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This concerto, commissioned by music teacher William T. Robinson, was originally scored for Bass Trombone and String Orchestra. This version for Bass Clarinet and Piano was done by the composer and is a three-movement work approximately nine minutes long, each movement leading directly to the next.

The first movement opens with a slow introduction based on quartal harmony. The main portion of the movement is an allegro that explores changing meters. The second movement is slow, with a mournful character. The modal harmony is centered around D minor. The third movement is in an Afro-Caribbean style. The second and third movements include cadenzas for the soloist.

This concerto, commissioned by music teacher William T. Robinson, was originally scored for Bass Trombone and String Orchestra. This Piano reduction was done by the composer and is a three-movement work approximately nine minutes long, each movement leading directly to the next.

The first movement opens with a slow introduction based on quartal harmony. The main portion of the movement is an allegro that explores changing meters. The second movement is slow, with a mournful character. The modal harmony is centered around D minor. The third movement is in an Afro-Caribbean style. The second and third movements include cadenzas for the soloist.

This work, in four short movements, is for one player who simultaneously plays Trombone, Piano, and Conga Drum.

Engineer jokes, many involving tunnel vision, abound in the composer's hometown. While we may all know some engineers who fit this stereotype, we also know engineers who do not have this kind of tunnel vision. This piece is dedicated to one of the most broad-minded engineers (or people) I have ever met – a true "Renaissance man" – upon his retirement as Dean of Engineering.

The choice of having one player perform on three instruments at once is meant to reflect this ability to focus on more than one issue at a time.

This piece is suitable for a college recital.

This trio for Oboe, Alto Saxophone, and Piano was commissioned by Dr. Debra McKim, Professor of Music at Hastings College in Nebraska.  Each movement of this piece is based on a different synthetic scale. 

The first movement is based on a five-note scale that includes the notes of a half-diminished chord plus the major second.  Harmonic motion is created by transposing the scale up by minor thirds every measure, then every two beats, and finally every beat. 

The second movement is based on a symmetrical six-note scale that include three half-steps:  B, C, Eb, E, G, Ab.  The scale remains the same throughout the movement, without modulation.  Augmented harmonies are created by building chords from every other note of the scale. 

The third movement uses the same six-note scale throughout: Db, E, F, F#, A, C. Harmonic motion is very limited in this movement

This is an excellent for a college recital.