with Piano

This piece was not written specifically in response to either the poem by Maya Angelou or that by Paul Dunbar that both refer to “the caged bird”. However, there is no doubt that both poems have inspired my own further exploration and now musical extrapolation on the subject of being “caged” and of still “singing” in spite of this. With all due respect and admiration for Ms. Angelou and Mr. Dunbar, I have attempted here in my own concept of “cagedness” to include, beyond  racial references, also those issues that include gender, sexuality, economic status, medical/physical problems and any number of other situations that create restrictive and even imprisoning boundaries from which we and all others struggle to break free and find fully human, creative and even spiritual expression within ourselves. Even within the many bonds and restrictive boundaries that we often find ourselves, it still seems to be a fundamental part of our Nature as both human and Spiritual beings that we cannot help but “sing” in both joy and praise both from ourselves and to our own Creator despite the sometimes, even apparently insurmountable obstacles we encounter. For me, this piece is not so much an exploration as to “why the caged bird sings” as it is simply a commenting, even with some measure of wonderment, on its remarkable inevitability.

with Piano; Commissioned by the International Women's Brass Conference, 2014; Playable on Trombone or Euphonium.  Bass clef and treble clef solo parts provided.

2017 The Leonard Falcone International Euphonium and Tuba Festival Competition Music

Video perfromance by Austin Seybert.

These colorful unaccompanied musical scenes from the city are excellent study and recital pieces.The 7 short movements depict the composer's experiences during a visit to New York City. The movements are Another Sunrise, Off to a Busy Day, The Lost Key Episode, The Waitin' in Line Blues, Romantic Interlude, Sudden Storm, and Out on the Town. "Tonal, charming and imaginative! The low purchase price and the incisive approach of a skilled composer make this a piece worth seeking out.”- PMEA News

For Bassoon, Trombone or Euphonium.

A Prayer and Wings was composed in late fall 2008 after a trip to the outer banks of North Carolina and a visit to the Wright Brothers monument in Kitty Hawk. Seeing the memorial drew me to think of those first pioneers of flight, and the fear that they must have had to overcome to attempt to soar toward the horizon.

The first movement, Canto, is a prayer for the airmen, lead by the cantor. It should be performed facing the open piano (full stick) with the bell pointed at the strings. The cantor sings the prayer and then the congregation replies. In this instance, the congregation is not only the more complex rhythms, symbolizing the inaccurate entrances of many people, but also the echo created by the passive piano. The performer may improvise some of the rhythms to create even more echo. The second movement, Wings, is the actual flight, and should be performed facing the audience. The eighth notes are the wind that was the catalyst. Midway through the flight, the airmen begins to recite the prayer to himself (passive piano engaged) and a very slight echo is heard in the distance. Gradually the plane descends back to the ground and mans first flight has occurred. For the pianist, Ped. signifies depressing the sustain pedal, * denotes releasing the pedal. Learn More