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Midnight Sounds, which subtitled An Alaskan Portrait, was composed in 2008 after traveling to Alaska. The extraordinary scenery Resurrection Bay and Denali National Park was inspiring. The piece is in four sections: introduction, allegro, moderato and allegro/coda. The opening motive is based on the open fourth and fifth interval. That motive is passed throughout the ensemble and is also altered to create the melody of the allegro. Every vista in Alaska is larger than life, space is abundant everywhere. I’ve tried to capture that space and beauty using the most resonant of all instruments! Learn More

1. Aria from "Martha" - Flotow 2. Abendstaenchen - Mendelssohn
3. Prayer from "Der Freischutz" - von Weber
4. Evening Chorus from "Das Nachtlager in Granada - Kreutzer
5. Hark! Apollo Strikes the Lyre - Bishop
6. My Heart Recommends You - Lasso
7. Rondo - Bishop
8. Quintetto from the Opera "Romeo and Juliet" - Bellini
9. A Policeman's Lot - Sullivan
10. Song from "Lurline" - Diller
11. Chorus from "The Magic Flute" - Mozart

These melodies are meant to encourage the performer to improve:

1. Playing consistently with stability

2. Embouchure (muscle control) set-up

3. Concentration

4. Aural perception (learn placement of 13 notes used in Western music scale)

5. Eye-ear-finger-breath-co-ordination

These melodies are meant to help each person to:

1. Understand that he/she is the instrument from which music evolves

2. Realize how much co-ordination can be achieved or maintained by progressing through

the melodies

3. Re-establish self-confidence after a challenging rehearsal

4. Re-establish the basic overall mental and physical set-up that may have been thrown off

5. Have fun playing, and hear how one would like to sound all the time

These melodies can be played in any order. Remember - the secret to playing beautifully is knowing when not to play! Rest in between melodies.

Melodies are meant to encourage and challenge the player through relaxed and controlled

conditions. While the melodies might look easy, they are meant to be played slowly and under

control (even those that have 16th's and 32nd's). None of the melodies with wide intervals should

be played fast at first. Only when ease of playing has been established with good response should the performer try to play these melodies fast for flexibility purposes. Dynamics are relative.  Play all melodies at the dynamic level that you sound the best and with the best response.

All of these melodies will become more effective after:

1. The player has been informed about a good embouchure set-up

2. The control of breath, fingers, embouchure muscles, mouth cavity and air projection has

taken place

Results:

Good response

Pleasing sound

Improved ensemble performance

Better student/teacher relationship

Increased self-respect

Greater concern for musical expression

More fun in playing