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Found 5 results

  1. I wanted to share this very simple thing I wrote thinking about things from the past and etc.... The basis was: a very singable melody, and a fixed progression: I - IV - (ii - V)/iv - iv - (ii - V)/ii - ii - (ii - V)/V - Vsus - V - I For oboe (English horn) + electric piano (mark). The one in the picture is one of my deceased dogs.... He was very big and precious, protector of babies, children, puppies and cats. But he did everything in a big way.
  2. Hello, everyone! Here is a short piece I wrote this week for English horn and piano based on a poem of mine; the poem is simple, and motivated by image (a writing style of which I am very fond). I have termed the piece as a “fantasy,” mostly due to its free-flowing form and structure; if I were to expand on that, it very much conforms to an introduction—caprice format. The piece coincides with the poem, wherein a young boy is wandering about a savanna plain, playing, and comes to a rest in a dense, gum-tree grove. Here, he begins to fall asleep next to a cool brook – which was hidden by the trees – and he begins to imagine capricious pixies and fairies dancing around. Section I – the introduction – is serious and flowing, shifting from 4/4 to 6/8, and it depicts the oppressive summer heat and the haziness of the powerful sun; section II – the caprice/dance – is playful, light, and in 7/8, introducing intrigue, enigma, and a break from the heat. Overall, it is a relatively short and simple piece, and I will hopefully work on a recording of it, along with my clarinet sonata (after I ruminate all your comments, of course). The English horn is one of my favorite instruments (in part due to its warm and low register), and I really wanted to work on a piece for it. I have attached a watercolor by one of favorite painters, J. M. W. Turner – “On the Washburn,” that I feel pairs with the set well. I’d love to hear your critiques, and thanks for listening!
  3. A Trio I composed about 3 years ago in mid-2013 for three friends who were professors at Friends University, Wichita. The unusual instrumentation was first suggested by the contrabassist, who had composed his own very fine piece for himself and the two others to play, and it inspired me to try my own hand at it. Unusual though it may be, the three instruments actually blend quite nicely together. Incidentally, the contrabassist was also a former love interest, which added yet more urgency to this attempt. The players had originally intended to premiere the work in 2014, but the plan fell through for various reasons - not the least being that the piece is somewhat challenging, and it wasn't easy for three university professors to find time to rehearse it sufficiently. In an attempt to garner some publicity, I published the piece on IMSLP, and earlier this year I heard from a trio of young men from Venezuela who had found it online and were planning to perform it. This ensemble of students did indeed premiere the piece in Venezuela in March of this year, albeit substituting 'cello for the contrabass. They did a yeoman's job of performing a piece intended to put professionals through their paces, and their performance may be found here: Scores for the movements are attached.
  4. Hi, as I understand glissandi on the oboe and english horn are nearly impossible, but I've also heard that they can be accomplished at least to a semitone by manipulating the embouchure. Is this true? Can it be done in both directions? Would these glissandi be possible on the english horn?
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