A song cycle for soprano and piano of six short pieces, with clever, playful texts by Louisa May Alcott. From the light, dance-like opening to the soft, dreamy lullaby at the close, these songs are organized to depict a carefree summer day.

Grade 4

Fantasia on a Theme of Robert Schumann is a lyrical exploration of harmonies, motives, and melodies from Robert Schumann’s art song Nachtlied (Op. 96 No. 1).

Grade 5

A 2-minute brass fanfare written in celebration of the 100th anniversary of the Eastman School of Music.

Six Little Songs is my third song cycle, in which I set six short poems written by my wife, Ashley.

Grade 5

A 2-minute fanfare that includes a musical canon, this work is available for wind band, orchestra, string orchestra, or flexible instrumentation.

This piece is based on one of my favorite sonorities – the major 7th chord. Throughout the piece, I use different voicings of the chord to create harmonies and textures that are sometimes stark, and other times beautiful, reflecting the varying landscapes of winter. The music near the end of the piece moves towards spring, inspired by the simple bird call of the Black-capped Chickadee. 

Grade 5

Available as a collection of three arrangements, or individually: Fugue No. 2, No. 16, and No. 23, all from The Well-Tempered Clavier, book 1. Scored for 4/5-part flexible instrumentation plus optional timpani that can be adapted for many combinations of wind, string, and percussion instruments.

Grade 3/4

Available as a collection of three arrangements, or individually: “If Ye Love Me,” “Third Mode Melody,” and “Variations on the Tallis Canon.” Scored for 4/5-part flexible instrumentation that can be adapted for nearly any combination of wind, string, and percussion instruments.

Grade 4

Inspired by the advent chant melody, this new arrangement begins with a contemplative verse and slowly builds to a glorious climax. Scored for 8-part flexible instrumentation plus optional piano and percussion.

Grade 0.5

A one-minute piece for beginning band or strings (4-part flex instrumentation), incorporating foot stomps and found percussion to evoke a lost city from the 1800s.

Grade 5

Fugue No. 20 in A Minor from The Well-Tempered Clavier, book 1. Scored for 4/5-part flexible instrumentation (strings) plus optional timpani and chimes.

A set of three piano preludes, each based on a beautiful place: Garrett Chapel in the finger lakes of Western New York; Rockingham Meeting House in the green mountains of Vermont; Parrocchia San Martino in Ispra, Italy.

Commissioned by percussionist Andrea Venet in 2019, Vocalise is a work scored for singing (soprano) marimba player. The vocal part does not use text, but rather uses humming and singing on vowels such as “ah.” The work can be performed by a singing marimba player, or by two performers - a soprano and a marimba player.

This work is comprised of five short movements, all variations on an original chorale theme, which appears in the second movement. Published by Keyboard Percussion Publications.

An eight-minute, one-movement saxophone quartet with a developing, original, chant-like melody, which features the lyrical side of the instrument.

In his book “Into Thin Air,” Jon Krakauer describes moments perched on the Lhotse face; “I sat with my feet hanging over the abyss, staring across the clouds, looking down on the tops of 22,000- foot peaks that a month earlier had towered overhead. At long last, it seemed as though I was really nearing the roof of the world.”

In his book “Into Thin Air,” Jon Krakauer describes moments perched on the Lhotse face; “I sat with my feet hanging over the abyss, staring across the clouds, looking down on the tops of 22,000- foot peaks that a month earlier had towered overhead. At long last, it seemed as though I was really nearing the roof of the world.”

A short, playful, two-movement work for Tenor Saxophone and Piano – a quirky musical parody!

This is an arrangement of one of my favorite hymns for violin and cello. I wrote the arrangement to be premiered at my wedding in October 2011 in Vermont. The second verse ends with both the violin and cello arriving on the same pitch and the piece almost seems as if it has ended. But a third verse arrives triumphantly with an original descant.