Bassoon Concerto for Orchestra – Against Indifference

November 28th, 2012

I would consider my bassoon concerto to be one of my best pieces. It began as a piece for piano and bassoon, but from the beginning I had plans to orchestrate it. It now works very well in both the piano and orchestral versions, has been reviewed by several bassoonists, and is a favorite among those who listen to my work. Any bassoonist looking for a new challenge to enjoy should most certainly download the free solo part and read through it. You, your accompanist(s), and your audience will love this piece.

Download solo part (free)
Download score and parts (PDF) ($139.99)
Download piano transcription (PDF) ($14.99)

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Sample Score
Sample Parts
Sample Piano transcription

Additional information:

Instrumentation: bassoon and orchestra (or piano)

Duration: 17:00

Performance notes: I highly recommend that the bassoon be amplified artificially.

This bassoon concerto was heavily influenced by two primary sources. Very few people know it, but John Williams writes fantastic music outside of the film industry. His bassoon concerto (Five Sacred Trees) is pretty much all that I listened to while I was working on this. The other source is actually from literature. Blaise Pascal, a 17th century French philosopher and mathematician, wrote a passionate argument against apathy for eternal matters; a philosophical discourse entitled “Against Indifference.”  Below is the title of each movement and a summary of the argument Pascal was making (the last one is my paraphrase):

Movement I, To the Apathetic

“But as for those who spend their lives without a thought for this final end of life and who, solely because they do not find within themselves the light of conviction, neglect to look elsewhere, and to examine thoroughly whether this opinion is one of those which people accept out of credulous simplicity or one of those which, though obscure in themselves, none the less have a most solid and unshakable foundation: as for them, I view them very differently.”

-Pascal

Movement II, A Lament for Doubt

“I can feel nothing but compassion for those who sincerely lament their doubt, who regard it as the ultimate misfortune, and who, sparing no effort to escape from it, make their search their principal and most serious business.”

-Pascal

Movement III, Search and Fruition

To live a life within the context of eternal existence gives us joy beyond our understanding. Seek this truth, and it will reveal itself to you.


Classical Piano Solo – Tear of Ambiguity

November 14th, 2012

This is an extremely challenging classical piano solo that requires the pianist to have complete right and left hand independence in order to perform it with the passion and freedom that it calls for. The rapid independent lines coupled with the sustain pedal being employed throughout entire sections of the piece creates an enormous sound wall that peaks in volume at the climax of the solo and dies away naturally without dampening the strings. This of course has the danger of any wrong notes being very obvious for several seconds during these sections. Taking all of these things into account, this classical piano solo is clearly written for a very accomplish pianist.

Download Score (pdf) – $8.49
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Sample Score

Watch a player piano make the recording

Additional information

Duration: 6:30

Instrumentation: Solo piano

As I was writing this piece I could never quite decide which emotion I was attempting to capture. Whatever I had in mind, it was an emotion that would bring a person to tears. My goal has ended up being for me to convince the listener to empathize with another person’s suffering and unspeakable joy simultaneously. Some may view this concept as silly and far from practical, but this is the emotion that I think of when I see something incredible to come in the midst of a difficult situation. The adversity must take place in order for joy to result, but terrific end or not it still hurts in the meantime. The journey is beautiful because of its result.

Special thanks to Cornerstone University for allowing me to use their 6 foot yamaha grand player piano.


Listen to "Conviction"

July 19th, 2012

This piece began when two of my friends (Zach and Eva) and I were improvising on drums, guitar, and violin. It sounded too cool to not record, so I got some samples from them and used their samples to help create what you’re about to listen to.

Also, throughout the past two weeks I’ve been posting frequent updates and getting feedback on this work. I used the composite feedback from fans to guide the way I shaped and polished the piece. Even the title was thought up by my friend/fan, Jon. It has turned out to be a challenging and interesting experience for all of us and has yielded good music. So we’re going to do it again soon!

If you’d like to be a part of the creative process in the next piece, feel free to “like” Always in Transition on Facebook so that you can get the samples in your newsfeed and participate! See you there!


Listen to “Conviction”

July 19th, 2012

This piece began when two of my friends (Zach and Eva) and I were improvising on drums, guitar, and violin. It sounded too cool to not record, so I got some samples from them and used their samples to help create what you’re about to listen to.

Also, throughout the past two weeks I’ve been posting frequent updates and getting feedback on this work. I used the composite feedback from fans to guide the way I shaped and polished the piece. Even the title was thought up by my friend/fan, Jon. It has turned out to be a challenging and interesting experience for all of us and has yielded good music. So we’re going to do it again soon!

If you’d like to be a part of the creative process in the next piece, feel free to “like” Always in Transition on Facebook so that you can get the samples in your newsfeed and participate! See you there!


Flute Solo – Consider the Lilies

May 30th, 2012

Writing this flute solo was the first time I’ve ever had the opportunity of facing the challenge of writing something that needed to be played by someone new to an instrument (Lily had been studying flute for about two years). This forced me to figure out ways to create sounds that were easily produced but were still new and interesting. What made the process much easier was the fact that Lily was already able to have a strong and full sound on the lower register of the flute (quite an accomplishment for her short time studying the instrument). So I focused on bringing out the contrast between the different registers while also creating complex harmonic implications to draw as much attention as possible to every sound being made throughout each line. This process yielded the opening melody, which reminded me of wind gently blowing across a field of flowers. Between that and Lily’s name, Matthew 6:28-30 (NIV) immediatly came to mind:

“And why do you worry about clothes? See how the lilies of the field grow. They do not labor or spin. Yet I tell you that not even Solomon in all his splendor was dressed like one of these. If that is how God clothes the grass of the field, which is here today and tomorrow is thrown into the fire, will he not much more clothe you, O you of little faith?”

So I then wrote the rest of the flute solo based on the emotional process a person might go through when hearing Jesus’ words during a difficult time in life.

On Memorial Day, May 28, 2012, my wife’s high school flute student, Lily, premiered this flute solo. This premier performance can be viewed below:

Nothing I write is ever easy and this piece is no exception. Lily did a fantastic job of rising to the occasion! Hats of to her and my wife for working so hard in pulling it off so decisively!

Download score (PDF) $2.49
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While originally being written as a flute solo, Consider the Lilies (not so coincidentally) works very nicely for the alto saxophone as well! I’ve included a preview of the score in the sample below as well.

Download score (PDF) $2.49
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