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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12 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).

  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

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