behind 10 Biblical Portraits, you are invited to listen to my individual video performances of each of the ten pieces. For maximum benefit, I ask that you find peace and solitude for 40 minutes and listen to all ten pieces in direct succession. For more information on each piece, you may visit the individual product page by clicking on each of the links below.

1. Genesis 2. The Garden of Eden 3. The Great Flood of Noah 4. Nocturne of Hope 5. Toccata Mysterium 6. Veni Sancte Spiritus 7. Grace Abounds 8. Rondo Jubilate 9. Heaven Awaits 10. Enter the Gates