7. My Compositions

Works for Wind Ensembles and Band

Adagio for Winds and Organ (2004)

Scherzo for Woodwinds (2005)

Fanfare for Brass and Organ (2005)

Black Mass (2006)

Symphony (1) for Double Reeds (2006)

Omnia Exeunt in Mysterium (2015)

Orchestral

Andante Pastoral (2002)

Adagio for Strings (2002/2003)

The Epic of Gilgamesh (2003)

Hy Brasil (2006)

Concerti

Chaconne for Baritone Saxophone and Strings (2003)

Romance for Bass Saxophone and Strings (2003/4)

Romance for Bass Oboe and Strings (2003/4)

Concerto for Oboe and Orchestra (2005)

Variations on an English Folk Song for Bassoon and Chamber Orchestra (2005)

Concerto for Contrabassoon and Orchestra (2005/2006)

Osiris: Lord of the Duat for Solo Tenor Bassoon and Orchestra (2006)

Concerto for Bassoon and Orchestra (2008)

 Chamber Works

March for solo Piano (2002)

Prelude and Fugue for Four Trombones (2003)

Allegro Ritmico for solo Piano (2003)

Piano Trio (2003)

Der Totentanz: Symphonic poem for woodwinds based on a poem by Goethe. (2003, rev. 2011)

Octet for Double Reeds (2006)

Sextet for Sarrusophones (2006)

Short, Happy Piece for Oboe and Cello (2006)

Forest Scenes for Tenor Bassoon and Three Marimbas (2006)

Song for Bassoon and Piano (2007)

Quintet for Winds (2007)

Sonatina for Oboe and Piano (2008)

Sonatina for Sopranino Saxophone and Piano (2016) (arrangement of Sonatina for Oboe and Piano)

Lament for Alto Clarinet and Marimba (2016)

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14 thoughts on “7. My Compositions

  1. Mark

    I have a question. If I have 83 parts, and it is all too big to fit on one sheet, should I put make different scores for different conductors, like one conductor for percussion, or one for brass, or should I put all flutes in one staff, and transpose the parts later?

      1. I can’t see the score, so I can’t make a judgement call on it. Looking at the instrument line-up, I do have some questions.
        1. Do you need such a large ensemble? Short pieces usually can’t justify huge ensembles. Look at the mega works out there, and they’re all well over an hour in length.
        2. Are the 17 percussion parts played by 17 percussionists? Can they be written more efficiently for fewer players?
        3. For the score, the fewer staves the better. When writing out the parts, have individual instrument parts, but grouping 2-3 C Flutes together on one staff is fine – IF it’s readable.
        4. If there is one conductor, everything must be in that score.
        5. (I was able to open the score finally). It really doesn’t look like you need that huge of an ensemble. The more you mass instruments together, the muddier the sound will become. If you want to write a mega piece, go study the second movement of Mahler’s 8th. It’s 50 minutes of chamber music for 500 performers. Delicate textures, solos, quite passages where each instrument can be heard. Don’t score for an instrument just to have it there – make sure there is a justifiable reason for that person to show up.
        6. Altoon isn’t a word. (And bassoons go under the saxophones in an orchestral score).

    1. You need to write as if for 11x 7 sheet of paper and enlarge the score as you write. When it comes to printing —change this 11x 14 sheet. Are you writing say flutes, Clarinets I and II on the same cleft or separate clefs? You may print out your orchestra score (if it fits) on 11×7 sheets for the full conductor’s score. For long winded works like a symphony of an hour long—players would appreciate a 11 x 14 prinr out on soft white non-glaring paper that they can read at a distance of some 2-3 feet. This is because they do not have to stop playing and turn pages too often. Today there are electronic scores that are read from a screen. There are not in universal use but they sure make printing parts easier.

      Unless you have a lot of counterpoint going on with one part –just write them both on the same clef—this saves headaches money and trees.. Now the damn Association of Orchestra Librarians will tell you to put all those 87 parts separately and that is because these people never wrote a bit of music and think they know more about your score then you do. These librarians seem to think that players and composers are stupid folks who do not know that a single trumpet cannot play two notes at same time. Woodwiind and Brass players understand that they cannot play two notes at the same time so the top not is taken by the first player and the note below it is taken by the second etc player.

      Now for percussion: generally speaking: each instrument gets a one line that has indefinite pitch..(using a staff for indefinite pitched instruments is a waste of ink and paper space). Each definite pitched instruments gets the number of 5 line staves appropriate for it. Thus Piano and Harpsichord gets two, Xylophone gets one: Organ gets 3 (two manual and one pedal but in very complicated music this can expand to 4) , Carillon gets two but sometimes where the lower bells weigh tons –a pedal stave is added. and should be regularly added as to play this instrument the pedal plays notes the fists cannot say in a chord c-f-a the fists could play this as c-a or and the pedal f. or the pedal could play the c leaving the f-a to the batons (keys) . basically leave this choice to the player unless you are seeking a particular sound quality. If you just have one bell —write it on a single staff unless it is say an iron bell of no specified pitch. Carillon batons are usually 48 batons (‘keys) with an equal number of pedals that are connected to the manual batons. Pedal batons may cut off in number at 32 in most modern instruments. The modern Carillon is non-transposing but older ones are headaches to play as they are often transposing instruments. I would not worry about this too much because the player would know if their instrument is a 12 century one of a 20-21st century one.

      Now when it comes to strings.—-write your Violin parts on separate staves
      Remember that Horns are illogically written as I and III and II and IV. on two separate staves. The exception is that if you have are writing for a Violin Solo as in a Concerto —that requires a separate staff for the solo instrument except if it just occurs within a score that has a short segment of a violin solo—you then notate that this is Violin solo. I generally write my scores in logical order which would make folks like Bach roll over in their graves. I follow normal order except I have trumpets above horns and solo parts as in a concerto in which the orchestra is accompaniment—at the top.; Thus in an Opera score—voices are at the top of the score instead of mixed in with Brass. Organ parts ( this is real a real organ –not those electronic toasters) go under woodwinds because they are a woodwind instrument. Now I know some old fuddy duddies will laugh at this (they are the ones who use alto, tenor, bass, and soprano clefts) but things of the past that make writing for orchestra and groups difficult need to change and made easier and logical.

      Please have mercy on the conductor—or pretend conductors who think that they have to have to have piano reduction since they cannot read an orchestra score.

  2. Mark

    To answer your first question is, yes I am planning on making that work MUCH longer. I have yet to decide about the percussion players. Thanks for the feedback, I will be sure to change some things. I LOVE your blog, and how it promotes recorders. (If you hadn’t guessed, I play alto, soprano, and sopranino recorder, and have started my own consort)
    🙂

  3. Mark

    You got me thinking……. Quena, and flute embouchure is the same, and recorder and ocarina are slightly similar. So it night make sense to have flutes double on quenas, and recorders double on ocarinas.

    1. If it’s just one section, have instruments like that as a double, probably for the recorders. Tell you what, if you can find me on Facebook, we can chat easier there via the messenger.

  4. Wendel

    I am so much happy to see that there are more orchestration megalomaniacs like me!
    I am working in 3 great symphonies, 2 of them are based on the bilble, the biblical symphonies.
    My 1st Symphony is based on the history of the crucifixion of Christ, The 2nd symphony is to be an history of love, the most romantic of all my works, and the 3rd Symphony is the Apocalypse book, my largest work, with an orchestra with 240 players!
    The 1st and 3rd have great choruses, the first is like the chorus of the gothic symphony by Havergal Brian, 4 large adult choruses and the soloists, and the third, i also want to revigorate the choir, putting a section of mezzo soprano and baritone, and the completly three choruses of six voices, and the children’s choir, and the soloists.
    We have so much to share

  5. frederick hill

    Do you have a prospect of a performance? H.B. had to wait 42 years for the premiere of his Gothic Symphony, when he was 85..

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