Composed for the Choir of St. Joseph Catholic Church, Conway, Arkansas.
This simple Ave Maria sets the original chant melody in the soprano part.
Performed by the Choir of the Cathedral of Saint Andrew, Little Rock, Phil Bordeleau, conductor.

Five Haiku was written for my wife, who requested some short piano pieces with an Asian influence, and using extended techniques. I was also able to include some other interests of mine: birds, and the relation between text and music. Each piece is based on a haiku and two quote birdsong. The characteristic line structure of haiku is reflected in the form of the pieces--seventeen measures divided into three sections, 5+7+5. On a more abstract level, the twelve notes of the chromatic scale are divided into groups of five and seven notes. However, the way they are combined varies from piece to piece. Overall, I tried to compose pieces that are evocative of nature, Eastern as well as Western culture, and are fun to play.

Composed for the Sunaura Trio. The even numbered movements consists of a lively unison melodic line in sixteenth notes followed by three canons. The fourth movement takes the unison line of Movement 2 and renders it as a canon with entrances one sixteenth note apart. In Movements 6 and 8, the canon entrances are two and three sixteenth notes apart, respectively. The effect of these canons at short time intervals is perhaps analogous to viewing an image through beveled glass. Each player has a solo movement--clarinet in Movement 3, oboe in Movement 5, and flute in Movement 7--which is derived from the same basic material, but presented differently. The working out of these differences suggested links to pieces by early 20th Century composers, Berg, Bartok, and Ravel, which are quoted near the end of each movement. The Prelude and Postlude share symmetrically related material.

Commissioned by the Prizm Duo.
The title is taken from St. Paul's first letter to the Corinthians (1 Cor. 13:12): 'For now we see in a mirror dimly, but then face to face. Now I know in part; then I shall understand fully, even as I have been fully understood.' Throughout the work, various pitch and time structures (in both the foreground and background) are used to represent the symmetry of an object and its reflection in a mirror. Musical palindromes and inversionally related pitch materials are obscured by canons, echo effects, dynamics and multiphonics. Thus, some passages are clearly symmetrical while others appear less so. It is hoped that the effect of these formal constructs is this: when one hears them clearly, one does not hear the totality; when one attempts to hear the totality, one does not hear it clearly.

A feature-length film produced by the University of Central Arkansas Department of Digital Filmmaking.
When Danny and Stephanie find out they're pregnant (surprise!), Danny can't stop his own morning sickness. Every mention of the baby sends him running for a bathroom, except when he's on stage. Even though he's the worst comedian in the room, no matter the room, Danny lives to be on the stage. Danny's symptoms only get worse when the impossible occurs- his terrible act starts getting laughs. Fighting a battle between his family and his dream job, Danny chooses both and succeeds at neither.
For more info: http://www.daringlydullproductions.com/uca-feature-films/sympathy-pains/
The music was recorded by the Conway Symphony Orchestra, Israel Getzov, conductor.

A feature-length film produced by the University of Central Arkansas Department of Digital Filmmaking.
"Table at Luigi's" is a modern day fairy tale about David, "Chef" to his friends, who creates "living dreams" for people through his cooking. Chef has created a small, safe world for his friends inside his restaurant "Luigi's" until the night Emily walks in, and Chef begins to realize that the dreams he's been creating have locked him in his own dream world. Can Chef leave the world he's created? Does he even want to?
For more info: http://www.tableatluigis.com/
The music was recorded by the Conway Symphony Orchestra, Israel Getzov, conductor,
and faculty members of the UCA Department of Music.

Commissioned by the Quapaw Quartet with a grant from the Fromm Music Foundation.
Transfiguration depicts a personal revelatory moment, like an encounter with the Divine. The biblical accounts of Jesus' Transfiguration were the impetus for this piece, however it is not a programmatic retelling of the story. Rather, it is a musical expression of a contemplation of the story's meaning.
There are three connected movements: Allegro con brio, Allegro, Largo.

Composed for Andrew Boysen and the University of New Hampshire Wind Ensemble.
Mobile uses aleatoric procedures to musically represent a Calder sculpture. A core ensemble sits on stage, while the rest of the ensemble moves freely around the auditorium playing different segments of music.

Composed for the University of Central Arkansas Wind Ensemble.
Fanfares and Echoes begins with fragmentary fanfare-like material in the trumpets and trombones, which is echoed by other members of the ensemble. After venuring through several tonal centers a lengthier, more melodic fanfare theme is introduced by the horn and euphonium. This is followed by a statement in the trumpets with off-stage trumpet echoes. In the final section, both the opening fanfare material and the longer theme are heard together.