Fragments of Music I've Written
Most of what I've put on this website are drafted works, incomplete by nature. I felt it might be more honest to show myself "in process" without necessarily showing the final product. Giving musicians an unfinished score opens their mind to possibilities and feedback, which is what I'm looking for. So below are an excerpt of arrangements, compositions, and projects, that I've worked on at one point in time or another. There is a lot of music that is not stored on Finale, so I will only post a selection from pieces that I have notated on some level on Finale.
To access this music, right click on the title hyperlink, click "save as", and have fun watching it in Finale.
Songs (voice and piano)
"Craziness"
I wrote this in August 2006 trying to reflect on the nature of falling instantly for someone. On the one hand, from a logical perspective, the idea is ridiculous, at best. To really care for someone, my mind believes there would have to be invested time. However, twice in my life I've found exceptions to this. My mind knows it's crazy, but I could not help but feel the way I did, and one late evening upon saying goodbye later, this song was drafted in a night. There is no piano part written out, but there should be some generalized chords.
Moving On (tentative)
Moving On (PDF)
My most recent new composition, written in October 2006. I think the lyrics speak for themselves. The piano accompaniment is not well notated, which is a problem I have when writing, mostly because I feel musicians should have the liberty to change/create music as they see fit. Almost all of my piano accompaniments are ad lib, and are only guidelines to a piece. I also created a PDF version of this as an experiment. I am ultimately going to turn all of my finale pieces (and some of my handwritten works) into PDF files for easier access.
Decisions Synopsis
"Please", from Decisions
Back in Spring 2004, I began to write a musical called Decisions (a brief synopsis that is slightly outdated) based on the idea of having to make big choices without really knowing what the future holds. I've put the musical on hold at various points, and am currently working on the libretto for the 2nd act, notating and orchestrating the songs I have sketches for. "Please" was not initally part of Decisions, but after writing it in May 2005, it seemed to fit well with the progression of story line.
"Wonderful You", from Decisions
Another song from Decisions written in Spring 04. I really like this song, on a personal note, even if the melody and harmonic structure is fairly simplistic. Keep in mind the piano part is just a rough structure of harmony, in essence, I'm in the middle of scoring this for a pit.
"Soliloquy" for Solo Piano
A short rendition of a longer piano piece "Soliloquy" that was notated on Finale for a school related composition project. Feeling a bit nostalgic, I was really influenced by Mahler's use of the two half diminished seventh chord in the most gorgeous movement in Mahler 5. Again, I'm a terrible notator, and there were time constraints. The actual piece as it stands fluctuates from tonality a slight bit, increasing in dissonance and thicker orchestration, with the recapitulation being a shadow of the main theme.
"Sonata No. 1 in D Major" for Solo Piano
My first attempt at classical Sonata form. I think the melody in this is very cute (I also love the pedal I-IV64-V) so I thought I'd have some fun and post this. This was premiered by me in a class recital in Spring 04.
"Hope" from Dreams and Perceptions for Flute and Piano
Originally written as "Rhapsody for Flute and Piano" in Spring 2003, this piece was premiered in October 2003 by Lindsey Keay, flute, and Geneva Fung, piano. This has a lot of personal meaning to me and reflected a situation that I thought held potential for greatness. There is a subtle story that is told between two lovers which includes separation, nostalgia, and ultimately happiness. Due to some personal circumstances, I ultimately decided it would serve better (and more true) as the final movement to a larger work Dreams and Perceptions, a reflection on human perception. Ultimately each movement will utilize common motives in different ways, trying to create an atmosphere of perception. The idea is ultimately the same truth exists, but each movement is a depiction of perception. In my young and foolish nature, I created a story that was nothing more than a perception, which ultimately led to the change in purpose.
"A Bittersweet Thought" for Flute and Cello
A school project written in Fall 2004. This piece is for flute and cello. There are a lot of modifications I need to do but have not started on. Some of the flute runs are akward (at best), and I need to readdress some double stops on the cello. Overall, though, I really like the way motivic structure is dealt with in this piece.
"Betrayal!" for 2 Horns and Piano
A fun piece I wrote for a project (also Fall 04) for 2 horns and piano. Don't let the Finale recording fool you; tempo is much more flexible (slower, even), especially in the sixteenth notes in the horns. Listen for the two main themes, initially horns and piano, and at a restatement, the 2nd hornist "betrays" the first in favor of the 2nd theme. It's a cute piece, although the performance of it did not turn out so well. Let this be a reminder that as a composer, your performers MUST show up to rehearsal, or you're fucked. It was premiered in Fall 2004 by Christopher Fortenberry, horn, Chester Slimp, horn, and myself, piano.
"Prologue for Something" for String Quartet
Just some fun randomosity. It was an excercise with meter, and I thought it would serve well as a quartet. Ultimately, I think I'd like to write more movements and make it one fun and light hearted work, but I have no plans on starting that yet.
Elegy for String Orchestra
Originally written in Fall 2002, I wrote this about my grandfather who had been sick for some time. I saw the loneliness of my grandmother, my mother, and I wanted nothing more than to be able to take the pain away. It seemed their nostalgia molded into this work. I've gone back and begun to reorchestrate the work; I think when I was 17 (when I wrote this) I felt the need to write thick and full all of the time. If you saw the original score, then you probably laugh at my orchestrational concepts. I've started to thin it out, but you will notice when it becomes thicker. All in all, it is a beautiful piece that has much influence from Larry Daehn's With Quiet Courage with just a hint of Elgar.
"Imperfect Balance" for String Orchestra
Written for the Central High School Symphony Orchestra for premiere in Spring 2003. This began as a fun excercise in rythymn until it gathered more form into a work of its own. The title gives a great explanation of the work's concept, spontaneity, an unsettled nature, eclectic atmospheres. The principal meter of the work is 7/8, which also adds to the feeling of imperfect balance. In Fall 2005 I went back and added another section (the pizz. section with viola and violin soloists) for character, and thinned some of the texture out (see notes on my Elegy).
"Curly Q"
This piece was written by the Brothers Always Living And Loving Sinfonia (B.A.L.L.S.) probationary membership candidates in spring 2004. It's an interesting combination of a jazz feel and some interesting modal sounds. I posted this to the website on the sole basis that it's different and the sound is really interesting. The piece was premiered at the Alpha Iota Probationary Membership Spring 04 Recital.
A Hero's Suite (unfinished) for Orchestra
Prelude
In spring/summer 04, I fell in love with the concept of a code hero. The idea fascinated me, and I felt compelled to write a master work filled with triumph and anguish and destiny. Unfortunately, I was only 18 at the time. What exist are sketches of 3 of 5 movements, the first of which is the Prelude. I've done various touch-ups from time to time, but this work remains largely unfinished. It is on my future list of projects when I have a better grasp on writing more beautifully for the Orchestra.
War
This was another section that was initally started from A Hero's Suite. I currently am debating on whether or not to ultimately scratch what I've written and begin fresh on this movement or to work within the existing parameters I set.
Victory Overture
Victory Overture (reorchestrated, incomplete)
Victory Overture is the finale to A Hero's Suite. The first few moments depict a "calm after the storm", followed by a very fast theme to signify triumph and accomplishment. As the work progresses, there is a reflection on that which will never be the same again, and a few moments of nostalgia. Always looking ahead though, the piece is intended to finish with a vibrant flourish. This is a perfect example of a student orchestrating for an orchestra for the first time. It's rough, poor, even, and while there are so many ideas present, from an orchestrational perspective it's awful. But, again, I intend on reorchestrating it at a later point in time. I believe after eading Korsakov's treatise on Orchestration that I began to reorchestrate (the 2nd file available) Victory Overture, but it's far from done, and there are some mistakes there as well.
"Gloria" from Mass of St. Margaret
This was probably the first composition of mine to ever be put onto computer notation. When I was director of music at St. Margaret of Scotland Catholic Church, I composed this mass setting for a Christmas Celebration at Midnight Mass. The following arrangements were written with that in mind. I believe this was written in Spring 2000, but was actually notated and orchestrated in Winter 2001 where it received its premiere performance with Soprano Soloist Rebecca Wittenborn. Below are three other arrangements which were written for the occasion. The Night of Silence/Silence Night interlude is specifically designed to transition from one song to the next.
"Joy To The World"
"Angels We Have Heard on High"
"Night of Silence/Silent Night"
Marching Band Arrangements
"Zelda Main Theme"
"All Right Now"
"CHS School Song"
"Super Mario Bros."
"March Grandioso"