Written: 2009
Created with Yamaha P-190. Written for my friend Jarrett's photography. An audio-video collaboration coming soon!
Debuted: 2009
The first section is a rather free movement with the tempo marking “Lento con Rubato.” The simple piano accompaniment lets the saxophone truly shine, yet sets a solid harmonic foundation for the saxophone to play over. It begins in b minor, and stays fairly rooted in this key area, with some chromatic color as the saxophone’s movement increases. The capriccio is a lively exploration of the saxophone’s agile nature. The main theme consists of five notes (A, B, C#, D#, E). You will notice that the fourth scale degree (D) is sharp, giving a sense of being in Lydian mode, yet the main theme is very much rooted in A Major. The B section travels to a minor, with lively arpeggios in the piano and a rather smooth melodic line for the sax. This is followed by a return of the A section, back in major, which brings the piece to an energetic finish.
PDF Coming Soon
The first movement, Rondo, is based off the idea of quartel and quintel harmonies. The A motif is in ¾ time and is a succession of quartel chords interspersed with rhythmic displacements in 6/8 time. The B section, in 7/8, is a playful melodic line, first introduced in the trombone, then modulated and played by the 2nd trumpet. The C section highlights the French Horn with brief inputs by muted trumpets. Reflection consists of a call and response between the first trumpet and the rest of the ensemble. These reflections are two separate ideas that are first stated by trumpet 1, then echoed by the remaining quartet.
Debuted: 2008
These two pieces look at two different sides of the clarinet, solemn and legato and lively and vibrant. The Adagio was intended to focus on bringing out the warm, rich tone of the clarinet while still using both the low and upper registers of the instrument. The main thematic idea is based off of a short motif that is twisted and turned in both the piano and clarinet. The Scherzo was used to focus on the clarinet’s ability to perform large leaps and utilize the technical side of a livelier tempo. The main harmonic structure is based off of ascending thirds; whenever a new melodic idea is introduced, the piece modulates up a third. This eventually comes back to the original key of E flat, but this time in major.
Debuted: 2008
PDFJourney to a New Frontier is a new programmatic piece that depicts a voyage to a new and unexplored land. Painting a picture of an exciting journey, the beginning theme is lively and utilizes different combinations of instruments to explore and develop the main theme. This eventually gives way to a quieter, more pensive middle section that features various solo opportunities and communicates a reflective atmosphere full of lush and interesting harmonies. After this brief rest, the journey is back on with an exciting timpani and snare solo followed by a re visitation of the melody by the low brass. The coda offers a fast and exciting closing to our exploration.
Released: 2007
PDFThis short piece was written in a day with a short theme in g minor. The second violins and violas first introduce the main theme, then as the second climax section begins, the first violins are introduced. The middle area is a more chromatic section which helps get into a broader theme, with secondary themes in the viola. Towards the end of the piece, slight dissonances are used, but they are quickly resolved. The use of suspensions are meant to signify a slight tension, which is then quickly taken away. This short work is meant as a pensive lamentation almost, as it transforms the listener to a world of quiet reflection.

Released: 2006
Released: 2007
Improvisatory piece recorded during the summer of 2007. Musical response to Lord Byron's poem She Walks In Beauty.
She walks in beauty, like the night
Of cloudless climes and starry skies;
And all that 's best of dark and bright
Meet in her aspect and her eyes:
Thus mellow'd to that tender light
Which heaven to gaudy day denies.
One shade the more, one ray the less,
Had half impair'd the nameless grace
Which waves in every raven tress,
Or softly lightens o'er her face;
Where thoughts serenely sweet express
How pure, how dear their dwelling-place.