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Collage no.1 (Hungarian) is the result of an interest in appropriation, sampling, and the varied audio plundering prevalent in our culture. The goal was to create a new piece exclusively from Franz Liszt’s Hungarian Rhapsody no.2, juxtaposing motives, realigning harmonies and repeating (or looping) fragments of melodies. The title comes from James Tenney’s Collage no.1 (Blue Suede) and assumes a parallel between Liszt and Elvis.
Belding is a small town in West Michigan. In an effort to create more awareness and appreciation for jazz, the high school's band director (Jonathan Schnicke) instituted a concert series that emulates a coffee house setting for the music. The band takes over the school's cafeteria, decorating it in a coffee shop motif. The art department sets up a display of students' work (often for sale). And a coffee counter—selling brewed coffee, espresso drinks, and various cold beverages—is set up to one side.
Belding is a small town in West Michigan. In an effort to create more awareness and appreciation for jazz, the high school's band director (Jonathan Schnicke) instituted a concert series that emulates a coffee house setting for the music. The band takes over the school's cafeteria, decorating it in a coffee shop motif. The art department sets up a display of students' work (often for sale). And a coffee counter—selling brewed coffee, espresso drinks, and various cold beverages—is set up to one side.
The Beethoven Code was composed for Vox Novus's Orchestra 60x60 project. I took the 60th measure from the first movement of each of Beethoven's symphonies and connected them with passages of trombone music, because Beethoven (and everything, really) can always use more trombone....
This music was inspired by a visit to the Grand Haven Lighthouse one winter.The entire structure was covered by a thick coat of ice, making it both beautiful and ominous. It was at once serene and surreal. I’ll never forget it.
Mob Mentality was composed during the 2004 presidential election campaign. I had grown weary of the level of dialog across the entire political spectrum. The result is this caustic, sarcastic composition.
The final movement of MOVE! is a convoluted swing piece that borrows from Ellington.
The fourth movement of MOVE! is a ballad full of dense harmonies.
The third movement of MOVE! is built around an uneven groove that is inspired by Latin music and Charles Mingus.
The second movement of MOVE! is an arrangement of the spiritual song Steal Away.
