A Fugue for Oboe and Piano
The finale of my Sonata for Oboe and Piano is a playful, energetic rondo in D minor, where the predominantly
Read moreThe finale of my Sonata for Oboe and Piano is a playful, energetic rondo in D minor, where the predominantly
Read moreMarch 21, 1985 was the tricentennial of the birth of Johann Sebastian Bach. On that day I completed my Adagio
Read moreIn the fall of 1992, having recently completed my Piano Sonata No. 4, I played a series of three recitals,
Read moreIn recent years I have received several inquiries from young composers or would-be composers, asking me: “How do you compose?”
Read moreThe Academic Papers section of my website includes a PDF scan of a paper that I delivered at the Music
Read moreOne of the chief tools of an effective composer is contrapuntal imitation. In my Nocturne for Woodwind Quartet, segments of
Read moreAn effective melody is like a living organism. It develops through stages, each stage growing organically out of earlier stages.
Read morePiano fingering is in my opinion very personal. Pianists vary considerably in hand size, flexibility, and technical skills, and these
Read moreOver a year ago, I posted here about my stay in Siena, Italy, in the summer of 1968. That was
Read moreProducing recordings of classical music, especially Romantic music, presents unique challenges. Consider the audio profile of my Prelude No. 5 (both
Read moreThis program is from a recital I gave at Meredith College in Raleigh, NC in October 1992. The event was
Read moreThe original version of my Piano Sonata No. 3, composed in 1987, was the last significant work for which I
Read moreTo say that music is a language is not just a metaphor. Music has syntactical structures very akin to those
Read moreBelow is the program for a concert I gave in Atlanta, GA on September 5, 1986. It was, by design,
Read moreIn the archetypical classical sonata-allegro movement, the exposition moves from tonic to dominant (often via the mediant). The development is
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