Soliloquy (2006)—English horn (7:00) Krista Riggs commissioned this work. It is broadly in two sections. The first is a virtuosic kaleidoscope of extended techniques occasionally interrupted by fragments of a more calm idea. The second section is a resolution of the first, providing an extended treatment of the calm, melodic idea.

Pixie (2006)—Flute (2:30) This brief work imagines the adventures of a tiny, mythical (and mischievous) creature. The mood is playful, and sometimes pensive.

Song of Moses (2005)—snare drum (5:00) My good friend, Jason Baker, commissioned this work. We spoke about the idea of speech impediments as variations on speech in the same way that one could take a musical idea and transform it. The result is a four-movement work. The final movement is a setting of the Song of Moses from Genesis, with the previous three movements (Repetition, Prolongation, and Blocking) refracting the elements of last.

Moving Prelude (2005)—piano (2:30) This is my 2005 Piano Prelude. It was written for Chris Hahn. The work is in an ABABA form. The A sections include asymmetrical meters with a melody and accompaniment texture. The B sections are more imitative, and based on a 12-tone row.

White Hall Prelude (2004)—piano (1:00) This work was written for Paul Higdon, who premiered the work in St. Louis during the summer of 2005. It is based on Chopin's Prelude in G-minor.

Contemplations of Darkness and Light (2004)—vibraphone (16:00) Percussionist Ricardo Souza commissioned this work, and plans to record it for his forth-coming CD. It was premiered by Jason Baker in Starkville, MS, in the Spring of 2005. The work is in five movements, and is available for purchase from Keyboard Percussion Publications.

Plaza Prelude (2003)—piano (3:00) The Plaza Prelude was written in December of 2003. It takes its name from the rather posh shopping district in Kansas City. The work is melancholy and contemplative, and is cast in two large sections. The work is dominated by a three-note motive that outlines a minor third (A#-B-G# in its first occurrence).

Prelude: Undaunted (2003)—clarinet (3:00) This brief work is dedicated to that spirit in all of us that tells us to go on, despite adversity or unfair criticism. The work begins low in the clarinet’s range, slow and contemplative. It gradually builds, gaining momentum and dynamic intensity until it works itself into a frenzy. After this outburst, there is a moment of calm reflection.

Strikes and Resonance (2003)—marimba (11:00) Grant Braddock commissioned this work. The work is in an arch form, ABABA. The A sections (strikes) are more rhythmically driven, while the B sections have slower moving harmonies. Keyboard Percussion Publication publishes the work.

Meditation and Fanfare (1997)—organ (5:00) This work was written to honor my sister Julie's wedding. The first movement is reflective, based on a melody which occurs only once in full form. This melody slowly unfolds from tentative fragments into a long flowing line. The same idea is used in the second movement, but with some rhythmic changes and becomes the subject of a fugato. The piece ends in thunderous celebration.

Character Suite (1996-99)—solo piano (23:00) The Character Suite was written from 1996-99 to honor friends of mine, three composers, two regular people. In each movement I began with a specific musical connection between myself and the friend in question. From there I tried to write something that evoked the spirit of these dear ones while at the same time putting a little of myself into each piece. The end result, I hope, is a kind of collaboration celebrating our friendships.

The Four Humors (1998-99)—flute (9:00) The Four Humors come from Hippocrates' theory that the health of a person, both mental and physical, is governed by a combination of fluids in the body: blood, yellow bile, phlegm, and black bile (yuck!). When the fluids are in balance, the ancient Greek postulated, the body and mind are in balance. Should a fluid come to predominate, the following would occur: I. Cholericus--Too much choler, or yellow bile. This person would act angry, violent and vengeful. II Melancholicus--The person with too much black bile would be gloomy and sad. III. Flematicus--With too much phlegm, one was cold, emotionless (and probably in need of a tissue). IV. Sanguinicus--An over-abundance of blood wrought cheerfulness and optimism.