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Ten Miniatures was originally written as a piano solo while the composer sat in the orchestra pit during rehearsals of the college's production of Mozart's Cosi fan tutte.  There were a lot of rests to count. The piece, in the compositional style of Vincent Persichetti, consists of ten contrasting movements each between 90 seconds, and three minutes long.  Conductors have the option of performing the entire ten and one half minute work or selecting different sections to best fit their program.

Ten Miniatures

Concert Band Score & Parts

Parts

John "Calico Jack" Rackham
  (https://en.wikipedia.org/wiki/Calico_Jack) was a notorious 18th century
  pirate operating in the Bahamas and Cuba. 
  He may have actually been a distant relative of mine.  His original and well-known pirate flag,
  not to mention his romantic relationship with the notorious Anne Bonney,
  seems an ideal subject for the History Channel.  Until then -  musically, iCalico Jacki (5:00)
  captures the nautical feel of sailing the seas searching for ships to
  plunder.  The piece contains two
  related but distinct themes:  A jaunty
  horn pipe-like dance tune introduced by the piccolo, and a slower, romantic
  melody reminiscent of a sailing ship riding the ocean waves.

Calico Jack

Concert Band Part

Due to its stylistic versatility in performing jazz as well as classical music, Sweet was originally written for saxophone quartet. After searching for an idea that would showcase both of these styles in one composition, I turned to George Frideric Handels Suite No. 11 for keyboard. I manipulated and reharmonized the thematic material and very soon Sweet (Handel with Care) was ready for performance. This new version for Concert Band is essentially a recomposed work in four movements featuring both jazz and classical styles utilizing all the colors and instrumental combinations of todays modern wind orchestra.

Sweet No. 1

iBig Top Ragi is a ragtime style march, 3:00 in length which captures
  the feeling of early 20th century brass band music.

Big Top Rag

Concerto for Bass Clarinet and Wind Orchestra
Concerto for Bass Clarinet and Wind Orchestra, subtitled "Song &amp; Dance," is an eleven minute, work in two movements showcasing the range and technical capabilities of the bass clarinet. 
The first movement (Song) is a slow, melodic song form in which the soloist performs a lyric, folk-like tune and is primarily accompanied by piano, double bass, and mallet percussion, all adding their unique colors to the instrument. 
The second movement (Dance) features a lively, light-hearted melody supported by alternating and irregularly spaced 3/4 and 6/8 dance rhythms. There is a somewhat humorous circus music effect at several points in the movement adding contrast, but without interrupting the feeling and flow of the music. 
IMPORTANT: Piano and double bass (cued in parts) figure prominently throughout the work. They are essential to a successful performance.

Concerto for Bass Clarinet and Wind Orchestra

Hraeca Leah (Mountain Pass to the Meadow) is an Old French/English language place name which originally referred to a meadow or field.    It is a pastoral A-B-A composition making lyrical use of the woodwinds sections.  The first section features short solo passages in the flute oboe and clarinet.  The middle section is slightly more rhythmic and agitated featuring thirty-second note triplet runs in the upper woodwinds, lyric counter melodies in the mid-range instruments and a static ostinato-like accompaniment pattern in the brass. The piece then returns to the pastoral woodwind themed melodies found at the beginning.

Hraeca Leah

High Wire Waltz is a 3:30 piece in the circus music style written to
  accompany the graceful high wire  acts
  of the late 19th and early 20th century circus.  At the discretion of the conductor, unison
  soli lines can be thinned one per part or even to a solo in order to showcase
  a talented musician.

High Wire Waltz

The Windjammer is reminiscent of some of the great heroic film scores
  that came out of 40s and 50s Hollywood. 
  Beginning with a noble statement by the french horns and repeated by
  the trumpets, the heroic  mood is then
  set for the stately, contrasting 
  melody in the clarinets. With an exciting fanfare style middle section
  followed by a recap of the opening, the piece is brought to an exciting close
  with fanfares and flourishes. 
  Challenging key changes, rapid scale passages in the woodwinds, and
  crisp brass articulation will guarantee an enthusiastic reception from any
  audience.

The Windjammer

Four Dances from a Pleasure Garden is a 13 minute work divided into four dances which, stylistically, might have entertained guests as they danced the evening away. The dances, for the most part are fairly easy.  Some difficult keys may be encountered, but nothing beyond the abilities of the average high school or university band.  The first dance, Charlie Chaplin Strut,  and the last dance, Rag-a-Muffin Schottish contain some syncopated passages but nothing too difficult.  Charlie Chaplin Strut has chromatic passages throughout which, at first may challenge the musicians but with practice should be easily mastered.

Historically a pleasure garden or pleasure ground meant private flower gardens, shrub gardens or formal wooded areas such as bosquets that were planted for enjoyment with ornamental plants and neat paths for walking. These were distinguished from the areas in a large garden planted as lawns, as a landscaped park, or the useful areas of the kitchen garden and woodland. 

Pleasure garden usually referred to the ornamental parts of a garden, whereas pleasure ground was a commercial place of entertainment.  They coexisted in England from the 17th century.  Public pleasure gardens were opened in London from the later 17th century; many had previously been parts of large private gardens, so the garden layout already existed. Usually entrance required payment. 

New openings in 18th and 19th century London included Cremorne Gardens, Ranelagh Gardens, Royal Surrey Gardens and Vauxhall Gardens. Many contained large concert halls, or hosted promenade concerts; some lesser discussed pleasure gardens were home to haberdasheries and harems. 

A pleasure garden today, insofar as the term is still used, usually means a park or garden that is open to the public for recreation. They differ from other public gardens by serving as venues for entertainment, variously featuring such attractions as concert halls, bandstands, amusement rides, zoos, and menageries.

Four Dances from a Pleasure Garden

Ensemble

Instrument Family

Fanfare and Fugue is a 4:30 work for brass quintet (2 trumpets french
  horn, trombone, and tuba) and is in two sections; a moderate, majestic
  fanfare followed by a quicker, scherzo-like section based on thematic
  material from the fanfare.

Fanfare and Fugue for Brass Quintet

Brass Quintet

Suite No. 4 (Empire) was written for Rolf Smedvig and the Empire Brass.
  However, shortly after he recorded this work he unexpectedly and
  unfortunately passed away.  Originally
  for brass quintet, the work was expanded to the traditional concert band
  setting plus electric bass, drum set, and additional percussion.  Eight minutes in length, Suite No. 4 is in
  three connected movements (slow-fast-slow) featuring winds supported by an
  electronic idancei style electric bass and percussion section.

Suite No. 4

John Rackham (December 26, 1682 November 18, 1720), commonly known as
  Calico Jack, was an English pirate captain operating in the Bahamas and in
  Cuba during the early 18th century. His nickname was derived from the calico
  clothing he wore, while Jack is a nickname for John. Rackham was active from
  1718 to 1720 towards the end of the Golden Age of Piracy which lasted from
  1650 to 1725. He is most remembered for his original skull over crossed
  sabers flag  (featured in the movie
  Pirates of the Caribbean) and having two female crew members: Mary Read, who
  commonly dressed as a man, and his lover Anne Bonny, by whom he had one
  child. Rackham was captured by Jonathan Barnet, an English privateer, in
  1720, put on trial by Sir Nicholas Lawes, Governor of Jamaica, and was hanged
  in November of that year in Port Royal, Jamaica.
    
    
    
    Calico Jack is a four and one half minute work that attempts to capture the
  feel of 18th century sailing ships.  It
  opens with woodwind swells reminiscent of rolling ocean waves.  A hornpipe melody, played by the piccolo
  draws your attention to the way sailors might have entertained themselves
  during long voyages.  A more relaxing,
  contrasting melody is then heard in the euphonium, tenor sax, and
  bassoon.  This melody in combination
  with the hornpipe theme theme will later combine at a stormy and climactic
  moment before subsiding back into the rolling accompaniment and hornpipe
  heard at the beginning of the piece.
    
    
    
    This piece changes key often and can be challenging for some instruments.   Also, the ranges of certain brass
  instruments is extended a bit, but only for a brief section.   It is fun to play but at the same time, it
  is challenging.

<p>This fast march in the style of <em>Barnum  Bailey's Favorite</em> is a quick-tempo, technically challenging piece for small band in traditional marching band form. The final repeated strain features piccolo and euphonium countermelodies.</p>

The Ringmaster

March of the Clowns is a 2:30 novelty march for small band featuring
  percussion sound effects (SFX) toys selected by the band director and/or the
  students of the percussion section. The object is to have fun and entertain
  the audience.

March of the Clowns

Memorial is a six-minute work using Taps as its compositional basis.  Beginning softly with woodwinds spinning
  out themes based on the intervallic and rhythmic elements of the iconic bugle
  call, Memorial evokes a ceremonial atmosphere, experienced by so many at
  military funerals and national cemeteries. 
  The work then builds in intensity until finally erupting into a
  fanfare-like setting once again using Taps as a model.  The martial aspect of Memorial returns to
  the solemn, reflective emotion stirred at the beginning of the piece.  Finally, a lone, off-stage trumpet performs
  Taps in the original form so familiar to all Americans.

Memorial

aSuite No. 3a (originally titled aKorean Folksong Suite) was
  composed as a one-movement fantasy for the United States Air Force Band of
  the Pacific in 1985.  I selected ten
  songs I felt could best be arranged for a Western music ensemble.  The piece was successfully premiered in
  Seoul, Korea in 1986 to enthusiastic reception.  It turns out however, the Korean audience
  was simply being polite since most of the folk songs, arranged in Western
  style was unrecognizable by most of the people.  Only aMiryang Ariranga and the well
  know aAriranga (the unofficial anthem of Korea) seemed to elicit recognition.  The aKorean Folksong Suitea sat on the
  shelf until 2017 when I decided to develop the one movement work into seven
  separate movements.  The music retains
  the melodic unadorned content of the original Korean folk songs (at least to
  Western ears) while employing contemporary harmonic techniques designed to
  bring Eastern and Western musics together.

Suite No.3 for Wind Orchestra

aThesis No.1a is a reference to the composeras masteras thesis in
  partial fulfillment of his Master of Arts degree in composition and
  theory.  It relies on a tonal pattern
  which begins with a single pitch, aC.a 
  This pitch is developed before adding a second pitch, Bb.a  Subsequent pitches are then added and
  developed until all twelve tones of the chromatic scale are in play, often
  simultaneously.  In the final section,
  an exciting rhythmic sequence drives the work back to aCa  before moving chromatically back to a final
  twelve-note chord, then a final chromatic return to aC.a

Thesis No. 1

"Trance Warp March" was written for and recorded by the late
  Rolf Smedvig, former principal trumpet of the Boston Symphony and founder of
  the Empire Brass. Tragically, Rolf unexpectedly died  before the recording could be
  released.  "Trance Warp Marchi
  was re-orchestrated to fit the standard concert band instrumentation. It is a
  fast concert march which makes use of an electric bass, drum set, and
  percussion. 
    
    In 2015 was premiered Cuesta Wind Ensemble, San Luis Obispo, CA. where it
  was a huge success. Whatis more, the musicians loved playing it.

Trance Warp March

Task Force is a 3:45 concert march inspired by the late Vic Morrows World
  War II series, Combat. In the beginning, the theme is very martial with a
  fanfare-like theme in the brass which, midway through, changes into a more
  noble British-style march melody ending with the fanfare theme. Some
  challenges include several key changes, woodwind flourishes and fast runs,
  and a few minor rhythmic challenges.

Task Force

'Ten Miniatures' was originally written as a piano solo while the
  composer sat in the orchestra pit during rehearsals of Mozart's 'Cosi fan
  tutte'.  (there were a lot of rests to
  count) The piece consists of ten contrasting movements each between one and
  one half, and three minutes long. Conductors have the option of performing
  the entire ten and one half minute work or selecting different sections to
  best fit their program.

Global Sections - CORE [DO NOT TOUCH]*

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