An Air Travel Journey combines the two areas of music and aviation. The composition aims to musically illustrate the different stages of a commercial flight (pre-takeoff taxiing, takeoff, cruise, landing, post-landing taxiing). In the “pre-takeoff” taxiing stage of the piece, the various pauses heard represent the constant stopping that occurs when an aircraft is taxiing on a runway. The music in this stage contains a relaxed and lyrical tone. In the transitions to “takeoff”, the tempo of the piece increases along with the volume to illustrate the increase in motion of a flight during this time. However, afterwards, in the transition to the “cruise” section, the music slows back down again to match the decrease in action that would happen on a flight when moving from takeoff to the ascent to cruise altitude. The cruise portion of the flight is the most relaxing portion. As such, the music heard in the composition has a soft and relaxing tone. Motivic ideas appear across different instruments. When transition from the “cruise” to the landing section, the tempo slows down like how an aircraft slows down when descending for landing. The tone of the piece becomes livelier during the composition. The “landing” section is the climax of the composition. The volume is loud, and a unison brass melody is heard followed by a chord spread throughout the ensemble. Finally, in the “post landing taxiing” section, the volume immediately becomes softer and contains pauses resembling the beginning of the composition. The work ends on a soft chord to illustrate the end of the flight.

No description available.

No description available.

A three movement work for wind ensemble and soprano soloist.

ABSTRACT Rashomon, a composition for wind ensemble, portrays a musical eventthe simple motion of rise and fallfrom three different perspectives, each assigned to one of the three movements. The underlying form, the basic gestural content, pitch material and instrumentation remain the same in the three movements. Each movement consists of five sections: an introduction, a statement of melodic material, a trumpet statement of melodic material, an ascent to the highest point and a resolution. Rashomon has four main gestural components: compression/expansion, rise/fall, interruption or interjection and the stasis of sustain or residue. The gestural material develops gradually from the start of Rashomon I, where these ideas are introduced, through to the end of Rashomon III. Pitch movement in wind ensemble works structured for advanced secondary school or university wind ensembles needs to be sensitive to the difficulties inherent in the ensembles unfamiliarity with atonal patterns. Many instrumentalists at this level find that an increase in dissonance complicates their intonation and large intervallic leaps stretch their technical abilities. The pitch content of Rashomon takes these possible restrictions into consideration in order facilitate a quality performance while maintaining the pitch organization of a modernist work. The use of simple gestural components, perceptual similarity of form, combined with a driving and aggressive nature, aids in the accessibility of the work for the wind ensemble and its audience.

Composition for wind ensemble.

Florentiner "Grand march italiana" op.214 / Julius Fucik -- Overture to Colas Breugnon / Dmitri Kabalevsky -- Second suite in F for Military Band / Gustav Holst -- Lauds (Praise high day) / Ron Nelson. / text

Lecture: "Re-implementing the bass tuba in wind ensemble literature" -- Hungarian march / Hector Berlioz -- Concerto for bass tuba / Ralph Vaughan Williams -- Toccata Marziale / Vaughan Williams -- Lincolnshire posy / Percy Grainger -- Symphony no.19, op.46 / Nikolai Miaskovsky -- Symphony in B-flat / Paul Hindemith. / text

No description available.

abstract: Delirium is a piece for large wind ensemble that synthesizes compositional techniques to generate unique juxtapositions of contrasting musical elements. The piece is about 8:30 long and uses the full complement of winds, brass, and percussion. Although the composition begins tonally, chromatic alterations gradually shift the melodic content outside of the tonal center. In addition to changes in the melody, octatonic, chromatic, and synthetic scales and quartal and quintal harmonies are progressively introduced throughout the piece to add color and create dissonance. Delirium contains four primary sections that are all related by chromatic mediant. The subdivisions of the first part create abrupt transitions between contrasting material, evocative of the symptoms of delirium. As each sub-section progresses, the A minor tonality of the opening gradually gives way to increased chromaticism and dissonance. The next area transitions to C minor and begins to feature octatonic scales, secundal harmonies, and chromatic flourishes more prominently. The full sound of the ensemble then drops to solo instruments in the third section, now in G# minor, where the elements of the previous section are built upon with the addition of synthetic scales and quartal harmonies. The last division, before the recapitulation of the opening material, provides a drastic change in atmosphere as the chromatic elements from before are removed and the tense sound of the quartal harmonies are replaced with quintal sonorities and a more tonal melody. The tonality of this final section is used to return to the opening material. After an incomplete recapitulation, the descending motive that is used throughout the piece, which can be found in measure 61 in the flutes, is inverted and layered by minor 3rds. This inverted figure builds to the same sonority found in measure138, before ending on an F# chord, a minor third away from the A minor tonal center of the opening and where the piece seems like it should end. / Dissertation/Thesis / Midi-generated audio recording / M.M. Music 2011