Inspired by the children's story about the gigantic monster, Abiyoyo, and utilizing the West African lullaby of the same name, this piece is seven minutes of funky, electronic funmusic.
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Processional for flute, oboe, and piano. The title (and four notes) come from a beloved Rush song. Makes a dang fine wedding processional (I know from experience)
This might be my most purchased and played work (there really aren't that many duets for trumpet and cello). This piece features an eerie opening movement, a frantic, 12-bar blues-based second movement, and a tuneful, relaxing closing movement.
So, my college has a statue of Marian Anderson in front of its auditorium. When it was installed in 2006, we decided to have an original composition to commemorate the occasion. "Unveiling" is that composition. It doesn't have anything specific to do with Marian Anderson, but Ruth Forman's poem about the joy of striving and creation seemed appropriate--and this work features some lovely opportunities for female voices to shine.
There's this special tuning Keith RIchards uses (called Keef tuning). It's the thing that makes "Brown Sugar" and "Start Me Up" sound so distinctive, but it's not used in classical guitar music...except for tis piece. These three movements explore the application of Keef tuning to classical guitar (the third with a tip of the hat to Led Zepplin's "Black Dog").
These poems explore the life of composer Fanny Mendelssohn-Hensel through a 21st-century reimagining of the Romantic musical language. The work features quotations from a J. S. Bach prelude, one of Hensel's Lieder, and an original piano interlude in the style of Felix Mendelssohn's "Songs Without Words."