Anthony Bannach

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A Vision of Rest is a choral piece with text set from the poem by
  Alexander Posey. The piece balances a choral style refrain with large amounts
  of independent lines and melismatic writing, and the sounds or the
  composition are inspired by choral pieces by composers such as Pavel
  Chesnikov, John Tavener, and Arvo PArt. The lyrics heard in the song were
  slightly modified to fit to the music. The original text is as follows:
    
    
    
    
    
     Some day this quest
    
     Shall cease;
    
     Some day, For aye,
    
     This heart shall rest In
  peace.
    
     Sometimes, ofttimes,I almost
  feel
    
     The calm upon my senses steal,
    
     So soft, and all but hear
    
     The dead leaves rustle near
    
     And sign to be
    
     At rest with me.
    
     Though I behold
    
     The ashen branches tossing to and
  fro,
    
     Somehow I only vaguely know
    
     The wind is rude and cold.

A Vision of Rest

SATB Octavo

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A modern take on the classic waltz form, this quintet features both intricate passing of solo textures as well as stirring choral sections, all with harmonic textures that are in flux between traditional 19th century harmony and extended 20th and 21st century harmonic stylings.

Waltz for Wind Quintet

Woodwind Quintet

Instrument Type

"Taxi to Motown" is a fun glissando technique piece that shows
  how students can use glissandi in genres like funk, Motown, blues, etc.  It's a piece that also uses lots of
  syncopation from those genres as well, which not only assists students in
  reading more complicated rhythms, but opens doors to a whole new world of
  feeling the pulse in music!

Taxi to Motown

Easy Piano Sheet Music

This piece is an arrangement of the traditional spiritual "There is
  a Balm in Gilead". It is a song that has become a spiritual standard,
  being sung in churches and concert halls throughout the world. This
  arrangement maintains much of the feel of the original, but with some changes
  to the harmony to reflect influence from contemporary soul and R&amp;B music,
  as well as writing a loose canon in the second verse which drives toward the
  high point of the song. I hope it is a joy for your choir to learn and
  perform.

There is a Balm in Gilead

This piece was constructed as an attempt to familiarize myself with more
  romantic and neo-romantic compositional practices, and as an effort to
  recreate a piano prelude that captured both a modern and late 19th century
  essence. The prelude features many chords with added color tones that gives
  extra depth to much of the harmony throughout the piece.  It features continual fluctuation of tempi,
  dynamic, and style throughout.

Prelude in G Minor

Piano Solo

My first string quartet draws a lot of inspiration from early 20th
  century composers, which perhaps might be my favorite era of classical music.
  I am oft inspired by the music from Stravinsky, Nielsen, and Debussy, among
  others. However, the composer to have the most influence on me for the past
  few years is Bartok, and I believe it is evident in this work as well. I
  loved Bartok's use of the tritone as a tonal center, the vast and frequent
  changes of tempo,and the multitude of textural colors and extended techniques
  in his works. Most of the extended techniques are found in the second
  movement, an example of which is the Bartok pizzicato, which today is a
  commonly found and utilized articulation. But I also have some newer
  techniques such as aleotoric passages, originally created by composers such
  as Charles Ives and Henry Crowell and which saw more prominent usage through
  the likes of John Cage and Witold LutosAawski, are still quite new and fresh
  compositional tools. The third movement is much more song-like and tonal in
  nature than the first two movements, but really adapts Bartok's style of
  changing the tempo often to bridge different sections.Ultimately, I see the
  quartet as a microcosm of the music I want to continue writing in the future,
  not over-indulging in the intellectual exercises of mid-to-late 20th and 21st
  century classical music, while at the same time not relying on the tonal and
  emotional tropes of the past.

String Quartet No. 1

String Quartet

"Tiger King Tango" is a fun foray into the world of tango and
  salsa, while functioning as a piece to practice the glissando technique.  This piece also a good piece for working on
  hand independence while dealing with multiple rhythms, also a great piece for
  focusing on dynamic contrasts between sections! A piece that will bring out
  the exotic Joe within you!

Tiger King Tango

A glissando technique piece for Grade 1 piano that is lush and
  impressionistic, and in addition to helping young students practice glissandi
  passages, gives students plenty of opportunity to work on pedaling technique
  and playing in an emotive manner. .

Flowers in Yunnan

I hope everyone has been doing well during this crazy time.  Originally I wrote these preludes as parts
  of composing exercises for Alan Belkin's book Music Composition: Craft and
  Art.  They sat around for a bit until
  during the quarantine when I took a look at them again.  I realized that these pieces had a lot of
  character to them, and they were quite distinct in nature.  The first movement is a simple ternary form
  piece which begins and ends in the key of g minor and has a very neo-romantic
  tonal space. The B section is a brisk, more straight-forward tonal texture,
  but has a fun little twist sequencing up near the end of the section.  The second movement was composed with the B
  vs Bb dichotomy functioning as a germinating cell for the rest of the
  movement's material. More impressionistic and mysterious than the other two
  movements, it also lacks a more traditional formal structure, instead relying
  on the development of motivic cells to make the movement cohere together in a
  logical way. The third movement is also a modified ternary movement, but with
  the A sections being played at different speeds, and the second A ending
  having an outro section attached.  The
  B section is also more like a sonata form developmental section (without the
  required tonic-dominant modulatory feature). This movement is not only
  tonally very colorful, but also dynamic in regards to tempo, slowing and
  quickening often, giving the piece a continual sense of renewed spirit.  Rather than just release the preludes as
  seperate pieces,  I found that when
  played in a certain sequence, they represent a progression of mental and
  spiritual being that many people have, including myself, been going through
  during this time.  As such, I made them
  into a suite.  If it brings you a
  little bit of joy or excitement during this time (and after this is over),
  that's all that I can hope for.

3 Preludes for a Quarantine

This art song for soprano was conceived during the early months of
  2014.  It features two contrasting
  harmonic sections that alternate during the piece, one with a melancholic,
  traditional harmonic basis, and the other with a much more robust,
  declamatory nature, that is harmonically more compact and unusual.  The text is a smaller segment taken from
  one of Rainer Maria Rilke's larger poems. 
  The text describes the unbreakable connection between him and his
  love.

Losch mir die Augen aus

Soprano Solo

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