The Peace to Come (Easy)

The Peace to Come is a piece for beginning band students. It was written in the key of B-flat major, and uses primarily the first 7 notes learned on each instrument. The beginning of the piece is slow and quiet with a happy, unbothered character, and the melody is reminiscent of an old American folk tune. This melody reappears in several different contexts – In fact, each instrument plays the melody at one point in the piece. The middle section is marked "Regal," which means, "fit for a king." This section is lively, and joyful, sounding much like a march, and the music builds with the primary melody played in canon. Finally, the piece ends as it begins, fading away until one final note is heard from the bells.

Premiere: Columbus State Community College Concert Band; Thomas Lloyd, conductor; Dec 8, 2015; Columbus, OH

The Hill We Climb (Easy)

When troubling feelings spiral out of control, The Hill We Climb assures us that we are never powerless. No matter how anxious or hopeless we become, we are capable of amazing accomplishments with the help of others.

The Hill We Climb uses several modes of F melodic minor, expanding students’ ears beyond the diatonic modes and providing a useful application for melodic minor scales. The entire piece expands on motives of the initial theme (mm. 7-20), including a recurring syncopated groove that introduces students to asymmetric rhythms.

Premiere: University of Nebraska-Lincoln Campus Band; Eric Elker, conductor; May 7, 2023; Lincoln, NE

Drive On! (Medium-Easy)

The piece was written in the C dorian mode and is divided in three sections: fast, slow, fast. The first section, written in a similar style to Holst’s "First Suite in Eb" begins with a driving eighth-note accompaniment in the clarinets with an agile melody in the horns and alto saxophones. The second section is much slower, quieter, and more exposed. The music takes on a haunting character, which leads to an introspective chorale. After a tempo change, the first section returns, and the piece finishes with a triumphant coda. This composition follows no particular narrative. The music, however, is intended to inspire feelings of great courage in the face of danger. To reflect this, the title is a simple battle cry: "Drive On!"

Premiere: Waverly Middle School Band; Matt Smoot, conductor; May 3, 2016; Waverly, NE

Kinetic Architecture (Medium-Easy)

Kinetic Architecture is a concept through which buildings are designed to allow parts of the structure to move, without reducing overall structural integrity. The pulse in this piece often switches from 4 to 2, and eventually from 4 to 3. However, the piece's main motifs are largely unaffected. Like the buildings for which the piece is named, the parts of the musical structure move between time signatures without reducing structural integrity.

Premiere: Lyons-Decatur High School Band; Matt Smoot, conductor; May 1, 2018; Lyons, NE

Restore (Medium)

When Pius X High School was founded, it adopted the motto of its namesake, Pope Pius X: “Restore all things in Christ.” After the start of the COVID-19 pandemic, the idea of restoration became even more poignant. When I began to teach in the Diocese of Lincoln during the 2021-22 academic year, Pius X High School decided to embrace “Restore” as a mantra. This piece is a reflection on that theme, dedicated to the colleagues and students I encountered during that year.

Restore is a setting of the Easter hymn Now the Green Blade Riseth. The use of this hymn draws parallels between post-pandemic recovery and the resurrection of Jesus. Initially, we hear minor fragments of the tune scattered across a dark, desolate texture. Slowly, the music rises, picking up pace until fear froths into panic. Suddenly, a single oboe cuts through the chaos, and for the first time we hear the traditional version of the hymn tune. This moment of clarity represents the voice of God, evoking hope amidst tragedy. The piece builds to one final, triumphant statement of the hymn; as the piece ends, the tune itself has been “restored.”

Premiere: Pius X High School Band; May 1, 2022; Lincoln, NE

The Four Horsemen (Medium)

The Four Horsemen combines scripture with twentieth-century poetry reflecting on the themes of conquest, war, famine, and death. Although the texts are from ages past, they are still relevant today—in a sense, this piece is both a social commentary on the state of current political affairs and also a reflection on the common pitfalls of humanity throughout history. That being said, the final movement is intended to provide hope for progress, whether it is achieved through the assistance of a spiritual savior or the resilience that individuals have consistently demonstrated in times of adversity.

Vocal Ranges:

• Soprano: C4-F5

• Alto: Bb3-C5

• Tenor: C3-F4

• Bass: Bb2-C4

Premiere: Frostburg State University Choral Artists & Wind Ensemble; Ash Glenn, conductor; Sunday, Nov 21, 2021; Pealer Performing Arts Center, Frostburg, MD

Corrupted (Medium-Advanced)

Corrupted is an original work for wind ensemble and organ. The piece follows a protagonist over the course of their fall from grace. In the beginning, the character is hopeful for the future. The diatonic melody and familiar triadic harmonies represent the protagonist's contentment. However, the allure of power tempts the otherwise pure individual. "Power," in this case, is represented by tone rows, or sequences of 12 unique pitches. In the beginning of the piece, the protagonist is able to pursue power without becoming corrupt. Although the melodies by themselves are atonal, the underlying harmonies are still stable and bright. Nonetheless, it becomes clear that the character is walking a thin line. The temptation is too much. The harmonies become increasingly uneasy until they devolve into dissonance. Eventually, our protagonist succumbs to the darkness. Most of the melodies and harmonies are derived from variants of the same tone row -- this is to show that every "good" person has a dark side. It is up to us to nurture our good traits so we, too, are not CORRUPTED.

Waking Up Alive (Advanced)

Waking Up Alive addresses the ever-pressing topics of anxiety, depression, and suicide. Based on the accounts of suicide survivors, this piece illustrates the arc of a suicide attempt: it captures the events that lead people to take their own lives, as well as those that contribute to their recovery. 

In “The Descent,” the piano represents an individual who, overwhelmed by the discordance of their environment, sinks into a deep depression. The individual experiences a profound emptiness and, despite an effort to mask their despair with a jovial facade, succumbs to the “suicidal voices,” that encourage them to seek death. 

In “The Attempt,” the individual enters a suicidal trance that leads to the titular event— an attempt on their own life. The suicide attempt does not offer reprieve and instead leaves the individual in shambles. 

In “Return to Life,” the individual receives the support of friends. With the help of these companions, the individual is able to properly grieve. Through cathartic acts of self-expression, the individual is able to establish their identity and reclaim their life.