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A flexible rescoring of the fun, vibrant, colorful, and programmatic tribute to M.C. Escher (1898-1972), one of the world's most famous graphic artists, known for playing with architecture, perspective, and impossible spaces. His art continues to amaze and wonder millions of people around the world. This piece for solo tuba and concert band interprets Escher's techniques in three movements. All percussion parts are mallet.

Escher Sketches

Concert Band Score & Parts

Editors Choice Year

Make your middle school or high school band sound like a Hollywood studio orchestra! This high-octane thriller uses great harmonic tension, driving rhythms, and intense percussion to create a musical thrill ride that will have both audience and musicians on the edge of their seats – all while maintaining perfectly accessible technique and ranges. A must-have in your library!

Burn After Reading

An aggressive, driving, modal work that heavily features the percussion section, utilizing multiple special effects. At 156 bpm, the piece pushes the tempo boundaries while instrumentation and technical demands stay well within Grades 2.5-3. Inspired by the artwork of Stirling Prentice (Winged Beast), the piece is a metaphoric manifestation of an imagined meeting of two iconic creatures.

The Raptor Rides the Whale

As the title suggests, this high-octane piece is fast and furious, pushing the boundaries of tempo, range, and technique. An excellent balance of theme and effect, this work utilizes a driving tempo, furious rhythms, and fresh harmonic language to create a thrill ride that will have the musicians and audience on the edge of their seats!

Clutch.

Inspired by the commissioning conductor's trip to Scotland before the loss of his father, this emotional work draws its title from the motto and rallying cry of Clan MacLaren, from whom the conductor traces his ancestry. The lyrical music is filled with lush orchestrations, soaring melodic lines, and powerful moments. This moving work celebrates the life of a wonderful man and the breadth of the beautiful Scottish landscape.

Creag an Tuirc

Designed to come together in a few rehearsals, this piece features a simplified bass line, mostly staying on the tonic. Get it? Skele-Tonic? Great if you've just moved players to tuba, bass clarinet, or bari sax and they're still getting used to it and only can handle a few pitches. Staccato eighth-note ostinatos doubled with the xylophone make the perfect skeleton sound. Spooky fun for the whole gang!

Skeletonic

The legend of the werewolf originates in ancient myths and folklore, with roots in Greek mythology, Norse sagas, and even earlier Proto-Indo-European beliefs. This thrilling concert work brings the ancient legend of the werewolf to life through bold harmonies, driving rhythms, and eerie textures. Featuring extended techniques that push the boundaries of traditional wind writing, the music evokes primal fear and supernatural power. Perform on a full moon if you dare!

Howl at the Moon

A setting of two traditional Irish folk songs: The Moorlough Shore recounts a young man's love for a girl who loves another, a sailor. She tells him she will wait seven years for her true love's return; in sorrow, the boy leaves his childhood home and sails away, pining for the girl he loves. The Humours of Whiskey depicts the joys and sorrows associated with this beloved beverage. The lively tempo and spirited energy invite the audience to join in the merriment – together, these tunes are a superb exercise in Irish-style playing and musical culture.
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From Ould Inishowen

A fun, vibrant, colorful, and programmatic tribute to M.C. Escher (1898-1972), one of the world's most famous graphic artists, known for playing with architecture, perspective, and impossible spaces. His art continues to amaze and wonder millions of people around the world. This piece for solo tuba and concert band interprets Escher's techniques in three movements. All percussion parts are mallet.

As humanity loses its connection to the night sky, a new word has emerged: noctalgia, the grief of losing sight of the stars. Cultures have sung to the constellations for millennia, weaving myths and melodies under their glow. Today, light pollution and satellite constellations dim that cosmic stage. This music answers that loss: lyrical and rich with unique textures, it echoes the infinite and harmonizes with the heavens. Preserve the wonder of the night through sound before the silence of the stars becomes permanent.

Noctalgia

The battle is on! Taken from a video-game internet meme, relentless energy and shifting meters give this high school band piece a vivid battle‑driven character that jumps frequently between 6/8 and 2/4. Percussion plays a major storytelling role, evoking the clash of a siege with layered effects, including shouting and metallic strikes on music stands to heighten the sense of chaos. A powerful concert closer for developing ensembles ready to blend cinematic drama with clean transitions between duple and triple feels.

All Your Base Are Belong to Us

A heroic and powerful opener, this can be performed as a stand-alone concert band or full orchestra work - or add the SSATB choir for the full effect. A powerful and bold opening statement to your concert program!

The Praetorian

An homage to Django Reinhardt, Stéphane Grappelli, Duke Ellington, Louis Armstrong, Benny Goodman, Edith Piaf, Ragtime, Dixieland, and every Hot Club on the planet.

Societe Blue

Commissioned by John Szczerowski and the Grand Ledge Wind Symphony, in honor of Mike Kaufman.

Kaufman's Cove

For String Orchestra Duration Approximately 3:00 Grade 2.5 FULL SCORE / Violin I II, Viola, Violoncello I II, Contrabass, Harp A few years ago while visiting the small town of Villefrance-sur-Saone,  we found ourselves in the collégiale Notre-Dame-des-Marais, admiring its incredible beauty and stillness. To our good fortune, there was a pair of worshipers singing a gorgeous polyphonic chant, their voices reverberating through the otherwise empty church. I captured a few seconds on my phone before they finished, and while I was unable to identify the original melody, it has haunted me continuously. PRAYERS IN VILLEFRANCHE for string orchestra relives that sanctified moment, dislocated from time and space. It is dedicated to Helene Arnaud, for their hospitality and friendship. Copyright © APOLLO STUDIOS (ASCAP). All Rights Reserved.

Prayers in Villefranche

String Orchestra Score & Parts

In the 1960s, new technology, new wealth, and a hunger for freedom and exploration sparked a new golden age of travel – the Jet Age. As people were itching to get away and see new things, they were also looking for glamor and fun, and air travel became a fashion show in the sky. This concerto for alto sax and wind ensemble invites us to be carried away musically and of course, in first class. Presented in three movements: 1. New York – London 2. Paris – Rome 3. Havana – Las Vegas.

Jet Set

Prayers in Villafranche for full orchestra relives a sanctified moment listening to a pair of worshipers singing a polyphonic chant in the empty Collegiale Notre-Dame-des-Marais, heard by the composer while visiting the small town of Villefrance-sur-Saone. It is dedicated to Helene and Arnaud for their hospitality and friendship.

Full Orchestra Score & Parts

The latin 'horror vacui' (fear of empty spaces) or kenophobia (from the Greek for 'fear of the empty') is a concept that has been expressed in visual art as the filling of the entire surface of a space or a work with detail. In physics, horror vacui reflects Aristotle’s idea that "nature abhors a vacuum." The expression of extreme detail and ornamentation is present throughout history, transcending culture and medium.
 
HORROR VACUI for concert band interprets the concept both literally and conceptually; with dense, busy orchestration, and as a metaphor for the fear of isolation and death. Stylistically, the work alludes to the many classic sci-fi and horror film scores of midcentury American cinema, the subjects of which were often aliens, vampires, werewolves, ghosts, monsters, zombies, and demons. The melodramatic and absurd aesthetic of these films made them both terrifying, yet comical, giving the audience an experience that was both horrific and laughable. Trick or treat.

Horror Vacui

A unique work for concert band: performed "forward," the music represents Einstein's theory of general relativity; performed "backward," it elicits the subatomic dynamism of quantum mechanics. Finally, when the piece is performed both forward and backward simultaneously, the juxtaposition of the music evokes a quantum superposition, which enables minuscule particles (photons, neutrons, and quarks as metaphors for pitches, rhythms, and phrases) to exist in many different states, or different versions of themselves, all at once.

Unified Field Theory

Tuebor is a suite of folksongs from the State of Michigan scored wonderfully well for Concert Band. The suite is part of a long tradition of folksong settings going back to Gustav Holst and Ralph Vaughan Williams. The three movements are completely playable without giving up the brilliant colors and creative scoring. It is certainly a welcome addition to the concert band repertoire.
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- H. Robert Reynolds, Director Emeritus of University Bands
Arthur F. Thurnau Emeritus Professor of Music
The University of Michigan, Ann Arbor​
 
In 1938, a young folk music collector named Alan Lomax came from Washington, DC to record Michigan’s folk music traditions for the Archive of American Folk-Song at the Library of Congress. Lomax was particularly interested in the trove of ballads remembered by aging lumberjacks and Great Lakes sailors. In ten weeks, he recorded more than 120 performers from Detroit to the western Upper Peninsula. These recordings, along with the 1950’s recordings of Duane Starcher (recorded for WMUK Radio at Western Michigan University) were rich source material for this project. TUEBOR is a three-movement suite honoring the rich agricultural, maritime, and lumbering history of the state, incorporating the melodies of numerous Michigan folk-tunes."

Tuebor Suite

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