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| First in a set of Walt Whitman songs. Sung by me (down a tritone and then processing the audio to sound at the correct pitch). |
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| Second in a set of Walt Whitman songs. Sung by me (down a tritone and then processing the audio to sound at the correct pitch). |
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| Short song for baritone and piano. Unfortunately, I don't sing very well, and intonation wanders a bit... |
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| Fourth in a set of Walt Whitman songs. Sung by me (down a tritone and then processing the audio to sound at the correct pitch).
I mess up the words in 2 places totally destroying the sense of the text (the printed text is correct - they aren't gathered around the stove in the summer and the youth is not both seated in the corner AND approaching...) |
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| Just for fun...
Experimenting with my computer...I've recorded all the vocal parts...sounds terrible, but you get the idea. |
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| A short piece for orchestra (sightreading) |
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| Early piece, I wrote as an undergraduate. |
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| Theme and 2 variations based on a theme from a solo recorder sonata by G. P. Telemann. This is an early work which I wrote on December 21, 1983 |
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| Lots of overdubbing...lots of distortion... |
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Credits: It's all me... |
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| A movement from an opera/ballet (this is all I ever wrote). It's a very early work; my first for wind ensemble. |
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| Winds and Wires is a mini piano concerto scored for the piano plus piccolo, oboe, clarinet, bassoon and bass, but it's almost a concerto grosso in some ways; there are a number of bassoon solos, and all of the instruments are featured to some extent. However, the piano does dominate most of the time. |
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| The Isle of the Singing Sands was composed in the early part of 1995. The title was suggested by a paper published by the University of Newcastle upon Tyne in 1964 entitled "MUSICAL SAND: The Singing Sands of the Seashore: Part II". The paper discusses various sands which "...when trodden on in dry weather creak and hum eerily under foot." (Alasdair Alpin MacGregor, Country Life, August 23, 1962) The title was added after the first four or five minutes had already been composed, so its significance is limited to the fact that I liked the phrase and feel it fits the piece (I also liked the fact that the original field work for the paper was done in July of 1962). The ensemble consists of 2 piccolos, 6 flutes, alto flute and bass flute. |
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| Arrangement of the flute choir work for chamber ensemble. |
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| Brief piece for 4 trumpets, 6 horns, 3 trombones and tuba. |
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| A piece for orchestra (sight-reading).
This session was rough (for the orchestra and for me), but I've taken the recording of the rehearsal and pieced together a reasonable facsimile of the piece, sometimes stringing together different takes, sometimes mixing them. |
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| Midi representation of Act III, scene i: Dance of Spencer's men - Edward executes those found guilty of Gaveston's murder - Spencer's power over the king grows - (1325) Isabella, Mortimer, and Kent join forces in France |
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| Midi representation of Act III, scene ii:
(1326) Isabella and Mortimer return to England with an army - Kent regrets his betrayal of Edward - Edward and Spencer flee but are captured - Spencer is executed - Isabella and Mortimer rejoice - Edward gives up his crown. |
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| A midi representation of Act IV of Edward II in which Edward is imprisoned in Berkeley Castle, his son Edward becomes Edward III, and he is cruelly murdered under orders of Roger de Mortimer. |
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Credits: Roland XP-30 |
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