O sacrum convivium (2005)—SATB choir a cappella (4:00) This is my setting of the beautiful sacred latin text. It is at a college or professional level. The work uses extended tertian chords and diatonic clusters.

When We Are Going (2004)—SA choir, violin, organ (3:00) Theresa Spencer, choral director at Cottey College in Nevada, MO, commissioned this work. I knew the work would be performed during graduation ceremonies at Cottey College, and I sought out a text suited to this purpose. In my setting, I wanted to capture the sentiments of transition and uncertainty in Dickinson's vivid text. The text by Emily Dickinson: We never know we go when we are going -- We jest and shut the Door -- Fate -- following -- behind us bolts it -- And we accost no more --

Adoramus Te, Christe (2001)—SATB choir a cappella (5:30) Adoramus Te, Christe, is cast in three large sections (ABA). The first section consists of beautiful, lush harmonies that gradually become more animated and dissonant. The soprano intones a five-note motive above these harmonies, which is the main melodic idea for the piece. The lines become more complex and build, until suddenly there is a climax on an F major chord. Against this sustained harmony, the five-note motive is sung. This bright harmony gives way to more somber tones, ending on a D-A dyad. The second section centers on a long point of imitation, first sung by the altos. The melody is taken up by the tenors, basses and finally by sopranos. Overall the texture is more contrapuntal than the first section. This middle section is also more concentrated on melodic rather than harmonic elements. Motives from the point of imitation occur with increasing frequency, and the section climaxes as the first. The final part of this work is a re-harmonization of the opening five-note motive, again with thick, beautiful harmonies. There are some harmonic surprises, however. The work ends with an E major chord in the men’s voices, on top of which the women gradually build (through use of the five-note motive) an Eb major chord, for a wonderfully rich, glowing sound!

Alone (1999)—SATB choir (5:00) This work is a setting of Ecclesiastes 4:7-11 (King James Version). This section speaks of the frustration and folly of living life alone.

Psaume 1 (1999)— SATB choir a cappella (6:00) Psaume 1, is based on a four-note motive, first sung by the sopranos: Eb-Bb-D-A. This idea is developed throughout the work. The motive is passed from voice to voice, and the text is set with very lush harmonies. The work reaches a high point at the end of verse three, where this motive is repeated by the choir in octaves. In verse four there is a shift in the text, focusing now on the wicked. The four-note motive is again used, but this time in retrograde. This is to be sung very harshly and without vibrato. At verse six, the text again speaks of the blessed, and the music is more consonant. The second half of the verse six returns to the retrograde motive. Of course the story does not end there, and I have added a coda like Alleluia and Amen. This is set with soft, lush chords, ending with the four-note motive has a harmony.

O Nata Lux (1998)— SATB choir a cappella (7:00) O Nata Lux, was premiered on March 20th, 1999 (during Holy Week) under the direction of Robert Geherenbeck. The work is influenced by the great Renaissance composer Josquin Des Prez. Josquin pioneered a number of innovations in choral writing, two of the most important being the contrast of different sections with changes of musical texture, and sensitivity to the text. I set the first line as a tutti using bright, but dynamically understated chords. This is followed by a set of paired duets, where the men imitate a short phrase sung by the women. The first line of the second stanza begins a point of imitation. Here a single pitch and imitative rhythms provide a declamatory style. This slowly crescendos until the fanfare-like setting of ‘laudes’ (praise). Suddenly, at the word ‘preces’ (prayers) the music is soft, and humble. I see the third stanza of the text as the heart of the matter. Christ’s struggle on the cross is set as the most dissonant and complex music of the piece. The changes of texture are very rapid; sometimes points of imitation, sometimes paired duets or tuttis. The music reaches a climax as it clears to an open fifth on the word ‘Nos.’ This is cast triumphantly, with confidence, knowing as a Christian I am a member of Christ’s body, the Church. Finally, the opening returns with a re-harmonization. A gentle Alleluia/Amen gradually expands to a major chord, where the work ends.

Dickinson Songs (1996-97)—treble choir with piano (6:00) The Grass is the first of a set of two setting of Dickinson’s poems. In this poem, the pensive Belle of Amherst expresses her desire for solitude. The work is recorded by the Indiana University Children’s choir on their latest compact disc. The second poem, Summer Shower, is set in a more playful spirit.