Bass Trombone and Piano

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;

With a background in rock and heavy metal, I figured it was time to write something in an art music setting using similar musical materials. The bass trombone is a great instrument for expressing aggression, and thus fits this style very well. However, there are many moments of lyrical and romantic playing which find their way into this piece. These “happier” elements eventually win out in the end, which is where the title comes from. “Bone to Pick” is essentially a musical narration of the path of an argument.

with Piano

Subtitled "War Games", this Concerto is in four movements:

I. Toy Soldiers

II. Courtship

III. Marriage

IV. Capture the Flag

The Concerto was commissioned by Frank Meredith in honor of Maestro Charles Schneider, 2019

with Piano

Consortium Members

Will Baker, Monterey Symphony

Christopher Bassett, Jacksonville Symphony, Sante Fe Opera

David Bobroff, Iceland Symphony Orchestra

Hakeem Bilal, West Virginia University

Christopher Brown, Clayton State University

Dr. Alan Carr, George Mason University

Jeff Dee, Pittsburgh Symphony Orchestra

Dr. Adam Graham, Hope College

Matthew Guilford, National Symphony Orchestra, University of Maryland School of Music

Spencer Hudson, Boston Freelancer

Dr. Shelby Kifer, University of Tulsa

James Kuzmic, Graduate Employee, University of Oregon

Gerry Pagano, St. Louis Symphony

James A. Martin, Shepherd University

James Markey, Boston Symphony Orchestra

John McGinness, Delaware Symphony Orchestra, Washington Adventist University

Ilan Morgenstern, Vancouver Symphony Orchestra

Kyle Moore, DMA Candidate, University of Georgia

Erik Oleksiak, 399th Army Band

Austin Pancner, The Functional Musician, LLC (lead commissioner and consortium organizer)

Nathan G. Phillips, East Texas Baptist University

Denson Paul Pollard, Metropolitan Opera Orchestra, Jacobs School of Music at Indiana University

André Emmanoel Prouty, Arizona State University

Noah Roper, New World Symphony

Thomas Stark, Elmhurst University, Concordia University Chicago

Nick Sullivan, University of Lethbridge

Trombone or Bass Trombone and Piano

Named to the 2017 ITA Solo and Ensemble Competitions Repertoire