Compositions
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- September 1, 2007. Ray Sasaki and Robert Cannon (trumpets), Patrick Hughes (horn), Nathaniel Brickens (trombone), Steven Bryant (tuba); first airing of recurring theme music for “Music from UT,” a radio program on KMFA Classical 89.5 FM in Austin, Texas.
Chosen as the theme music for “Music from UT,” a radio program on KMFA Classical 89.5 FM in Austin, Texas. To hear the broadcast, simply tune-in to “Music from UT” any Saturday at 8pm CST. The broadcast is streamed live over the internet as well; simply click here at the aforementioned time and choose a streaming method from one of the two provided options.
The Rise of the Incans was written especially for the Bridge Creek High School Band, Bridge Creek, Oklahoma, and their director, Carissa Hendrix. The Incans were the most powerful civilization during their time, known for their ability to turn any ordinary villager into a formidable soldier. Establishing its empire in Peru around A.D. 1400, they continually expanded their nation through warfare and diplomacy. The Rise of the Incans depicts the dominating forces of the Incan Empire through powerful returning themes, a reflective middle section, and an overall robust sound.
The music is exciting and accessible, and includes cues to assist bands who may miss instruments or lack technical ability in some parts.
- May 12, 2009. Holcomb High School Band (Holcomb, Kansas), under the direction of Paul White.
- May 12, 2005. Bridge Creek High School Band (Bridge Creek, Oklahoma), under the direction of Carissa Hendrix.
Medina, NY: Imagine Music Publishing, 2009.
Winner of the 2008 Pathway Band Composition Competition, a nationwide call for level 1-4 band scores.
“Bahrah” (pronounced “bay-ray”) is the transliteration of the Hebrew phrase “to create.” The idea for this composition was to take certain important themes from the Creation in the Bible and turn them into musical motives, and then use these motives to develop musical material.
The process of turning events from the book of Genesis into musical material was fairly simple. By simply taking the transliteration of certain key words and breaking them up into syllables, the composer could then base the motives on 1) the rhythmic syllabification and 2) the natural Hebrew inflection.
The work as a whole is not intended to symbolize the Creation. It simply represents the primitive and raw forces that were used in the creative act. Of particular importance is the motive for “God,” which is represented in the log drum and is featured throughout the work as a sort of recurring theme.
- February 4, 2010. Stephanie Brace, Christian Clark, Justin Swearingen, Cydney Thompson (percussionists), under the direction of Andrew Kruspe; performed in Roberts Recital Hall at the University of Alabama in Huntsville for the 2nd Annual New Music Festival (click here for photo – .jpg, 69 kb).
- April 8, 2008. Chris Childs, Donnie Hogue, Jared Lanham, John Gregg (percussionists); performed in the Rialto Center for the Arts at Georgia State University in Atlanta.
- February 23, 2008. Chris Childs, Donnie Hogue, Jared Lanham, John Gregg (percussionists); performed in the Kopleff Recital Hall at Georgia State University in Atlanta for the 2008 Society of Composers, Inc. National Conference.
- February 20, 2008. Lee Parham, Jennifer Higgins, Sarah Koss, Chris Riggs (percussionists); radio broadcast on WOBC 91.5 FM in Oberlin, Ohio.
- October 27, 2006. Michael Holland, David Walker, Tyler Warren, Jonathan Wright (percussionists); performed in the T. Earl Hinton Music Hall at Middle Tennessee State University in Murfreesboro for the 2006 Society of Composers, Inc. Region IV Conference.
- November 12, 2003 & April 13, 2004. Lee Parham, Jennifer Higgins, Sarah Koss, Chris Riggs (percussionists); performed in the Morris R. Pitman Recital Hall at the University of Oklahoma in Norman.
Everett, PA: HoneyRock Publications, 2009.
Combs, F. Michael. Percussive Notes (Jan. 2010): 61. Click here (pdf,
93.2 kb) to view the article.