No instrument groups have as much personality than do the woodwinds. Each member: flutes, oboes, clarinets and bassoons create sound by resonating the volume of air within them in a unique way. Woodwind Quintet 2 exploits these instruments’ brilliance and articulate versatility within a unique set of parameters for each of four movements. The first movement, “Nostalgia”, mutates harmony with alternate fingerings. “Alone”, stacks up 7th intervals to support the

can I evoke a specific feeling? Is one of the prime purposes of instrumental music to create emotions and feelings? I think so. This suite of “feelings” for ten strings was a self-challenge to see if I could invoke specific, nuanced feelings. I constructed a method by which the audience could tell me what they were feeling during the performance. Based on the data collected during the performance, the majority of my audience


Feb 2015

Two Edged Sword

Two Edged Sword is a 6 minute 20 second single movement piece for Brass Quintet and Trap Set composed between July 31st and September 10th, 2014 for the Sovereign Brass ensemble. It was premiered on November 9th by the Sovereign Brass at the Trinity Preparatory School in Winter Park Florida which was followed by three more performances: Florida State University in Tampa, FL (11/10), Full Sail University in Winter Park,

Why not combine banjo, turntables, winds, voices, vibes and a percussion section for an animation project? Notes by the composer In 2005, I was approached by some colleagues in the Animation department at Full Sail to contribute comedic music for an animation that was being produced for our monthly Behind the Scenes open houses. The production title of the piece was called “Still Frames”. I composed the 1 min 40

How closely can a musician delay a copy of the same melody behind the original? A bright shadow is created, when it’s piano and alto sax. Notes from the Composer Bright Shadow for Alto Saxophone and Piano is a revision of previous work titled “Happy Crazy” that was originally scored for Keith Koons, clarinet, and piano in the late ’90s. This revision met the need for simplification and a more strongly distilled brew of

  On May 12th, my song “the still unborn about the dead”, one of the “5 Stanescu Songs”, received its best ever performance in 20 years by Julie Batman (soprano), Rimma Bergeron-Langlois (1st violin), Alexander Stevens (2nd violin), Mauricio Céspedes (viola), David Bjella (cello) and Jamila Tekali (piano). I am indebted to these musicians for the huge amount of work they put into giving this music life. This is the first time

  Kevin Strang, the creator of central Florida’s best clarinet quartet, “The Sunshine Quartet”, received word that they will be traveling to Assissi, Italy to give performances of three new works, one of them being my recent “Studies in Flowing Meter“. The event is the annual International Clarinet Convention, July 24th through 28th. Their performance will occur at the Sala Delle Volte at noon, Friday July 26th. The Sunshine Quartet

Music for small (Chamber) groups more easily affords experiments with audience perception and new techniques. 'Move' (1987 combined electronic music on tape with 8 voices, Starboy is an opera with a purely surround-electronic score, "When Leaders Stop Listening" combined a brass trio with live mimes, "Bright Shadow" explored extreme stretto, "feelings" displayed the audiences' emotions during performance (using smartphones). The piece first featured here is called "Equilateral", which explored an ever-changing tempo Keith calls "Flowing Meter" :

Ask the Circle to Forgive You. As a graduate student in the mid-80s at the University of Akron College of Music, I met an adjunct professor of poetry, Mark Irwin, through my twin brother Kevin, who was taking one of his classes. I had never heard of the Romanian poet Nichita Stanescu (1964-1979) and Mark’s book, “Ask the Circle to Forgive You” (New York: Globe Press, 1984.) meant a great