The six Pieces for Orchestra are short twelve-tone compositions . Each piece is an individual entity in itself, but they all stem from the same twelve-tone row. The method of composition with twelve tones evolved through the works of Arnold Schoenberg (1874-1951). It was utilized by his disciples and has won general acceptance by a wide variety of composers.

Nyiragongo is a composition for large orchestra. The title is taken from Mount Nyiragongo, an active volcano in the Virunga Mountains of east central Africa. The composition is in one movement and the performance time is approximately eight to nine minutes.

The composition is for large chorus, soloists and orchestra. It is in six movements and of about thirty minutes duration. The work is illustrative of texts from the Bible, " Pied Beauty by Gerard Manley Hopkins, and an early nineteenth century hymn by William More. The tonal resources used are based on diatonicism, altered and extended, with occasional use of the dodecaphonic technique as a device for melodic invention. The rhythmic resources are metered and unmetered. Traditional choral writing and devices of more recent origin are used in the composition of the vocal passages. The work is of moderate difficulty, and suggests departures from traditional choral concert programming. A commentary, instrument chart, and performance instructions precede the music. The commentary explains the general character of the work, the utilization of the text, and the techniques of composition. In addition, it presents a comparison of the movements.

Fleogan is a work for a flute choir consisting of four piccolos, six C flutes, six alto flutes, and four bass flutes. The formal structure of Fleogan consists of three levels of arch form. First is the arch structure of the work in its entirety; next is the arch form within a movement, and on the smallest scale is the form within a tempo-section.

Synphony Number Two is a composition in four movements for symphonic band requiring approximately nineteen minutes for performance. An unusual feature of this symphony is the vertical juxtaposition of movements two and three. Movement three begins thirty seconds after the beginning of the second movement, and the two movements finish together. Each uses different sections of the band, and two conductors are required.

The title is intended to suggest that the work expresses the composer's innermost thoughts and feelings, even though these thoughts and feelings have no concrete realizations or programmatic connotations. It is precisely because of their abstractness that the thoughts and feelings are expressed in music rather than in words or some other concrete mode of communication. The total performance time is approximately twenty minute. The individual movements last about ten, four and one-half and five and one-half minutes, respectively.

The first movement is an introductory movement introducing thematic material used in the entire piece. The second movement contrasts the first by incorporating real time throughout the majority of the movement. The third movement is a composite or summary of material presented in the previous two movements.

Makropterosuus, a single movement composition for full orchestra, is approximately sixteen minutes in duration. The work is scored for piccolo, two flutes, two oboes, two clarinets in B-flat, two tenor trombones, bass trombone, tuba, percussion, and strings. The composition of Makropterosuus involved the development of specialized computational procedures for the generation of melodic and rhythmic data.

Like the trumpet concertos of Haydra and Hummel, the present concerto for trumpet and orchestra is set in the classical plan of three movements: fast, slow, and fast. The total duration is approximately twenty minutes. The instrumentation of the orchestra, reveals an ensemble of moderate proportions.

It's All in the Cards is an instrumental chamber work consisting of three movements for ten percussionists encircling the audience. The total duration of the piece is approximately thirteen minutes. Much of the rhythmic and melodic material, as well as the form, was determined by shuffling and dealing a standard deck of fifty-two cards. Other computational procedures have been used to achieve the effect of sound moving from one spatial location to another, an effect on which must be regarded as an essential factor in performance of the work.