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.

The Sonata for Two Pianos, eighteen in duration, is in the form of a large arch. The arch is constructed by relating the last movement to the second and first movements by borrowing material from these movements. The resulting form is a large ABA comprising the entire composition. The arch is superimposed over a more traditional formal concept of sonata. A sonata-allegro form is distinguishable in the first movement, a fantasia-variations in the second, and a modified sonata-allegro in the final movement.

The first movement material is presented by the ensemble and subsequently developed by the saxophone. A majority of the saxophone passages are supported by the ensemble with unaccompanied solo passages kept to a minimum. The various sections are based more on differences in pitch and rhythm than orchestration and harmony.

New York Cycle consists of the settings of three poems for bass-baritone voice and eight instruments. The poems, each of which serves as the basis for one movement, are "The East River's Charm" by Samuel Bernard Greenberg, "Brooklyn Bridge" by Vladimir Mayakovsky, and "The Skyscraper Loves Night" by Carl Sandberg. The instrumentation employed consists of two French horns, vibraphone, timpani, and string quartet.

Concertino for Orchestra is a one-movement composition of rhapsodic character. The treatment of form and orchestration resembles that of the first movement of a concerto. The piece is in modified sonata form, containing two exposition-development sections. The orchestration employs a wide range of tonal colors, and has been used extensively in this piece to emphasize textural development. Each group of instruments is used individually in solo style, and yet the orchestral tutti never assumes the secondary role of accompaniment.

Symphony Number Five is a composition in three movements for orchestra. It is characterized by an economy of materials and a clarity of presentation of those materials. Further, the materials are expressed in a simplistic manner which avoids intricate textural content and complex melodic and harmonic structures. The symphony was chosen as a pattern of structure for this composition since it represents a microcosm of the history and development of musical style since 1760.

The Essay for Orchestra combines three contemporary styles of melodic writing into sonata form. The exposition contains three themes. The first theme is a twelve-tone row. Unlike the usual approach to serial writing, the row is used in its original form throughout the piece and is developed by rhythmic alterations. The theme never occurs in its inversion or retrograde. The second theme of the exposition illustrates a chromatic type of melody. The third theme in the exposition is constructed of ascending and descending leaps of perfect fourths interspersed with leaps of thirds and short scale lines. The constant use of this theme throughout the development section provides the composition with a melodic unity.