Symphonic Band
Essay for Band*
[D difficulty, c.4:30]
This dramatic work “is in modified sonata-form: an exposition comprised
of fast and slow themes, a development based on materials of the exposition,
and a recapitulation consisting of the fast and slow themes of the exposition
superimposed. The work is tonally oriented with sudden shifts of key centers. Homophonic
and polyphonic treatment is intermixed. Soloistic, sectional and tutti
scoring of the concert band affords varied textures throughout the composition.” This
work has received American and European performances.
Publisher: Shawnee
Press, Inc.
Fanfare and Prayer*
[A difficulty, c.9:00]
“Work on the piece began the summer of 1980 with the initial idea being
to compose an opening fanfare for the California Honor Concert Band’s portion
of the program (conducted by Charles Yates of San Diego State University). However,
within a short period of time the piece became a manifestation of my feelings
about the imprisonment of Americans in Iran—about their strength and faith
and about America’s renewed patriotism . . .” The piece takes
on new meaning during these more troubled times (2006). Fanfare and Prayer has
been performed by the U.S. Navy Band, Washington, D.C., and has been programmed
in Europe, Japan, and throughout the United States.
Publisher: HBH
Publishing
Fantasia for Band*
[B difficulty, c.4:10]
“The general design of [this work] consists of a slow fanfare-like introduction
followed by three major sections (fast-slow-fast). The first section, Allegro
energico, is in A B A form. The second section, Andantino espressivo, provides
contrast in style, tempo, and instrumentation. The third section, Tempo primo,
utilizes materials of the first section thus providing symmetry to the work as
a whole.” This active/energetic work serves well as either an opening or
closing number on a program.
Publisher: Carl
Fischer, Inc.
Hymn for Band*
[C difficulty, c.4:00]
A work that contrasts consonant lyricism with dissonant intensity. Hymn
for Band is slow in a hymn-like tempo.
“ , , , the opening theme . . . is followed by a short contrapuntal phrase
which immediately establishes the general mood of the work. By way of contrast,
a melodic statement made by the chimes is followed by mounting dissonance, increased
dynamics and rhythmic drive. The ringing of a gong signals the return of the
more placid liturgical feeling which closes with a tutti statement of the first
theme.” This work has received American and European performances.
Publisher: Shawnee
Press, Inc.
Reflections*
[C difficulty, c.5:30]
A minimalist piece, Reflections was commissioned by the Bay Section
of the California Music Educators Association for the Junior High School Honor
Band. “Similar to Steve Reich’s Octet, [the work]
is constructed in five sections—I, III, and V are linked as are II and
IV. The texture of the complete work is comprised solely of three strands which
appear in part or intact: (1) repeated two-measure canons that are rhythmically
active, (2) a repeated sustained forty-measure harmonic canon consisting only
of six chords, and (3) melodic increments in the form of a drawn-out melody
and/or a two-part bass ostinato.”
Publisher: HBH
Publishing
Soliloquy for Band
[D difficulty, c.3:35]
This slow piece “is based on a single modal melodic line which is stated
in the beginning, briefly developed, then restated at the end in stretto fashion.
The harmonic action centers around major and minor triads. Coloristic harmonic
shifts are employed with polyphonic and homophonic textures interspersed throughout
the work.”
Publisher: Shawnee
Press, Inc.
(Included in the publisher’s archive list.)
Statement
[A difficulty, c.9:00]
In 1969 and 1970, my office at San José State University faced the area
which was the popular location for student rallies. At that time the country
was in social turmoil over very serious issues—the Vietnam war, the problems
of Chicano farm workers, women’s liberation, Black power, the population
explosion, the destruction of our environment to name a few—and the gatherings
served as a forum for angry individuals expressing their views and venting
their indignation. All of us on campus were surrounded with rage, hatred, distrust
and instability. Statement is a musical/dramatic discourse representing
that scenario. Dissonance, shouting, and the singing of Gregorian chant are
called for in an intense format representing humankind’s cycle of peace
and war. The work was commissioned by the California Band Directors Association
for the California Symphonic Honor Band. Following the premier, conductor
Harold Arnoldi commented “Statement is one of the finest pieces
of contemporary band literature written today. It reflects the turmoil of present
day society.”
Publisher: Shawnee
Press, Inc.
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Piano Concertos
(for Symphonic Band)
Piano Concerto No.1*
[AA difficulty, c.20:00]
This work follows the classical three movement concerto structure, and is based
totally on a 5-note Indian raga. The first movement, Prelude, sets
the quality of the raga through a mixture of contemplative and dramatic passages.
The second movement, Toccata and Fugue, is almost completely canonic
with the ensemble virtually divided in half. Scherzo, the final movement
uncharacteristically begins exactly like the second and ends similarly to the
first movement. This piece won two first place composition awards and honorary
acknowledgement in two major international band composition competitions.
Publisher: Carl
Fischer, Inc., rental catalogue
Piano Concerto No.2*
[AA difficulty, c.21:00]
“For some time I have been interested in creating music that embraces world
concepts, primarily and perhaps simply because I like many aspects of musics
from other cultures in addition to the music of my Western European upbringing.
Beyond that, however, I’m interested in producing a style that is somewhat
universal in impression without copying or poorly imitating musical practices
of other cultures. And being an American composer during these times [1990s]
seems particularly relevant to the challenge. Thus, in this concerto, a pentatonic
or 5-note scale (the scale type used more than any other by cultures throughout
the world) is the pitch source; simultaneous variations (non-Western) and chordal
progression (Western) are companion textures; passages using few pitches over
an extended period of time (non-Western) are contrasted with passages using many
pitches (Western); and so on. All of this is placed within traditional Western
structures: Variations and Hymn, Rondo, and Fugue. The concerto
received second prize at the Coups de Vents international wind band music competition
held in Le Havre, France, in 1994.
Publisher: HBH
Publishing
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Piano
Eklektikos (in five pieces)*
[Very difficult; c.11:30]
Composed for Aiko Onishi of San José State University, this work is
based on a 12-tone row set in five distinctly different movements. The first
piece is a rather lyrical expression of the row interrupted on occasion with
short, abrupt gestures. Muted strings are featured in the second piece which
highlights sonorities produced by percussive repeated notes performed with
the damper pedal on. Piece number three contains three basic ideas that alternate. The
first is a sweeping dissonant arpeggio, the second consonant improvisatory-like
gestures in the upper register, and the third a dissonant, short, rapid harmonic
motif that is extended with each return. Slowly sounding each pitch, the fourth
piece is a static expression of the 12-tone row. In proportional notation,
each note is sounded and allowed to ring with a few chordal interruptions.
The final movement is based entirely on a triad from the first piece (P4 and
TT) in a strongly jazz-like, highly rhythmic, scherzo setting.
Publisher: HBH
Publishing
A Walk Within Winter*
[Very difficult; c.10:45]
Composed for and dedicated to San José State University alumna Donna
Stoering, this piece was premiered by her at my retirement concert. Inspiration
came from a serigraph by Melanie Gendron reflecting her summer’s stay
with her Native-American grandmother. Essentially there are three sections.
The first is a quiet, ethereal passage using only five notes with three of
them held by the sostenuto pedal allowing quick gestures to produce sustained
sounds. It is indeed a reflective setting. The second part explores a three-strand
texture: a high, fast repeated note drone, a slow chordal middle range texture,
and a loud counter-gesture that enters sporadically. This is followed
by a very rapid repeated eighth-note section with asymmetrical accents providing
the unexpected. A brief return to the second section followed by the first
ends the work. Donna has performed it throughout the world (see biography).
CD available online
through: San
José Chamber Orchestra and Amazon.
Publisher: HBH
Publishing
Fantasy on a Bb Blues (theme and
eight choruses)*
[Very difficult; c.8:15]
This piano piece was revised in 1996 and performed by a very talented colleague,
Laurel Brettell, at my retirement concert. It is based on a shortened blues
chord progression (for those familiar: I-IV-I-V-IV-I, all ninth chords).
These five-note chords appear throughout at different levels of clarity and
are pitted against the remaining seven notes of the chromatic scale. A static,
almost impressionistic quality is contrasted with driving, energetic passages
in a series of conjoined sections. In short, a blues piece or jazz tune is
not to be expected, only the occasional appearance of blues chords.
Publisher: HBH
Publishing
Minim*
[Difficult; indeterminate]
Minim is an improvised piece on six notes for the right and left hands.
The single measure of notes is repeated without pitch, tempo or rhythmic change
for as long as desired by the performer. Variation is created with the
shift of patterns produced by accents, change of dynamics and style, right
versus left hand, and use of pedals. Influences: African xylophone playing,
Terry Riley’s piano improvisations on Indian ragas in just intonation,
connection with Steve Reich and his music, and my desire to conceive a piano
piece significantly different from existing solo piano literature.
CD available online through: San
José Chamber Orchestra and Amazonn.
Publisher: HBH
Publishing
Barcarole
[Grade 4; c.4:06]
This is a piano arrangement of a piece I composed for the great jazz guitarist
Jim Hall and his trio. It is a slow lyrical ballad with a Latin flavor, and
could well serve as a “touching” closer or encore. It is a favorite
of mine.
Publisher: HBH
Publishing
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Orchestral
Ekta (“Oneness”)*
[for professional or college level chamber orchestra and soloists, c.25:00]
Ekta was composed for composer/pianist David Ward-Steinman, along with
a jazz bassist and drum set player, a tabla drummer, string chamber orchestra
and two percussionists. Essentially the work is a piano concerto. It was inspired
by qualities of classical Indian music and jazz and is set in four conjoined
movements: Alap and Improvisation, Interlude, Love Song, and Fugue
and Cadenza. The music materials are derived from the Indian 5-note raga, Brindivani
Sarang, and two rhythmic tals: Dadra, a 6-beat cycle, and Tintal,
a 16 beat cycle. This setting morphs into a pandiatonic jazz style which is
followed by an energetic fugue (derived from Piano Concerto No. 2) and
dramatic return of opening ideas. During the work, the pianist is called on
to improvise first on the Indian raga, then with a jazz trio, and finally as
soloist in the cadenza. The composition can be heard on the CD EKTA produced
by the San José Chamber Orchestra.
CD available online through: San
José Chamber Orchestra and Amazon.
Publisher: HBH
Publishing
Suite for Timpani and Orchestra*
[for professional or college level orchestra]
Composed for the Luxembourg Radio and Television Orchestra featuring timpanist
Bonnie Lynn Adelson, this work was designed to introduce young people to sections
of the orchestra. It can be performed in its entirety, or each movement separately
or in combination with others. The first movement, Intrada, displays
the brilliance and power of the brass family with solo timpani, chimes, vibraphone
and bells. The second, Ballade, features the strings, and is
much softer and slower in keeping with the seriousness of the German literary
ballade which flourished in the 18th and 19th century. The string section is
divided in half allowing for a textural canon which accompanies a solo string
quartet with solo xylophone and timpani—it honors California composer
Henry Cowell. In the third movement, Dance, the woodwind section is
highlighted with Indonesian Gamelan gestures in honor of Lou Harrison. The
use of a pentatonic scale throughout is in keeping with the style. Movement
IV, Finale, is for full orchestra with timpani solo and includes African
bell and clapping rhythms performed by the percussion section. Most of the
movement is in a fugue setting which is contrasted with the brief return of
materials from the earlier movements.
Publisher: HBH
Publishing
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Choral
Cantata in Memorial*
[Moderately easy; varies according to occasion]
Scored for SATB and speaker(s), Cantata in Memorial is a three-part “musical
service” composed in memory of the deceased and intended for use at concerts,
church services, school assemblies, memorial services, and the like. Part
1, Reflections, is a musical setting for a spoken announcement of
purpose and for related meditation and/or prayer. Part 2, Tribute,
is a musical setting for a selected short spoken eulogy, or a philosophical,
religious or poetic statement on death. Affirmation, Part 3,
is a musical setting for a spoken declaration or celebration of life—first
by chorus alone, second by speaker (preferably a spiritual leader) with chorus,
and finally by chorus alone.
Publisher: HBH
Publishing
Nubes Aztecas (Invocación y Canto)*
[Very difficult; c.9:00]
Commissioned by Daniel Hughes, director of the Choral Project, Nubes is
an a capella work based on ideas from Aztec poetry and musical practices sung
in Spanish and English. Two texts are used: an anonymous Aztec poem Ode
to King Totoquihautzin, and Snake Wheel by contemporary poet
Francisco X. Alarcon. Unique qualities of Aztec Clouds include the
interplay of the two languages, the exchanges of the divided choir (three smaller
groups) clapping and singing Aztec drumming syllables, and the otherwise musical
effort to forge the marriage of the two disparate poems of Aztec lineage.
CD available online
through: San
José Chamber Orchestra and Amazon.
Publisher: HBH
Publishing
O Praise the Lord (w/brass)*
[Moderately difficult; c.4:30]
The music for choir and brass sextet (3 trumpets, 3 trombones) is in three
sections following closely the text. “O Praise the Lord, all ye nations:
praise Him, all ye people” is declamatory in nature expressed through
the use of fanfare-like vocal and brass gestures. The second part, “For
His merciful kindness is great toward us: and the truth of the Lord endureth
forever” is presented with soft dynamics and slower tempo in a free
atonal setting. “Praise ye the Lord” is treated as
an affirmation through the use of a fughetta followed by a clear homophonic
final statement of the four words.
Publisher: HBH
Publishing
Twenty Christmas Canons*
[Easy to moderately difficult]
Each year we send Christmas greetings to friends in the form of a canon. This
publication is a collection of twenty years worth of melodies that can be sung
by any vocal combinations (except for the double canons). Lengths (entrances
and number of repeats) are decided by the conductor and several can be placed
together to form a medley. A recording of all of the canons is available on
line through the publisher’s web site.
Publisher: Santa
Barbara Music Publishing, Inc.
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