Project Type: Chamber Ensemble

Sonatine for Flute and Piano

Instrumentation:  Flute and Piano

Duration:  ca. 12:30

Program Note:

While I often write works in sonata form, this piece makes a considerable departure from some of the form’s traditional conventions.  The material is developed from five central themes which are liberally shared among the work’s three sections.  Additionally, the work systematically explores many of the key areas related to the tonic by thirds (bIII, biii, iii, #iv, bVI, VI, vi, as well as bVIII, bII, bii, and other distantly related keys).

Continue reading “Sonatine for Flute and Piano”

Euphonics

Instrumentation:  String Quartet

Duration:  ca. 12:30

Movements:

I. Moderato
II. Allegro

Program Note:

The harmonic language for this piece emerged as I discovered the concept of “hexatonic cycles” while reading Richard Cohn’s book, Audacious Euphony.  These hexatonic cycles are collections of regular triads that are able to seamlessly morph into one another while defying traditional diatonic harmony.  I explore this concept of voice-leading in the second movement, while the first movement features contrapuntal and chorale-style writing.

Premiere:  November 13, 2016; Spokane, WA.

Complex Numbers

Instrumentation:  Flute, Tenor Sax, F Horn, B-flat Trumpet, Trombone, Violin, Cello, Piano, Electric Guitar, Bass Guitar, Drum Set

Duration:  ca. 7:00

Program Note:

Complex Numbers was the first work I composed for a large ensemble, and it represents my compositional development through high school.  The piece is written in a variation of sonata form and it is loosely inspired by mathematical concepts.

 Premiere: May 2014

Prelude and Double Fugue

Instrumentation:  Piano Trio  (Violin, Cello, Piano)

Duration:  ca. 7:30

Program Note:

Like much of my recent work, this trio began as a two-part invention. As the piece developed, I felt that the primary motive might be best heard in a fugal setting with a contrasting theme. The double fugue of Alan Hovhaness’ Symphony No. 2, Op. 132 came to mind, and I adapted the work to a similar fugue-setting, adding the violin and cello to introduce timbral variety.

As the fugue reached completion, I felt that it deserved a “traditional” accompanying prelude. This first movement opens with a flickering piano texture that supports the violin’s flexible melodic line. The prelude briefly foreshadows the first theme of the double fugue in a canon treatment before ending with a repeat of the opening material.

Premiere:  November 13, 2016; Spokane, WA.

Awards:  Collegiate winner of the WSMTA Young Composers Project.  Performance scheduled for the 2017 WSMTA Conference in Shoreline, Washington.