Two different musical voices makes their way through the ensemble, manifest in different ways, making for a stream-of-consciousness musical discourse. Extreme ranges are avoided or accompanied by alternative notes, if needed. For string orchestra, quintet, or quartet.
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In this quintet, three-voice groups argue out their differences in a rhythmic style inspired by funk. It lays down a unique 3/4 groove that you can pat your foot to, but keeps you guessing. Each instrument has a fun, interesting and challenging part, either working independently, or as a part of an intense rhythmic groove, or in unusual timbral groupings. The first movement (of three) will also be available alone, but works best when played with the others. The second movement interrupts the first with a free “Dream sequence,” and the finale picks up where the first movement left off to take it all home.
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A minor blues written for the Chisholm Trail Middle School jazz band.
View and buy the scores at SibeliusMusic: for large jazz ensemble or small ensemble (plug-in required).
Despite the classical-sounding title, the surface level of this work imitates the ‘cool’ jazz style of the early 1950′s. Meanwhile, the underlying structure is based on rather rigorous serial techniques, which has surprised every listener so far. This light, rhythmic movement may be played alone or with the rest of the Concerto. There are plenty of chances to improvise in this non-tonal context (but written solos are provided for the faint-of-heart).
View and buy the score at SibeliusMusic (plug-in required): 1st movement, 2nd-5th movements.
This six-minute composition for unaccompanied trumpet explores serial techniques in a more organic way than is traditionally used in serial music. A very small musical idea (a string of seven pitches) is the underlying “DNA” for the entire piece. The performer portrays two opposing voices, which manifest themselves and interact in different ways in each of the three movements. The trumpeter will enjoy challenging leaps and runs as well as the freedom from traditional tonal patterns and phrasing. This may be played on a trumpet in any key, read without transposing.
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peja’chuqegh is a performance work that mocks everything about the stereotype of the classical string quartet, including its use in society, system of tonailty, form, instrumentation, and the foreign languages in which they always write the directions. This performance is by faculty and students at the Florida State Unviersity (including Butch Rovan).
Recorded performance of movements I, III, and II (in that order) at OurMedia.org (MP3)
Nobishnobin is a mysterious tune with latin flavor. It is not tonal, but the changes are nice to play over. Chord symbols are given for tenor saxophone soloist and piano and guitar accompaniment; drums and bass have written parts as a basis for improvisation.
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