ABOUT THE MUSIC:
My pieces are listed in the pop-ups below and are divided
into the following volumes: Chamber, Keyboard, Orchestral, Vocal, Choral, and Opera.
The tradition chronological method of listing compositions does not work for me. I started composing very young... I don't know how young. Any of my pieces may be with held at any given time.
Also, I constantly tend to make new orchestrations, changes, and arrangements of my music. As a result, I use the method by which Haydn's music is categorized: by genre rather than chronology.
It is my belief that music is "about" emotions that tell stories. Most of my pieces have myths and tales associated with them. Sometimes I keep them to myself, but usually I share them. Music has strong
visual associations for me.
When I think of tones, I see colors: A: red; B: black; C: white;
D: yellow; E; pale violet; F: black; and G: green. I don't know why this is... but it has always been so. I DO believe that it is associated with the Greek modes. I have known and read of other people with synesthesia; but I have never known of two people who AGREED on the particular associations.
My two most helpful mentors were Vincent Persichetti and Calvin Hampton. Persichetti stressed listening for the psychological development of musical ideas, while Hampton stressed the importance of an inspired idea, with a contrast and a return. This simple formula is the basis of all of my work.
Finally, I have three general notes:
1. When I write: con Ped. for the piano, I mean "legato."
2. In instrumental music I tend to write a tenuto over all notes that are not tied or otherwise phrased. It thereby means to hold the note for the entire length.
The exception lies in vocal music, where legato is implied as the default method of performance. Here"tenuto" truly means held: rather than dynamic change: crescendo or diminuendo as in messo di voce. Further tenuto implies that the section is not legato, but rather detached, and, perhaps, slightly stressed, though not to the point of accent.
3. I don't CARE a snap about fachs in vocal music. I don't even care about gender.
If a singer wants to sing a piece let him or her sing it.
I am currently in a several year long process of extended examination of dynamics, tempo and phrasing in my work. It is proving most helpful.