Click on the titles below or scroll down for descriptions, recordings, and sample score pages (for most pieces).
Premiered by Quantum Brass in Spring 1992, Squires Recital Salon, Virginia Tech.
My first chamber work, written for friends that had formed a fantastic group. More like a fantasia than a theme and variations, all five players will require outstanding breath control and technique. The slow opening contains all the melodic material in the piece which is developed through a sprightly 6/8, a dramatic adagio, a quick multi-meter treatment, and a brief fugue. Finally, the piece gallops to a rousing finish with a flourish of fast fingers and double-tongueing!
Premiered by Quantum Brass, May 11, 1996. St. Luke's Episcopal Church, Brownsville, MD.
This is my favorite chamber piece, and not just because I wrote it for my own wedding! I thought this piece wouldn't last past my wedding day, but to my delight I've had friends and family exit the church to it on more than one occasion. So, wedding planners, forget about Mendelssohn and do something new and exciting! (Also works as a concert piece, of course.)
Premiered Fall 1994 by Synchronicity Saxophone Quartet in Squires Recital Salon, Blacksburg, VA.
The 'Intrada' begins with a flourish of parallel fifths that gives way to a more lyrical middle section. Then the baritone sax convinces the others one by one to return to the opening motive. The fugue is rather straightforward and stately, while the children's march is a frantic presto with "wrong" notes. The aria is a lush, lyrical movement based on a five-note motive stated first by solo alto. The piece concludes with a rondo that is somewhat reminiscent of a jazz waltz, but with some asymmetrical bars to trip up the audience (and the players).
A short, energetic piece that's tricky, but fun to play! The title refers to repeated patterns and phrases that generally lay a foundation for the melodies to lay on. Intertwined syncopated lines require four players with excellent rhythmic sense. I consider this my "tightest" chamber work--I wouldn't change a note.
The woodwind quintet was an ensemble I long avoided because a) chamber music is hard to write period, and b) this particular group is very tough because each instrument is so different. My solution was to write five movements and concentrate on one instrument at a time. The final product doesn't quite shape up to be five mini-concertos, however, because I like to mix up the listener's expectations.
for flute, euphonium, and piano
Composed for Candi Gallohon, flute, and Danyelle Harris, euphonium, and premiered Fall 1993 in Squires Recital Salon, Blacksburg, VA.
A short lyrical piece written on the request of two great friends and musicians. Note that this piece could be adapted to other instruments by request.