The Serenade for Viola and Orchestra is a one-movement composition of three connecting sections with two main themes of contrasting character. The "relatedness" of the sections does not depend on common thematic material, but rather on a system whereby motives evolve out of the thematic material and from elements in preceding sections. The sonorous timbre of the viola is exploited and becomes the central tessitura for the piece. The title is representative of the lyrical nature of the composition as a whole, especially the first and third section.

The composition is in four movements and requires approximately fifteen minutes for performance. Characteristic features of the work include fugal imitation, modified arch form, sound mass and special brass effects, and quintal harmony in each movement, respectively. The purpose of the composition is to expand literature for brass choir and prepared tape.

The compositional goals strived for in this work are (1) to unify the past and present, (2) to present a rhythmically simple but harmonically complex use of the voices, (3) to explore the timbral complexities of voices and instruments, (4) to explore rhythmic changes without changing meters, (5) to integrate the orchestra and chorus so as to produce one musical entity rather than two opposing groups, (6) to produce a work that is both practicable in performance and contemporary in spirit.

Te Deum is a concert work for orchestra (woodwinds in pairs plus contrabassoon, four horns, two trumpets, two trombones, tuba, percussion, and strings) and a large mixed chorus. The text is derived from The Book of Common Prayer of the Church of England. In the interest of intelligibility, the text setting is mostly syllabic. The single through-composed movement, lasting about eleven minutes, is divided into three principal sections. Section two contains the primary climax of the work. The basic musical material of the piece is a set of motives which are altered and combined in various ways.

Three Movements for Orchestra is an electric work which utilizes many compositional devices such as isorhythm, serialism, cantus firmus, Klangfarbenmelodie, thematic transformation and development, mixed meters, and counterpoint. The contrapuntal emphasis can be easily seen in the first and third movements' resemblance to the passacaglia and fugue, respectively. The second movement combines elements of the outer movements and functions as a rather large interlude or transition between them. The total duration is approximately fifteen minutes.

A Psalm Fantasy is a cantata in three movements for mezzo-soprano or baritone soloist, chorus of mixed voices and orchestra. The orchestra comprises two flutes, oboe, English horn, two clarinets in B-flat, bass clarinet, two bassoons, four horns in F, three trumpets in B-flat, three trombones, tuba, timpani, cymbals, xylophone, harp and strings.

Gilgamesh is a dramatic solo for contralto. An unusual feature of this project is the composition of two separate and distinct versions of the instrumental accompaniment. One version is for a large concert band with an expanded percussion section and is almost fourteen minutes in length. The other version is for a small ensemble consisting of piano, percussion (xylophone, 4 tom-toms and miscellaneous instruments) and prepared tape. It is eleven minutes in length.

The Canticles of Solomon , a musical drama written for tenor, mezzo soprano, chamber orchestra, and full chorus, is a three movement piece, 25 minutes in length. It is intended for performance without scenery, costume, or action. The fundamental element is text. The source text is The Song of Solomon from the Ryrie Study Bible. The text is cross referenced and used in the formal structure of the work. Each time a cross-referenced entry of text is reached, the melodic theme or rhythmic motive is found according to the appropriate theme category in which the specific text is placed. There are twelve theme categories. The melodic themes have differing levels of tonality. The formal structure is cyclically through-composed.

Concerto for Piano and Orchestra is a three-movement composition by Dan Beaty.

The objective of this composition was to provide a piece for concert band in a large form with the ultimate aim of submitting the number for publication for performance by a college, or good high school band, with the additional hope this number might eventually be included on a high school band contest list. With the thought of publication in mind, it was necessary to cross-cue certain parts and limit the technical scope of the composition.