Divergence (2004) brass quintet (18:00) This five-movement work was written for the Oklahoma University Brass Quintet. It was premiered at the 2005 College Music Society Conference in Quebec City by the Laval University Brass Quintet. The movements are Intrada: Fanfare with Echo, Fugue, Hymn, Kwirky Kogs and Rondo.

Jumpin', Coolin' and Fugin' (2003), bsn/pno (8:00) Jumpin’, Coolin’ and Fugin’ was written for Carl Rath in 2003. He premiered the work at the Red Lodge Music Festival in 2004. The work is in an arch structure, roughly ABCDCBA. A is the “Jumpin’ I” section, where the instruments share wide leaps and the bassoon has expressive solo moments. The B section is “Jumpin’ II.” This is klangfarben type writing as the instrument trade pointalistic gestures. C is for Coolin’. Here both players perform thick jazz harmonies and rapid runs. The centerpiece of work is a Fugato (D), based on the main theme of Coolin’. The sections return in reverse order with a powerful finish!

cryptic omens...ritual echoes (2002) vc, pf, prc (6:30) In writing the work, I was influenced somewhat by the great composer George Crumb. Crumb as a particular way of getting all the possible sounds out of an ensemble. There is also something otherworldly about his music. I have tried to capture the primitive nature of music found in Crumb. The work opens with a primeval solo in the lowest register of the piano. This alternates with a somewhat tentative percussion solo. Finally the ‘cello has a say. Fragments of ideas are repeated irregularly, interrupted by outbursts from the piano and percussion. There is a climax, then calm. The ‘cello plays a more reserved melody, now supported by the piano. These ideas are developed overtime, and the tension builds again, reaching a huge climax that recall the piano opening. The final section of the piece is a bow to Messiaen’s Quartet for the End of Time. It is a slow moving meditation that features ‘cello harmonics and fragments of earlier ideas. This work was premiered at the University of Oklahoma in March of 2003, by Greg Sauer ('cello), Chris Hahn (piano) and Ricardo Souza (percussion).

Hebdomad (2001) flt, clr, vln, vc, prc, pf (4:30) This sextet was written in a week (hebdomad is an English work meaning a period of seven days). Hebdomad was premiered in August of 2001 at Indiana University.

This Present Darkness (2001) flt, clr, vln, vc, prc, pf (26:00) This work is in three movements that are performed without pause. It is based on the book of the same title by Frank Peretti. The first movement starts with hazy, atmospheric gestures that gradually build to more aggressive, dissonant ideas. A brief lament interrupts this, followed by a return of the aggressive writing. The second movement is in cumulative form, based on the second movement of Charles Ives’ Fourth Sonata for Violin and Piano. It begins like the first movement, but gives way to fragments of the hymn tune Sweet Hour of Prayer. A dark countermelody is given, then a contrasting faster section. This movement ends with the hymn, the countermelody, and a third hymn in the chimes in homage to Ives (Jesus Loves Me). The final movement begins with twisty, chromatic lines presented indeterminately. This builds to a unison G, and an extended clash of musical forces. The piece ends with a tranquil coda.

…through the watches of the night (2000)—5 part trombone choir (5:00) At Brevard Music Center (Brevard, NC) there is a tradition every night of playing Taps to put the younger kids to bed. On Sunday evenings, it is a tradition at BMC for the trombone choir to play arrangements of Taps. It was for these occasions that I have written this piece. The piece takes its title from Psalm 63:6-8 (New International Version): On my bed I remember you; I think of you through the watches of the night. Because you are my help, I sing in the shadow of your wings. My soul clings to you; your right hand upholds me. The playing of Taps conjures a lot of images for me: it is a solemn occasion, either for the death of a soldier or for the coming of the night (the dying of the day). As night descends on Brevard, amid the woods and mountains, so far from home, it is comforting to think of God watching over me. Although the entire piece is based on Taps, it is not revealed until the very last.

Brevard Invocation (2000)—hn, tmp (6:00) Brevard Invocation is cast in an ABA (fastñslowñfast) form. The work begins with a solo introduction by the timpani, and the horn gradually fades in. The two exchange musical fragments, until a steady pulse is set up by the timpani. This reaches a climax (m. 37) and there is a sudden drop in dynamic level. Again, the two trade fragments. Quickly, there is another climax, (m. 47) which ends the first section. The middle section is very lyrical and well suited to the horn's cantabile qualities. Its arching melodies are centered around Db, held by the timpani. The long lines gradually give way to more active rhythmic figures, and the timpani emerges. The music crescendos, and the timpani asserts its introductory ideas (m. 71). The last section of the piece is a frenzied chase, the two instruments sometimes working in collaboration, sometimes in competition. Rapid dynamic changes and quick rhythms dominate this section. Finally, the two seem to come to rest, only to give way to one last outburst.

The Struggle (1999)—euphonium and trombone (5:00) This piece is really about ancient struggles, good versus evil and man versus self. The instruments do not battle each other (let us hope not, anyway!) but rather represent an intense inner turmoil. The work is cast in a loose rondo form, alternating between aggressive passages and those more reflective. The title comes from Hebrews, “In your struggle against sin, some have not yet resisted to the point of shedding your blood.” (Hebrews 12:4)

Fantasia on Ubi Caritas (1998)—4 viols (treble, tenor, 2 basses) (7:00) This work is based on the Ubi Caritas chant. It begins with the chant itself, then because very abstract and even violent. It end with lush, calm chords.

Postcards (1997, rev. 98)—picc, eng hn, bs clr (11:00) Postcards was written for piccolo player Shannon Finney during September and October of 1997. The piece is a reflection of memories of my hometown, Kansas City. It is in three movements, Fountains, Steeple of Light and Kaleidoscope. It was premiered in November 1999 by Shannon Finney (piccolo), Lora Schaefer (english horn) and Thomas Aber (bass clarinet).

Lacerations (1997)—oboe and piano (6:00) Lacerations was written from December 1996 to May 1997. The title refers to the jagged, angular lines used throughout the piece and the 'cut and splice' technique of juxtaposing disparate musical ideas. Despite the title, no musicians were injured in the writing of this piece. (I make no promises about the performance, however!)