Compositions
All of the pieces found here are available in the store. If you wish to commission a piece, either written or arranged, please contact me directly. Lastly if you do perform a piece, please let me know by using the contact form. I would love to know where they are being played and see video if available.
...limbo of uncertainty...
For Solo Vibraphone (3 octave).
Written in spring of 2017 for the Lee University Composers Forum and was premiered by the composer. The piece is dedicated to Lauren Spelling.
…limbo of uncertainty… is a reflection on the thoughts and feelings of going through a relationship, either professional or personal, that one is uncertain of its outcome or end.
It begins with a free form section gradually building up to a metered setting of the free form ideas. A tonal choral follows which quickly moves to a less tonal setting of the same melody. The next section is a quick technical passage in multiple meters. The final section is a recap of the beginning.
This piece features a variety of extended techniques, including bowing and one-hand harmonics.
Video and audio recordings of the piece coming soon…
Written in spring of 2017 for the Lee University Composers Forum and was premiered by the composer. The piece is dedicated to Lauren Spelling.
…limbo of uncertainty… is a reflection on the thoughts and feelings of going through a relationship, either professional or personal, that one is uncertain of its outcome or end.
It begins with a free form section gradually building up to a metered setting of the free form ideas. A tonal choral follows which quickly moves to a less tonal setting of the same melody. The next section is a quick technical passage in multiple meters. The final section is a recap of the beginning.
This piece features a variety of extended techniques, including bowing and one-hand harmonics.
Video and audio recordings of the piece coming soon…
it was only distance
For Solo Vibraphone (3 octave).
Written in January of 2019.
From the program notes…
The few tempo markings included are only suggestions and the tempo may fluctuate based on the performer's musical intuition. Particularly in the middle section, the performer may have to have a slight "hiccup" in order to accommodate the musical demands and that is perfectly okay. The performer should use ungraduated medium, yet articulate mallets since the melody in the outer sections falls in the right hand, while the melody in the middle section falls in the left hand. Pedaling and dampening is also left to the discretion of the performer however, slur markings have been provided to help guide those choices.
Video and audio recordings of the piece coming soon…
Written in January of 2019.
From the program notes…
"Sometimes, things do not always work out like you think they should. No matter how much effort you put into it, sometimes there are just obstacles that are insurmountable. As I was beginning to write this piece, a very close and strong friendship dissolved in a matter of six hours. The beginning of the piece reflects the pre-argument state. Things had been complicated at times, but still very functional, mutually beneficial, and nice. However there is still something off. The middle section of the piece represents the argument. Its a very quick paced, technical section. It takes similar melody and harmony of the opening section, but spreads it across the whole instrument. Just as soon as the piece starts to build traction in this fast section, it suddenly stops…The final section recaps the beginning. This is to represent a time when things can get back to normal."
The few tempo markings included are only suggestions and the tempo may fluctuate based on the performer's musical intuition. Particularly in the middle section, the performer may have to have a slight "hiccup" in order to accommodate the musical demands and that is perfectly okay. The performer should use ungraduated medium, yet articulate mallets since the melody in the outer sections falls in the right hand, while the melody in the middle section falls in the left hand. Pedaling and dampening is also left to the discretion of the performer however, slur markings have been provided to help guide those choices.
Video and audio recordings of the piece coming soon…
Arrangements
All of the pieces found here are available in the store. If you wish to commission a piece, either written or arranged, please contact me directly. Lastly if you do perform a piece, please let me know by using the contact form. I would love to know where they are being played and see video if available.
Holst - First Suite for Military Band
For Marimba Quintet.
Orchestrated for the LVC Marimba Ensemble. The last movement was premiered at Derry Presbyterian Church in June, 2017.
This version, especially the Intermezzo, is quite challenging. Almost all parts of the original ensemble are represented in this version, but in only five voices. Despite the level of difficulty, the piece maintains the original character of each movement. If the performer wishes, the original percussion parts from the band version can be used in addition to the marimba parts here.
This orchestration is designed to be able to be played on four instruments: one 5.0 octave, two 4.3 octave and one 4.5 octave. However you may substitute at least one 4.3 for a 4.0, if not all with minor alterations. The first and the fifth part may be shared on one 5.0 octave instrument without complications, however the first part may be played, or doubled in areas, on xylophone.
Orchestrated for the LVC Marimba Ensemble. The last movement was premiered at Derry Presbyterian Church in June, 2017.
This version, especially the Intermezzo, is quite challenging. Almost all parts of the original ensemble are represented in this version, but in only five voices. Despite the level of difficulty, the piece maintains the original character of each movement. If the performer wishes, the original percussion parts from the band version can be used in addition to the marimba parts here.
This orchestration is designed to be able to be played on four instruments: one 5.0 octave, two 4.3 octave and one 4.5 octave. However you may substitute at least one 4.3 for a 4.0, if not all with minor alterations. The first and the fifth part may be shared on one 5.0 octave instrument without complications, however the first part may be played, or doubled in areas, on xylophone.
Holst - Second Suite for Military Band
For Marimba Quintet.
Orchestrated in Spring, 2020.
Inspired by how well Holst's First Suite transferred, I also orchestrated Holst's Second Suite for Military Band. This Suite, much as the Wind Band version, is in many ways easier to play…at least as far as notes go. However maintaining the character of this suite is left more up to the performer than in the First Suite. For example, in the March, Holst would alternate the choirs of the wind band however with only five voicing options and all of them are "the same thing", this is much more challenging. To this end, mallet choice and playing positions on the bar will be paramount in conveying this change in timbre.
This orchestration is designed to be able to be played on four instruments, one 5.0 octave and three 4.3 octave. However you may substitute at least one 4.3 for a 4.0, if not all with minor alterations. The first and the fifth part may be shared on one 5.0 octave instrument without complications, however the first part may be played, or doubled in areas, on xylophone. The original percussion parts from the band version may be used in addition to the marimba parts here.
Orchestrated in Spring, 2020.
Inspired by how well Holst's First Suite transferred, I also orchestrated Holst's Second Suite for Military Band. This Suite, much as the Wind Band version, is in many ways easier to play…at least as far as notes go. However maintaining the character of this suite is left more up to the performer than in the First Suite. For example, in the March, Holst would alternate the choirs of the wind band however with only five voicing options and all of them are "the same thing", this is much more challenging. To this end, mallet choice and playing positions on the bar will be paramount in conveying this change in timbre.
This orchestration is designed to be able to be played on four instruments, one 5.0 octave and three 4.3 octave. However you may substitute at least one 4.3 for a 4.0, if not all with minor alterations. The first and the fifth part may be shared on one 5.0 octave instrument without complications, however the first part may be played, or doubled in areas, on xylophone. The original percussion parts from the band version may be used in addition to the marimba parts here.
