Duet

for Flute and Trumpet; 10 Deuts with recipes from Gerad Gabehart Learn More

Flute and Tuba: I. Tylopilus II. Taris III. Traverse IV. Tartarus Learn More

This is a short piece for Clarinet, ALto Sax and Piano and is perfect for a college recital. It will challenge all three players as well as entertain the audience. Learn More

This is a short piece for Clarinet, Trumpet and Piano and is perfect for a college recital. It will challenge all three players as well as entertain the audience. Learn More

Flute/Piccolo and Tuba Learn More

Flute and Tuba; 3 movements Learn More

Dedicated to tubist Jay Hunsberger. This colorful composition is cast in 3 movements - To Bop or Not to Bop, Sounds from the Cool Smoke, and Hotish. The composer states, “ In Three Jazzicals it was not my aim to create a specific hybrid style by synthesizing jazz and modern classical music; rather, my intent was to systematically strip away the fundamental elements of jazz to explore at what point the music ceases being jazz and becomes classical. The style of Three Jazzicals is the resultant this procedure. It is understood that because the subject of what constitutes jazz (there are so many kinds) is so complex, depending upon the background and views of the listener, Three Jazzicals will sound jazzy (in varying degrees) to most, and mostly classical to some.” The instruments employed have been traditionally used in jazz. However, stripped away is the rhythm section; traditional chord progressions; melodic, rhythmic and formal clichés; and improvisation. Among the elements kept is the allowance for personal expression through each player’s tone, inflections, and articulations. The players are specifically asked not to swing at any time. Learn More

Dedicated to tubist Jay Hunsberger. This colorful composition is cast in 3 movements - To Bop or Not to Bop, Sounds from the Cool Smoke, and Hotish. The composer states, “ In Three Jazzicals it was not my aim to create a specific hybrid style by synthesizing jazz and modern classical music; rather, my intent was to systematically strip away the fundamental elements of jazz to explore at what point the music ceases being jazz and becomes classical. The style of Three Jazzicals is the resultant this procedure. It is understood that because the subject of what constitutes jazz (there are so many kinds) is so complex, depending upon the background and views of the listener, Three Jazzicals will sound jazzy (in varying degrees) to most, and mostly classical to some.” The instruments employed have been traditionally used in jazz. However, stripped away is the rhythm section; traditional chord progressions; melodic, rhythmic and formal clichés; and improvisation. Among the elements kept is the allowance for personal expression through each player’s tone, inflections, and articulations. The players are specifically asked not to swing at any time. Learn More

with Piano Three Sketches for Euphonium, Tuba, and Piano was written for the Conviviality Trio based out of Ann Arbor, MI. Non-programmatic and serious in nature, the work is divided into three distinct movements that feature all instruments prominently. The first movement begins mysteriously, struggling to find balance between joy and sorrow. The tension builds harmonically and dynamically into a brief yet powerful fast section. After a reprise of the original material, the piano rips into rapid octave jumps which begins the "Aggressively" section, which puts the technical abilities of all three performers on full display. The movement ends with the original material making one last return. The second movement begins with a slow, jazzy noir-like atmosphere set by the pianist before the tuba and euphonium enter, echoing each other throughout. A solo section follows, emphasizing the low register and the lyrical capabilities of the euphonium. The movement ends with a hypnotic back-and-forth progression between the three performers that diminishes to nothingness. The last movement again puts the technical capabilities of the performers on display. Beginning with several mixed-meter runs, the movement evolves into a tour de force finale that includes long, rapid runs in the piano and tuba and euphonium melodies in fourths. Learn More

In 3 movements : Jazz Waltz, Slow Dance, and Irish Jig. In this charming and entertaining work the composer envisions two people dancing with one another. The "lead" in each dance is shared in alternation between the two instrumentalists. The first movement, Jazz Waltz, is in ABA form with the middle section being a waltz in 4/4. The melody is introduced by the bassoon (or trombone) and is passed back and forth throughout. In the enchanting second movement, Slow Dance, the musical material undergoes continuous development with the equality of the parts being paramount. The energetic final movement, Irish Jig, opens with an intriguing mixed meter section which leads to the rousing jig. It concludes with an exciting and frenzied accelerando and fugue. This work is fun to perform and has a great audience appeal! The clarinet and trombone version is recorded on the CD Dances and Dreams [Mark Records 8290-MCD] Learn More

Flute & Cello (opt. Narrator): Piping Down the Valleys Wild: Infant Joy Learn More